Remove old notes files and copy contents to jrnl/piano.pd

doc/kc_play_directions.txt

@@ -1,53 +0,0 @@
-0) Log-in to Mac as 'kevin'.
-
-1)  Setup hardware
-  a. Turn on MOTU Traveler (MOTU Audio Setup window shows up on Mac)
-  b. Turn on mixer.
-      Channel 1: Transformation Left  (Mute button down)
-              2: Transformation Right (Mute button down)
-	      3: Dry Piano Left       (Mute button up)
-	      4: Dry Piano Right      (Mute button up)
-      
-2) Start Ivory
-   a. Insert ILOK
-   b. Select Ivory Standalone from Mac Menu.
-   c. Select 'Program Preset' "German Concert D Grand"
-   d. Audio | Device = Soundflower (2ch)
-
-3) Start 'kc'
-   a. Right click on: src | kc | build | osx | debug | bin | kc
-      and select 'Open'.
-      
-   b. The grey 'kc' window will open and a white terminal window
-      will open behind it.  The terminal window will end with
-      the message:
-      "UDP Network error: The JSON 'udpnet' element was not found. (RC:9)"
-      (Contrary to what it says this is a not an error message.)
-      
-   c. Select the 'Enable Audio' checkbox. Some text will be printed
-      to the terminal window.  
-   
-       mode:1
-       mode:1
-       wsn:2048 hsn:512
-       wsn:1024 hsn:256
-       wsn:2048 hsn:512
-       wsn:1024 hsn:256
-       mode:1
-       mode:1
-       /Users/kevin/temp/score_temp.mid : 0
-       A7 : 0
-       /Users/kevin/temp/score_temp.mid : 0
-       A7 : 0
-
-    d. Select the 'Main' tab.
-    
-    e. Push the 'Start' button to begin playback.
-       If playback does not start and errors show up in the
-       terminal window goto a.
-
-    f. By default playback begins from measure 1.
-       To begin playback from a different measure
-       enter the measure number in the edit box
-       labelled 'meas' and preset enter.
-     

doc/new_dsp.txt

@@ -1,124 +0,0 @@
-
-
-
-
-
-ain   audio_in chs:2  gain:[.5 .3]
-lpf   bquad    chs:2  type:[lpf hpf] fc:100 Q:3.2
-aout  audio_out chs:2 gain:.4
-
-
-igain.val ->  gain.ain
-
-ain.out -> in.lpf.out -> in.aout
-                      -> in.oscope
-
-
-
-ain.out[0] -> [0].in.lpf.out ->in.aout
-
-
-Built-in Data Types:
---------------------
-bool
-int
-uint
-float
-double
-symbol
-string
-
-boolM
-intM
-uintM
-floatM
-doubleM
-symbolM
-stringM
-
-function
-
-array   : mixed type arrays 
-struct  : user definable structures
-
-
-Support Functions:
-copy()
-toString()
-fromString()
-Math Op's.
-String Op's.
-Custom ops of the form: function( const struct* inputs, struct* outputs ).  
-
-
-
-Functions:
-----------
-List of named inputs and outputs, implemented according to the
-above data types, along with known functions:
-
-Constructor()  : Allocate object based on resource struct.
-Destructor()   : Release object.
-Setup()        : Determine runtime configuration based on input types.
-Exec()         : Audio rate execution.
-SetInput()     : Control rate updates.
-GetValue()     : Query state values.
-StoreState()   : Store the current state of the object as a preset.
-RestoreState() : Recall a previously stored preset.
-
-
-User Interface:
----------------
-The user interface is formed by instantiating user interface
-elements for function inputs.  In this way most user interface
-elements do not have to be explicitely connected because they
-are inherently connected.  This does not preclude either
-connecting the same control to other functions or the use
-of UI-only functions.
-
-
-Sub-Programs:
--------------
-
-
-
-Generic System Changes:
------------------------
-1) Error handling:
-  - Use a predefined set of generic error codes with the possiblity of
-  adding custom codes.
-
-  - Use a generic error handler macro which jumps to 'errLabel' on fail.
-    cmErrTry( err, rc, function_returning_error_code() )
-    cmErrTryMsg( err, rc, function_returning_error_code(), "Error msg  %i ", value );
-
-
-  - Global functions, (i.e, those functions which do not have a manager) should
-    take optional error object points.  These functions include memory mgmt,
-    file mgmt, text mgmt, ...
-
-2) Develop a transparent, multi-dimensional, matrix class.
-
-3) cmCtx_t extensions.
-  - The cmCtx_t context should be considered a singleton global object, whose
-  life extends for the entire program.  This will eliminate needing to duplicate
-  the context.
-
-  - Possibly add a JSON tree to pass global program cfg. information.
-
-4) Simplify the low level processing object design.
-  - Eliminate the alternative cmCtx type and use the cmCtx_t class.
-  - Eliminate the distinction between allocation and initialization.
-
-5) Make use of thread local memory for allocating scratch memory
-   which does not need to be deleted.
-
-6) Add a cmMemPrintf() function to create dynamcially allocated formatted strings.
-
-7) Figure out the text encoding thing.
-
-8) Eliminate the cmXXXIsValid() function - this can be provided
-   by a generic function (or macro).
