diff options
| author | Guenter Geiger <ggeiger@users.sourceforge.net> | 2002-07-29 17:06:19 +0000 |
|---|---|---|
| committer | Guenter Geiger <ggeiger@users.sourceforge.net> | 2002-07-29 17:06:19 +0000 |
| commit | 57045df5fe3ec557e57dc7434ac1a07b5521bffc (patch) | |
| tree | 7174058b41b73c808107c7090d9a4e93ee202341 /pd/doc/1.manual/x2.htm | |
| parent | da38b3424229e59f956252c3d89895e43e84e278 (diff) | |
This commit was generated by cvs2svn to compensate for changes in r58,
which included commits to RCS files with non-trunk default branches.
svn path=/trunk/; revision=59
Diffstat (limited to 'pd/doc/1.manual/x2.htm')
| -rw-r--r-- | pd/doc/1.manual/x2.htm | 1215 |
1 files changed, 1215 insertions, 0 deletions
diff --git a/pd/doc/1.manual/x2.htm b/pd/doc/1.manual/x2.htm new file mode 100644 index 00000000..cc382e67 --- /dev/null +++ b/pd/doc/1.manual/x2.htm @@ -0,0 +1,1215 @@ +<HTML> +<HEAD> +<TITLE>Pd Documentation</TITLE> +</HEAD> +<BODY bgcolor="#ffffff"> +<SMALL> +<div style="width:6.5in; margin-left:.5in"> + +<CENTER> <B> +Pd Documentation chapter 2: theory of operation +</B> </CENTER> +<BR> +<A href=index.htm#s2> back to table of contents</A> + <BR><BR> +<P> + +<P> The purpose of this chapter is to describe Pd's design and how it is +supposed to work. Practical details about how to obtain, install, and run Pd +are described in the next chapter. To learn digital audio processing basics +such as how to generate time-varying sounds that don't click or fold over, a +good reference is Dodge and Jerse, <I> Computer Music </I>. + +<H4> <A name=s1> 2.1 overview </A> </H4> + +Pd is a real-time graphical programming environment for audio and graphical +processing. It resembles the Max/MSP system but is much simpler and more +portable; also Pd has two features not (yet) showing up in Max/MSP: first, +via Mark Dank's GEM package, Pd can be used for simultaneous computer +animation and computer audio. Second, an experimental facility is provided +for defining and accessing data structures. + +<H4> <A name=s1.1> 2.1.1. the main window, canvases, and printout </A> </H4> + +When Pd is running, you'll see a main "Pd" window, and possibly one or more +"canvases" or "patches". The main Pd window looks like this: + +<P><CENTER> + <IMG src="fig1.1.jpg"> +</CENTER><P> + +<P> There are peak level and clip indicators for audio input and output; these +report peak levels over all input and all output channels. Note that DC +shows up as an input level; many cards have DC levels which show up in the +50s. To see an RMS audio level, select "test audio and MIDI" from the help +window. The main window display is intended only to help you avoid clipping +on input and output. You can turn the peak meters on and off using the +control at bottom left. + +<P> At bottom right is a control to turn audio processing on and off globally. +Turning audio off does not relinquish the audio devices, it just stops the +computation. The "audio" menu is also provided, with accelerators "Control-." +to turn audio computation off and "Control-/" to turn it on. When audio is +on, Pd is computing audio samples in real time according to whatever patches +you have open (visible or not.) + +<P> The DIO (Digital I/O) error indicator flashes if there is a synchronization +error for audio input or output. Click there to see a list of recent errors. +This indicator is normally red at startup, and will turn red whenever the +computation runs late (so that the DAC FIFOs fill and/or the ADC FIFOs empty) +or if audio input and output are not running at the same rate. See +<a href="x3.htm#s2"> audio and MIDI support </A>. + +<P> Pd documents are called "patches" or "canvases." +Each open document has one main window and any number of +subwindows. The subwindows can be opened and closed but are always running +whether you can see them or not. Here is a simple Pd patch: + +<P><CENTER> + <IMG src="fig1.2.jpg"> +</CENTER><P> + +There are four <I> text items </I> in this patch: a number box (showing zero), +an object box showing "print," and two comments. The number box and the object +box are connected, the number box's output to the print box's input. Boxes may +have zero or more inputs and/or outputs, with the inputs on top and the outputs +on bottom. + +<P> +Pd's printout appears on its standard output. Normally, you'll run Pd in a +"shell" or "terminal" window which you'll keep open to see any printout or +error messages. + +<H4> <A name=s1.2> 2.1.2. object boxes </A> </H4> +<P> Pd patches can have four types of boxes: <I> object, message, GUI, </I> +and <I> comment </I>. + +<P> You make <I> objects </I> by typing text into object boxes. The text is +divided into <I> atoms </I> separated by white space. The first atom specifies +what type of object Pd will make, and the other atoms, called <I> creation +arguments </I>, tell Pd how to initialize the object. If you type for example, + +<P><CENTER> + <IMG src="fig1.3.jpg"> +</CENTER><P> + +the "+" specifies the <I> class </I> of the object. +In this case the object will be the kind that carries out addition, +and the "13" initializes the amount to add. Atoms are either numbers or <I> +symbols </I> like "+". + +The text you type into an object box determines how +many and what kinds of inlets and outlets the object will have. Some +classes (like "+" always have a fixed arrangement of inlets and outlets, +and in the case of other classes, the inlets and outlets will depend on the +creation arguments. + +<P> +Here for example is a simple MIDI synthesizer: + +<P><CENTER> + <IMG src="fig1.4.jpg"> +</CENTER><P> + +This patch mixes <I> control </I> objects (notein, stripnote, and ftom) with +<I> tilde </I> objects osc~, *~, and dac~. The control objects carry out their +function sporadically, as a result of one or more type of <I> event </I>. In +this case, incoming MIDI note messages set off the control computation. The +result of the computation is, when the note happens to be a "note on" (and not +a "note off", to compute the frequency in cycles per second and pass it on to +the oscillator ("osc~"). + +<P> The second half of the patch, the osc~, *~, and dac~ objects, compute audio +samples, in the same way as an analog synthesizer works. The osc~ object is +acting as the interface between the two regimes, in that it takes control +messages to set its frequency but talks to "*~" using an audio signal. Audio +signals aren't sporadic; they are continuous streams of numbers. As a result +tilde objects act under very different rules from control objects. The audio +portion of the patch is always running, whether MIDI messages arrive or not; +the function of control computations is to insert calculations between the +audio computation which may change audio computation parameters such as +the frequency of an oscillator. + +<H4> <A name=s1.3> 2.1.3. message and GUI boxes </A> </H4> + +The border of a box tells you how its text is interpreted and how the box +functions. Object boxes use the text to create objects when you load a +patch. <I> Message </I> boxes interpret the text as a message to send whenever +the box is activated (by an incoming message or with the mouse.) In the example +below the message box, when clicked, sends the message "21" to an object +box which adds 13 to it. + +<P><CENTER> + <IMG src="fig1.5.jpg"> +</CENTER><P> + +The third box shown is a GUI box. GUI boxes come in many forms including +number boxes (as in this example), toggles, sliders, and so on. Whereas the +appearance of an object or message box is static when a patch is running, a +number box's contents (the text) changes to reflect the current value held by +the box. You can also use a number box as a control by clicking and dragging +up and down, or by typing values in it. (There are also shift- and alt-click +actions; see <A href="x2.htm#s2.7"> getting help </A> to find out how to look +this up). + +<P> You can also create a "symbol" box which is like a number box but deals +in symbols like "cat." You can type your own strings in (followed by "enter") +or use it