[PD-cvs] externals/maxlib/help automata.txt,1.1.1.1,1.2 examplescore.txt,1.1.1.1,1.2 help-maxlib.pd,1.2,1.3

[eighthave at users.sourceforge.net]

Update of /cvsroot/pure-data/externals/maxlib/help
In directory sc8-pr-cvs1.sourceforge.net:/tmp/cvs-serv3876/help

Modified Files:
	automata.txt examplescore.txt help-maxlib.pd 
Log Message:


Checked in Olaf's 1.5.2 sources.  Here are the changes:

v 1.5.2 (17. december 2003):

- modified netclient for not to drop received data: use of syspollfn
  instead of clock to poll for incoming data, circular recv buffer

v 1.5 (18. october 2003):
- added some usefull features to arraycopy (i.e. copying just parts of
  an array and copying to specified position in destination array)
- new object: nchange
- IRIX 6.5 port (for GCC 3.3)
- OS X binary (Jaguar 10.2.6)

v 1.4 (22. may 2003):
- updated sources to compile with Pd0.37-test4
- new object: arraycopy

v 1.3 (12. april 2003):
- new objects: sync listfifo
- all setup routines renamed to maxlib_<object>_setup() to avoid name
  clashes, old names still work via class_addcreator()
- some improvements for the help files


Index: automata.txt
===================================================================
RCS file: /cvsroot/pure-data/externals/maxlib/help/automata.txt,v
retrieving revision 1.1.1.1
retrieving revision 1.2
diff -C2 -d -r1.1.1.1 -r1.2
*** automata.txt	20 Nov 2002 17:45:59 -0000	1.1.1.1
--- automata.txt	9 Mar 2004 03:51:27 -0000	1.2
***************
*** 1,178 ****
! [The following note originally appeared on the emusic-l mailing list.  It is
! reprinted here with the author's permission]
! 
! From xrjdm at FARSIDE.GSFC.NASA.GOV Wed Nov 23 11:26:39 1994
! Date: Tue, 4 Oct 1994 15:09:23 -0500
! From: Joe McMahon <xrjdm at FARSIDE.GSFC.NASA.GOV>
! Reply to: Electronic Music Discussion List <EMUSIC-L at AMERICAN.EDU>
! To: Multiple recipients of list EMUSIC-L <EMUSIC-L at AMERICAN.EDU>
! Subject: Automata: the long-awaited summary
! 
! Back in August, I think, I promised to post a quick intro to cellular
! automata and how they can be used as a sound-generation tool. Since I'm
! going to take a couple of different sources and sum them up with little or
! no direct attribution, combined with my own opinions, I'll give everybody
! my references *first* so they can delete the article and draw their own
! conclusions if they so prefer.
! 
! The primary reference that got me started on all this is one in the CMJ:
! Vol 14, No. 4, Winter 1990: "Digital Synthesis of Self-modifying Waveforms
! by Means of Cellular Automata" (Jacques Chareyon). Those who are already
! familiar with automata may just skip to that article and forget about the
! rest of this one.
! Note: the article gives a mail address for M. Chareyon, but he did not
! answer an inquiry about any available recordings using this technique in
! 1990.
! 
! So. Anyone still here? Good.
! 
! Cellular automata are a mathematical concept first introduced in the late
! 1940's. Generally speaking, a cellular automaton consists of a grid of
! cells. Each cell may take on any of a number of values - binary automata
! (cell on or cell off) are the most commonly studied. Each cell has a
! neighborhood, defined more simply as other cells which influence its state.
! The exact nature of this influence is defined by what are called transition
! rules. The cellular automaton starts off with some cells in any of the
! allowable states. for each "step" in the automaton's history, the
! neighborhood of every cell is checked, and the state of the cell is
! updated. All updates occur simultaneously.
! 
