PEACE BE WITH YOU for Csound5/6 (2015) and PEACE BE WITH YOU 2 for Csound5/6 (2015) alternate editions that enable Android devices as MIDI controller Arthur B. Hunkins - arthunkins.com - abhunkin@uncg.edu PEACE BE WITH YOU and PEACE BE WITH YOU 2, both for Android devices, are alternate editions of the commandline versions of these compositions released previously for the Windows and Mac platforms, using conventional hardware controllers. (As with previous commandline versions, Csound5.14 or higher is required.) These alternates simply allow Android devices to act as the required controller (.csd's are still run on the Mac or PC). The two .touchosc files in this distribution are the GUI templates (called Layouts) that configure your Android device for MIDI performance. To accomplish this, the Android app TouchOSC must be installed, as well as the software tool, TouchBridge - the latter to your Mac or Windows PC. (Unfortunately, TouchBridge is not available for Linux; thus the Linux platform is not an option here.) The included .csd's are identical to the previously issued versions *using default parameters*. You can actually substitute these previous .csd's if you prefer, as long as you don't change values of the default macros. (The MOD and PAN macros can be changed, of course, just as in the included .csd's.) TouchOSC for Android can be purchased ($4.99) and downloaded from: https://play.google.com/store/apps/details?id=net.hexler.touchosc_a TouchOSC Bridge (TouchBridge - free) is available here: http://hexler.net/software/touchosc (see bottom of page) Documentation for TouchOSC: http://hexler.net/docs/touchosc TOUCHOSC SETUP There are two ways of setting up TouchOSC; both create wireless connections between your Android device and computer. One method requires a wireless network (a wireless router, but *not* modem and internet connection); the other needs portable hotspot capability on your device (Android devices since version 3.x usually include it). In either case, your *computer* must have wireless connectivity (desktop computers can use an inexpensive wireless USB adapter). Start by Downloading/installing TouchOSC to your device, and TouchOSC Bridge to your computer. Then copy your .touchosc layouts to a file (Downloads?) on your device. THE WIRELESS (WiFi) NETWORK METHOD 1) Open a WiFi network connection on your computer. 2) Run (open) TouchOSC Bridge on your computer. (A black icon with a "B" on it should appear in your taskbar). 3) On your device, connect to the same wireless network as your computer. (Settings | WiFi ON.) 4) On your device, open the TouchOSC app. Click MIDI Bridge. If your desired WiFi network is listed (under Found Hosts), select it. If not, on your Windows computer at the command prompt, enter ipconfig, and copy the ipaddress found to the Host field in MIDI Bridge on your device. For Macs, this procedure is different; for a description, see: http://hexler.net/docs/touchosc-appendix . 5) Back out of MIDI Bridge. 6) Under Settings, Import your .touchosc Layouts from the File to which you copied them (Downloads?). Then select your desired Layout. 7) Click Done. 8) Open and run your .csd on your computer - from the command prompt. 9) Perform on your TouchOSC layout! THE PORTABLE HOTSPOT METHOD (Android OS 3.x and up) Note: when available WiFi networks are weak, the portable hotspot method gives better results. Networks with low connectivity are less dependable, and can respond more slowly. 1) On your device (Settings | WiFi/More | Portable Hotspot | Select Portable Hotspot), turn on Portable WiFi Hotspot. (Doing so will turn off your usual WiFi connection if it is already on.) If you hadn't previously created your hotspot, click Set up WiFi Hotspot, select a security type and password. (If you've forgotten your password, check Show Password.) Remember your hotspot's name (SSID) and password (also called network key) for the following step. 2) On your computer, select your device's wireless hotspot (SSID) that is now available, using information from step 1. 3) Continue with step 4 of the Wireless Network Method. Note: the computer's ipaddress will not be the same for these two connection methods. However, the address will *not change* unless the *method of connecting* changes. GENERAL SETUP You will probably need to edit several flags near the beginning of your .csd performance file. (Do this in any text editor; your .csd is a text file.) You must insure that the values of -M0 (your MIDI input device #) and -odac[0] (your audio output device #) match your system. Simply substitute a high number, such as -M99 and -odac99, for the zeros and run the file. The performance will immediately abort and display a list of valid device numbers on your system. Once you identify the appropriate numbers (there should be an input device # for TouchBridge), go back and put them in place of the zeros. Alternately, you can simply insert these flags/values on the command line. WHAT THE SLIDERS DO PEACE BE WITH YOU utilizes 9 basic sliders for 3 "tones"; and PEACE BE WITH YOU 2, 12 sliders for 4 tones. (An additional set of 3 or 4 sliders determines MANUAL PAN position for the tones, when this option is selected via the PAN macro.) All "tones" are identical (this includes the set of inharmonic partials that determines tone quality.) It is the set of three controllers that independently vary their pitch, volume and tone color (spread of inharmonic partials). The first controller per set determines volume; the second, frequency (through an approximately 2-octave range from 400Hz up); the third, inharmonic content/spread. At zero, this third control adds no inharmonics; when raised, it adds increasing varied inharmonic content over an expanding range of partials. Due to filtering, this content lies primarily above the basic pitch. Also, since random variation is added to this setting, the inharmonics present, and their emphasis, constantly change within the overall spectrum. The *total* spectrum, however, is constant, and is always relative to the current basic pitch as determined by the second controller. With the first and third sliders of each set, *glide smoothly* from a previous setting to a new one; no jumps. PERFORMANCE INSTRUCTIONS 1) The second slider (governing a note's "frequency factor" - ranging from 1 to 3.8) requires very precise adjustment, indeed to a precise MIDI integer. (This means that 128 specific values must be located on the given control!) Current frequency factors for all tones are printed to the commandline output. In this way, very specific frequencies and beat patterns can be chosen (for the second slider) - both during pre-planning and actual performance. 2) Except at the beginning and end of a performance at least two voices should be simultaneously sounding in both three- and four-voice versions. In the latter, three- and four-voice textures should predominate. 3) Each new note should be introduced as pure basic frequency with its third slider set to zero, so as to beat prominently with some partial of an already sounding note. This may well entail raising its level initially higher (to emphasize the beating), then lowering volume when you start adding inharmonics. Beat speed should be fairly slow to moderate - not to exceed 2-3Hz. 4) The two prime criteria for selecting a new frequency (as displayed on the commandline) are: a) as stated above, that the new frequency should beat appropriately with an already sounding partial; and b) that the new sonority (with inharmonics) be euphonious with other sounding notes. (The "euphoniousness" can be adjusted somewhat by the inharmonic spread that the third controller determines.) This requires careful preplanning of the note/tone sequence. In the final analysis, overall "euphiousness" is a more important factor than beating. 5) The above criteria can be met by testing various combinations of frequency factors and inharmonic spreads, and performing in sequence those that "work" together. Note that frequency is only changed while the tone's volume is zero. (When a tone is exiting, volume can be reduced before or after inharmonics are zeroed.) Care should be taken not to allow *any* frequency factor changes while a tone is sounding. 6) Tones set to the same frequency factor will always sound euphonious. (This is of course true of both minimum [1] and maximum [3.8] factors. Since these values are easily set/tuned, they are excellent choices for beginnings and endings.) In general, "euphiousness" is enhanced when two or more tones are set to the same frequency factor. This is because small random frequency fluctuations that cause beating are built into the basic tones themselves.