to display strings which arrive as messages to its inlet. + +<H4> <A name=s1.4> 2.1.4. patches and files </A> </H4> + +When you save a patch to a file, Pd doesn't save the entire state of all the +objects in the patch, but only what you see: the objects' creation arguments +and their interconnections. Certain data-storage objects have functions for +reading and writing other files to save and restore their internal state. + +Pd finds files using a <I> path </I> which can be specified as part of Pd's +startup arguments. The path specifies one or more directories, separated by +colons (semicolons if you're using windows.) Most objects which can read files +search for them along the search path, but when Pd writes files they go to +the directory where the patch was found. + +<H4> <A name=s2> 2.2. editing Pd patches </A> </H4> + +<H4> <A name=s2.1> 2.2.1. edit and run mode </A> </H4> + +<P> A patch can be in edit or run mode; this really only affects how mouse +clicks affect the patch. In edit mode, clicking and dragging selects and +moves boxes or makes and cuts connections; in run mode clicking on boxes sends +them messages which they react to in different ways. In run mode, number and +message boxes can be used as controls. Normally, when you are in a performance +you will stay in run mode; to change the patch you go to edit mode. + +<H4> <A name=s2.2> 2.2.2. creating boxes </A> </H4> + +<P> You can create boxes (objects, messages, GUIs, and comments) using the +"put" menu. Note the handy accelerators. Object and message boxes are empty +at first; drag them where you want them and type in the text. The GUI +objects (which come in several flavors) require no typing; just create and +place them. + +<P> You will often find it more convenient to select a box and "duplicate" it +(in the Edit menu) than to use the "Put" menu. If you select and duplicate +several items, any connections between them will be duplicated as well. + +<H4> <A name=s2.3> 2.2.3. the selection </A> </H4> + +Boxes in a Pd window may be selected by clicking on them. To select more +than one object you may use shift-click or click "outside" and select all +objects within a rectangle. You can't select lines, only boxes. + +Clicking on an unselected object, message, or comment box makes the text +active, i.e., ready to be text edited. If you select using the rectangle +method, the text isn't activated. This affects whether further clicks will +displace teh object or select text within it. + +<H4> <A name=s2.4> 2.2.4. deleting, cutting, and pasting </A> </H4> + +If you select a box but don't activate the text in it, you can "delete" it +by hitting the backspace key. You can "cut" "copy" and "paste" using menu +items. Notice that pasting puts the new object(s) right down on top of the +old ones. + +The "duplicate" menu item performs a copy and paste with a small offset so you +can see the new boxes. You can drag them together to a new place on the +screen. + +You can cut and paste between windows within Pd but cut/paste isn't +integrated with the OS in any way. Cut/copy/paste for text strings isn't +implemented yet, although in Linux and Irix at least you can "X-paste" into +and out of "text" dialogs (created with the "edit text" menu item.) + +<H4> <A name=s2.5> 2.2.5. changing the text </A> </H4> + +<P> To change a text item, you can select it and then edit the text. If you +only click once, the entire text is selected and your typing will replace +everything. Click again and drag to select a portion of the text to retype. + +<P> If there's +more than a small amount of text (in a comment, for example) you might want to +select the text and choose "text editor" from the Edit menu, which opens a text +editing window with a copy of the text in it. Hitting "send" in that window is +exactly equivalent to retyping the text into Pd; you can send it to more than +one box in sequence if you want. + +<P> If you click a box and move the mouse without releasing the button this +displaces the entire box. If you wish to displace a box which is already +sepected, first deselect the box by clicking outside it; otherwise you will be +selecting text instead of moving the box. + +<P> <I> The updated text only becomes part of the patch when you deselect the +object. </I> Changing the text in an "object" box actually deletes the old +object and creates a new one; the internal state of the old one is lost. + +<H4> <A name=s2.6> 2.2.6. connecting and disconnecting boxes </A> </H4> + +To make a connection between two boxes, click on any outlet of the first +one, drag toward an inlet of the second one, and release. You can actually +release the mouse button anywhere within the target object and the connection +will be made to the nearest inlet. + +Connections are broken simply by clicking on them (the cursor changes to an +"X" when appropriate.) + +<H4> <A name=s2.7> 2.2.7. Properties and help </A> </H4> + +<P> all the "clicking" mentioned above is done with the left mouse button. +The right button, instead, gives a popup menu for "properties" and "help". +Properties are enabled for number boxes and graphs (and in the future may +be available for other things as well.) Selecting "help" on an object gets +a Pd patch that demonstrates how to use it. "Help for the canvas as a whole +(click outsize any object) gives a list of all built-in objects. + +<H4> <A name=s2.7> 2.2.8. miscellaneous </A> </H4> + +<P> Control-q "quits" Pd, but asks you to comfirm the quit. To quit without +having to confirm, use command-shift-Q. + +<H4> <A name=s3> 2.3. messages </A> </H4> + +<P> In Pd, objects intercommunicate by sending messages and/or audio signals. +Pd messages are sporadic, like MIDI messages or music N "Note cards." + +<H4> <A name=s3.1> 2.3.1. anatomy of a message </A> </H4> + +Messages contain a selector followed by +any number of arguments. The selector is a symbol, which appears in the patch +as a non-numeric string with no white space, semicolons, or commas. The +arguments may be symbols or numbers. Numbers in Pd are kept in 32-bit floating +point, so that they can represent integers exactly between -8388608 and +8388608. (In Max, there are separate data types for integers and floating +point numbers; Pd uses only float.) + +<P> When a message is passed to something (which is often an inlet of a box +but could be anything that can receive a message), the selector of the message +is checked against the receiver. If the receiver recognizes messages of that +selector, it carries out some corresponding action. For instance, here is a +"float" object: + +<P><CENTER> + <IMG src="fig3.1.jpg"> +</CENTER><P> + +<P> The two rectangles at the top are usually both called "inlets" but +the one at the left directs incoming messages to the "float" object itself, +whereas the one at the right directs messages to an auxilliary "inlet" +object. The float object proper (represented by the left-hand inlet) accepts +messages with selector "float" and "bang". The right-hand inlet takes only +the message selector "float". These two selectors, along with "symbol" and +"list", are usually used to denote an object's main action, whatever it may be, +so that objects can be interconnected with maximum flexibility. + +<P> It is possible to type messages which start with a number, +which cannot be used as a selector. A single number is always given the +"float" selector automatically, and a message with a number followed by other +arguments is given the selector "list". + +<H4> <A name=s3.2> 2.3.2. depth first message passing </A> </H4> + +<P> In Pd whenever a message is initiated, the receiver may then send out +further messages in turn, and the receivers of those messages can send yet +others. So each message sets off a tree of consequent messages. This tree is +executed in depth first fashion. For instance in the patch below: + +<P><CENTER> + <IMG src="fig3.2.jpg"> +</CENTER><P> + +<P> the order of arrival of messages is either A-B-C-D or A-C-D-B. The "C" +message is not done until the "D" one is also, and the "A" is not