-
-9) Make the documentation work from the start.
-

doc/notes.txt

@@ -1,847 +0,0 @@
-CONTENTS:
-
-1) TODO List
-2) OSX Install Notes
-
-
-SPAT LAB SETUP:
-+ 1. Stereo
-    a. TotalMix - select 'diff. stereo' snapshot
-    b. mixer: Recall preset 91 ('stereo diff')
-+ 2. Direct - 24 channels - each channel goes in and out on same number.
-    a. TotalMix - select 'DTS_24ch'
-    b. mixer: Recall preset 96 ('24ch firecac ufx')
-
-=============================================================================
-Equipment List:
-
-1) Two DPA 4011 cardioid mic's.
-2) Two boom mic. stands.
-3) FMR Audio RNP8380 pre-amp.
-4) Presonus Audiobox 181VLS.
-5) Mackie 1604 or equivalent mixer.
-6) One MIDI cable (15-20 feet)
-7) Four 25 foot power extension cables.
-8) Two power strips.
-9) Eight short (3-4 ft) balanced 1/4" cables.
-10) 8 (25 ft) XLR mic cables.
-11) 4 balanced 1/4" to male XLR cables (10 ft)
-12) 2 balanced 1/4" to female XLR cables (10 ft)
-13) One set of the best headphones you can give me.
-14) Diskclavier remote control,power supply, and manual.
-
-0) Contact Mics
-1) MIDI interface and USB
-2) MIDI cable
-3) MIDI barrel adapter
-4) Speakers
-5) Speaker power cables
-6) Tape for contact mics 
-7) Scissors for contact mics
-
-=============================================================================
-Take sequence builder development notes.
-
-1. The MIDI file implementation should not overload the use of the
-   'dtick' field in cmMidiTrackMsg_t to contain multiple possible
-   meanings of time (e.g. tick,microsecond,seconds,samples etc) or at
-   the very least the current meaning of the field should be held as a
-   flag in the MIDI file.  As it i s the field is ambiguous and it can
-   be difficult to tell what the meaning of the field is in any given
-   algorithm that processes it.
-
-2. Sostenuto pedal should be added to the score and then implemented
-   in cmMidiFileCalcDurations().  When the sostenuto pedal is down
-   only notes that are playing when the pedal is depressed are
-   sustained.
-
-3 As current written the UI control architecture supports only one
-  user interface element (kcApp.h::ctl_t) per DSP instance. This
-  limitation is manifest in kcApp.h::find_ctl() which has no way
-  to distiguish which of multiple ctl_t's to return from a given
-  instId. In fact this problem probably goes deeper into the 
-  way that Fl_Widgets and DSP instances are assocated.
-
-4. TODO:
-  a) When pedal events are inserted via cmGrTksrFltk the inserted event
-  is shifted backward in time.
-
-  b) Test the save/restore function of TakeSeqBldr render takes.
-  c) TakeSeqBldr load should be threaded.
-  d) Eliminate direct communication between cmGrTksb/rFltk and cmTakeSeqBldr.
-  All communcation should be serialized.
-  e) Run with valgrind to see if cmGrGksb/rFltk has any obvious bugs.
-  f) bar select / take select logic is difficult.
-  g) There is often a NAN shown in the position select display UI.
-  h) Add bars to the cmGrTksrFltk view.
-
-=============================================================================
-CHANGES TO SIMULATE MODE TO ALLOW MIDI FILE PLAYER TO DRIVE SCORE
-FOLLOWER DIRECTLY RATHER THAN FEEDING SCORE FOLLOWER FROM MIDI INPUT PORT:
-
-CHANGE:
-  LINE 1150 cmDspSysInstallCb(h, siRt, "f-out-1", sfp,  "smpidx",NULL );
-       1154 cmDspSysInstallCb(h, d0Rt, "f-out-1", sfp,  "d0",    NULL );
-       1160 cmDspSysInstallCb(h, d1Rt, "f-out-1", sfp,  "d1",    NULL );
-       1166 cmDspSysInstallCb(h, stRt, "f-out-1", sfp,  "status",NULL );
-
-BACK TO:
-  cmDspSysInstallCb(h, siRt, "f-out-0", sfp,  "smpidx",NULL );
-  cmDspSysInstallCb(h, d0Rt, "f-out-0", sfp,  "d0",    NULL );
-  cmDspSysInstallCb(h, d1Rt, "f-out-0", sfp,  "d1",    NULL );
-  cmDspSysInstallCb(h, stRt, "f-out-0", sfp,  "status",NULL );
-
-
-=============================================================================
-Session Notes 3/28/15
-1. 34-38-49-54 (good take sequence)
-2. Try combining bins in the SpecDist algorithm as a variaion on the spectral distortion algorithm.
-   For example the bins coud be combined using a Bark grouping.
-
-
-Session Notes 12/12/14
-1. Write a tool to create multiple MIDI preformances of the piece.
-  a) Map each segment to the score using the score follower.
-  b) Where parts overlap allow interactive selection of which part should be selected.
-  c) Where parts are missing - insert notes from the score.
-  d) Display the pedal and allow it to be edited.
-  e) Allow parameter changes to be assigned to performance locations.
-
-
-Session Notes 11/08/14
-1.  127 dynamic level values are not adequate. 
