Some of my favorites along this line are the pmpd examples. In the Help Browser, check out examples->pmpd. Watch out, they can use a lot of CPU time, so it's best to check on "defeat real-time scheduling" in the Startup preferences when playing with those.
.hc On Jun 7, 2007, at 11:30 AM, Patco wrote: > Hello, > are there any project where we can see almost all externals in action, > at least all externals that doesn't require particular hardware, and > that could be run with a 'one clic' or 'one command' pd installation > like pd-extended for example ? > I mean by this kind of project, a workstation where we could meet all > the different externals and some comments with navigating through > patches. > ( net-pd is one kind of this project obviously but I've found it > misses > documentation for having a real idea on how it is functionning, > maybe I > didn't go deeply enough through the available files...) > By this way, any new user of pd would be able to use pd tools, > without > having any knowledge of the functionning of the patches, and with the > comments on how object are used, the new user would also learn a > lot faster. > I believe that the 'elitist' point of view would be seriously > dammaged > by this kind of enterprise. > It was my 0.5 cent question. > Patko. > > john saylor a écrit : >> hi >> >> On 6/7/07, jared <[EMAIL PROTECTED]> wrote: >> >>> All of the work done (out of love, not money) by the pd community >>> should >>> be applauded. With that said, there is a sense of elitism. >>> >> >> how does this perceived elitism affect your ability to make music? to >> learn about digitial synthesis? is it an excuse to avoid the work >> required? >> >> i've seen lots of beginner questions answered here- sometimes with >> sarcasm, but mostly with patience [and sometimes with both]. >> >> >>> I think academia needs to recognize that there are many composers >>> who >>> use computers as a means to an end; who make music with the AID of >>> computers; not to make music WITH computers. >>> >> >> this seems like an arbitrary line you are drawing. are you talking >> about people who use presets as opposed to people who can generate >> their own 'presets'? >> >> and why is academia some kind of measuring stick? in my experience, >> academia is not the ivory tower you seem to be implying- it is filled >> with people, some more creative, some less creative, some as >> greedy as >> any industrialist you could find in the private sector. >> >> >>> There is still a rigid >>> line that separates the composer and the programmer. >>> >> >> the rigidity is mostly in your mind. composing is very much like >> programming. instead of working in perl, beethoven worked with staff >> paper [think punch cards]. how is a repeat sign in a score different >> than a 'while' loop? how is a fugal theme different than a variable >> that gets subjected to a certain kind of treatment? >> >> >>> What about today's composers who are >>> interested in classical compositional techniques and forms, but >>> who are, >>> at heart, electronic music composers and want to apply these >>> classical >>> techniques and forms to their electronic compositions with the >>> AID of >>> technology, yet have no interest in programming? >>> >> >> they are out of luck. >> >> what about someone who wants to perform bach's wtc and has no >> interest >> in learning the piano? >> >> also, as an aside, forget about classical forms: what do *you* >> have to >> say? [although if you want make a career out of being an anachronism, >> maybe the academies of the world will support you] >> >> >>> :-) >>> >> >> :-P >> >> > > > _______________________________________________ > [email protected] mailing list > UNSUBSCRIBE and account-management -> http://lists.puredata.info/ > listinfo/pd-list ------------------------------------------------------------------------ ---- ¡El pueblo unido jamás será vencido! _______________________________________________ [email protected] mailing list UNSUBSCRIBE and account-management -> http://lists.puredata.info/listinfo/pd-list