! The transition rule must describe the resulting state of a cell for every
! possible configuration of other cells in the neighborhood. For large
! numbers of states, the amount of memory required to hold the transition
! rule becomes increasingly large, Therefore, some automata use what is known
! as a "totalistic" rule. These rules simply sum the values of the cells in
! the neighborhood and then assign a result on this basis. The resulting
! tables are far smaller.
! 
! Many readers may already be familiar with John Horton Conway's game of
! "Life". This is a two-dimensional binary automaton with a totalistic rule.
! This makes for a very small rule set:
! 
!   i) If fewer than two filled cells (cells with value 1) surround a cell,
!      it becomes empty next generation.
!  ii) If more than three filled cells surround a cell, it becomes empty
!      next generation.
! iii) If exactly three cells filled cells surround a cell, it becomes
!      filled on the next generation.
! 
! This corresponds to a totalistic rule set with a total of 8(2-1)+1 or 9
! rules (one each for the sum values of 0 (no cells with a value) through 9
! (all cells with a value) ).If the transition rule were represented as a
! non-totalistic one, the rule set would need 2**8 or 256 entries. There are
! many interesting totalistic automata, so giving up detailed description of
! every nuance of the transitions to save memory space isn't a big sacrifice.
! 
! Interesting as two dimensional automata are, they really aren't terribly
! useful for music making. There have been some experiments which have
! attempted to use a two-dimensional automaton to generate MIDI events -
! synthesis at the note level, using :
! 
! Battista, T. and M. Giri, 1988. "Composizione Tramite Automi Cellulari."
! Atti del VII Cooloquio di Informatica Musicale. Rome, Italy: Edizione Arti
! Grafiche Ambrosini, pp. 181-182.
! 
! Edgar, R. and J. Ryan, 1986. "LINA" Exhibition of the 1986 International
! Computer Music Conference, San Francisco: Computer Music Association.
! 
! I have not heard any of the music from these efforts, so I certainly can't
! pass any judgement on them. For the purposes of this summary, we'll just
! look at one-dimensional automata. These use a linear array of cells, with
! the neighborhood generally being one or two cells on either side of each
! cell.
! (This is the type of automaton dealt with in M. Chareyon's article, which I
! will be paraphrasing broadly hereafter).
! 
! M. Chareyon's automata are wavetables. A digitized signal is stored as a
! linear array of numbers in memory. A totalistic rule is used to determine a
! lookup value which indexes into an array containing the resulting value;
! this is saved into a second array. After the first array is completely
! processed, the roles of the two are swapped and the process is repeated.
! 
! The limiting factor in this process is the number of bits of resolution
! being used to generate the sound. For a totalistic rule using a two-cell
! neighborhood and 12-bit individual samples, we have 3*(2*12) = 12288
! entries in the rule table. At 2 bytes each, this is  24K of storage. If we
! go to 16-bit sample resolution, we have 196608 entries at 2 bytes each for
! a total of 393216 bytes, or 384K.
! 
! The key point of M. Charyeon's method is the use of small neighborhoods
! with large numbers of cellular states. Since the computation of the new
! wavetable is all table lookup, very complex transition rules can be
! precomputed and loaded into the tables, allowing the synthesis to
! essentially be a fast sum-and-lookup loop to calculate each new wavesample.
! >From the article, it appears that M. Chareyon was able to produce 2 or 3
! voices in realtime on a Mac II with a Digidesign Sound Accelerator board.
! It seems that it would probably be possible to use an AV Mac to do it
! without the board.
! 
! This LASy (Linear Automaton Synthesis) method is closely related to the
! Karplus-Strong plucked-string algorithm, in that a wavesample is run
! through an algorithm which recirculates the samples to "self-modify" the
! wave. In fact, a judicious choice of table entries allows one to very
! simply simulate the K-S algoritm directly.
! 
! So what are the sounds like? Some automata produce waveforms which quickly
! "ramp-up" to complex spectra and then drop off quickly. Others move to a
! steady state and then remain there. Yet others produce never-ending and
! unpredictable waveforms, whose harmonic content is constantly changing.
! 