-    we loose quiet notes.  the new Steinway instr. should have more velocity bits.
-
-2. Display the next target score location of cmScModulator() so that it is clear
-   that cmScoreModulator() is waiting for a score location in the expected place.
-   Adding a button to dump the cmScModulator() score might also be useful.
-
-3. JSON parser errors are being sent to the terminal output not the console
-   output - so they are not easy to not notice. 
-
-4. We need transitsions
-   We need to be able to audtion presets faster
-   We need to insert missing pedal information.
-   
-5. Build a complete MIDI version of the piece so that long sections can be run.
-
-Session Notes: 10/18/14
-1) Contact and air mics ogain all set to 1.0
-   Sometimes igain on air mics reduced to control feedback.
-   Speakers are 10 ft in front of piano
-
-   AudioBox Gains all at 10 oclock.
-   FMR Preamp 2nd notch on air mics
-   Mixer 2.5 kHz 10 oclock, 80 Hz 9 oclock.
-   Mixer in gains 11 oclock w/ 75 Hz low cut engaged
-
-2) Need input Eq for contact mic's. LP,BP,HP with adjustable xover Fc and Gain.
-
-3) Preset G works best. With 'offset' used to control radicalization between 20 and 80.
-
-4) Add a control cmSpecDist() to interpolate between the input and output
-   spectrum.  This would allow a smooth transition between transformed
-   and untransformed signal.
-
-   The interpolation can be made to be frequency dependent.  This could
-   also be used to counter the bass boost which the transform tends
-   to produce.
-
-5) Add 'offset' as a modulator variable.
-6) Are the dynamic modulator parameter controls working: line, sline
-7) Many of the modulator file labels are redundant - can they be left out?   
-   (When modulator file values are missing they  should default to their last set value).
-
-8) When the score follower triggers a change the change seems to come
-   before the Disklavier note sounds due to Disklavier system latency.
-   Add a delay to the input of scMod to compensate for this delay.
-
-9) The scMod data file would be easier to work with if it was in columnar form.
-
-Session Notes: 9/28/14
-1) Problems with feedback were mitigated by brining down the input gain.
-   In generate the input/output gain were set to:
-      In Gain:  0.7 0.2
-      Out Gain: 2.0 2.0
-2) Turning the piano away from the microphones also reduced feedback; probably
-   due to the fact that the piano lid sheilds the mic's from direct path
-   from the speakers.
-3) Increasing the threshold and and use of mode 4 (Bump Mode) produced the
-   best transformations.  See Preset G in mod_44_45.js
-4) Input signal conditioning needs to be added to keep the piano signal 
-   in the effective range of the transform.
-5) The Sine Tracking feedback controller is in an uncertain state.
-    a. The attenThresh setting range needs to be verified.
-    b. The scoring function was changed and then not verified.
-    c. The algorithm which compares the trajectory of a given harmonic
-    to the trajectory of the overall sound needs to be writen.  
-    Harmonics that are increasing relative the overall envelope
-    should be attenuated.
-6) A noise gate might help the reberberation feedback problem (i.e.
-   the dense wash of sound with tends to build with time)
-7) The transform algorithm needs to be developed further to increase
-   it's reliability and range of effect.
-8) Changing window length from the score didn't seem to be working.
-
-Session Notes: 8/24/14
-0) Investigate using omni mic. in front of speakers to feed input to cmFrqTrk.
-1) Feedback from Mark 178, m144, Preset C.
-
-
-Session Notes: 5/24/14
-1) Move mic's back from the Disklavier to decrease damper noise.
-2) The head phone signal sounds correct.
-3) The the L410 computer is running out of time in release mode.
-4) Better quality speakers are required.
-5) Build a spectrum analyzer and bank of notch filters or graphic EQ to deal with feedback.
-6) The DPA 4011 mics and FMR Audio RNP8380 preamp work well.
-7) Whenever the speaker signal gets to the point where the transform can be heard 
-   the feedback begins to occur.
-
-Session Notes: 1/14/14
-1) The non-grace evenness notes should include a tempo quality evaluation 
-   based on using the 'tfrac' values from column S of the score.
-2) Sliver fade outs are currently tied to the reat-time performance not the captured performance.
-   In the event that the score follower is lost after beginning a sliver playback
-   and therefore misses the programmed fade out times begin fading out the 
-   sliver after the attack of the last captured note.  This means that 
-   the time location of the captured notes must be accurately indicated
-   in the sliver.
-3) Allow fades to be tied to the capture notes - this is easy if 2) is done first.
-
-
-LANGUAGE NOTES:
-The primary goal of the language is to initialize a dataflow system.
-Sub-goals:
-1) Avoid describing domain specific computation in the language. As much as possible constrain the 
-language to describe initialization tasks (e.g. object allocation, object connection, initialization
-parameters, preset grouping, thread/process allocation, UI layout, ...)
-
-2) Network Distrubution
-3) UI Layout
-
-Runtime:
-+ Extensible data-object system.
-+ Library organization (platform independent UI description, application objects, app-independent objects, vector library)
-  - Platform independent UI description is a protocol for describing a UI object and a runtime protocol
-  for communitcating with the UI which is independent of the UI implementation itself.  The UI should be
-  implementable in FLTK, or Javascript.  The UI will always run in separate thread and may run in a 
-  separate process.