done until +all four are. It is indeterminate which of "B" or "C" is done first; this +depends on what order you made the connections in (in Max, it's automatically +sorted right to left). + +<P> Message-passing can give rise to infinite loops of the sort shown here: + +<P><CENTER> + <IMG src="fig3.3.jpg"> +</CENTER><P> + +<P> Here the left-hand "+" can't finish processing until the right-hand one has +been sent the result "2", which can't finish processing that until the +left-hand one has been sent "3", and so on. Pd will print an error message +reporting a "stack overflow" if this happens. + +<P> However, it is legal to make a loop if there is a "delay" object somewhere +in it. When the "delay" receives a message it schedules a messsage for the +future (even if the time delay is 0) and is then "finished;" Pd's internal +scheduler will wake the delay back up later. + +<H4> <A name=s3.3> +2.3.3. hot and cold inlets and right to left outlet order </A> </H4> + +<P> With few exceptions (notably "timer"), objects treat their leftmost +inlet as "hot" in the sense that messages to right inlets can result in output +messages. So the following is a legal (and reasonable) loop construct: + +<P><CENTER> + <IMG src="fig3.4.jpg"> +</CENTER><P> + +Here the "f" is an abbreviation for "float". Note that the "+ 1" output is +connected to the right-hand inlet of "f". This "cold" inlet merely stores the +value for the next time the "f" is sent the "bang" message. + +It is frequently desirable to send messages to two or more inlets of an object +to specify its action. For instance, you can use "+" to add two numbers; but +to do it correctly you must make sure the right hand inlet gets its value +first. Otherwise, when the left hand side value comes in, "+" will carry out +the addition (since the left hand inlet is the "hot" one) and will add this +value to whatever was previously sitting in the right hand inlet. + +<P> Problems can arise when a single outlet is connected (either directly or +through arbitrarily long chains of message passing) to different inlets of a +single object. In this case it is indeterminate which order the two inlets will +receive their messages. Suppose for example you wish to use "+" to double a +number. The following is incorrect: + +<P><CENTER> + <IMG src="fig3.5.jpg"> +</CENTER><P> + +<P> Here, I connected the left inlet before connecting the right hand one (although +this is not evident in the appearance of the patch.) The "+" thus adds the +new input (at left) to the previous input (at right). + +<P> The "trigger" object, abbreviated "t", can be used to split out connections +from a single outlet in a determinate order. By convention, all objects in Pd, +when sending messages out more than one outlet, do so from right to left. If +you connect these to inlets of a second object without crossing wires, the +second object will get its leftmost inlet last, which is usually what you +want. Here is how to use "trigger" to disambiguate the previous example: + +<P><CENTER> + <IMG src="fig3.6.jpg"> +</CENTER><P> + +<P> "Cold" (non-leftmost) inlets are almost universally used to store single +values (either numbers or symbols.) With the exception of "line" and "line~", +these values are "sticky," i.e., once you set the value it is good until the +next time you set it. (The "line" exception is for sanity's sake.) + +<P> One more question sometimes comes up in execution order, which is +the order in which two messages are sent to a single "cold" inlet. In this +situation, since the messages are merged, the last value to be received is +the value that is used in the computation. + +<H4> <A name=s3.4> 2.3.4. message boxes </A> </H4> + +Message boxes are text boxes in which you type a message. When the message +box is activated, either by clicking on it or sending something to its inlet, +the message or messages are sent, either to the message box's outlet or +elsewhere as specified. + +<P><CENTER> + <IMG src="fig3.7.jpg"> +</CENTER><P> + +The first of the message boxes above contains the single number 1.5; this +message has an implicit selector of "float." The second is a list with three +numbers in it, and in the third, the selector is "my" and the two arguments are +the number 5 and the symbol "toes." + +<P> Multiple messages may be separated by commas as shown: + +<P><CENTER> + <IMG src="fig3.8.jpg"> +</CENTER><P> +Here the three messages are the numbers 1, 2, and 3, and they are sent in +sequence (with no intervening time between them, as with the "trigger" object, +and having depth-first consequences so that whatever chain of actions depending +on "1" takes place before anything depending on "2" and so on.) + +<P> Semicolons may also separate messages. A message following a semicolon must +specify a symbol giving a destination (in other words, semicolons are like +commas except that they clear the "current destination" +so that the next message specifies a new one). The "current destination" is +at first the message box's own outlet. In the example below, the leading +semicolon immediately redirects messages from the outlet to an object named +"fred" (which is here a receive object), and likewise the next message is sent +to "sue." + + +<P><CENTER> + <IMG src="fig3.9.jpg"> +</CENTER><P> + +Certain other objects (Pd windows, for example, and arrays) have Pd names and +can be sent messages this way. Also, the special object "pd" is defined to +which you may send messages to start and stop DSP. + +<P> You can put variables in message boxes as shown below: + +<P><CENTER> + <IMG src="fig3.10.jpg"> +</CENTER><P> + +Here, "$1", etc., refer to the arguments of the arriving message (and aren't +defined if you send a "bang" message or if you click on the message box to +activate it.) Dollar sign variables are either numbers or symbols depending +on the incoming message; if symbols, you may even use them to specify variable +message selectors or destinations. + +<H4> <A name=s4> 2.4. audio signals </A> </H4> + +<P> +Using Pd you can build audio patches which can synthesize musical sounds, +analyze incoming sounds, process incoming sounds to produce transformed +audio outputs, or integrate audio processing with other media. This section +describes how Pd treats audio signals. + +<H4> <A name=s4.1> 2.4.1. sample rate and format </A> </H4> + +<P> +Pd's audio signals are internally kept as 32-bit floating point numbers, so +you have all the dynamic range you could want. However, depending on your +hardware, audio I/O is usually limited to 16 or 24 bits. Inputs all appear +between the values of -1 and 1; and output values will be clipped to that range. + +<P> +Pd assumes a sample rate of 44100 unless you override this in Pd's command line. +Pd doesn't check that this matches the sample rate of audio input or output, +nor does Pd attempt to set your computer's audio sample rate to its own. If +the audio system is running at the wrong sample rate, audio output will +be transposed (you can check this using the "test audio and MIDI" patch; see +the help menu). + +<P> +Pd can read or write samples to files either in 16-bit or 24-bit fixed point +or in 32-bit floating point, in WAV, AIFF, or AU format, via the soundfiler, +readsf, and writesf objects. + +<H4> <A name=s4.2> 2.4.2. tilde objects and audio connections </A> </H4> + +Audio computations in Pd are carried out by "tilde objects" such as "osc~" +whoswe names conventionally end in a tilde character to warn you what they +are. Tilde objects can intercommunicate via audio connections. When audio +computation is turned on, or when you change the audio network while audio is +on, Pd sorts all the tilde objects into a linear order for running; then this +linear list is run down in blocks of 64 samples each; at 44100 Hz. this means +the audio network runs every 1.45 milliseconds. + +<P> Inlets or outlets are configured in Pd either for messages or audio; it's +an error to connect an audio outlet to a non-audio inlet or vice versa; usually +these errors are detected at "sort time" when audio