! Obviously enough, the original wavesample can be obtained mathematically,
! or by actual sampling and using LASy as a waveshaper. As M. Chareyon notes,
! a quick estimate of the number of possible automata for a 2-neighbor
! totalistic rule using a 256-entry wavetable with 12-bit entries is
! (2**12)**256 * (2**12)**(3*2**12) or about 10**4500 possible automata. Of
! course, many, many of these would not be suitable for music (e.g., the 4096
! automata in which all values go to one vlaue in one step, etc.); however,
! the number of musically useful automata is still likely to be an immense
! number.
! 
! M. Chareyon provides a number of examples of ways to fill out the rule
! tables and a number of hints on creating wave tables - generally speaking,
! one can create a function which is used to compute the values to be placed
! into the table and then fill it so it can simply be loaded and used by the
! basic algorithm. His experience in using LASy is that he manages
! approximately 50% of the time to produce sounds with the desired
! characteristics, and that about 10% of the remaining time he gets
! unexpected but useful results which can be used as starting points for
! further exploration.
! 
! Again, the important point is that the basic automaton uses wavesamples at
! full resolution, calculating a new wavesample for each step of the
! automaton; the next wavesample can be played while the new one is being
! calculated. Because of the large number of states, mathematical tools for
! the analysis of automata and the construction of automata with specifically
! desired qualities require too much storage and compute time to make them
! useful for LASy purposes.
! 
! Again, much of this article is paraphrased from M. Chareyon's article; I
! take no credit for any of the work in this note. I'm just summarizing.
! 
! The following other articles were referenced by M. Chareyon's article:
! 
! Burks, A., ed. 1970. Essays on Cellular Automata. Champaign/Urbana, IL:
! University of Illinois Press.
! 
! Chareyon, J. 1988a. "Sound Synthesis and Processing by Means of Linear
! Cellular Automata." Proceedings of the 1988 Internation Computer Music
! Conference. San Francisco: Computer Music Association.
! 
! Chareyon, J. 1988b. "Wavetable come Automa Cellulare: una Nuova Tecnica di
! Sintesi." Atti del VII Colloquio di Informatica Musicale, Rome, Italy:
! Edizioni Arti Grafiche Ambrosini, pp. 174-177.
! 
! Farmer, D., T. Toffoli, and S. Wolfram, eds. 1984. Cellular Automata.
! North-Holland Physics Publishing. [One of the definitive works on cellular
! automata - fairly heavy math, not a popular presentation - JM]
! 
! Gardner, M. 1970. "The Fantastic Combinations of John Conway's New Solitare
! Game 'Life'". Scientific American 223(4) 120-123. [A good introduction to
! cellular automata, focusing on 'life' in specific. Useful intro if my
! 1-paragraph summary of automata was confusing :) - JM]
! 
!  --- Joe M.
! 
! --
! "At the end of the hour, we'll have information on the sedatives used by
! the artists,,," (MST3K)
! 
--- 1,178 ----
! [The following note originally appeared on the emusic-l mailing list.  It is
! reprinted here with the author's permission]
! 
! From xrjdm at FARSIDE.GSFC.NASA.GOV Wed Nov 23 11:26:39 1994
! Date: Tue, 4 Oct 1994 15:09:23 -0500
! From: Joe McMahon <xrjdm at FARSIDE.GSFC.NASA.GOV>
! Reply to: Electronic Music Discussion List <EMUSIC-L at AMERICAN.EDU>
! To: Multiple recipients of list EMUSIC-L <EMUSIC-L at AMERICAN.EDU>
! Subject: Automata: the long-awaited summary
! 
! Back in August, I think, I promised to post a quick intro to cellular
! automata and how they can be used as a sound-generation tool. Since I'm
! going to take a couple of different sources and sum them up with little or
! no direct attribution, combined with my own opinions, I'll give everybody
! my references *first* so they can delete the article and draw their own
! conclusions if they so prefer.
! 