-  - Application objects are plug-ins which follow a similar design to the cmDspProc() objects.
-    + xs
-
-NEW DESIGN NOTES:
-+ The current designs fundamental weakness is that it uses callbacks to communicate where sequential program 
-  flow would produce a more comprehensible program.
-
-+ Dataflow is a natural way to express DSP programs but if it is implemented in a textual, rather than 
-  graphical language, then their are some design princles that must be followed in order
-  to produce comprehensible programs.
-  1) Limit the number of connections as much as possible.
-     - There are many simple UI->param connections - these should be made automatically and UI
-     objects should not have to be explicitely created - they should be created by the runtime 
-     environment.
-     - If multiple pieces of data are part of a single message then they should be sent as a unit
-     rather than separately. This decreases the number of connections and also removes timing
-     dependencies - where the application programmer has to know the order of transmission of the
-     individual pieces. (e.g. MIDI messages always contain {status,d0,d1} rather than having to
-     send d0 and d1 followed by status to indicate the end of the message {status,d0,d1} should
-     be sent as a single record.
-  2) Eliminate as many event ordering issues as possible 
-     See the example in 1).
-  3) Alllow the connections between objects to be made as part of the object allocation.
-  4) Allow subprograms to be made. This decreases the complexity of the programs and because
-  it allows the programs to be organized hierarchically.  It also allows the subprograms to
-     be tested idenpendently.
-  5) A natural way to express object multiplicity is required. (e.g. multiple channels).
-     This leads to a way to naturally create parallel/fan-in/fan-out connections.
-  
-+ One way to solve some of the problems of the current program would be to add debugging tools.
-  - Generate dataflow diagrams that show execution order and the order of connections.
-    The actual sending order of the outputs is not accessible to a static network analyzer because it is
-    implementation dependent. 
-  - Generate reports of network activity that show the timed order of events.
-+  The audio system (cmAudioSys) needs to be able to support multiple parallel DSP chains in separate threads.
-+  UI Related Issues:
-   - Automatic UI's should be generated by scanning the objects parameters.
-   - Custom UI's should be created by explicitily naming object variables along with layout info.
-+  Processors should be able to contain their own processing chains - embeddding processors should be possible.
-   This naturally leads to a tree address space.  (e.g. fx.filter.param1)
-+  Communication between threads should not necessarily require serialization. 
-   - Use a blackboard approach where object values are read/written from a blackboard. Objects on the same
-     thread use the same physical blackboard. Blackboards on remote processes stream data in the background.
-   - This scheme may require double buffering of complex objects to prevent accessing invalid data states.  
-+  Objects that send multiple valued messages should use 'record' based data so that only one connection
-   is necessary.
-
-STRATEGY:
-+ implement highly parallel version - which can take advantage of multiple processors
-  to do more - acoustic pitch tracking, source separation based fades
-
-TODO:
-+ When a cmMsgList item is selected it should send out the selected index 
-  after the individual data items rather than before them - this way the index
-  can be used as a definitive signal to perform some action on the previously
-  transmitted data items.
-+ cmJson and cmLex should report the name of the file when with syntax error messages.
-+ Use CSV for mod score file format (to eliminate need for labels)
-+ Autoload of default pgm cfg, program, enable audio, sequence, score location.
-+ (done) Circuit switcher patch.
-+ Review and document the app threading and locking during audio file loading.
-+ Remove old performance evaluation code from cmScore.
-+ All programs should be able to reload without crashing via enabling/disabling audio.
-+ (in new version) Select and save audio devices.
-+ (done) Mac Conversion
-+ (done) Live MIDI - to test audio/MIDI delay.
-+ (done) As threshold increases overall volume decreases - add a compensation algorithm.
-+ There are unintialized variable warnings on the release build.
-+ Add preset delete.
-+ All uses of va_copy() should have a complimentary va_end() 
-+ The list boxes do not show the currently selected item.
-+ (done)MIDI note messages are sent but do not trigger notes on OSX. 
-
-*** Usage Notes
-live     - Disconnects WT cmd input   (WT will not receive an 'on' msg)
-           Disconnects TL reset input (TL will not receive a 'reset' msg)
-	   Disconnects MFP sel input  (MPF will not receive an 'on' msg)
-	   Switches audio input to KR from WT to AIN.
-	   Turn the 'meas' checkbox 'on'.
-	   
-simulate - Turn the 'audio in' checkbox 'on'.
-	   Switch MFP output from SF to Nano. 
-           (SF MIDI input then comes from the MIDI port.)
-
-audio in - Switch audio input to KR from WT to AIN.
-meas     - Instruct the SF to generate measurement outputs for the active meas. unit.
-	   Otherwise the measurements must be loaded from the recorded measurment list.
-print    - Print a report from the SF.
-quiet    - Turn off SF output.
-
-LA Secs  - Fragment recd/play unit look-ahead time in seconds.
-Fade DbpSec - Framgent recd/play unit fade out time 
-              (time to fade to 0 following a fade msg)	
-
-*** Cross-fade Notes
-Cross-fades are initiated by sending any msg to the 'AvailCh.trig' input.
-The 'AvailCh' object then  toggles the parameter router channels and xfader gates.
