[PD] software license for pd general patch?

[João Pais]

>> how does this auto generation works?
>
> See that the file is loading another source file (on its line 3), which
> you can find at http://gridflow.ca/svn/trunk/doc/locale/english.tcl ...
> the only important lines are the ones that say "say". (if you want to  
> know
> more about this, I will tell you more).

if/when I come back to manage my object list (and possibly make an update  
for the floss book), I'll get to this topic. for now I have no time.


>> I would like to keep updating my list, but in an automatic way.
>
> It might be easier to keep it updated automatically, but it depends what
> you want to write in that file. If it's essentially just the same  
> contents
> as the GridFlow Index pd file, then I can generate the file you want and
> bundle it with every version of GridFlow.

for the public, the same structure as is in the floss book: class name,  
short sentence with description. a better version would show for which OSs  
it works, and maybe some other internal remarks to the list manager.


>> that's the same thing. then you'll be loosing time by typing a score
>> which has always the same rhythm/tempo. better put a metro with a mod,
>> and you have it. the music for which the program is made is more like:
>
> Ah yeah, that's a good example score-wise.
>
> But then, the problems with such scores are things like the flirting too
> close to the "uncertainty principle" (tempo is used for a time too short
> to be really felt) and the "consonance" of tempos (13:10 can be quite  
> hard
> to distinguish from 4:3 in many circumstances, just like such ratios of
> frequencies can). But you picked extreme scores, and I can see very well
> how pieces of much lesser complexity than that can be a lot more
> followable by the ear _while_ at the same time having much of a use for a
> complex programmable super-metronome.

I won't go into the discussion if that notation makes sense - that's an  
old one, and not really productive. anyway, for good composers and  
performers, it's important to write/perform everything as it is there. for  
composers who just go into the train and copy the formulas, they won't  
notice the difference, and performers usually notice that they really  
don't care as much.

but it doesn't have to be used only by this people. the harpsichord  
teacher where I studied, Robert Hill (brother of the best harpsichord  
builder around, Keneth Hill), usually works with electronic metronomes to  
mark the barlines, in order to practice his rubato while playing (barocke  
or even earlier music, that is).