! The primary reference that got me started on all this is one in the CMJ:
! Vol 14, No. 4, Winter 1990: "Digital Synthesis of Self-modifying Waveforms
! by Means of Cellular Automata" (Jacques Chareyon). Those who are already
! familiar with automata may just skip to that article and forget about the
! rest of this one.
! Note: the article gives a mail address for M. Chareyon, but he did not
! answer an inquiry about any available recordings using this technique in
! 1990.
! 
! So. Anyone still here? Good.
! 
! Cellular automata are a mathematical concept first introduced in the late
! 1940's. Generally speaking, a cellular automaton consists of a grid of
! cells. Each cell may take on any of a number of values - binary automata
! (cell on or cell off) are the most commonly studied. Each cell has a
! neighborhood, defined more simply as other cells which influence its state.
! The exact nature of this influence is defined by what are called transition
! rules. The cellular automaton starts off with some cells in any of the
! allowable states. for each "step" in the automaton's history, the
! neighborhood of every cell is checked, and the state of the cell is
! updated. All updates occur simultaneously.
! 
! The transition rule must describe the resulting state of a cell for every
! possible configuration of other cells in the neighborhood. For large
! numbers of states, the amount of memory required to hold the transition
! rule becomes increasingly large, Therefore, some automata use what is known
! as a "totalistic" rule. These rules simply sum the values of the cells in
! the neighborhood and then assign a result on this basis. The resulting
! tables are far smaller.
! 
! Many readers may already be familiar with John Horton Conway's game of
! "Life". This is a two-dimensional binary automaton with a totalistic rule.
! This makes for a very small rule set:
! 
!   i) If fewer than two filled cells (cells with value 1) surround a cell,
!      it becomes empty next generation.
!  ii) If more than three filled cells surround a cell, it becomes empty
!      next generation.
! iii) If exactly three cells filled cells surround a cell, it becomes
!      filled on the next generation.
! 
! This corresponds to a totalistic rule set with a total of 8(2-1)+1 or 9
! rules (one each for the sum values of 0 (no cells with a value) through 9
! (all cells with a value) ).If the transition rule were represented as a
! non-totalistic one, the rule set would need 2**8 or 256 entries. There are
! many interesting totalistic automata, so giving up detailed description of
! every nuance of the transitions to save memory space isn't a big sacrifice.
! 
! Interesting as two dimensional automata are, they really aren't terribly
! useful for music making. There have been some experiments which have
! attempted to use a two-dimensional automaton to generate MIDI events -
! synthesis at the note level, using :
! 
! Battista, T. and M. Giri, 1988. "Composizione Tramite Automi Cellulari."
! Atti del VII Cooloquio di Informatica Musicale. Rome, Italy: Edizione Arti
! Grafiche Ambrosini, pp. 181-182.
! 
! Edgar, R. and J. Ryan, 1986. "LINA" Exhibition of the 1986 International
! Computer Music Conference, San Francisco: Computer Music Association.
! 
! I have not heard any of the music from these efforts, so I certainly can't
! pass any judgement on them. For the purposes of this summary, we'll just
! look at one-dimensional automata. These use a linear array of cells, with
! the neighborhood generally being one or two cells on either side of each
! cell.
! (This is the type of automaton dealt with in M. Chareyon's article, which I
! will be paraphrasing broadly hereafter).
! 
! M. Chareyon's automata are wavetables. A digitized signal is stored as a
! linear array of numbers in memory. A totalistic rule is used to determine a
! lookup value which indexes into an array containing the resulting value;
! this is saved into a second array. After the first array is completely
! processed, the roles of the two are swapped and the process is repeated.
! 
! The limiting factor in this process is the number of bits of resolution
! being used to generate the sound. For a totalistic rule using a two-cell
! neighborhood and 12-bit individual samples, we have 3*(2*12) = 12288
! entries in the rule table. At 2 bytes each, this is  24K of storage. If we
! go to 16-bit sample resolution, we have 196608 entries at 2 bytes each for
! a total of 393216 bytes, or 384K.
! 