-Only after this should the new parameter values be transmitted either from
-the 'ActiveMeas' object (through the scale range chains) or directly from the
-'ScMod' object.
-
-Sending parameter values prior to triggering the 'AvailCh' will result in the
-parameters being sent to the currently active 'Kr'. This will result in two
-possibly unintended effects: 
-1) The effect of the parameter will be heard immediately - possibly resulting in distortion.
-2) If a subsequent trigger is sent to 'AvailCh' the parameters will be routed to
-   the fade-out (current) channel rather than the fade-in (next) channel.
- 
-
-****  Live Test Score
-+ Line 1048 has a red G#5 immediiately following another G#5. Is this correct?
-  For now the second G#5 has been marked as a 'skip'.
-+ Changed Tempo sections 25,26,27 to 40,47,47a
-+ Measurements are taken for sections 51-54 but these sections follow bar 136 and
-  are therefore outside the test.  These sections have therefore been redirected
-  to the downbeat of 201-204.
-
-*** Testing Notes:
-+ Equipment List:
-   Four Microphones: Four performance/ Four recording
-                     2 inside          2 inside
-                     2 overhead        2 overhead
-
-   4 powered speakers
-   2 Mixers   (1 performance 1 recording)
-   
-   Performance Computer (harpo)/ Audio Interface (delta1010) / MIDI interface (Fastlane)
-   Recording Computer (crel)   / Audio Interface (delta 1010) / MIDI interface (???)
-   Sensor Strip	      
-
-+ Performance Setup
-   
-                     +------ +
-    Mic0 ----------->|       |
-    Mic1 ----------->|       | sends  +-----+       +-------+
-    Mic2 ----------->|       |------->| A/D |       |       |        +------+      +--------+
-    Mic3 ----------->| Mixer |------->|     |------>| harpo |<-------| MIDI |<-----| sensor |    
-              aux    |       |        |     |       |       |        +------+      | strip  |
-    Spkr0 <----------|       |<-------|     |<------|       |                      +--------+
-    Spkr1 <----------|       |<-------|     |       +------ +
-              main   |       |        |     |
-    Spkr2 <----------|       |<-------| D/A |
-    Spkr3 <----------|       |<-------|     |
-                     +-------+        +-----+
-      
-+ Software Development
-  - Create Score File
-
-  - Create Recording Program (test with long MIDI playback generating audio - look for drift)
-     Record the index of each MIDI event at it's location in an audio channel.
-
-  - Allow all variables and patch connections to be set from the scMod script and have 
-     multiple scripts with varynig effects setups. 
-
-  - When scanning past ramping variables in scMod the end value should be
-    taken as the next variable(???) - this is not necessarily correct 
-    because one never knows where a timed change may end - maybe ramped
-    variables should include a 'skip value' giving the next ambient value
-    for the ramped variable - experiment with this to figure out what works.
-
-  - Add comb filters tuned according to the current MIDI notes as an additional effect.
-  - Add EQ output stage (use mixer).
-  - Add an input Compressor.
-
-  - The dry signal should be able to be routed to seperate output channels - around the compressor.
-     (Better would be to output a delayed version of the dry signal that was in sync with the transformed
-      signal - this might mean simply passing the dry version as separate outputs from KR). 
-
-  - Create a mode in scMod which increments values based on an onset detector. So that
-    changes only happen on attacks. This still doesn't help if the pedal is down (or
-    if notes are sustained) but otherwise might be a better way to ramp parameters.
-
-  - (DONE) The ability for the measurements to be called at the correct time must be built in.
-     (or alternatively to use stored effects).
-
-  - (DONE) Effects applied to the playback fragments.
-
-  - (DONE?) CROSSFADE BUG - This may be fixed by the change to cmDspAvailCh which
-     handles the case where no channels are available by sending an error message
-     but not actually changing the state of the cross fader.
-
-
-+ Experiments:
-  1) Speaker placement and live/electronics mix.
-  2) Sliver mix level
-  3) Try varying degree's of effects
-
-   
-
-*** 11/19
-+ The recd/play fade should be able to trigger from a capture note as well as 
-  playback note.  An offset might also be useful.
-  (Should be a default fade for each fragment - keyed to the input. This
-  will be the fade that will occur when 
-+ Allow setting fade time in the score. 
-+ Allow setting fade rate based on 1.0 to 0.0 from fade point to end point.
-+ Allow for multiple fades markers per fragment. (what does this mean?)
-+ Write code to ignore playback when the score follower is not stable -
-  or to throw out fragments where there is a mistake.
-+ At the end of each fragment recording the fragment should be truncated by the look-ahead time
-  to avoid capturing the attack of the marked note.
-+ Part 2 data analysis: analyze the order of notes in counter rhythms.
-+ Allow  'evenness' sequences to have non-even relationships.
-
-*** 11/1
-+ Change the wavetable to read stereo files or add a second wavetable to play the other channel.
-+ The console window is not always updating from the bottom.
-+ The 'Dump' button results are not going to the console window.
-+ Put dry signal into separate output channels.
-+ Add 'adaptive' mode parameters to scale/range mappings.
-+ The 'meas'->'parameter' mappings should changable from scMod (mod0.js)
-+ The 'adaptive' mode parameters (e.g. offset and invert) need to be connected in the patch.
