Complete SuperCollider Opus.

Santa Clara University
Scholar Commons
	2014
A Gentle Introduction to SuperCollider (2nd edition)
	Bruno Ruviaro
		Recommended Citation
I BASICS
	Hello World
	Server and Language
		Booting the Server
	Your first sine wave
	Error messages
	Changing parameters
	Comments
	Precedence
	The last thing always gets posted
	Code blocks
	How to clean up the Post window
	Recording the output of SuperCollider
	Variables
		``Global\'\' vs. Local
		Reassignment
II PATTERNS
	The Pattern family
		Meet Pbind
		Pseq
		Make your code more readable
		Four ways of specifying pitch
		More keywords: amplitude and legato
		Prand
		Pwhite
		Expanding your Pattern vocabulary
	More Pattern tricks
		Chords
		Scales
		Transposition
		Microtones
		Tempo
		Rests
		Playing two or more Pbinds together
		Using variables
	Starting and stopping Pbinds independently
		Pbind as a musical score
		EventStreamPlayer
		Example
III MORE ABOUT THE LANGUAGE
	Objects, classes, messages, arguments
	Receiver notation, functional notation
	Nesting
	Enclosures
		Quotation marks
		Parentheses
		Brackets
		Curly Braces
	Conditionals: if/else and case
	Functions
	Fun with Arrays
		Creating new Arrays
		That funny exclamation mark
		The two dots between parentheses
		How to ``do\'\' an Array
	Getting Help
IV SOUND SYNTHESIS AND PROCESSING
	UGens
		Mouse control: instant Theremin
		Saw and Pulse; plot and scope
	Audio rate, control rate
		The poll method
	UGen arguments
	Scaling ranges
		Scale with the method range
		Scale with mul and add
		linlin and friends
	Stopping individual synths
	The set message
	Audio Buses
		Out and In UGens
	Microphone Input
	Multichannel Expansion
	The Bus object
	Panning
	Mix and Splay
	Playing an audio file
	Synth Nodes
		The glorious doneAction: 2
	Envelopes
		Env.perc
		Env.triangle
		Env.linen
		Env.pairs
			Envelopes—not just for amplitude
		ADSR Envelope
		EnvGen
	Synth Definitions
		SynthDef and Synth
		Example
		Under the hood
	Pbind can play your SynthDef
	Control Buses
		asMap
	Order of Execution
		Groups
V WHAT\'S NEXT?
	MIDI
	OSC
		Sending OSC from another computer
		Sending OSC from a smartphone
	Quarks and plug-ins
	Extra Resources
1 Getting started with SuperCollider
	1.1 About SuperCollider
	1.2 SC overview
	1.3 Installation and use
	1.4 Objectives, references, typographical conventions
2 Programming in SC
	2.1 Programming languages
	2.2 Minima objectalia
	2.3 Objects in SC
	2.4 Methods and messages
	2.5 The methods of type {\\tt post} and {\\tt dump}
	2.6 Numbers
	2.7 Conclusions
3 Syntax: basic elements
	3.1 Brackets
	3.2 Expressions
	3.3 Comments
	3.4 Strings
	3.5 Variables
	3.6 Symbols
	3.7 Errors
	3.8 Functions
	3.9 Classes, messages/methods and keywords
	3.10 A graphic example
	3.11 Control Structures
	3.12 Yet another GUI example
	3.13 Conclusions
4 Synthesis, I: Fundamentals of Signal Processing
	4.1 A few hundred words on acoustics
	4.2 Analog vs. digital
	4.3 Synthesis algorithms
	4.4 Methods of {\\tt Signal}
	4.5 Other signals and other algorithms
	4.6 Still on signal processing
	4.7 Control signals
	4.8 Conclusions
5 SC architecture and the server
	5.1 Client vs. Server
	5.2 Ontology of the server as an audio synthesis plant
	5.3 The server
	5.4 SynthDefs
	5.5 UGens and UGen graphs
	5.6 Synths and Groups
	5.7 A theremin
	5.8 An example of real-time synthesis and control
	5.9 Expressiveness of the language: algorithms
	5.10 Expressiveness of the language: abbreviations
	5.11 Conclusions
6 Control
	6.1 Envelopes
	6.2 Generalizing envelopes
	6.3 Sinusoids \\& sinusoids
	6.4 Pseudo-random signals
	6.5 Busses
	6.6 Procedural structure of SynthDef
	6.7 Multichannel Expansion
	6.8 Conclusions
7 Organized sound: scheduling
