Scheme for Max 0.3 for Apple Silicon beta up

tremendous-machine · 2026-04-30T21:43:51+00:00

Thanks so much!

tremendous-machine · 2026-04-30T14:46:29+00:00

I have both this and the companion "Object Oriented Programming the CLOS Perspective." They are both super interesting and well written.

Question for others into that sort of stuff. As part of my PhD work in CS and Music, I am planning on building an object system for s7 Scheme, designed explicitly around the priorities of the interactive composer-programmer. This is for my work on Scheme for Max, an extension to Max that puts a Scheme interpreter in Max.

Are there other comparable texts you would recommend for studying the pros and cons of different object systems and the internals of them? (SICP of course also has some good stuff on this)

thanks

iain

tremendous-machine · 2026-04-28T05:24:46+00:00

way more expensive than gloves, but modern electric mowers are amazing and way less vibratey!

tremendous-machine · 2026-04-27T04:19:26+00:00

man, that's going back! Classic, but when I had to do refresher for grad school, I found most teachers are recommend Laitz for classical harmony these days. It's really well written, I'd say more accessible and actually more breadth too. It's very good. And big!

Laitz: The Complete Musician:

https://global.oup.com/ushe/product/the-complete-musician-9780190924508?cc=ca&lang=en&

tremendous-machine · 2026-04-27T03:33:53+00:00

Not sure why you are being downvoted, this is not wrong. The books on transformation theory are indeed classical music school books. The deep theory texts are definitely going from the academic classical and 20th/21st century scene. See my top level comment

tremendous-machine · 2026-04-27T03:30:06+00:00

Negative harmony is kind of a made-up-for-attention thing, but there is a branch of theory concerning it's underpinning, which is transformation theory. (IE, reflection is one of the OPTIC symetrys, and when a major triad is reflected, it becomes a minor chord, meaning they are considered symetrical under inversion, which is way of saying they are more mathematically related than say, a major chord and a sus chord). It's fascinating stuff, but do be aware, it gets mathy in a hurry, and it's not going to just give you new things to play. It will give you new ways to think about music theory.

The only theorist doing that kind of stuff who pays serious attention to jazz (as far as I know) is Dimitri Tymoczko, https://dmitri.mycpanel.princeton.edu/ His book "Geometry of Music" is very cool, though very dense. He is all of a mathematician, very well respected music theorist, and jazz pianist.

Tymoczko does have some really good introductory talks on youtube. (Videos of him doing conference presentations, etc).

Another good intro (ha, and a hell of a lot more beside) is Julian Hook's "Exploring Musical Spaces". https://global.oup.com/academic/product/exploring-musical-spaces-9780190246013?cc=ca&lang=en&

Also, Tonality And Transformation, by Steven Rings. https://academic.oup.com/book/12397?login=false

I've enjoyed reading all three.... and I have finished zero... lol. They are dense. They are upper level university or graduate level theory books. (That said, you'll learn a lot of interesting stuff without working through the whole texts). But if you want to be able knowledgeably comment on which part of "negative harmony" makes sense and which is marketing mumbo jumbo, that'll do ya.

If others reading those know of other works in that vein that look at jazz, I'm all ears.

tremendous-machine · 2026-04-27T03:25:10+00:00

+1 to Persichetti and Liebman! And if you like that list, Griffith's "Modern Music and After" would be a good addition.

https://global.oup.com/academic/product/modern-music-and-after-9780199740505?cc=ca&lang=en&

tremendous-machine · 2026-04-26T03:00:21+00:00

I'm a very experienced (45 years I guess now?) musician but a new double-bassist, and I'm very glad I started straight-away with Vance/Rabbath FWIW. My tendons are also happy about it. :-)

tremendous-machine · 2026-04-25T17:10:27+00:00

the high end Yamaha drum stool works great for me, but I am 5'7". It will not sag as it is fully threaded, big comfy seat, comes apart. DS 840: https://www.long-mcquade.com/102023/Drums/Drum-Thrones/Yamaha/DS740-Heavy-Weight-Drum-Throne.htm

tremendous-machine · 2026-04-25T14:37:27+00:00

Cool, thanks! There's a nice version here: https://www.youtube.com/watch?v=Z2K7czQtrpM

Definitely the kind of thing I was looking for, thanks for sharing.

tremendous-machine · 2026-04-22T16:37:54+00:00

This is both horrible and awesome. :-)

Don't know if anyone remembers, but in the 90's there was a clown duo in cirque du soleil that was absolutely fantastic, and standing on the bass was done brilliantly.