-+ Create a mode in scMod which increments values based on an onset detector. So that
-  changes only happen on attacks. This still doesn't help if the pedal is down (or
-  if notes are sustained) but otherwise might be a better way to ramp parameters.
-+ Mark all notes in the score according to how well they would act as places to transition.
-  Notes held while the pedal is down would not be good places to transition.
-  These indicators would then be used to determine where a section change can occur
-  when the actual section change is missed.
-+ (done) All score_loc's and event indexes in meas0.js that beginning with 
-  score location 743 must be decremented by two.  (e.g. loc 743 becomes 741 ...)
-  (score_loc_1.txt is now the correct score file)
-+ When scanning past ramping variables in scMod the end value should be
-  taken as the next variable(???) - this is not necessarily correct 
-  because one never knows where a timed change may end - maybe ramped
-  variables should include a 'skip value' giving the next ambient value
-  for the ramped variable - experiment with this to figure out what works.
-
-  
-
-*** 10/17
-    Select bar 129.
-    Start on F5 before 129.
-    Score follower jumps to loc. 978 then backs up to 973.
-
-*** 9/27
-* (DONE) Implement live recording for use in part 2.
-* Implement a delay between when a new section is set to trigger and when 
-it actually does.   This might allow transitions to be set up prior to when they are heard.
-* (DONE) OS-X version crashes when the printf("PROCSET ...) is removed from _cmScProcSets().
-* Add ability to set mappings and perf. measure settings to scMod.
-* The scMod should play through all changes up to the cur starting location so that
-  we can mimic the state of playing the piece through but allow starting from any location.
-* Experiment with changing settings using the scMod ramping functions.
-* Make a source separation based fade using an filter/inverse filter based on the
-  spectrum prior to the cross-fade.  As an extra feature notice the state of the pedal
-  and decay appropriately.
-* The electronic score needs the ability to specify that the output is sent to the audible
-cross-fade channel rather than the inactive channel.
-* Add a score mode that performs some action (e.g. incr/decr) on each incoming score follower
-event.  
-* In AvailCh what happens when no available channels are found - this may be the cause 
-of the cross-fade cut-out problem.
-* Add eq stage to output.
-
-* Setting the upper slope to a negative value is effective.
-
-* Demo Material: Seq 8 Mark 204 (1024-4 2048-4) Fade 10ms Cost->Threshold.
-- recd7  Mark 151
-- recd8  Mark 145 - same settings a previous take.
-- (recd9) Mark 145 - w/ changing xfade switch to mode 4 at 38 
-- recd10 Mark 145 - same w/ no mode change
-- recd11 Mark 145 - a. 3 different takes w/ score constant - no perf. parameters used - fixed threshold=65 
-- recd12 Mark 148   b.(same settings as recd9)
-- recd13 Mark 151   c.
-- recd14 Mark 161  Section 40 - fixed changes see mod0.js for note 
-- Seq 6 Mark 145 M-92 (38,39,39a) (recd16) (recd17) (recd18) (recd19)
-- Seq 7 Mark 167 M-100
-
-*** 8/13
-* Cross-fade was cutting out during demo.
-* Missing takes between seq 7 and seq 8.
-* The MIDI is mis-aligned against the audio.
-* Are cost / tempo working?  ... test changing mode.
-* Add an automatic volume adjustment to prevent parameter changes from causing large volume changes.
-* What can we actually do between after a MIDI note is received? Is it already too late to 
-  send parameters w/o affecting the attack of the note.
-
-* Live Test material
-
-     Part 1: Meas:76 - (one measure) to get measurments for later sections
-     Part 1: Meas:94 (sect 38 (Seq 6)) through Meas:136 (include 136 stop at 137).
-
-     Part 2: ("/Users/kevin/temp/piano score part 2 draft 1 master m 232 - 241 1st 2 bts.sib")
-	 	  	 The downbeat of part two aligns with the 3rd beat (in 4/4) of 122 in the first part.
-			 Ends on measure 131 at end of beat 3. 
-  
-     MISSING MIDI for measures 114:126
-
-*** July 10
-** (done) Make separate mappings and scale/range controls for left and right.
-** Add EQ output stage.
-** Work out the speaker setup.
-** Add capture/playback.  Analyze notes on capture and do not play if there are
-   any wrong notes. (Skipped notes however are acceptable.)
-** 
-
-** When a section transition is occurs late - (e.g. due to dropped notes) do not apply
-the transformation all at once - instead either ramp it in or step it in on subsequent
-attacks.  Section transitions which are positively identified are intended to have 
-dramatic changes so applying the updated parameters immediately is acceptable - but
-when the parameters are changed mid-section they should be much applied subtely.
-
-
-
-
-** (done) Build a database of measurements and setup the program to be able to
-   apply a given measurement at it's assigned section.
-
-** Redevelop spectral distortion algorithm to use a spline as the transform.
-
-** use Log frequency frequency transform instead of FFT.
-
-** Allow for a continous window size via zero padding.
-
-** Add a 'write' preset file button - so the preset file can be saved prior to next crash.
-
-** measurement values can generate MAX_DBL - be sure that are not being sent through to the audio algorithm.