is started or the network +changed with audio running. An object's leftmost inlet may accept both audio +and messages; any other inlet is either one or the other. There is no quick +way to tell whether an inlet or output is for audio or messages; consult the +help window for the object. + +<P> +The audio network, that is, the tilde objects and their interconnections, +must be acyclic. If there are loops, you will see the error message at "sort +time." When errors are reported at sort time there is no easy way to +find the source of the error. You can build algorithms with feedback using +nonlocal signal connections. + +<P> +Your subpatches can have audio inlets and outlets via the inlet~ and outlet~ +objects. + +<H4> <A name=s4.3> 2.4.3. converting audio to and from messages </A> </H4> + +<P> If you want to use a control value as a signal, you can use the sig~ object +to convert it. The +~, -~, *~, /~, osc~, and phasor~ objects can be configured +to take control or signal inputs. + +<P> The other direction, signal to control, requires that you specify at what +moments you want the signal sampled. This is handled by the snapshot~ object, +but you can also sample a signal with tabwrite~ and then get access it via +tabread or tabread4 (note the missing tildes!). There are also analysis +objects, the simplest of which is "env~", the envelope follower. + +<H4> <A name=s4.4> 2.4.4. switching and blocking </A> </H4> + +You can use the switch~ or block~ objects to turn portions of your audio +computation on and off and to control the block size of computation. There +may be only one switch~ or block~ object in any window; it acts on the entire +window and all of its subwindows, which may still have their own nested +switch~/block~ objects. Switch~ and block~ take a block size and an overlap +factor as arguments; so for instance, "block~ 1024 4" specifies 1024 sample +blocks, overlapped by a factor of 4 relative to the parent window. Switch~ +carries a small computational overhead in addition to whatever overhead is +associated with changing the block size. + +<P> Larger block sizes than 64 should result in small increases in run-time +efficiency. Also, the fft~ and related objects operate on blocks so that +setting the block size also sets the number of FFT channels. You may wish +to use block sizes smaller than 64 to gain finer resolutions of message/audio +interaction, or to reduce "block delay" in feedback algorithms. At the +(untested) extreme, setting the block size to one allows you to write your +own recursive filters. + +<P> You can use switch~ to budget your DSP computations; for instance you might +want to be able to switch between two synthesis algorithms. Put each algorithm +in its own subpatch (which can have sub-sub patches in turn, for a voice bank +for instance), and switch each one off as you switch the other one on. Beware +of clicks; if you have a line~ controlling output level, give it time to ramp to +zero before you switch it off or it will be stuck at a nonzero value for the +next time it comes back on. + +<P> When a subpatch is switched off its audio outputs generate zeros; this costs a +fairly small overhead; a cheaper way to get outputs is to use throw~ inside +the switched module and catch~ outside it. + +<H4> <A name=s4.5> 2.4.5. nonlocal signal connections </A> </H4> + +You may wish to pass signals nonlocally, either to get from one window to another, or +to feed a signal back to your algorithm's input. This can be done using +throw~/catch~, send~/receive~, or delwrite~/delread~ pairs. Throw~ and catch~ +implement a summing bus; throw~ adds into the bus and catch~ reads out the +accumulated signal and zeros the bus for the next time around. There can be +many throw~ objects associated with a single catch~, but a throw~ can't talk to +more than one catch~. You can reset the destination of a throw~ if you want to. + +<P> Send~ just saves a signal which may then be receive~d any number of times; but +a receive~ can only pick up one send~ at a time (but you can switch between +send~s if you want.) + +<P> Don't try to throw~ and catch~ or send~ and receive~ between windows with +different block sizes. The only re-blocking mechanisms which are well tested +are inlet~ and outlet~. + +<P> When you send a signal to a point that is earlier in the sorted list of tilde +objects, the signal doesn't get there until the next cycle of DSP computation, +one block later; so your signal will be delayed by one block (1.45 msec by +default.) Delread~ and delwrite~ have this same restriction, but here the 1.45 +msec figure gives the minimum attainable delay. For nonrecursive algorithms, a +simple flanger for example, you might wish to ensure that your delread~ is +sorted after your delwrite~. The only way to ensure this is to create the +delread~ after you created the delwrite~; if things get out of whack, just +delete and re-create the delread~. + +<H4> <A name=s5> 2.5. scheduling </A> </H4> + +Pd uses 64-bit floating point numbers to represent time, providing sample +accuracy and essentially never overflowing. Time appears to the user +in milliseconds. + +<H4> <A name=s5.1> 2.5.1. audio and messages </A> </H4> + +Audio and message processing are interleaved in Pd. Audio processing is +scheduled every 64 samples at Pd's sample rate; at 44100 Hz. this gives a +period of 1.45 milliseconds. You may turn DSP computation on and off by +sending the "pd" object the messages "dsp 1" and "dsp 0." + +<P> In the intervals between, delays might time out or external conditions +might arise (incoming MIDI, mouse clicks, or whatnot). These may cause a +cascade of depth-first message passing; each such message cascade is completely +run out before the next message or DSP tick is computed. Messages are never +passed to objects during a DSP tick; the ticks are atomic and parameter changes +sent to different objects in any given message cascade take effect +simultaneously. + +<P> In the middle of a message cascade you may schedule another one at a delay +of zero. This delayed cascade happens after the present cascade has finished, +but at the same logical time. + +<H4> <A name=s5.2> 2.5.2. computation load </A> </H4> + +<P> The Pd scheduler maintains a (user-specified) lead on its computations; +that is, it tries to keep ahead of real time by a small amount in order to be +able to absorb unpredictable, momentary increases in computation time. This +is specified using the "audiobuffer" or "frags" command line flags (see <a +href="x3.htm" name=s3>getting Pd to run </A>). + +<P> If Pd gets late with respect to real time, gaps (either occasional or +frequent) will appear in both the input and output audio streams. On the +other hand, disk strewaming objects will work correctly, so that you may use +Pd as a batch program with soundfile input and/or output. The "-nogui" +and "-send" startup flags are provided to aid in doing this. + +<P> Pd's "realtime" computations compete for CPU time with its own GUI, which +runs as a separate process. A flow control mechanism will be provided someday +to prevent this from causing trouble, but it is in any case wise to avoid +having too much drawing going on while Pd is trying to make sound. If a +subwindow is closed, Pd suspends sending the GUI update messages for it; +but not so for miniaturized windows as of version 0.32. You should really +close them when you aren't using them. + +<H4> <A name=s5.3> 2.5.3. determinism </A> </H4> + +All message cascades that are scheduled (via "delay" and +its relatives) to happen before a given audio tick will happen as scheduled +regardless of whether Pd as a whole is running on time; in other words, +calculation is never reordered for any real-time considerations. This is done +in order to make Pd's operation deterministic. + +<P> If a message cascade is started by an external event, a time tag is given +it. These time tags are guaranteed to be consistent with the times at which +timeouts are scheduled and DSP ticks are computed; i.e., time never decreases. +(However, either Pd