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DESCRIPTION: This is a Midi Controller data recorder and player. Midi Controller1 records and plays Midi Controller Data. You can set the resolution of this device in Device Data Range, this is 128 as Midi 1.x has a resolution of 128. CC number and start/initialization values should be given. A name should be entered; this name is used to send the Midi data globally, i.e. as gkxxxx signal. Other, higher numbered Instruments can pick this Global data up. In that particular Instrument, the range of the Midi data (0-127) can be scaled at will and, if needed, interpolated. When recording the midi controller data, set the length of the SoundObject and the resolution you want to record in; both are in seconds. Length and resultion go hand in hand. These values are needed so that, on playback, the SoundObject's length and resolution can be used to scale. Be sure to have the Midi Controller on the Timeline above the ScoreObjects of the Instruments you want to influence with the Midi Controller. Midi CC data are global: they have an influence on ALL notes of that Instrument as they are used to control the parameters of the Instrument. Most of the time, Midi Controller and the ScoreObject make up a pair; moving and scaling them together ensures the expected behavior. When setting a name as outputfile for recording, the format of the name is as follows: NAME + LENGTH OF SOUNDOBJECT JOYSTICK CONTROLLER + RESOLUTION length of SoundObject and resolution are in seconds. In the Instrument you want to influence with controller data, here is basic example to add to the Instrument: imiditotal = 1/128 ; midi rsolution kmass_scl scale gkxxxx, 2*imiditotal, .02*imiditotal ; scale midi values to usable range and let it influence the .02-2 range kPortTime linseg 0,0.001,i(<smooth>) ; if needed, create a value that quickly ramps up to .01 for better response and interpolate the controller values kmassscl portk kmass_scl, kPortTime ; range 0.02 - 2 a1 poscil3 1, kmassscl*200 ; make some noise First set the switch to 'write'. Run Blue. Then set switch to 'play' and the controller data are played back. There is an optional printing to see what is happening. Plotting the controller data can be used if you have GNUPLOT installed. Portamento can be set in your instrument but is optional. It does help to smooth out the poor resolution of the Midi Controller and avoid sudden jumps between controller data values. CONTROLLERS: see the help balloon when hovering over the controllers in the instrument. Help can be turned off by pressing the 'I' button next to the play bar. --- version 1, November 2024 - initial version

DESCRIPTION: This is a Midi Controller data recorder and player. Midi Controller1 records and plays Midi Controller Data. You can set the resolution of this device in Device Data Range, this is 128 as Midi 1.x has a resolution of 128. CC number and start/initialization values should be given. A name should be entered; this name is used to send the Midi data globally, i.e. as gkxxxx signal. Other, higher numbered Instruments can pick this Global data up. In that particular Instrument, the range of the Midi data (0-127) can be scaled at will and, if needed, interpolated. When recording the midi controller data, set the length of the SoundObject and the resolution you want to record in; both are in seconds. Length and resultion go hand in hand. These values are needed so that, on playback, the SoundObject's length and resolution can be used to scale. Be sure to have the Midi Controller on the Timeline above the ScoreObjects of the Instruments you want to influence with the Midi Controller. Midi CC data are global: they have an influence on ALL notes of that Instrument as they are used to control the parameters of the Instrument. Most of the time, Midi Controller and the ScoreObject make up a pair; moving and scaling them together ensures the expected behavior. When setting a name as outputfile for recording, the format of the name is as follows: NAME + LENGTH OF SOUNDOBJECT JOYSTICK CONTROLLER + RESOLUTION length of SoundObject and resolution are in seconds. In the Instrument you want to influence with controller data, here is basic example to add to the Instrument: imiditotal = 1/128 ; midi rsolution kmass_scl scale gkxxxx, 2*imiditotal, .02*imiditotal ; scale midi values to usable range and let it influence the .02-2 range kPortTime linseg 0,0.001,i(<smooth>) ; if needed, create a value that quickly ramps up to .01 for better response and interpolate the controller values kmassscl portk kmass_scl, kPortTime ; range 0.02 - 2 a1 poscil3 1, kmassscl*200 ; make some noise First set the switch to 'write'. Run Blue. Then set switch to 'play' and the controller data are played back. There is an optional printing to see what is happening. Plotting the controller data can be used if you have GNUPLOT installed. Portamento can be set in your instrument but is optional. It does help to smooth out the poor resolution of the Midi Controller and avoid sudden jumps between controller data values. CONTROLLERS: see the help balloon when hovering over the controllers in the instrument. Help can be turned off by pressing the 'I' button next to the play bar. --- version 1, November 2024 - initial version