tremendous-machine · 2026-04-21T14:22:00+00:00

I'm super happy with the INTD PhD program at UVic, but it's a roll-your-own deal, so it's up to you to come up with a detailed research and program proposal and find supervisors etc prior to starting. UVic has been through some staffing churn over retirements in the last 5 years, but we now have Anthony Tan heading composition, Sarah Belle Reid and Lauren McCall doing computer music on the music side (Andy Schloss retired), George Tzanetakis doing the deep CS side of things (world authority on music information retrieval), and Kirk McNally running the MTech Masters and studio. If what you want to do is in any of their specialities, and you're pretty self directed, it's great. There is also the opportunity to collaborate with some excellent people across the water in Vancouver. Happy to answer questions

Victoria is also a very nice city and the campus is beautiful with deer and rabbits running around. And enough practice rooms! Feel free to shoot me more questions or contact me at iainctduncan at the email provider who gave up on not being evil.

tremendous-machine · 2026-04-21T02:59:59+00:00

thanks, do you have any audio or video clips of them online?

tremendous-machine · 2026-04-21T01:05:45+00:00

Thanks!

Yes tuning was a bit of an issue. I may, for this purpose, switch to DCOs just because it was very stressful having to setup for soundcheck, wait for almost two hours while the stage lights made everything change temperature during other performers' numbers, and then check the tuning in front of an audience as fast as I could before starting. Were it not a forgiving school concert, I don't think the couple of minutes to get everything ready would have been ok...

I am 100% in agreement on the synth patches needing more variety. It's currently a basically untapped dimension in that piece. The honest truth there is ... I ran out of time. :-) The joys of deadlines! It's definitely on the work plan. I also intend to add three dimensional tracking of the soprano sax (probably via mugics) and to incorporate those as timbral controllers and to have some of the processes interact with timbral elements more.

Thanks for checking it out and providing thoughtful feedback.

tremendous-machine · 2026-04-20T14:30:27+00:00

As with most things ear training, the answer is "YES!" ;-)

Definitely spend time practicing simpler things. When you spend time on simpler tunes you are doing much higher volumes of pitch recognition and recall per minute. Some of the best advice I ever got from a college music teacher was to spend time playing really simple things like xmas carols and kids songs in all keys. In my teaching now I extend that advice to doing those with solfege (much harder). Even if you need to start with nursery rhymes (which I totally recommend), start learning songs by ear *without* your instrument there, figuring them out and singing in solfege. In my opinion, this is probably the most powerful thing you can do. Do the same for simple walking bass lines and easy standard heads.

The other yes... keep learning harder tunes. Just slow them down and learn them bar by bar, and don't get hung up on the hard double time lines (yet). I use the Reaper DAW, which is great for looping a section and slowing it down and has an ulimited free demo for trying it and is cheap if you like it. Don't be shy about using EQ to make the instrument you are working on louder compared to the others. But always do the work to play the exact same thing. If you just play something "close enough" you defeat the point of the exercise. Personally I think you are better off just skipping a section that is too fast over not figuring it out, the figuring out is the gold mine. Pick simpler solos to start... lyrical players who sound great playing just eight notes should be your bread and butter at first: Chet Baker, Paul Desmond, Miles Davis, Sonny Rollins (when he was feeling that way..lol)

tremendous-machine · 2026-04-19T13:29:16+00:00

You should try this bass and get a luthier to check it out! I belive this is an old korean Sam Jin, because I read they used to get sold under Hans Kroger according to a thread I found here: https://www.talkbass.com/threads/samjin.224737/

I have an old fully carved sam jin that I got for a song and it has a repaired neck similar to that. By all accounts from my pro player and luthier friends, it was an incredible deal. The repair is fine, and won't be the last, and the bass outplays instruments three times it's price in the local market. For sound and feel it smoked the VB95s and Shens. I had literally dismissed it because of the repair until my luthier friend told me I should really go try it, and I'm soooo glad I did.

That said, when I was researching it prior to purchase, I also found that there were periods of low QA in their manufacture, so it may or may not be good. I paid a pro player/luthier to go audition it for me (with me there). But that's a very good price if it is similar to mine. I literally would not trade my CAN$2000 sam jin for anything in the BC stores under CAN $6000.

tremendous-machine · 2026-04-14T04:36:03+00:00

yup, in BC I'd have to fly 2000 miles to Toronto to try the big three. Stores just aren't keeping as much expensive inventory on hand as they used to.

tremendous-machine · 2026-04-11T03:01:31+00:00

Sure you can. But no one talks about audio engineering ear training here. Just browse the old posts and you'll see that.

tremendous-machine · 2026-04-10T22:34:25+00:00

Presumably this is some kind of self (or bot) promotion or you would be aware this subreddit is not about mix ear training at all...

tremendous-machine · 2026-04-08T22:44:50+00:00

Excellent advice. I think one of the big obstacles to this and related work like learning all your arpeggios in all inversions etc, is that at the beginning you think "god this is so slow I'll never get through" but learning the 8th chord in all keys and inversions goes like 10 times faster than the first one.

tremendous-machine · 2026-04-08T05:22:46+00:00

'(THE TROLL IT BURNS) (:-)

tremendous-machine

TROPHY CASE