or a hardware driver may lie about the physical time an +input arrives; this depends on the operating system.) "Timer" objects which +meaure time intervals measure them in terms of the logical time stamps of the +message cascades, so that timing a "delay" object always gives exactly the +theoretical value. (There is, however, a "realtime" object that measures real +time, with nondeterministic results.) + +<P> If two message cascades are scheduled for the same logical time, they are +carried out in the order they were scheduled. + +<H4> <A name=s6> 2.6. semantics </A> </H4> + +This section describes how objects in Pd are created, how they store data and +how object and other boxes they pass messages among themselves. + +<H4> <A name=s6.1> 2.6.1. creation of objects </A> </H4> + +The text in a box has a different function depending on whether it is a message, +atom (number/symbol), or object box. In message boxes the text specifies the +message or messages it will send as output. In atom boxes the text changes +at run time to show the state of the box, which is either a number or a symbol. + +<P> In an object box, as in a message box, the text specifies a message; but +here the message is to be passed to Pd itself, once, and the +message's effect is to create the object in question. When you open a file, +all the objects created are created using their text as "creation messages." +If you type a new message into an object box (or change it), the old object is +destroyed and the message is used to create the new one. + +<P> The selector of the message (the first word in the message) is a selector +which Pd interprets to mean which type of object to create. Any message +arguments (called "creation arguments") are used to parametrize the object +being created. Thus in "makenote 64 250" the selector "makenote" determines +the class of object to create and the creation arguments 64 and 250 become the +initial velocity and duration. + +<H4> <A name=s6.2> 2.6.2. persistence of data </A> </H4> + +Among the design principles of Pd is that patches should be printable, in the +sense that the appearance of a patch should fully determine its functionality. +For this reason, if messages received by an object change its action, since the +changes aren't reflected in the object's appearance, they are not saved as part +of the file which specifies the patch and will be forgotten when the patch is +reloaded. In the same way, if you delete and then recreate an object the +original object's state is not retained but is instead reinitialized (possibly +as specified by creation arguments.) + +<P> An exception is made for subpatches whose "state" is the configuration of +the subpatch; as a special case, this configuration is restored when the +patch is read from a file. Also, if you rename the subpatch, for instance +typing "pd jane" instead of "pd spot," the contents of the patch are preserved +and only the text in the object box and the window title of the subpatch are +changed. + +<P> It is probably bad style to specify creation arguments ala "makenote 64 250" +if you are going to override them later; this is confusing to anyone who tries +to understand the patch. + +<H4> <A name=s6.3> 2.6.3. message passing </A> </H4> + +Messages in Pd consist of a selector (a symbol) and zero or more arguments +(which may be symbols or numbers). To pass a message to an object, Pd first +checks the selector against the class of the object. Message boxes all are +of one class and they all take the same incoming messages and dispense them +according to their state, that is, the text typed into the box. The same +holds for atom boxes (number or symbol) except that their state may change +(it consists of the number or symbol showing). + +<P> Object boxes may have many different classes. The class is usually +determined by the selector of the creation message, i.e., the first atom of the +creation message which is usually a symbol. + +<P> Each class comes with a fixed collection of messages it may be sent. For +esxample, the "float" or "f" object takes "bang" and "float." These messages +are sent to "float" objects (objects whose class is float) via the leftmost, +hot inlet. (The right inlet is a separate, auxiliary object.) Objects of +class "float" respond to the message "bang" by outputting their current value, +that is, by sending a "float" message to their outlet. They respond to "float" +messages by setting their value and then outputting it. + +<P> Each other class (like "float") in Pd has its own protocol for responding +to messages it is sent, and may take "float" and "bang" messages, or others +in addition or instead of them. + +<H4> <A name=s6.4> 2.6.4. inlets and lists </A> </H4> + +The leftmost connection point at the top of most objects represents the object +itself. Any other dark rectangle is a separate object called an "inlet" +although in Pd there are 4 individual inlet classes. The class of the inlet +determines which messages it will take: symbol, float, or other; and the inlet +forwards the message either to the object proper or to some proxy, usually +one that the object creates for the occasion. + +<P> Unless they arrange otherwise by defining a "list" method, objects respond +to the "list" message by distributing the arguments of the message to their +inlets, except for the first argument which is passed as a "float" or +"symbol" message to the object proper. + +<H4> <A name=s6.5> 2.6.5. dollar signs </A> </H4> + +In message or object boxes, message arguments starting with a dollar sign +and a number (like "$1" or "$3-bazoo") are variables which are substituted +with values supplied as part of the environment the message is passed in. +In the case of message boxes, the environment consists of the arguments of +the "list" message (possibly extrapolated from "bang," "float," +or other) that the message box is responding to. Thus, if a message box gets +"23 skidoo" and if it contains the text, "$2 until $1," out comes the message, +"skidoo until 23." + +<P> Object boxes contain text wwhich forms a message to be sent to Pd to create +and initialize the object. Here, $1, etc., are taken from the context in which +the patch was loaded. When the patch is a new document or opened from a file +the "$" variables are undefined. But if the patch is an abstraction (see the +next section) they are +taked from the abstractions' creation arguments. + +<P> Constructions such as "$1-x" are expanded by string concatentation. This +is the mechanism for making local variables. In particular, $0 in an abstraction +is a counter which is guaranteed to be unique to that abstraction, so sends and +receives with names like "$0-bear" can be used as local send/receive pairs. + +<H4> <A name=s7> 2.7. subpatches </A> </H4> + +Pd offers two mechanisms for making subpatches, called "one-off subpatches" +and "abstractions." In either case the subpatch appears as an object box +in a patch. If you type "pd" or "pd my-name" into an object box, this creates +a one-off subpatch. For instance, in this fragment: + +<P><CENTER> <IMG src="fig7.1.jpg"> </CENTER><P> + +the box in the middle, if clicked on, opens the sub-patch shown here: + +<P><CENTER> <IMG src="fig7.2.jpg"> </CENTER><P> + +<P> The contents of the subpatch are saved as part of the parent patch, in +one file. If you make several copies of a subpatch you may change them +individually. + +<P> The objects, "inlet,", "inlet~," "outlet," and "outlet~,", when put in a +subpatch, create inlets and outlets for the object box containing the subpatch. +This works equally for one-off subpatches and abstractions. The inlet~ and +outlet~ versions create inlets and outlets for audio signals. You can't mix +messages and audio in a subpatch inlet or outlet; they must be one or the other +exclusively. Inlets and outlets appear on the invoking box in the same left-to-right +order as they appear in the subpatch. + +<H4> <A name=s7.1> 2.7.1. abstractions </A> </H4> + +<P> To make an abstraction, save a patch with a name such as "abstraction1.pd" +and