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weuoimi 

Hello, I'm begging for help, no matter which way I try it doesn't work. 

My goal is to make a gridshape move from one coordinate to another, and when it reaches the destination coordinates, it deletes itself

There aren't any errors in logs, but the node's gridshape just continues moving, passing the endCoord and doesn't stop and deleting itself when it's worldpos equals or more than it's route destination point, which is weird because at some moment, the world position of the node is clearly more than endCoord, but the if statement in queryWorldPos() just doesn't execute, why?

Hello, I'm begging for help, no matter which way I try it doesn't work. 

My goal is to make a gridshape move from one coordinate to...

jitter-js-api-the-issue-with-jitanimnode-worldpos-and-if-statement

jitter, js api: The issue with jit.anim.node worldpos and if statement

R_Gol

I have 4 different patches and I would like to control them from one main patch.

At the main patch I should be able to press a button to open the first patch. another button to close the first patch and open the second one. Another button to close the second one and open the third one and another button to close the third one and open the fourth one. One last button to close the last patch.

How can I do the following?

I have 4 different patches and I would like to control them from one main patch.

At the main patch I should...

one-patch-to-open-and-close-series-of-patches

One patch to open and close series of patches?

Marigold Maripol

In this patch, I am generating a [jit.gl.mesh] shape and a diffuse map from a [jit.noise 3 float32 20 20] object.  I am struggling to get this to apply as the map that I would like, though - since it is only projecting a single color on the shape, rather than a noise character, as it would on a [jit.gl.gridshape].

In this patch, I am generating a [jit.gl.mesh] shape and a diffuse map from a [jit.noise 3 float32 20 20] object.  I am struggling to get...

applying-jitglmaterial-to-jitglmesh

Applying jit.gl.material to jit.gl.mesh

noak

I'm trying to load buffers in my RNBO patch. Everything works fine on Max MSP itself, but whenever I export, it doesn't play the samples on the web.  

I load the buffer : buffer~ foo @file foo.wav and I even connect a loadbang to it.

I've also used both groove~ and sample~ objects to test..

on the export, the dependency file and the export json file both entail the requirements and the wav file is created in the media folder. 

dependencies: (i tried a variation of paths and it still didn't play anything)

[
  {
    "id": "foo",
    "file": "media\\foo.wav"
  }
]

"externalDataRefs": [
      {
        "id": "foo",
        "file": "foo.wav",
        "type": "Float32Buffer",
        "tag": "buffer~"
      }
    ],

And I still don't get to play the samples on the web. Does anyone have any idea as to why it's not working? I tested both Chrome and Firefox!

Hi everyone,

I'm trying to load buffers in my RNBO patch. Everything works fine on Max MSP itself, but whenever I export, it doesn't play...

loading-buffer-in-rnbo-web

Loading Buffer in RNBO (Web)

I'm experimenting with a feedback loop idea where jit.world outputs as a texture, sent to jit.gl.asyncread and fed back into the world.

What I don't entirely understand though, is why an erase_color for the jit.world is no longer operational in this context - and whether there might be a way to work around it. 

jitworld-feedback-loop

jit.world feedback loop

Dan Nigrin

I'm making a dynamic UI, that needs to have <n> rows of specific UI elements, more or less like this:

jit.cellblock works for a lot of my needs, specifically that I be able to keep the displayed data elements in sync with a coll, and that it should show scroll bars if the number of rows exceeds the allotted vertical space in my UI.  Also, the number of rows is dynamic; rows can be added or deleted by the user.

However as we know, jit.cellblock can only display textual values, and not UI elements as above - thus my post.  I could probably brute force this somehow with dynamic scripting of the addition/deletion of bpatchers that contain the row of UI elements, but wondering if anyone has an imaginative different approach to make this be more easily accomplished.

I'm making a dynamic UI, that needs to have <n> rows of specific UI elements, more or less like this:

[Image: Screenshot 2025-01-20 at...

jitcellblock-functionality-but-with-different-ui-objects

jit.cellblock functionality, but with different UI objects

neuwirthe

I finally managed to create an AU component plugin with the following interface

In this view, I can only change the parameter values with the mouse, typing does not work

I can enter values from the keyboard, but entering 60 in the centerpitch slot immediately changes the value to 96

I finally managed to create an AU component plugin with the following interface

[Image: image.png ]
In this view, I can only change the...

ui-of-au-component-plugin

UI of AU component plugin

Gregory Taylor

David Wessel is Professor of Music at the University of California, Berkeley where he directs the 

Center for New Music and Audio Technologies

 (CNMAT). Wessel worked at IRCAM between 1979 and 1988; his activities there included starting the department where Miller Puckette first began working on Max on a Macintosh. Since Wessel's arrival in Berkeley over ten years ago, CNMAT has been actively involved in teaching Max/MSP as well as developing freely available Max-based software projects. In this 1999 interview with Gregory Taylor, Wessel talks about his musical background, his relationship with French composer and IRCAM founder Pierre Boulez, the origins of Max, and some perspectives on his current work.

I was raised in a kind of musical bath from the time I was fairly young. My mother brought music around to the house and I liked it and started playing in the grade school orchestra at the age of about 9 or 10. When I got into high school I played in a rock band, and became a jazz snob pretty early on, at about 17 - I just wanted to be a bebopper. All along, my father wanted me to be an engineer. I was very oriented towards that and loved it, too - model airplanes and mechanical drawings and all that stuff. But I was sort of being raised to become an engineer eventually.