	7.1 Server-side, 1: through UGens
	7.2 Server side, 2: Demand UGen
	7.3 Language-side: Clocks and routines
	7.4 Clocks
	7.5 Synthesizers vs. events
	7.6 Graphic interlude: drawings and animations
	7.7 Routines vs. Tasks
	7.8 Patterns
	7.9 Events and Event patterns
	7.10 Conclusions
8 Synthesis, II: introduction to basic real-time techniques
	8.1 Oscillators and tables
	8.2 Direct generation
	8.3 Spectral modelling
	8.4 Physical Modeling
	8.5 Time-based methods
	8.6 Conclusions
9 Communication
	9.1 From server to client: use of control buses
	9.2 From server to client: use of OSC messages
	9.3 OSC to and from other applications
	9.4 The MIDI protocol
	9.5 Reading and writing: File
	9.6 Pipe
	9.7 SerialPort
	9.8 Conclusions
Cover
Series
SuperCollider for the Creative MusicianA Practical Guide
Copyright
Dedication
Contents
Acknowledgments
About the Companion Website
Introduction
Part I Fundamentals
	Chapter 1  Core Programming Concepts
		1.1 Overview
		1.2 A Tour of the Environment
		1.3 An Object-Oriented View of the World
		1.4 Writing, Understanding, and Evaluating Code
		1.5 Getting Help
		1.6 A Tour of Classes and Methods
		1.7 Randomness
		1.8 Conditional Logic
		1.9 Iteration
		1.10 Summary
	Chapter 2 Essentials of Making Sound
		2.1 Overview
		2.2 Booting the Audio Server
		2.3 Unit Generators
		2.4 UGen Functions
		2.5 Envelopes
		2.6 Multichannel Signals
		2.7 SynthDef and Synth
		2.8 Alternate Expression of Frequency and Amplitude
		2.9 Helpful Server Tools
Part II Creative Techniques
	Chapter 3 Synthesis
		3.1 Overview
		3.2 Additive Synthesis
		3.3 Modulation Synthesis
		3.4 Wavetable Synthesis
		3.5 Filters and Subtractive Synthesis
		3.6 Modal Synthesis
		3.7 Waveform Distortion
		3.8 Conclusions and Further Ideas
	Chapter 4 Sampling
		4.1 Overview
		4.2 Buffers
		4.3 Sampling UGens
		4.4 Recording UGens
		4.5 Granular Synthesis
	Chapter 5 Sequencing
		5.1 Overview
		5.2 Routines and Clocks
		5.3 Patterns
		5.4 Additional Techniques for Pattern Composition
		5.5 Real-Time Pattern Control
	Chapter 6 Signal Processing
		6.1 Overview
		6.2 Signal Flow Concepts on the Audio Server
		6.3 Delay-Based Processing
		6.4 Real-Time Granular Synthesis
	Chapter 7 External Control
		7.1 Overview
		7.2 MIDI
		7.3 OSC
		7.4 Other Options for External Control
	Chapter 8 Graphical User Interfaces
		8.1 Overview
		8.2 Basic GUI Principles
		8.3 Intermediate GUI Techniques
		8.4 Custom Graphics
Part III Large-Scale Projects
	Chapter 9 Considerations for Large-Scale Projects
		9.1 Overview
		9.2 waitForBoot
		9.3 Asynchronous Commands
		9.4 Initialization and Cleanup Functions
		9.5 The Startup File
		9.6 Working with Multiple Code Files
	Chapter 10 An Event-Based Structure
		10.1 Overview
		10.2 Expressing Musical Events Through Code
		10.3 Organizing Musical Events
		10.4 Navigating and Rehearsing an Event-Based Composition
		10.5 Indeterminacy in an Event-Based Composition
	Chapter 11 A State-Based Structure
		11.1 Overview
		11.2 Simple State Control
		11.3 Composite States
		11.4 Patterns in a State-Based Composition
		11.5 One-Shots in a State-Based Composition
		11.6 Signal Processing in a State-Based Composition
		11.7 Performing a State-Based Composition
	Chapter 12 Live Coding
		12.1 Overview
		12.2 A Live Coding Problem and Solution
		12.3 NodeProxy
		12.4 Additional NodeProxy Features
		12.5 TaskProxy
		12.6 Recording a Live Coding Performance
Index
Cover
Copyright
Credits
About the Author
About the Reviewers
www.PacktPub.com
Table of Contents
Preface
Chapter 1: Scoping, Plotting,  and Metering
	Plotting audio, numerical datasets, and functions
		Using plot and plot graph
		Using plotter
		Using SoundFileView
	Scoping signals
		Scoping waveforms
		Scoping spectra