-   (see ln:965 cmDspKr.c for a hack to fix this)
-
-** add invert to scale/range  to cause output to go in opposite direction.
-
-** non-grace eveneess are used to generate a measurement value from previous tempo calibration section. 
-   (non-grace evenness notes therefore have two scores: 'evenness' and 'overall-duration').
-
-** note that the default setting for dyn and even.
-
-** add dyn,even,tempo,cost number boxes to allow artificial setting of these parameters.
-   add dyn,even,tempo,cost as modulator variables to allow them to be set from the modulator
-   With these additions we can simulate apply measurements at the 'application' section.
-
-** add begining and ending measure numbers to 'seq' labels
-
-** Gain compensation for mode 4.
-
-** Do IFFT using cos()^c + i * sin()^c - these bases are orthognal but cause harmonic distortion.
-   To be efficient this might involve writing an FFT function.
-
-// May 22
-
-** Crashers (Should be tested but are probably already fixed following score follower debugging.)
-Seq 2  m24 Mark 36 & 38 
-Seq 4: Mark 115
-Seq 4: m76-79 Mark 129 (W/ meas: even & dyn -> thresh change min Thresh to 40) - use 4th seq w/ b1
-Seq 6: m92 Mark 143
-Seq 7: m103 Mark 173
-Seq 7: Mark 172 Meas 103 - always crashes on playback.
-Seq 4: Mark 76  Meas 40  - crash!
-Seq 2: First mark meas 23
-  Crash seems to happen in cmProc4.c: _cmScMatchInitMtx() ln:1311.
-  It looks like a memory overrun.  Looks like the first line is wrong
-  shouldn't:
-    if( rn >p->mrn && cn > p->mcn )
-  be	
-	if(rn*cn > p->mrn*p->mcn)
-
-
-
-BUGS:
-// Apr 20
-The tempo measurement can produce invalid values.  Set score to 22 then play Mark 38.
-First tempo measurement is a non-sense value - probably produced by an div by zero.
-Also: Mark 8, Meas 10.
-
-Crash on playing Mark 37.
-
-Click on list control outside below list item - crash!
-
-Select Mark 171 (Seq 7) Section 43, m103 crash
-
-
-// Feb 27
-+ Audio seems to preceded MIDI by around 250ms this probably arises
-from a delay that was inserted by 'mas'. Can the delay be removed?
-
-// Feb 25
-+ Fix the audio file input/output ports 
-
-//
-// Feb 6 & 7 
-//
-+ Performed notes which arrive which about 50ms could be
-considered chords.   Extra notes notes which were not part of
-the chord are probably common and should be discounted during
-the cost analysis.
-
-+ (done) Add alignment cost as a 4th variable along with dyn,even,tempo.
-
-+ (done) In the score print out (score_loc.txt) Section 2 is starting on Bar 5
-when it should start inside Bar 7.
- 
-+ In Take 1 the 2nd dynamics set is not triggered.
-
-+ In Take 3 Eveness 2 the C2 and F#4 are NOT missing althrough they are in the 
-evalation.  Also E7 which ends that set is not marked with an 'e'.
-
-+ It is possible to have even-non-grace sets where the note rythm value's are not
-all the same (e.g. bar 20 ) 
-
-+ User soft-thresholds for the dynamics categories.
-
-+ Set 39 even measure 25 shows the first note as G#2 when it should be C#1
-
-+ Missig MIDI note sounded: 
-C1   score-loc:132
-A#2            140
-A5             173
-C#2            195   Marker 36
-E5,G33,A#2,C#1 212-218 Marker 36
-E3             185     Marker 37
-F5,C#4,G#5     986     Marker-Down 204     
-
-=============================================================================
-Sequence Editor Design
-
-1) Performance pre-processing:
-  For each annotated performance section align the performance to the score.
-  and fill in the 
-   sectionArray :
-   [
-     section :
-     {
-       seq    : 1           // time-line this section resides in   
-       marker : 12          // time-line id of this sections begin marker 
-     
-       eventArray :
-       [
-         event : 
-         {
-
-	   // score tracking status
-	   // aligned   = event matches a score location (scloc is valid)
-	   // inserted  = inserted note that does not match the score (scloc is not valid)
-	   // pitch_err = matches score with the wrong pitch (scloc is valid)
-	   // order_err = matches score but not is out of order (scloc is valid)
-	   status: aligned | inserted | pitch_err | order_err
-
-	   // score location this event is associated with
-	   // or -1 if the note does not match a score event
-           scloc:    154      
-
-	   // performance sample index as an offset into the time-line sequence
-	   smpIdx:   134689   
-
-	   // performance event duration
-	   durtn:    234567  
-	   
-	   // optional note event information
-	   note : 
-	   {
-	     pitch: 60
-	     vel:   110
-	   }
-
-	   // optional pedal event information
-	   pedal :
-	   {
-	     label: quiet, sust, damp
-	     down : true
-	   }
-         }      
-       ]
-     }
-   ]
- 
-2) Create a new sequence by combining sections:
-
-  a. Load the section array file created in step 1).
-  b. Select a set of sections to form the basis of the new sequence.
-  c. Resolve overlapping notes by disabling extra notes that share the
-     same score location.
-  d. Insert missing notes by selecting a note(s) from the score.