DESCRIPTION: This is a Midi Controller data recorder and player. Midi Controller1 records and plays Midi Controller Data. You can set the resolution of this device in Device Data Range, this is 128 as Midi 1.x has a resolution of 128. CC number and start/initialization values should be given. A name should be entered; this name is used to send the Midi data globally, i.e. as gkxxxx signal. Other, higher numbered Instruments can pick this Global data up. In that particular Instrument, the range of the Midi data (0-127) can be scaled at will and, if needed, interpolated. When recording the midi controller data, set the length of the SoundObject and the resolution you want to record in; both are in seconds. Length and resultion go hand in hand. These values are needed so that, on playback, the SoundObject's length and resolution can be used to scale. Be sure to have the Midi Controller on the Timeline above the ScoreObjects of the Instruments you want to influence with the Midi Controller. Midi CC data are global: they have an influence on ALL notes of that Instrument as they are used to control the parameters of the Instrument. Most of the time, Midi Controller and the ScoreObject make up a pair; moving and scaling them together ensures the expected behavior. When setting a name as outputfile for recording, the format of the name is as follows: NAME + LENGTH OF SOUNDOBJECT JOYSTICK CONTROLLER + RESOLUTION length of SoundObject and resolution are in seconds. In the Instrument you want to influence with controller data, here is basic example to add to the Instrument: imiditotal = 1/128 ; midi rsolution kmass_scl scale gkxxxx, 2*imiditotal, .02*imiditotal ; scale midi values to usable range and let it influence the .02-2 range kPortTime linseg 0,0.001,i(<smooth>) ; if needed, create a value that quickly ramps up to .01 for better response and interpolate the controller values kmassscl portk kmass_scl, kPortTime ; range 0.02 - 2 a1 poscil3 1, kmassscl*200 ; make some noise First set the switch to 'write'. Run Blue. Then set switch to 'play' and the controller data are played back. There is an optional printing to see what is happening. Plotting the controller data can be used if you have GNUPLOT installed. Portamento can be set in your instrument but is optional. It does help to smooth out the poor resolution of the Midi Controller and avoid sudden jumps between controller data values. CONTROLLERS: see the help balloon when hovering over the controllers in the instrument. Help can be turned off by pressing the 'I' button next to the play bar. --- version 1, November 2024 - initial version

DESCRIPTION: This is a Joystick Controller data recorder and player. Joystick Controller2 records and plays 3 different Joystick Controller Data. You can set the resolution of this device in Device Data Range, this is 65536 for my Joystick. CC number and start/initialization values should be given. A name should be entered; this name is used to send the Joystick data globally, i.e. as gkxxxx signal. Other, higher numbered Instruments can pick this Global data up. In that particular Instrument, the range of the Joystick data (0-127) can be scaled at will and, if needed, interpolated. When recording the midi controller data, set the length of the SoundObject and the resolution you want to record in; both are in seconds. Length and resultion go hand in hand. These values are needed so that, on playback, the SoundObject's length and resolution can be used to scale. Be sure to have the Joystick Controller on the Timeline above the ScoreObjects of the Instruments you want to influence with the Joystick Controller. Joystick CC data are global: they have an influence on ALL notes of that Instrument as they are used to control the parameters of the Instrument. Most of the time, Joystick Controller and the ScoreObject make up a pair; moving and scaling them together ensures the expected behavior. When setting a name as outputfile for recording, the format of the name is as follows: NAME + LENGTH OF SOUNDOBJECT JOYSTICK CONTROLLER + RESOLUTION length of SoundObject and resolution are in seconds. In the Instrument you want to influence with controller data, here is basic example to add the Smooth Joystick Data Module to the Instrument: idevicerange = 1/65536 ; joystickrsolution kmass_scl scale gkxxxx, 2*imiditotal, .02*imiditotal ; scale midi values to usable range and let it influence the .02-2 range kPortTime linseg 0,0.001,i(<smooth>) ; if needed, create a value that quickly ramps up to .01 for better response and interpolate the controller values kmassscl portk kmass_scl, kPortTime ; range 0.02 - 2 a1 poscil3 1, kmassscl*200 ; make some noise First set the switch to 'write'. Run Blue. Then set switch to 'play' and the controller data are played back. There is an optional printing to see what is happening. Plotting the controller data can be used if you have GNUPLOT installed. Portamento can be set in your instrument but is optional. It does help to smooth out the poor resolution of the Joystick Controller and avoid sudden jumps between controller data values. Be aware that the output values of a joystick move around value 0, so a range of -x to x. In my case, the 'raw'value range is from -32768 to 32768, where 0 is the joystick X and Y axes in restposition. CONTROLLERS: see the help balloon when hovering over the controllers in the instrument. Help can be turned off by pressing the 'I' button next to the play bar. --- version 1, November 2024 - initial version