then invoke it as "abstraction1" in an object box: + +<P><CENTER> <IMG src="fig7.3.jpg"> </CENTER><P> + +<P> Here we're invoking a separate file, "abstraction1.pd", which holds the +patch shown here (the border is the same as for the subpatch above): + +<P><CENTER> <IMG src="fig7.4.jpg"> </CENTER><P> + +You may create many instances of "abstraction1" or invoke it from several +different patches; and changing the contents of "abstraction1" will affect all +invocations of it as they are created. An analogy from the "c" programming +language is that one-off subpatches are like bracketed blocks of code and +abstractions are like subroutines. + +<P> Abstractions are instantiated by typing the name of a patch (minus the ".pd" +extension) into an object box. You may also type arguments; for instance if +you have a file "my-abstraction.pd" you may type "my-abstraction 5" to set the +variable $1 to 5. This is defined only for object boxes (not for messages) in +the abstraction. (For message boxes, "$1", etc, have a different meaning as +described above.) If you want to send a message with a $1 in the sense of a +creation argument of an abstraction, you must generate it with an object box +such as "float $1", "symbol $1", or perhaps "pack $1 $2", which may then be +sent to a message box. + +<P> The corresponding feature in Max (both Opcode and Ircam) was the "#1" +construct. In a Max abstraction, "#1", etc., are replaced by the creation +argument. This has the disadvantage that you can't edit the abstraction as +instantiated in the patch since the "#" variables are substituted. In Pd the +"$" variables in object boxes are spelled literally as "$" variables so that +it's meaningful to edit them from within their calling patch. On the Pd side, +however, there is the disadvantage that it's confusing to have "$" expanded at +a different time in an object box than in a message box. In an object box, the +"$" argument is expanded at creation time, and in a message box, at message +time. + +<H4> <A name=s7.2> 2.7.2. Graph-on-parent subpatches </A> </H4> + +If you open the "properties" dialog for a subpatch or an abstraction, you can +check the "graph on parent" box to have the controls of the subpatch/abstraction +appear on the parent. For instance, here is an invocation of "abstraction2": + +<P><CENTER> <IMG src="fig7.5.jpg"> </CENTER><P> + +where the patch "abstraction2.pd" contains: + +<P><CENTER> <IMG src="fig7.6.jpg"> </CENTER><P> + +Here, the number box in the abstraction shows up on the box that invoked +the abstraction. The "graph on parent" flag is set in the abstraction +(and is saved as part of the abstraction); to set it, open the "properties" +dialog for the "abstraction2" canvas by right-clicking on any white space +in the patch. + +<P> To open the subpatch, right click on the object and select "open". (On +Macintoshes without a 2-button mouse, you can double-click in edit mode +instead.) It doesn't work just to click on the object in run mode since clicks +are sent to visible controls and/or arrays. + +<P> When the sub-patch is closed, all controls in it appear on the object +instead; so the number box in the sub-patch in the example above is the same +one as you see in the box. Only controls are made visible in this way + +<H4> <A name=s8> 2.8. numeric arrays </A> </H4> + +Linear arrays of numbers recur throughout the computer musician's bag of tricks, +beginning with the wavetable oscillator. The wavetable oscillator later was +reinvented as the looping sampler. Also, table lookup is used for nonlinear +distortion of audio signals. In the domain of control, arrays of numbers +can specify control mappings, probability densities, voicing data, and much +more. + +<P> Arrays in Pd should be allocated (and possible read in from a file) before +beginning to make sound, since memory allocation and disk operations may take +long enough to cause audio buffer overruns or underruns. Pd provides two ways +to define new arrays, as "graphs" and "tables". In either case the array +has a pre-defined name and size (i.e., number of points). Elements of the +array are stored as floating-point numbers, 4 bytes apiece + +<P> If you use an array to store a one-second sound at 44.1 kHz you will need +176 kilobytes, or a one-minute sound, 10.6 megabytes. To store a sound with +two or more channels, use a separate array for each channel. + +<P> Arrays are also useful as transfer functions, for example for nonlinear +distortion of an audio signal, or to map a control onto a synthesis parameter. +In situations like this one typically uses much shorter arrays, of no more +than a few hundered elements. They are also useful for storing measured +spectra derived from the fft~ objects, and probably for many other uses. + +<P> Arrays usually appear within subpatches created to house them, whether +in "graph on parent" form (so that you see them within a rectangle drawn on +the containing patch), or as a regular subpatch (which you see as a text box.) +In the "graph on parent" form, an array appears as shown: + +<P><CENTER> <IMG src="fig8.1.jpg"> </CENTER><P> + +<P> Arrays are indexed from 0 to N-1 where N is the number of points in the +array. You can read an array value using the tabread object: + +<P><CENTER> <IMG src="fig8.2.jpg"> </CENTER><P> + +Here we see that the third point of the array (index 2) has the value 0.4. +To write into the array you can use the tabwrite object: + +<P><CENTER> <IMG src="fig8.3.jpg"> </CENTER><P> + +In this example, sending the message sets the third element to 0.5. (You +may also send the two numbers to the two inlets separately.) + +<P> The two previous examples showed control operations to read and write from +and to arrays. These may also be done using audio signals. For example, +the patch below creates a 440 Hz. tone with "array1" as a waveform: + +<P><CENTER> <IMG src="fig8.4.jpg"> </CENTER><P> + +Here phasor~'s outputs a sawtooth wave, repeating 440 times per second, whose +output range is from 0 to 1. The multiplier and adder adjust the range from +1 to 11, and then the values are used as indices for tabread4~, which is a +4-point interpolating table lookup module. (Much more detail is available in +the audio example patches in the "pure documentation" series.) + +<P> To create a new array, select "array" from the "put" menu. Up will come +a dialog window to set initial properties of the array. By default, a +new graph is created to hold the array, but it may also be housed in the +most recently created graph instead. Other properties may be specified there +and/or changed later using the "properties" dialog. + +<P> If you select "properties" on an array in a graph, you two dialogs, one +for the array and one for the graph. The array dialog looks like this: + +<P><CENTER> <IMG src="fig8.5.jpg"> </CENTER><P> + +You may use this to change the name and size, in addition to another property, +"save contents". If "save contents" is selected, the array's values are stored +in the containing patch; otherwise they're initialized to zero each time the +patch is reloaded. If you intend to use arrays to store sounds, you will +probably not wish to store them in the patch but as separate soundfiles. This +will be more efficient, and you may also then use a sound editor to modify them +outside Pd. + +<P> If you check "delete me" and then "OK", the array wil be deleted. This is +an odd interface for deleting an object, and is only provided because Pd +lacks a mechanism for selecting arrays (so that "cut" could serve). + +<P> The graph dialog (which also pops up) is shown here: + +<P><CENTER> <IMG src="fig8.6.jpg"> </CENTER><P> + +<P> The X bounds initially range from 0 to the number of points in the table +minus one (this is a good choice for arrays, although graphs holding other +kinds of objects might require other X bounds.) The Y bounds should be +chosen to reflect the natural range of the table, so that stored sounds +would naturally range from -1 to 1, but a sequence of frequency values might +range from 0 to 