-  e. Increase or decrease the inter-onset interval between two notes.
-     (this will adjust the absolute time offset of all subsequent notes)
-  f. Edit the velocity of a note.
-  g. Shift the position of a pedal down or up event.
-  h. Insert a pedal event.
-  i. Write the sequence to a file.
-  j. Load a sequence from a file.
-
-3) User Interface:
-  Two Views:
-  a. Single Frame View: 
-     Display score bars and sections (same as score window) and overlay 
-     section boxes. Select sections to include in a new sequence.
-     Select Edit | Create Sequence.
-
-  b. Single Frame View: 
-     The begin marker of each frame includes the section label.
-     Selecting the begin section marker selects all events in the section.  
-       (this does not have to be done explicitely)
-     Each note in each section is displayed piano-roll style.
-        The notes are colored according to their 'status'.
-	Overlapping notes are shown in red.
-	Disabled notes are shown as hollow boxes.
-     A strip at the bottom shows the pedal state.
-     
-
-     Menu:
-       Show/Hide selected events / sections.
-       Enable/Disable selected events.
-        
-     
-=============================================================================
-
-                                  
-                                      
-                             a                   b
-    piano --> mic ----> adc --> fbctl --> xform -+-> dac --> spkr --> room --+
-     ^         ^                  ^              |                           |
-     |         |                  |              |                           |
-     |         |                  +--------------+                           |
-     +---------+-------------------------------------------------------------+
-
-fbctl Design:
-
-      
-
-1. Measure the spectrum of the room impulse response.
-   a. Generate a sine sweep, or Max. length sequance, s,  with a non-symetric envelope.
-               
-   b. Playback s and record the result N times
-      using different mic. positions.
-      
-   c. S = STFT(s)
-      R = sum(STFT(r_i) / N
-      
-   d. Align S and R using PHAT.
-   e. RIR = mean(S - R)
-
-
-2. Find the delay, d, which minimizes sum(a-b)
-
-       a ----------> DFT() --\
-                              - --->  
-       b --> z^d --> DFT() --/
-       
-
-=============================================================================
-
-  1. Use spectral flux to generate an impulse signal: f.
-  2. f' = 1-f correlates to the level of time dependency in the signal.
-     Frames with a high time dependency contain more reberberated signal.
-  3. Setup a 2xT NMF problem  Y = HE
-  4. Initialize spectrum 1 as the f weighted avg. of all spectra.
-  5. Initialize spectrum 2 as the f' weighted avg. of all spectra.
-  6. Initialize env. 1 as f
-  7. Initialize env. 2 as f'
-  8. Allow all other variables, other than f', to vary - spectrum 2
-     is the impulse response.  
-
-   alternatively use gradient descent, or alternating LS, rather than NMF
-
-
-=============================================================================
-
-New vector library:
-1. Use type generic pre-proc feature.
-2. Explicit matrix representation.
-3. Use BLAS and LAPACK.
-
-
-=============================================================================
-
--------------------------------------------------------------------------------
-OSX - Install Notes
--------------------------------------------------------------------------------
-1. Install XQuartz (from xquartz.macosforge.org)
-0. Install Xcode
-1. Install macports  (export PATH="/opt/local/bin:/opt/local/sbin:$PATH")
-2. sudo port install autoconf
-3. sudo port install automake
-4. sudo port install libtool
-5. sudo port install fftw-3
-6. sudo port install fftw-3-single
-7. port select --list gcc (which gcc is active)
-8. sudo port install gcc47
-9. sudo port --set gcc mp-gcc47 (6/15/15 the default, mp-gcc5, works without this stp)
-   sudo port intsall gdb  (then edit /System/Library/LaunchDaemons/com.apple.taskgated.plist <string>s<string> to <string>sp<string>.
-10. sudo port install fltk
-11. sudo port install xorg-libX11 
-12.sudo port install git
-13.sudo port install emacs +x11
-14 install ~/Library/Preferences/org.larke.kc.txt (this is not required)
-15 create ~/Library/Preferences/kc
-16 Install ~/Library/Preferences/time_line.js, time_line_preset.js, time_line_preset.csv
-
-
-A. In System Preferences | Keyboard | Shortcuts replace Ctl-<left> with Ctl-Alt-Left in the
-Spaces shortcut. This allows emacs to use C-<left> for word-back.
-
-B. Set keycodes in xmod_apple_keymap to force 'Alt' to be emacs meta key.
-
-keycode <Cmd> = Super_L NoSymbol Super_L NoSymbol
-keycode <Alt> = Alt_L Meta_L Alt_L Meta_l
-
-Replace <Cmd> with command code of Command key.
-replace <Alt> with command code of Alt key.
-Use 'xev' to get the keycodes.
-
-
-C. Uncheck enable key equivalents under X11 to prevent Cmd-W from closing window in emacs.
-
--------------------------------------------------------------------------------
-Linux - Install Notes
--------------------------------------------------------------------------------
-1. autoconf
-2. automake
-3. gcc-c++ (to get g++)
-4. blas-devel x64
-5. atlas-devel x64
-6. lapack-devel x64
-7. download fftw-3:  ./configure --prefix=/usr 
-8. fftwf-3        :  ./configure --prefix=/usr --enable-single
-9. fltk-devel x64
-
-
-