	Metering levels
		Monitoring signals
		Monitoring numerical data
	Nonstandard and complex visualizers
		Nonstandard visualizers
		A complex scope
	Summary
Chapter 2: Waveform Synthesis
	Waveform synthesis fundamentals
	Time domain representation
		Waveform species
		DC, amplitude, frequency, and phase
	Custom waveforms generators
		Wavetable lookup synthesis
		Using envelopes as wavetables
		Custom aperiodic waveform generators
	Waveform transformations
	Waveshaping
		Unary operations
		Binary operations
		Bitwise operations
	Summary
Chapter 3: Synthesizing Spectra
	Introducing the frequency domain
		Spectra
	Fast Fourier Transform in SuperCollider
	Synthesizing the spectra
		Aggregating and enriching spectra
		Sculpting and freezing spectra
		Shifting, stretching, and scrambling spectra
		Using the pvcalc method
	Visualizing spectra
		Limitations of spectral scoping
		Optimizing spectra for scoping
	Summary
Chapter 4: Vector Graphics
	Learning the vector graphics fundamentals
		Drawing primitive shapes and loading images
		Complex shapes and graphics state
		Introducing colors, transparency, and gradients
	Abstractions and models
		Objects and prototypes
		Factories
		Geometrical transformations, matrices, and trailing effects
	Complex structures
		Particle systems
		Fractals
	Summary
Chapter 5: Animation
	Fundamentals of motion
		Motion species
		Using UserView
		Animating complex shapes and sprites
	Fundamental animation techniques
		Trailing effects
		Interaction and event-driven programming
		Particle systems
	Advanced concepts
		Animating fractals
		Adding dynamics to simulate physical forces
		Kinematics
	Summary
Chapter 6: Data Acquisition and Mapping
	Data acquisition
		Dealing with local files
		Accessing data remotely
		Using OSC
		Using MIDI
		Using Serial Port
	Machine listening
		Tracking amplitude and loudness
		Tracking frequency
		Timbre analysis and feature detection
		Onset detection and rhythmical analysis
	Basic mappings
		Preparing and preprocessing data on client side
		Preparing and preprocessing data on server side
		Basic encodings and interpolation schemes
		Sharing and distributing data
	Summary
Chapter 7: Advanced Visualizers
	Audio visualizers
		Trailing waveforms
		Spectrogram
	Music visualizers
		Rotating windmills
		Kinematic patterns
	Visualizing and sonifying data
		Particles and grains
		Fractalizer
	Summary
Chapter 8: Intelligent Encodings 
and Automata
	Analyzing data
		Statistical analyses and metadata
		Probabilities and histograms
		Dealing with textual datasets
	Advanced mappings
		Complex and intelligent encodings
		Neural networks
	Automata
		Cellular automata
		Game of Life
	Summary
Chapter 9: Design Patterns and Methodologies
	Blackboard
		Methodology
		Model-View-Controller
		Handling multiple files and environments
		Threads, semaphores, and guards
	The View
		Clients and interfaces
		Implementation
		Strategies and policies
	The Model
		Aggregates and wrappers
		Software agents
		Introducing software actors and finalizing the model
	The Controller
		Game of Life
		Finalizing the Controller
	Summary
Index
2 - TENOR_BOSTON_2023_paper_5657 Nowakowski.pdf
	1. Introduction
	2. Method
	3. Results
		3.1 System Usability Score (SUS)
		3.2 AttrakDiff2
		3.3 Liveness
	4. Discussion
		4.1 Limitations and Problems
		4.2 Metrics in detail
		4.3 Correlating the results
	5. Conclusion & Future Work
	6. References
3 - TENOR_BOSTON_2023_paper_5929 Loui.pdf
	ABSTRACT
	1. INTRODUCTION
	Techniques for the notation, representation, and visualization of music and sound are inextricably linked to the human understanding of musical structure within their broad contexts. These understandings include the cognitive representations that the ...