20,000. Finally, you choose the screen size of the graph, +width and height, in screen pixels. + +<P> Many other operations are defined for arrays; see the related patches +in the tutorial (starting at 2.control/15.array.pd) for more possibliities. + +<H4> <A name=s8> 2.9. Data structures </A> </H4> +(Note: this section is adapted from an article submitted to ICMC 2002.) + +<P> The original idea in developing Pd was to make a real-time computer music +performance environment like Max, but somehow to include also a facility for +making computer music scores with user-specifiable graphical representations. +This idea has important precedents in Eric Lindemann's Animal and Bill Buxton's +SSSP. An even earlier class of precedents lies in the rich variety of paper +scores for electronic music before it became practical to offer a +computer-based score editor. In this context, scores by Stockhausen (<I> +Kontakte</I> and <I> Studie II</I>) and Yuasa (<I>Toward the Midnight Sun</I>) +come most prominently to mind, but also Xenakis's <I>Mycenae-alpha</I>, which, +although it was realized using a computer, was scored on paper and only +afterward laboriously transcribed into the computer. + +<P> Pd is designed to to offer an extremely unstructured environment for +describing data structures and their graphical appearance. The underlying +idea is to allow the user to display any kind of data he or she wants to, +associating it in any way with the display. To accomplish this Pd introduces +a graphical data structure, somewhat like a data structure out of the C +programming language, but with a facility for attaching shapes and colors to +the data, so that the user can visualize and/or edit it. The data itself can +be edited from scratch or can be imported from files, generated +algorithmically, or derived from analyses of incoming sounds or other data +streams. + +Here is one simple +example of a very short musical sketch realized using Pd: + +<P><CENTER> <IMG src="fig9.1.jpg"> </CENTER><P> + +The example, which only lasts a few seconds, is a polyphonic collection of +time-varying noise bands. The graphical ``score" consists of six objects, each +having a small grab point at left, a black shape to show dynamic, and a colored +shape to show changing frequency and bandwidth. The horizontal axis represents +time and the vertical axis, frequency (although, as explained later, this +behavior isn't built into pd). The dynamic and frequency shapes aren't +constrained to be connected or even to be proximate, but since they pertain to +the same sound their horizontal positions line up. In this example the last +(furthest-right) object is percussive (as seen by the black shape) and has a +fixed frequency and bandwidth, whereas the large, articulated shape in the +center has a complicated trajectory in both frequency and dynamic. The color +of the frequency trace determines the voice number used to realize it. + +<P> Each object is thus composed of a combination of scalar values (color; +aggregate position in X and Y coordinates) and array values (time/value +pairs for the black traces and time/frequency/bandwidth triples for the +colored ones.) This is all specified by the user using Pd's ``template" +mechanism. + +<P> Here is the template associated with the graphical objects +shown above: + +<P><CENTER> <IMG src="fig9.2.jpg"> </CENTER><P> + +Templates consist of a data structure definition (the "struct" object) and +zero or more drawing instructions ("filledpolygon" and "plot"). The "struct" +object gives the template the name, "template-toplevel." The data structure +is defined to contain three floating point numbers named "x", "y", and +"voiceno," and two arrays, one named "pitch" whose elements belong to another +template named "template-pitch," and similarly for the array "amp." + +<P> In general, data structures are built from four data types: scalar floats +and symbols, arrays (whose elements share another, specified template) and +lists (whose elements may have a variety of templates). The contents of a Pd +window themselves form a list. Pd's correlate of Max's "table" object is +implemented as a top-level array whose elements are scalars containing a single +floating-point number. + +<P> Data structures in Pd may nest arbitrarily deeply using the array and list +types. For example, a collection of sinusoidal tracks from an analysis engine +could be implemented as an array of arrays of (pitch, amplitude) +pairs; this appears as example 12 in Pd's FFT object online tutorial. + +<P> After the "struct" object in the template shown above, the remaining +three objects are <I> drawing instructions </I> , first for a rectangle +("filledpolygon"), and then for two arrays. The various graphical +attributes that are specified for drawing instructions may be numerical +constants or data structure field names; in the latter case the value varies +depending on the data. For instance, the second creation argument to +"plot" is the color. The first "plot" plots the "amp" field and the +color is given as 0, or black. The second one plots "pitch" using the color +"voiceno". In this way the color of the second trace is attached to the +"voiceno" slot in the data structure, so that color will vary according to its +"voiceno" slot. + +<H4> <A name=s9.1> 2.9.1. Traversal </A> </H4> + +<P> Pd objects are provided to traverse lists and arrays, and to address +elements of data structures for getting and setting. Here is a patch showing +how these facilities could be used, for example, to sequence the graphical +score shown above: + +<P><CENTER> <IMG src="fig9.3.jpg"> </CENTER><P> + +<P> Pd has no built-in sequencer, nor even any notion that "x" values should be +used as a time axis. (However, a "sort" function is provided, which reorders +a list from left to right, on the assumption that users might often want to use Pd +data collections as x-ordered sequences.) Recording sequences of events into +lists, and/or playing the lists back as sequences, are functionalities that the +user is expected to supply on top of Pd's offerings, which, it is hoped, would +allow those functionalities within a much larger range of possibilities, to +include random reorderings of events, score following, self-modifying scores, +reactive improvisation, and perhaps much more. + +<P> Traversal of data is made possible by adding a new type of atom, "pointer", +to the two previously defined types that make up messages, to wit, numbers and +symbols. Unlike numbers and symbols, pointers have no printed form and thus +can't be uttered in message boxes. Traversal objects such as "pointer" and +"get" (among several others) can generate or use pointers. The pointer data +type is also integrated into pipe-fitting objects such as "pack", +"unpack", +and "route". + +<P> In the patch shown above, the topmost "pointer" object holds a pointer to +the next object to "play" (by sending it to one of the "voice" +abstractions at bottom.) The pointer object takes a "traverse" message to +set it to the head of the list (named "pd-data"), and "next" messages to +move to (and output) the next datum in the list (i.e., the next in the list of +six objects in the score). Another "pointer" object is also used, further +down, as a storage cell for pointers just as "float" is for numbers. + +<P> The center of any sequencer is always the "delay" object, which must be +fed the time difference between each event (including the non-event of hitting +"start") and the next. As we extract each of the six objects in the score, we +must wait the delay for playing that object, and then send its pointer to one +of the "voice" abstractions to play it. However, we have to inspect the +object itself to know the delay before playing it. So, in the loop, we peel off +the first remaining object to play and inspect the time difference between it +and the previous one, using this value to set the delay, but also storing the +pointer in the lower "pointer" and "pack" objects. + +<P> The time difference needed to set the delay object is obtained