On Wed, Feb 23, 2011 at 8:50 AM, Stephen Tetley <stephen.tet...@gmail.com>wrote:
> On 22 February 2011 23:41, Evan Laforge <qdun...@gmail.com> wrote:
>
> >
> > I'm not super knowledgable about supercollider, but isn't it basically
> > a synthesizer which you configure by sending OSC over, and can then
> > play it by sending more OSC?
>
> SuperCollider classically was a real-time tuned Smalltalk-like
> language for sound synthesis. The language allows you to do pretty
> much any symbolic processing you would expect - of course some things
> will be easy whereas others will be hard.
>
> Here's the score to play a scale from Stephen Travis Pope's book
> 'Sound and Music Processing in SuperCollider':
>
> defaudioout L, R; -- Declareoutputs.
> deftabletabl1, env1; -- Declare2wavetables--onefor theenvelope.
> start { -- Playascoreinthestart function
> -- time instrument dur pitch amp
> [0.00, ‘chorus_instr, 0.25, 48, 0.5].sched;
> [0.25, ‘chorus_instr, 0.25, 50, 0.5].sched;
> [0.50, ‘chorus_instr, 0.25, 52, 0.5].sched;
> [0.75, ‘chorus_instr, 0.25, 53, 0.5].sched;
> [1.00, ‘chorus_instr, 0.25, 55, 0.5].sched;
> }
>
> Score and orchestra are the same language - I'm guessing start is the
> equivalent of main. SC has a GUI toolkit so you can make elements
> controllable in real-time via sliders and the like.
>
>From my (admittedly limited) experience with SC, they're the same language
only insofar as you can intermix lines with score and orchestra control,
however the orc/sco division seems alive and well. The above code uses the
score metaphor. The instrument 'chorus_instr' is created with the orc
metaphor (likely a synthdef). The supercollider server understands both,
either creating (or modifying) signal processes, or turning them off and on,
as instructed, but there are two layers of control.
It's certainly useful to be able to mix the two in the same document, but I
think there's a useful gulf between signal processing and note scheduling.
John
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