	2. Studies in Musical Creativity
	3. Challenges and Motivations Behind Present Research
	4. the BP sequencer
	5. experiment 1: sequence production task: generating creative output
	6. Experiment 2: Sequence Ratings Task: Perception of creativity
	7. Experiment 3: EEG Signatures of Creativity from BP Sequencer data
	8. CONCLUSIONS
	9. references
		Acknowledgments
		We acknowledge funding support from NIH R01AG078376, NIH R21AG075232, NSF-CAREER 1945436, and NSF 2240330 to PL. We thank lab members Anjali Asthagiri, Jethro Lee, Catherine Zhou, Kristina Abyad, Carly Monson, Ayla Hadley, Corinna Parish, Eva Wu, and ...
4 - TENOR_BOSTON_2023_paper_8103 Frame.pdf
	1. Background
		1.1 Documentation for Digital Musical Instruments
		1.2 The AirSticks Community
	2. Related Work
		2.1 Prescriptive notation
		2.2 Descriptive notation
		2.3 Describing experience?
	3. The notation system
		3.1 Overview
		3.2 Capturing AirStick experiences
		3.3 Technical process
		3.4 Case study
	4. Discussion
		4.1 Utility of new systems
		4.2 Future work
	5. References
5 - TENOR_BOSTON_2023_paper_5652 Celerier.pdf
	1. Introduction
	2. An ossia score primer
	3. Distributing scores
		3.1 Abstracting over hardware with groups
		3.2 Distribution of interaction
		3.3 Polyphony
	4. Distributing data
	5. Visual language extensions
	6. Implementation
	7. Distribution examples
		7.1 Sending data between machines
		7.2 Combining control data across a group of players
		7.3 Duplicating an input
		7.4 Score for SMC2022
		7.5 Polyphony, sharing and visual language
	8. Conclusion
6 - TENOR_BOSTON_2023_paper_4288 Privato.pdf
	1. Introduction
	2. Background
		2.1 Instruments-Scores and Non-visual Inscriptions
		2.2 Event Scores and Non-visual Inscriptions
		2.3 Permanent Magnets
	3. The Magnetic Score
		3.1 Magnetic Board
		3.2 Magnetic Discs
		3.3 Sound Processing
	4. Presenting the Magnetic Score
	5. Discussion
		5.1 Magnetic Inscriptions
		5.2 The Magnetic Score as Inherent Score
		5.3 Relational Inscriptions
	6. Future Work
	7. Conclusions
	8. acknowledgments
	9. References
8 - TENOR_BOSTON_2023_paper_7600 Armitage.pdf
	1. Introduction
	2. Background
		2.1 Perspectives on Agency
		2.2 Exploring Agency through Boundary Objects
	3. Agential Scores
		3.1 Agency of Points and Lines
		3.2 A Typology of Entanglements with Agential Scores
		3.3 Assemblages and Intra-action
		3.4 Agential Scores in Practice via Artificial Life
	4. Tölvera: a Library of Number Beings
		4.1 Number Beings
		4.2 Mappings and Visualisations
		4.3 Implementation
	5. Musical Encounters with Tölvera
		5.1 Encounters Summaries
			5.1.1 Encounter 1: Boids & Two Guitars
			5.1.2 Encounter 2: Physarum & Two Guitars
			5.1.3 Encounter 3: Boids, Physarum, Guitar & Conductor
			5.1.4 Encounter 4: Reversing Roles from Encounter 3
		5.2 Post-Encounters Discussion
	6. Discussion
		6.1 Fluid Material Agency
		6.2 Mapping of Self Onto Agential Materials
		6.3 Perceiving the Intra-Actants
		6.4 Future Considerations