! The key point of M. Charyeon's method is the use of small neighborhoods
! with large numbers of cellular states. Since the computation of the new
! wavetable is all table lookup, very complex transition rules can be
! precomputed and loaded into the tables, allowing the synthesis to
! essentially be a fast sum-and-lookup loop to calculate each new wavesample.
! >From the article, it appears that M. Chareyon was able to produce 2 or 3
! voices in realtime on a Mac II with a Digidesign Sound Accelerator board.
! It seems that it would probably be possible to use an AV Mac to do it
! without the board.
! 
! This LASy (Linear Automaton Synthesis) method is closely related to the
! Karplus-Strong plucked-string algorithm, in that a wavesample is run
! through an algorithm which recirculates the samples to "self-modify" the
! wave. In fact, a judicious choice of table entries allows one to very
! simply simulate the K-S algoritm directly.
! 
! So what are the sounds like? Some automata produce waveforms which quickly
! "ramp-up" to complex spectra and then drop off quickly. Others move to a
! steady state and then remain there. Yet others produce never-ending and
! unpredictable waveforms, whose harmonic content is constantly changing.
! 
! Obviously enough, the original wavesample can be obtained mathematically,
! or by actual sampling and using LASy as a waveshaper. As M. Chareyon notes,
! a quick estimate of the number of possible automata for a 2-neighbor
! totalistic rule using a 256-entry wavetable with 12-bit entries is
! (2**12)**256 * (2**12)**(3*2**12) or about 10**4500 possible automata. Of
! course, many, many of these would not be suitable for music (e.g., the 4096
! automata in which all values go to one vlaue in one step, etc.); however,
! the number of musically useful automata is still likely to be an immense
! number.
! 
! M. Chareyon provides a number of examples of ways to fill out the rule
! tables and a number of hints on creating wave tables - generally speaking,
! one can create a function which is used to compute the values to be placed
! into the table and then fill it so it can simply be loaded and used by the
! basic algorithm. His experience in using LASy is that he manages
! approximately 50% of the time to produce sounds with the desired
! characteristics, and that about 10% of the remaining time he gets
! unexpected but useful results which can be used as starting points for
! further exploration.
! 
! Again, the important point is that the basic automaton uses wavesamples at
! full resolution, calculating a new wavesample for each step of the
! automaton; the next wavesample can be played while the new one is being
! calculated. Because of the large number of states, mathematical tools for
! the analysis of automata and the construction of automata with specifically
! desired qualities require too much storage and compute time to make them
! useful for LASy purposes.
! 
! Again, much of this article is paraphrased from M. Chareyon's article; I
! take no credit for any of the work in this note. I'm just summarizing.
! 
! The following other articles were referenced by M. Chareyon's article:
! 
! Burks, A., ed. 1970. Essays on Cellular Automata. Champaign/Urbana, IL:
! University of Illinois Press.
! 
! Chareyon, J. 1988a. "Sound Synthesis and Processing by Means of Linear
! Cellular Automata." Proceedings of the 1988 Internation Computer Music
! Conference. San Francisco: Computer Music Association.
! 
! Chareyon, J. 1988b. "Wavetable come Automa Cellulare: una Nuova Tecnica di
! Sintesi." Atti del VII Colloquio di Informatica Musicale, Rome, Italy:
! Edizioni Arti Grafiche Ambrosini, pp. 174-177.
! 
! Farmer, D., T. Toffoli, and S. Wolfram, eds. 1984. Cellular Automata.
! North-Holland Physics Publishing. [One of the definitive works on cellular
! automata - fairly heavy math, not a popular presentation - JM]
! 
! Gardner, M. 1970. "The Fantastic Combinations of John Conway's New Solitare
! Game 'Life'". Scientific American 223(4) 120-123. [A good introduction to
! cellular automata, focusing on 'life' in specific. Useful intro if my
! 1-paragraph summary of automata was confusing :) - JM]
! 
!  --- Joe M.
! 
