/tilted/

That is some really lovely work. Well done!

Outputting DMX is not a massive chore in terms of speed or memory. A full universe of DMX is only 512 x 8 bit numbers, with some start/stop etc thrown in. So, to store all these values in RAM would only require 512 bytes. The transfer speed is only slightly problematic (250kbaud). The real issue with DMX is that it is not state-based like MIDI, so you must keep the stream active at all times, or the state is dropped. (ie, with MIDI, you simply tell a synth to start playing a note, or move a controller to a position. It is assumed in the protocol that the synth will keep doing what you last told it, until you tell it to stop). Some DMX controlled devices will retain the last complete packet if the stream is dropped, but this is not specified by the protocol (though it has saved my ass many times ;) ) Edit: (So, what I'm saying is that DMX output has always been possible, but the core would not be able to do anything else... like running a sequencer application...)

first things first: Welcome Aboard! :) Secondly: Not quite the right section (really belongs in toubleshooting... sorta) Thirdly: Look around the uCApps site, as well as the wiki. Use the search function too, or stryd_one will hunt you down ;)

Not sure, but I really hope you didn't ship mine to the UK. Or - ss - tray - lee - uh ... (not to be confused with Östereich) :D

Nice! I really like the backlighting on the buttons.- I was contemplating something similar for my massive LC if I ever finish the damned thing! Those buttons look to be similar to the ones I have for the LC. How did you go about backlighting them?

I'm glad to hear everyone is having a good time with their chips... ... Where are my chips???! ;D

News: Input buffer / "differential line receiver" board complete. Switchpoint Matrix already complete. Output buffer / "differential line driver" soon. Everything else, as they say, is straight outta uCApps!

Possibly a grain thing, too. Very nice box! I only hope some of my wooden creations come out looking even half as good!! Alas, I have stupid fingers, and tend to say "nearly... nearly... nearly... crap!!" a lot.

Hey!! Leave me alone!

sorry, please clarify: 1) You have a control which does a "double event" and you want it to stop this. or 2) You have a control whic you want to do "double events" and you want to know if it is doable. Similar questions, quite different answers.

Would it help to track down a driver and manually install it before plugging in?

Um, it's a piece of gear, right? so... get it! ::)

One place where the great imperial metric thing is really getting weird is the SMD world. Some packages have imperial spacing, most have metric, and as Wil says, most thru-hole parts are imperial, too, so trying to route these using a CAD software with a specific grid gets to be "challenging" - read "irritating". Ahh, fun and games.

Whoops! Missed that! Welcome aboard!

These should be fine for a MB project. I've never seen tact switches like these in anything but momentary configuration, in fact I think the fundamental design precludes them from being toggled. TPS in this case just means "Tact Pushbutton Switch", and is added to help people find the listing. Truth be told, I'm not sure that these are the same as used in Boss pedals. The Boss pedal switches usually have a little knobby bit poking out the top which the pedal strikes. Perhaps the knobby bit is attached at the boss factory... That said, they would probably make a fair replacement if you were stuck. For the record, all you really need for a switch contact in the MB world is literally that: a switch contact. It can be anything, and if I recall, it doesn't even need to be momentary. (Momentary is easiest coding-wise though) Have fun!

How did I know that the Prof would be in to Fripp? Nice one the Prof. , bassman. You guys have probably heard enough from me for a while. Anyone else?

Try telling this to the Guiness World Record people. In 2000-and-something (can't remember, but somewhere between 2003 and 2007) there was a Guinness World Record attempt for longest continuous jazz concert. The attempt was made in Melbourne, out the front of the Victorian Arts Centre. A twin stage set-up was used to ensure there were no breaks between acts. While myself and three others were playing, we got a bit "experimental" (for want of a better term) and started throwing in little rests, up to a whopping 3 or maybe 4 beats... No dice. Apparently we blew the record attempt because of these rests. It should be noted that we never "stopped playing", but that the rests were about as silent as you can get on a live stage. The Guinness adjudicator dismissed the record attempt, apparently.

Looks interesting. Some of my favourite session whackos (and some of my less-favourite) went to berklee... Unfortunately, sign-up is required, and probably followed by advertising bombardment. ::) Might have a closer look when I get home though...

Since picking up this little tip, I've got quite a little collection of bookmarks going, several of which are because the only way I can access them is to add a new one!! (Actually, I am repeatedly deleting the unused ones, but this is a PITA to do... ::) )

Now now. Go easy. There's no need for name calling.

I think we've all come to an agreement that the place where you learn something is insignificant compared to what you learn, and what you experience. For my own, I've seen some pretty pedestrian musician/composers come out of university, and I've seen some amazing ones. I think that, at least as important as the lectures, etc. (or probably more important) are the contacts you make through institutionalised learning. Contacts with like-minded artists. The fundamental lack of these like-minded folk is the number one reason that I have TWICE walked out on tertiary study. It is unfortunate that prospective employers will often shortlist based on tertiary qualification or lack thereof, but hey, it's also unfortunate that you need money to buy food and pay rent, and that wars keep happening over mineral deposits. It's shit, but it seems to be a fact of life. You can go with it, you can rage against it, or you can try to do something about it. Stryd, be honest. Firstly I figure you don't have a billion music text books (even a billion books total), as I would probably be able to see the pile from my house!! Come to think of it, a billion university text books and dictionaries all stored at one house, would probably put a wobble in the Earth's axial rotation... :P Now, did you really truly get the books out to quote them in the forum with that definition, or did you (like most of us probably did) simply say how you really feel about music, what your own inherent definition is? The definition which just jumps directly to your mind, the moment someone says "music"? Just the same as you don't have to get out a dictionary to define the word "table", or "bucket". My first definition came only from experience, I certainly didn't go looking for lecture notes for it. Some things are just direct memory access, a mainline into the subconcious. A definition just waiting for a conversation... You asked for us (well, me and BF actually) to back up a statement/s we made. We simply mentioned that we had spent a lot of time working on this stuff. OK so we both mentioned that this time was also spent in a university. We have both also said that it doesn't matter how or where you learn these things, what matters is the immersion in the subject matter, the fact that you've given it thought before. But that's enough of that shit, again. It doesn't help the discussion along, it's what Brian Eno and/or Michael Stavrou (or maybe someone else... can't recall) refer to as "screwdriver mode". Like when you sit down to make music, and spend the whole time trying to change something in your setup, or to get that new synth patch just so. By the time you've worked out the nitty-gritty, the muse has left you, or the discussion in this case is getting lost to the semantics. So, anyway: I recognise that the piano down the stairs trick has been done. There are a lot of questions regarding music, and other art forms, which could almost be treated as koans. ie, they don't neccessarily need an answer. I've asked this question of a number of people (recently and previously) and it's always interesting to hear the different answers. It always works very well as a conversation starter. Back to the piano thing... Does it make a difference, whether there is an assembled audience for the dropped piano, or a recording device to capture the sound? It is only music if it intended to be heard by an audience? Go VIZ. Viz rawks.

So, what about if a removalist is moving a number of intruments, and drops them down a flight of stairs? Is a piano falling down some stairs music? What if a musician decides "I want to make a piece which is a piano falling down stairs."? Is it music now?

Anyhow, we're getting caught up a bit in the semantics of the language, and the tertiary education thing. What matters to me is that we're discussing it. And the emotion displayed here is testament to the fact that there are many different definitions, depending on the person.

See also, maybe we need to make a new forum section, for philisophical rantings... :P