using the +"get template-toplevel x" object. (This is converted to incremental time +("-"), corrected for tempo, and fed to the delay.) Pd provides +the "get" and "set" +objects for reading and writing values from data structures. +The two "get" objects shown here obtain the "x" and "voiceno" fields +of the current object. The template name (template-toplevel) is supplied +to the "get" objects so that they can look up the offset of the necessary +field(s) in advance, for greater run-time efficiency. + +<P> Once the delay has expired, the object's pointer is recalled (the lower +"pointer" object), and the voice number is recalled. This is packed with +the pointer itself and routed, so that the pointer goes to the appropriate +voice. The voice number is shown as the color of the frequency trace in +"999" units (first digit red, second green, third blue) and the "route" is +arbitrarily set up to select among the six primary and secondary colors plus +black. + +<P> The details of extracting the pitch and dynamic breakpoints from the arrays +defined in the template are managed in the "voice" abstraction. +The "voice" +abstraction receives a +pointer to a given object and manages the sequencing of the arrays; so it +contains two sequencers itself. The nesting of the overall structure of +the sequencer patch mirrors the nesting of the original data structures. +Finally, the voice abstraction puts its audio output on a summing bus. + +<P> More general patches can easily be constructed which access heterogeneous lists +of objects (having different templates). In this way, an arbitrarily rich +personal "score language" can be developed and sequenced. + +<H4> <A name=s9.2> 2.9.2. Accessing and changing data </A> </H4> + +<P> In general, accessing or changing data is done via "pointers" to +"scalars". Numbers and symbols withing scalars are accessed using the +"get" object and changed, in the same way, using "set". Since lists +and arrays are composed of scalars, every actual number or symbol in a data +heap will be a number or symbol element of some scalar. To access them, it +suffices to have objects to chase down elements of lists and arrays (given +either a global name or a pointer to the containing scalar). + +<P> Lists are traversed in the way shown above; to get to a sublist of a scalar, +the "get" object will provide a pointer, in the same way as it provides +"float" or "symbol" elements of scalars. For arrays, an +"element" object is provided which, given a scalar, a field name and +a number, chases down the numbered, scalar, element of the named array field. + +<P> To alter "float" or "symbol" elements of scalars is straightforward +using the "set" object, but arrays and lists can't be set by assignment; +there is no suitable data type available withing messages. Lists could +possibly be "settable" by passing pointers to other lists, but permitting this +would have required either automatically doing deep copies of data structures +to carry out the assignments, or else implementing a garbage collecting memory +management system, either of which would be difficult to realize within +real-time computation time constraints. Instead, all the data hanging from a +scalar is considered as belonging to that scalar, and is left in memory until +the scalar is deleted; the data may be changed atom by atom, but primitives +are not provided which would imply unpredictable execution times. + +<P> The "getsize" and "setsize" objects are provided to access or change +the number of elements in the array. For lists, an "append" object +appends a new scalar for a given template to a list, after the element pointed +to. (To insert a scalar at the beginning of a list, the pointer can be set to +the "head" of the list, a formal location before the first list item.) +Deletion is less flexible; the only operation is to delete an entire list. +(There's no reason not to provide finer-grain deletion mechanisms except that +it's not clear how to protect against stale pointers efficiently, except by +voiding the entire collection of pointers into a list.) + +<H4> <A name=s9.3> 2.9.3. Editing </A> </H4> + +<P> The graphical score shown above can be edited by dragging breakpoints, or +by adding and deleting them, using mouse clicks. Also, entire objects or +collections of them may be copied, pasted, and dragged around the screen. +Alternatively, there is an editable (or computer generate-able or parse-able) +text representation for the data, which may be seen or changed in a dialog +window or read and written to external text files. + +<P> Since the graphical presentation of data objects is determined by drawing +instructions, the drawing instructions are interpreted backwards to alter data +as a result of mouse operations. If a given graphical dimension is controlled +by a variable, that variable is then controlled by dragging along that +dimension; if the dimension is constant, it can't be altered by dragging. + +<P> Tricky situations can arise when the user changes the contents of templates. +A change in drawing instructions can be accommodated by simply tracking +down and redrawing all data objects using the template. However, changing +the "struct" object itself make for less straightforward situations. The +user might wish to reorder fields, delete them, add new ones, or rename them. +When a "struct" object changes, Pd automatically conforms the data from the old +structure to the new one. Fields with the same name as previously are maintained +(reordering them as necessary); and if a field disappears but another of the +same type appears, the new one(s) are taken to be renamings of the old one(s) +in order of appearance. New fields which cannot be matched in this way with +previously existing ones are assumed to be new and are initialized. + +<P> It can happen that two "struct" objects compete to define the same data +structure, or that the user reads in data from a file which expects a different +version of the structure, or alternatively, that the "struct" object for +existing data objects disappears. For this reasn, Pd maintains a private +representation of the last active version of a "struct" until all +similarly named "structs," as well as all data using that "struct", have +disappeared. If the user introduces a new version of the "struct" and only +later deletes the "current" one, the data is only conformed to the new version +once the old one is deleted. In this way we avoid getting into situations +where data is left hanging without its structure definition, or where data ends +up belonging to two or more structures of the same name. The worst that can +happen is that data may lose their drawing instructions, in which case Pd +supplies a simple default shape. + +<H4> <A name=s9.4> 2.9.4. Limitations </A> </H4> + +<P> When examples get more complicated and/or dense than the one shown here, it +becomes difficult to see and select specific features of a data collection; +more work is needed to facilitate this. +There should be some facility for turning drawing instructions on and off, or +perhaps for switching between versions of a template, depending on the user's +desired view. There should also be a callback facility in the template for +when an object is edited with the mouse, so that the user can bind actions to +mouse clicks. + +<P> More generally, the collection of traversal objects that Pd provides is +adequate to support a variety of modes of data collection and use, such as +analysis and sequencing. But the patches required to traverse the data +collections are not always simple. It would be desirable to find a more +straightforward mechanism than that provided by the "pointer", "get" +and "set" objects. + +<P> The "data" facility, although part of the original plan for Pd, has only +recently been implemented in its current form, and as (hopefully) the user base +grows there will surely be occasions for many further extensions of the data +handling primitives and the graphical presentation and editing functions. + +</BODY> +</HTML> |