! --
! "At the end of the hour, we'll have information on the sedatives used by
! the artists,,," (MST3K)
! 

Index: examplescore.txt
===================================================================
RCS file: /cvsroot/pure-data/externals/maxlib/help/examplescore.txt,v
retrieving revision 1.1.1.1
retrieving revision 1.2
diff -C2 -d -r1.1.1.1 -r1.2
*** examplescore.txt	20 Nov 2002 17:45:59 -0000	1.1.1.1
--- examplescore.txt	9 Mar 2004 03:51:27 -0000	1.2
***************
*** 1,25 ****
! 60
! 61
! 62
! 63
! 64
! 65
! 66
! 67
! 68
! 69
! 70
! 71
! 72
! 71
! 70
! 69
! 68
! 67
! 66
! 65
! 64
! 63
! 62
! 61
  60
\ No newline at end of file
--- 1,25 ----
! 60
! 61
! 62
! 63
! 64
! 65
! 66
! 67
! 68
! 69
! 70
! 71
! 72
! 71
! 70
! 69
! 68
! 67
! 66
! 65
! 64
! 63
! 62
! 61
  60
\ No newline at end of file

Index: help-maxlib.pd
===================================================================
RCS file: /cvsroot/pure-data/externals/maxlib/help/help-maxlib.pd,v
retrieving revision 1.2
retrieving revision 1.3
diff -C2 -d -r1.2 -r1.3
*** help-maxlib.pd	29 Aug 2003 13:53:50 -0000	1.2
--- help-maxlib.pd	9 Mar 2004 03:51:27 -0000	1.3
***************
*** 1,119 ****
! #N canvas 11 6 1106 717 12;
! #X obj 274 260 average;
! #X obj 18 150 beat;
! #X obj 18 175 borax;
! #X obj 18 125 chord;
! #X obj 15 551 dist;
! #X obj 274 155 divide;
! #X obj 274 129 divmod;
! #X obj 599 149 fifo;
! #X obj 274 286 history;
! #X obj 601 503 ignore;
! #X obj 601 477 iso;
! #X obj 598 123 lifo;
! #X obj 274 312 match;
! #X obj 274 180 minus;
! #X obj 600 257 mlife;
! #X obj 274 207 multi;
! #X obj 15 576 netdist;
! #X obj 18 251 pitch;
! #X obj 274 234 plus;
! #X obj 601 425 pulse;
! #X obj 15 600 remote;
! #X obj 18 200 rhythm;
! #X obj 18 225 score array01;
! #X obj 601 451 speedlim;
! #X obj 601 529 step;
! #X obj 600 232 subst;
! #X text 140 44 written by Olaf Matthes <olaf.matthes at gmx.de>;
! #X text 71 125 chord detection;
! #X text 68 150 beat tracking;
! #X text 77 201 beat detection;
! #X text 72 176 music analysis;
! #X text 135 225 score following;
! #X text 72 251 pitch information;
! #X text 19 94 MUSIC / MIDI ANALYSIS;
! #X text 274 93 MATH;
! #X text 341 130 calculate / and %;
! #X text 339 155 / for several inputs;
! #X text 333 235 + for several inputs;
! #X text 333 207 * for several inputs;
! #X text 337 181 - for several inputs;
! #X text 345 259 average of last N values;
! #X text 346 285 average over last N seconds;
! #X text 329 312 match input to list of numbers;
! #X text 601 399 TIME;
! #X text 678 452 lets input through every N milliseconds;
! #X text 640 479 play sequence of MIDI notes;
! #X text 662 504 ignore too fast changing input;
! #X text 63 550 send to list of receive objects;
! #X text 84 574 same for netreceive;
! #X text 74 599 send to one receive object;
! #X text 597 96 BUFFER;
! #X text 648 531 a line object that steps;
! #X text 599 208 OTHER / EXPERIMENTAL;
! #X text 657 231 self-similar substitution;
! #X text 656 257 cellular automaton;
! #X obj 274 338 scale;
! #X text 656 425 a 'better' metro;
! #X obj 601 555 history;
! #X obj 601 581 velocity;