So I had this technical orientation from the time I was very young and I had this musical thing going on in parallel. When I got out of high school I went to a jazz clinic that was held at Indiana University for a few weeks and I ended up getting a scholarship to the 

 in Boston. I came home and was excited about the possibility of becoming a professional musician and my father and mother just freaked out and...well, there just wasn't any question about it. So I went off to the University of Illinois as an undergraduate engineering student.

It wasn't very long after that that I got involved in the musical scene in Champagne-Urbana. By then, I'd switched to mathematics. About 1963, I heard Lejaren Hiller talk about the application of information theory to analysis in music. I was studying information theory at the same time in another class and well... suddenly it just connected up my interest in music and science and technology. That was sort of the first piece of connective tissue.

A lot of people talk about the art part of their lives and the science part of their lives as though they were pretty separate. Was that the case for you?

That talk by Hiller was the moment where they connected. Up until then, I had no concept that they could be unified in any way - it didn't even occur to me 'til that moment. I ran home and I actually analyzed a solo transcription of Sonny Rollins that I happened to have laying around using Markov chains. I could just take this data that I got from my analysis and use it right away. That was a very important moment for me.

Was it the analysis part of it, or the generative bit?

I started to think about what it would be like to do my work in mathematical and theoretical psychology - which is what I was really interested in - and music. But it didn't... it wasn't quite all there yet, but it was an important moment.

Then I went to Stanford as a grad student in mathematical psychology (that's what it was called at the time) - the sort of application of mathematical models to psychological theory. At Stanford, I kind of abandoned music for a while. Being a grad student was kind of hard for me at first, and I wanted to do well. I was still following music very much but I wasn't actively performing. And then in '66, Coltrane came and I went to the concert at Stanford in the Kresge Auditorium. It was really a memorable thing for me - I had seen Coltrane a number of times and Miles, too - but something happened that day after that concert: I had to get back into it again, back into music.

So this would have been Coltrane with Jones and Tyner and Pharoah Sanders? No wonder....

It was the end of that period of his work - his last gig with Elvin Jones, I think. I think that he actually walked off the stage because he wasn't getting along with Rashied Ali. This was the time he made Kulu Se Mama - basically, that group. But that gig was it. I called up my parents right away and I got the drums out. Since I decided I had to do something about my musical skills, I wanted to play in the orchestra at Stanford. I also got involved in the Free University's improvisation class and I was heavily into music once again.

So I went over to take percussion class at Stanford and my teacher was John Chowning - the next big piece of the connection - first Hiller, and then Chowning. He started asking me all kinds of questions about perception because he had just finished his work on the simulation of moving sound sources...it was just an incredible contact. Through him, I learned about the whole computer music thing. I heard about the idea of doing it before, but it became real I decided at that point that I really wanted to orient my work in psychology and perception towards musical problems.

I went to my advisor William K. Estes, who was a very famous learning theorist and asked him if I could somehow reorient my thesis work toward some problem related to music. The first thing he said to me was, "Damp the oscillations, Dave." (laughs) He told me to finish up what I was doing and then go and do what I wanted. I think his advice was just right, but I did take a long time to finish because I got so involved in music at that point that I kind of let my research go by the wayside.

So one thing led to another and we started doing this live electronic music. I met Stockhausen while he was at UC-Davis and I got to hear him talk and hear performances of his music. Again, Chowning being the sort of messenger - the person who brought these people to many of our attentions. I got involved and wanted to do this computer music thing. I just saw this fantastic idea that you could make any sound - the total of this idea of generality was there, you know. In '69 I participated in the first computer music workshop that they had at Stanford. Max Matthews came out and I learned Music V and got even more enthusiastic about it.

So when I went to take this position at Michigan State University, the first thing I decided was that I was going to do some music perception cognition work and going to get this computer music thing going. So we installed Music V on our mainframe and got a group and a little laboratory going and started doing some work in music perception while I kept up the idea of trying to do some performance.

Then, one Christmas Eve - it was in 1973 - I was sitting reading the 

 magazine and there was a profile of Pierre Boulez written by Peter Hayward, I think - I have to locate this piece sometime because it had such a big impact on me. I'm reading along in this text and in the second of this two-article series, there was something about Boulez' new institute in Paris that was going to be set up and how it was based on ideas that he had about applying science and technology to musical problems. I said "Well now, this has got my name on it!"

I just got all excited about this possibility and immediately contacted Chowning and Max Matthews and Jean-Claude Risset about this institute and found out that, yes, it was really a scene. I wanted so much to be part of that scene that I worked it out so that I could take a sabbatical leave at my first opportunity to do so, and I went to 

. I went there on July 4th, 1976. I remember it so well because we were flying out of Chicago during the 200th anniversary of the Declaration of Independence, and there was a huge fireworks display going off as we were flying out of Chicago - it was quite a send-off.

IRCAM really wasn't finished yet - it was just kind of a hole in the ground at the time and a concrete shell, and a staff with not a lot of people on it... I got really interested in the way the whole institute was going to turn out. After my first year there on sabbatical, they asked if I would stay on a second year and be on their staff. So I worked out a deal where I could get an additional leave of absence. Towards the end of that second year, they offered me a permanent or full-time position. I went back to Michigan State briefly to clean things up, and in '79 I became a sort of permanent part of the IRCAM scene.

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