	7. Conclusion
	8. References
9 - TENOR_BOSTON_2023_paper_2697 Hori.pdf
	1. Introduction
	2. Note-Tablature-Form Tree for Monophonic Cases
		2.1 Fingering decision based on HMM
		2.2 Note-tablature-form tree
	3. Note-Tablature-Form Tree for Polyphonic Cases
		3.1 From chord to tablature
		3.2 From tablature to form
			3.2.1 Representing forms by finger numbers
			3.2.2 Numbering string-fret pairs
			3.2.3 Non-decreasing finger numbers
			3.2.4 Enumerating left hand forms
			3.2.5 Inserting mandatory separators
			3.2.6 Inserting optional separators
	4. Conclusion
	5. References
10 - TENOR_BOSTON_2023_paper_8126 Panariello.pdf
	1. Introduction
	2. Motivation
	3. Class description
		3.1 fileName
		3.2 midicents
		3.3 magnitudes
		3.4 rhythmTree
		3.5 metronome
		3.6 quantization
		3.7 threshold
		3.8 dynamics
	4. Examples
		4.1 Writing a score from patterns
		4.2 Writing a score from spectral data
	5. Case study – generating a piano piece using SuperOM
	6. Limitations
	7. Conclusions and Future work
	8. References
11 - TENOR_BOSTON_2023_paper_9804 Shapiro.pdf
	1. Introduction
	2. Related Work
	3. Language Features
		3.1 Low-Level Fundamentals
		3.2 High-Level Templates
		3.3 Additional Features
	4. Sample Program
	5. Compiler Structure
	6. Template Expansion Logic
		6.1 Backbone Logic
			6.1.1 Generating Notes in a Diatonic Scale
			6.1.2 Generating Chord Templates in a Diatonic Scale
		6.2 Template Expansions
			6.2.1 Scales
			6.2.2 Chords and Arpeggios
			6.2.3 Cadences
			6.2.4 Harmonic Sequences
	7. Conclusion
	8. References
12 - TENOR_BOSTON_2023_paper_6679 Yamamoto.pdf
	1. Introduction
	2. Preliminaries
		2.1 Tonal Pitch Space
		2.2 Distance Models concerning Harmonic Features
	3. Our Approach
		3.1 From Chord Names to Chord Interpretation Paths
		3.2 Between Chroma Vectors and Chord Interpretations
		3.3 From Chroma Vectors to Chord Interpretation Paths
	4. Experiments
		4.1 Dataset
		4.2 Results
	5. Conclusion
	6. References
13 - TENOR_BOSTON_2023_paper_9279 Gaulhiac.pdf
	1. Introduction
	2. Background
	3. Harmonic Descriptors
		3.1 Implementation & Spectra Computation
		3.2 Concordance
		3.3 Third Order Concordance
		3.4 Roughness
	4. From Harmonic Descriptors to Harmonic Maps
		4.1 Stability of Sounds
		4.2 Timbral Considerations
	5. Interactive Harmonic Maps
		5.1 Implementation
		5.2 MPE Control & Harmonic Trajectories
	6. Examples
		6.1 Influence of the Number of Partials
		6.2 Influence of Timbre
		6.3 Influence of Dynamics & Playinng Techniques
		6.4 Influence of Harmonicity
		6.5 Roughness
		6.6 Third Order Concordance
	7. Conclusions & Future Work
	8. References
14 - TENOR_BOSTON_2023_paper_7968 Lepper.pdf
	1. Introduction
	2. Beaming Rules as a Transformation Pipeline
		2.1 Foundation: Genuine Beams
		2.2 Modification of Genuine Beams
		2.3 Beams for Rhythms
		2.4 Local Transformations of Beam Patterns
	3. Additional External Data
		3.1 Indirect Influence by Stem Direction
		3.2 Direct Influence
