Objects			page : 1 2 3
midicrypt	External		For quick exchanges of integers list between Macintosh and NeXT via MIDI
mididecrypt	External		For quick exchanges of integers list between Macintosh and NeXT via MIDI
Modal Prog	External		The Modal_Prog object takes n chord functions and displays the triads of user inputted chord progressions. created by V.J. Manzo The modal prog object takes a list of chords (as in a progression) in its right inlet and outputs each of those chords one at a time to the modal triad object when a bang is sent to the left inlet. The object integrates with the modal_triad object and will interpret any message that modal triad does. By default, a new list of chords triggered when a list is currently being played will sound on the next bang received. With the optional argument '@immediate 0', a new list of chords triggered when a list is currently being played will sound as soon as each chord from the first list has been played. created by V.J. Manzo www.vjmanzo.com | www.vincemanzo.com
Modal Triad	External		The Modal_Triad object generates chords in root position or inversions. It takes traditional chord names, chord function numbers, Roman numerals, tonicizations, etc. It even takes altered chords like Ebdom7b9#11. created by V.J. Manzo The modal triad object allows a user to play tertian chords of any quality. It receives scale data from the modal_change object and, when a tonic and mode is selected, the object receives the numbers 1-8 in its leftmost inlet to output the notes of the chord function associated with that number. For example, in major keys, the numbers 1, 4 and 5 are always major chords, 2, 3, and 6 are minor, so, if C Major is selected, a 2 sent to the modal_triad object will yield the notes of a d minor chord. For each selected chord, the notes of that chord are sent to the object’s 7 outlets in the following order: root, third, fifth, seventh, ninth, eleventh, thirteenth. Alterations like flat ninth or sharp eleventh are inferred by the chord function as it relates to the selected tonic and mode. The second inlet of the object allows the chord tones, received as pitch classes, to be restricted to one octave. The object also takes Roman numeral functions to yield chords. The standard capital Roman numerals for major, lower case Roman numerals for minor are used. A lower case Roman numeral iv in the key of C Major will yield an F minor chord regardless of the fact that chord has non-diatonic chord tones in it, the Ab. A capital Roman numeral with a plus sign next to it will yield an augmented chord, and a lowercase Roman numeral with a zero next to it will yield a diminished chord. In the same manner, a user can use letter names to build chords. A capital C will yield a C Major chord while a lower case e will yield an e minor chord. A capital C plus will yield an augmented chord and a lower case d zero will yield a d diminished chord. (set to C Major) This object also receives messages for tonicizations. A user can send the message Roman numeral V/5, to yield the 5 of 5 (a D Major chord in the key of C Major). The V Chord Tonicizations produce a Dominant 7th chord for each scale degree in the selected mode. That is, the root, 3rd, 5th, and 7th will form a Dominant 7th Chord exactly one perfect 5th above a given scale degree. The 9th, 11th, and 13th pitches of the chord are inferred according to the selected mode and NOT the mode from which the tonicizing chord prevails. Similarly the object allows other types of tonicizations including leading tone tonications and minor four tonicizations. Augmented 6th chords and Neopolitan chords can also be implemented. It even takes altered chords like Ebdom7b9#11. created by V.J. Manzo www.vjmanzo.com | www.vincemanzo.com
modal_line	Abstraction		The modal_line object operates similarly to the line object in terms of "ramping" from one number to the next. However, the ramp in modal_line only includes diatonic pitches of a specified mode. The modal_line object operates similarly to the line object in terms of "ramping" from one number to the next. However, the ramp in modal_line only includes diatonic pitches of a specified mode. created by V.J. Manzo vjmanzo.com/mol || vjmanzo.com
modal_pc_match	External		The modal_pc_match object takes an incoming note in its left inlet and compares it against the diatonic pitch classes of any scale. created by V.J. Manzo The modal_pc_match object takes an incoming note in its left inlet and compares it against the diatonic pitch classes of any scale as defined by the modal_change object. If the incoming pitch matches one of the pitch classes of the scale, the object outputs a bang from one of its first seven outlets. The object also defines the chromatic notes between diatonic scale degrees. If an incoming pitch matches a chromatic scale degree, the object outputs a bang from one of the next 14 outlets. For example, a C# played in the key of C Major is between scale degrees 1 & 2 - C & D - a whole step. An incoming C# in any octave will