! #X text 670 555 average over last N milliseconds;
! #X text 677 581 velocity of input in digits per second;
! #X obj 15 624 netrec;
! #X text 74 625 netreceive with extra info about sender;
! #X obj 274 364 delta;
! #X text 139 61 download at http://www.akustische-kunst.org/puredata/maxlib
! ;
! #X obj 599 174 listfifo;
! #X text 677 173 first in first out for lists;
! #X text 646 148 first in first out for floats;
! #X text 643 123 last in first out for floats;
! #X obj 600 607 sync;
! #X text 645 609 extended trigger object;
! #X text 328 338 scale input to output range;
! #X text 13 528 (REMOTE)CONTROL;
! #X obj 16 649 netserver;
! #X obj 16 676 netclient;
! #X text 103 654 bidirectional communication;
! #X text 112 669 (client / server based);
! #X obj 274 392 wrap;
! #X obj 274 419 rewrap;
! #X text 320 392 warp a number in a range;
! #X text 337 420 warp it back and forth;
! #X text 30 26 maxlib 1.3 :: Music Analysis eXtensions LIBrary;
! #X text 328 364 calculate 1st or 2nd order diff.;
! #X text 600 288 RANDOM;
! #X obj 600 312 gauss;
! #X obj 600 337 poisson;
! #X obj 666 312 linear;
! #X obj 666 337 bilex;
! #X obj 736 311 expo;
! #X obj 785 311 beta;
! #X obj 834 312 cauchy;
! #X obj 737 338 arbran array01 array02;
! #X obj 18 278 gestalt;
! #X obj 18 303 edge;
! #X text 56 306 detect rising/falling edge;
! #X text 84 278 'gestalt' of music;
! #X obj 599 365 urn;
! #X text 632 366 urn selection model;
! #X obj 601 635 timebang;
! #X text 680 635 send a bang at given time of day;
! #X obj 15 390 split;
! #X obj 15 439 unroute;
! #X text 81 440 opposit to route;
! #X text 67 392 split according to range;
! #X obj 15 463 limit;
! #X text 63 464 limiter for floats;
! #X obj 15 415 nroute;
! #X text 69 416 r. according to Nth elem.;
! #X text 24 363 ROUTING / CHECKING;
! #X obj 600 661 pong;
! #X obj 18 330 tilt;
! #X obj 600 686 temperature;
! #X text 698 687 amount of input changes per time;
! #X text 646 662 a bouncing ball model;
! #X text 66 333 meassure tilt of input;
! #X obj 16 489 listfunnel;
! #X text 107 490 Max's funnel for lists;
--- 1,123 ----
! #N canvas 75 -12 1161 819 10;
! #X obj 307 260 average;
! #X obj 18 150 beat;
! #X obj 18 175 borax;
! #X obj 18 125 chord;
! #X obj 14 588 dist;
! #X obj 307 155 divide;
! #X obj 307 129 divmod;
! #X obj 656 148 fifo;
! #X obj 307 286 history;
! #X obj 403 577 ignore;
! #X obj 403 552 iso;
! #X obj 655 122 lifo;
! #X obj 307 312 match;
! #X obj 307 180 minus;
! #X obj 660 343 mlife;
! #X obj 307 207 multi;
! #X obj 14 613 netdist;
! #X obj 18 251 pitch;
! #X obj 307 234 plus;
! #X obj 403 499 pulse;
! #X obj 14 637 remote;
! #X obj 18 200 rhythm;
! #X obj 18 225 score array01;
! #X obj 403 525 speedlim;
! #X obj 403 603 step;
! #X obj 660 318 subst;
! #X text 140 44 written by Olaf Matthes <olaf.matthes at gmx.de>;
! #X text 71 125 chord detection;
! #X text 68 150 beat tracking;
! #X text 77 201 beat detection;
! #X text 72 176 music analysis;
! #X text 135 225 score following;
! #X text 72 251 pitch information;
! #X text 19 94 MUSIC / MIDI ANALYSIS;
! #X text 310 91 MATH;
! #X text 374 130 calculate / and %;
! #X text 372 155 / for several inputs;