		3.3 Beams expressing Tempo – ``Feathered\'\' Beams
	4. Two-Dimensional Layout: Vertical Position and Pitch Height
		4.1 Ergonomic Significance of Beam Inclination
		4.2 Stem Direction of Beam Aggregates
		4.3 Graphical Placement of Beam Aggregates
		4.4 Fine Tuning against the Staff Lines
		4.5 Resolving Conflicts by Breaking Beams
		4.6 Resolving Conflicts by Knees
		4.7 Resolving Conflicts by Changing Height and/or Inclination
	5. Aspects Not Covered
	6. Conclusion
	7. References
	A. Appendices
		A.1 Polymetric Constellations Expressible by Beams
16 - TENOR_BOSTON_2023_paper_2367 Onttonen.pdf
	1. Introduction
	2. Main features
		2.1 Leader interface
		2.2 Musician interface
	3. Design principles
	4. Development process
	5. Technical implementation and limitations
	6. Case: Labra
		6.1 General remarks
		6.2 Two examples
	7. Conclusions and future work
	8. References
18 - TENOR_BOSTON_2023_paper_9910 Bell.pdf
	1. Introduction
		1.1 Are scores maps?
		1.2 Maps do not represent time
			1.2.1 Databases as an art form
			1.2.2 Morton Feldman and the European clock makers
	2. Corpus-Based Concatenative Sound Synthesis (CBCS) today
		2.1 Timbre Space
		2.2 Corpus-Based Concatenative Synthesis - State of the art
	3. First attempts
	4. Motivations
	5. Workflow
		5.1 Corpus Selection
		5.2 Analysis in FluCoMa
			5.2.1 Slicing
			5.2.2 mfcc on each slice - across one whole slice/segment
			5.2.3 statical analysis over each slice
			5.2.4 Normalization
			5.2.5 Dimensionality Reduction
			5.2.6 Neighbourhood queries
		5.3 PatchXR
			5.3.1 Interaction and OSC communication
	6. Future works: the Raspberry Pi Orchestra
	7. Conclusions
	8. References
10 - TENOR_BOSTON_2023_paper_8126 Panariello.pdf
	1. Introduction
	2. Motivation
	3. Class description
		3.1 fileName
		3.2 midicents
		3.3 magnitudes
		3.4 rhythmTree
		3.5 metronome
		3.6 quantization
		3.7 threshold
		3.8 dynamics
	4. Examples
		4.1 Writing a score from patterns
		4.2 Writing a score from spectral data
	5. Case study – generating a piano piece using SuperOM
	6. Limitations
	7. Conclusions and Future work
	8. References
Blank Page
Blank Page
	1. Introduction
	2. Motivation
	3. Class description
		3.1 fileName
		3.2 midicents
		3.3 magnitudes
		3.4 rhythmTree
		3.5 metronome
		3.6 quantization
		3.7 threshold
		3.8 dynamics
	4. Examples
		4.1 Writing a score from patterns
		4.2 Writing a score from spectral data
	5. Case study – generating a piano piece using SuperOM
	6. Limitations
	7. Conclusions and Future work
	8. References
10 - TENOR_BOSTON_2023_paper_8126 Panariello.pdf
	1. Introduction
	2. Motivation
	3. Class description
		3.1 fileName
		3.2 midicents
		3.3 magnitudes
		3.4 rhythmTree
		3.5 metronome
		3.6 quantization
		3.7 threshold
		3.8 dynamics
	4. Examples
		4.1 Writing a score from patterns
		4.2 Writing a score from spectral data
	5. Case study – generating a piano piece using SuperOM
	6. Limitations
	7. Conclusions and Future work
	8. References