send a bang out of the outlet marked “Match Scale Degree #1” [read Sharp One]. The incoming note may also match a chromatic scale degree between a step and a half (3 semitones). In this case, two chromatic notes are next to each other separated by a half step. The lower of the two chromatic notes is referred to as the “#1” (assuming that the step and half interval is located between scale degrees 1 and 2 as is the case in the sixth mode of the harmonic minor scale, Lydian #2). The other chromatic note is closer to the higher scale degree and would be referred to as “b2”, thus the object would output the message “Match Scale Degree b2”. For example, imagine a G played in the key of A Harmonic Minor (between scale degrees 6 & 7 - F & G#). An F# is interpreted as “#6” and the G is interpreted as “b7”. Note: only the harmonic minor and harmonic major scales and their modes have two scale degrees separated by a step and a half. In addition to matching chromatic pitches, the modal_pc_match object also outputs the chromatic pitch classes out of its last 14 outlets. Note that this means some notes will be redundant. For example, scale degree_b2 will be the same pitch as scale degree_#1 in Major keys. Once again, this will not be the case in the modes of harmonic minor and harmonic major where two pitch classes are separated by 3 semitones. created by V.J. Manzo www.vjmanzo.com | www.vincemanzo.com
next	External		Detect logical separation of messages The next object sends out a bang out its left outlet when an incoming message is not part of the same Max "event" as a previous message. (An "event" is a mouse click, key press, MIDI event, or tick of the scheduler.) Otherwise, the next object sends a bang out its right outlet. Use the next object to do something once per dump of an object such as coll.
ParticleFilter	Javaclass (mxj)		particle filter object tracking "ParticleFilter.java (mxj external) implements a (slightly simplified) version of the popular particle filtering tracking algorithm. Basically, particles of a given target sample the image. Those with high probability mass (i.e. over a target's pixel) are more likely to be sampled in the next frame. In this way, a target's particles tend to stick with it."
pitch-from-row-mod	Abstraction		pitch generator Generates pitch classes from a row which underlies the principle of "row-modulation": the last note of the row is the first note of its next transposition (cf. Anton Webern and Leopold Spinner, "Reihenverschneidung").
readsf~	External		Readsf reads NeXT soundfiles in real time.
round	External		round to next higher integer 1 comment
selector~	External		Switch output among several input signals Switch output among several input signals. The selector~ object is a version of the Max switch object for signals. It takes an argument for number of inputs (one is the default) and lets you turn incoming signals on and off by sending an int to its left inlet. If there is more than one input, selector~ shuts off all inputs except the one you select, where 1 selects the input to the right of the leftmost inlet, 2 selects the next one to the right, etc. selector~ can also control the activation or deactivation of part of a signal processing network. For an example, see the begin~ help file. Note: "shutting off" a signal means disconnecting it from gate's output and outputting a zero signal instead. This is different from the behavior of the Max switch object.
sequence	Abstraction		outputs the next element of a list A bang in the left inlet outputs the next element of a supply sent to right inlet before. When the list is exhausted it is looped.
sfplay~	External		Soundfile playback Soundfile playback. sfplay~ plays AIFF, SD II, NeXT/SUN(.au), WAVE, and Raw Data files of 1-8 tracks from disk. To play a file, you send sfplay~ the open message, then send it a 1 to start and a 0 to stop. open takes an argument to specify a filename in the search path. You can also create additional cues with the preload message. These can reference other files, all of which are simultaneously accessible. The open message sets the "current" file: the one that plays back from the beginning when 1 is sent and is used as the default for the preload message. sfplay~ can also connect to the cues defined in an sflist~ object. Since multiple sfplay~ objects can reference the same sflist~, this allows you to store a global list of cues. See the sflist~ help file for more details. (be sure to open the "new features" sub patch to find out about variable speed playback, looping, triggering cues with audio signals, and more)
slicen	External		Slices a list into N sub-lists, specified by size Slices a list into N sub-lists, specified by size (e.g. [slicen 1 2 3] would have four outlets, and a list sent it would have its first member sent out the left, its next two out the next, its next three out the next and any remainder out the right outlet). (Hint: this may be helpful in combination with frame~...)
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