! #X text 366 235 + for several inputs;
! #X text 366 207 * for several inputs;
! #X text 370 181 - for several inputs;
! #X text 378 259 average of last N values;
! #X text 379 285 average over last N seconds;
! #X text 362 312 match input to list of numbers;
! #X text 403 473 TIME;
! #X text 480 526 lets input through every N milliseconds;
! #X text 442 553 play sequence of MIDI notes;
! #X text 464 578 ignore too fast changing input;
! #X text 62 587 send to list of receive objects;
! #X text 83 611 same for netreceive;
! #X text 73 636 send to one receive object;
! #X text 654 95 BUFFER;
! #X text 450 605 a line object that steps;
! #X text 659 294 OTHER / EXPERIMENTAL;
! #X text 717 317 self-similar substitution;
! #X text 716 343 cellular automaton;
! #X obj 307 338 scale;
! #X text 458 499 a 'better' metro;
! #X obj 403 629 history;
! #X obj 403 655 velocity;
! #X text 472 629 average over last N milliseconds;
! #X text 479 655 velocity of input in digits per second;
! #X obj 14 661 netrec;
! #X text 73 662 netreceive with extra info about sender;
! #X obj 307 364 delta;
! #X text 139 61 download at http://www.akustische-kunst.org/puredata/maxlib
! ;
! #X obj 656 173 listfifo;
! #X text 734 172 first in first out for lists;
! #X text 703 147 first in first out for floats;
! #X text 700 122 last in first out for floats;
! #X obj 402 681 sync;
! #X text 447 683 extended trigger object;
! #X text 361 338 scale input to output range;
! #X text 12 565 (REMOTE)CONTROL;
! #X obj 15 686 netserver;
! #X obj 15 713 netclient;
! #X text 102 691 bidirectional communication;
! #X text 111 706 (client / server based);
! #X obj 307 392 wrap;
! #X obj 307 419 rewrap;
! #X text 353 392 warp a number in a range;
! #X text 370 420 warp it back and forth;
! #X text 361 364 calculate 1st or 2nd order diff.;
! #X text 660 374 RANDOM;
! #X obj 660 398 gauss;
! #X obj 660 423 poisson;
! #X obj 726 398 linear;
! #X obj 726 423 bilex;
! #X obj 796 397 expo;
! #X obj 845 397 beta;
! #X obj 894 398 cauchy;
! #X obj 797 424 arbran array01 array02;
! #X obj 18 278 gestalt;
! #X obj 18 303 edge;
! #X text 66 307 detect rising/falling edge;
! #X text 84 278 'gestalt' of music;
! #X obj 659 452 urn;
! #X text 692 452 urn selection model;
! #X obj 403 709 timebang;
! #X text 482 709 send a bang at given time of day;
! #X obj 15 390 split;
! #X obj 15 439 unroute;
! #X text 81 440 opposit to route;
! #X text 74 392 split according to range;
! #X obj 15 463 limit;
! #X text 63 464 limiter for floats;
! #X obj 15 415 nroute;
! #X text 80 414 r. according to Nth elem.;
! #X text 24 363 ROUTING / CHECKING;
! #X obj 402 735 pong;
! #X obj 18 330 tilt;
! #X obj 402 760 temperature;
! #X text 500 761 amount of input changes per time;
! #X text 448 736 a bouncing ball model;
! #X text 66 333 meassure tilt of input;
! #X obj 16 489 listfunnel;
! #X text 107 490 Max's funnel for lists;
! #X text 30 26 maxlib 1.5 :: Music Analysis eXtensions LIBrary;
! #X obj 656 201 arraycopy;
! #X text 741 202 copy from one array to another;
! #X obj 17 525 nchange s;
! #X text 89 526 change that exepts any kind of input;