DESCRIPTION: This is a Midi Controller data recorder and player. Midi Controller1 records and plays Midi Controller Data. You can set the resolution of this device in Device Data Range, this is 128 as Midi 1.x has a resolution of 128. CC number and start/initialization values should be given. A name should be entered; this name is used to send the Midi data globally, i.e. as gkxxxx signal. Other, higher numbered Instruments can pick this Global data up. In that particular Instrument, the range of the Midi data (0-127) can be scaled at will and, if needed, interpolated. When recording the midi controller data, set the length of the SoundObject and the resolution you want to record in; both are in seconds. Length and resultion go hand in hand. These values are needed so that, on playback, the SoundObject's length and resolution can be used to scale. Be sure to have the Midi Controller on the Timeline above the ScoreObjects of the Instruments you want to influence with the Midi Controller. Midi CC data are global: they have an influence on ALL notes of that Instrument as they are used to control the parameters of the Instrument. Most of the time, Midi Controller and the ScoreObject make up a pair; moving and scaling them together ensures the expected behavior. When setting a name as outputfile for recording, the format of the name is as follows: NAME + LENGTH OF SOUNDOBJECT JOYSTICK CONTROLLER + RESOLUTION length of SoundObject and resolution are in seconds. In the Instrument you want to influence with controller data, here is basic example to add to the Instrument: imiditotal = 1/128 ; midi rsolution kmass_scl scale gkxxxx, 2*imiditotal, .02*imiditotal ; scale midi values to usable range and let it influence the .02-2 range kPortTime linseg 0,0.001,i(<smooth>) ; if needed, create a value that quickly ramps up to .01 for better response and interpolate the controller values kmassscl portk kmass_scl, kPortTime ; range 0.02 - 2 a1 poscil3 1, kmassscl*200 ; make some noise First set the switch to 'write'. Run Blue. Then set switch to 'play' and the controller data are played back. There is an optional printing to see what is happening. Plotting the controller data can be used if you have GNUPLOT installed. Portamento can be set in your instrument but is optional. It does help to smooth out the poor resolution of the Midi Controller and avoid sudden jumps between controller data values. CONTROLLERS: see the help balloon when hovering over the controllers in the instrument. Help can be turned off by pressing the 'I' button next to the play bar. --- version 1, November 2024 - initial version

The AthenaCL Score Generator is not an easy click and play module. AthenaCL has tons of options that make it hard to master, and can produce unexpected but interesting results. So, this ObjectBuilder is not the easiest one to understand and use. You should know your way in AthenaCL itself in order to appriciate this module. One must really try and try some more, but i can be VERY rewarding. In any case, you'll need the AthenaCL manual by your side, start with a simple basic setting and work your way up. AthenaCL for python 3 can be found here: https://github.com/ales-tsurko/athenaCL Big thanks to Ales Tsurko to have converted it to python 3! Another big thanks goes to Michael Gogins, who implemented 2 seed options: 1 for the TextureModule (creates the structure), 1 for "the rest" (ParameterObjects). Leaving the seeds open lets the computer decide what sequence is generated, each run a different one but according to the rules. You should run the athenaPipe.py from Steven Yi as it acts as a bridge between AthenaCL and Blue. The command line looks something like: python3 /PATH/TO/athenaCL/athenaCL/athenaPipe.py $infile athenaPipe.py sends the data from the AthenaCL Score Generator to AthenaCL. Every pfield can be set up to use PathRead. However, In this module, you need to set PathRead in P4 to read notes, frequencies and such, and convert them to the values you need in your instrument. It is possible to use the normal Path ( pin ) to make 4 multisets and give each MultiSet a weight. P2 = BPM. Csound has basic 60 bpm, i use 120 bpm- the AthenaCL default. P3 = combination of rhythm, duration and accents. So P2 and P3 work together to produce the final result. P4 = set for input of notes or frequencies, sieves, and up to 4 MultiSets. Use on/off switch to switch MultiSet, and add a weighting for the MultiSet but P4 can be set to other ParameterObjects, like random. Use the filter to get the values in a useable range In AthenaCL, amplitude and panning have their own meaning, but here in the AthenaCL Score Generator these are ommitted. Use the TEST button beforehand to check to see if you get the desired results. It is easy to make typing errors... The AthenaCL Score Generator generates data for 12 pfields. It can NOT produce less, or more pfields. If you have an instrument that only uses 6 pfields, the Csound output will protest but still work: WARNING: instr 1 uses 6 p-fields but is given 12 Perhaps in a future realease this can be improved, but hey- it works.... --- version 1.4, April 2021 - seed for TextureModule (TMsd) - seed for the rest = ParameterObjects (TPsd) version 1.3, March 2021 - added the 4 x MultiSet option and weighting per Set version 1.2 February 2021 - added Texture Clone with filtering options - set original Texture to mute, use only TextureClone output version 1.1, february 2021 - now all pfields >3 can produce the PathRead to freq etc. - simplified GUI - added help in the balloons version 1.0, february 2021 - initial version by Menno Knevel

The nGen Score Generator is a wrapper for nGen ( http://mikelkuehn.com/index.php/ng Author: Mikel Kuehn), a score genrator that runs on the 3 major platforms. The GUI follows the syntax of the original nGen as much as possible, however tries to mimic the data flow from left to right; the pfields and their output flow from left to right and from bottom to top. Not all functions from the main program nGen are integrated, the nGen Score Generator. As the nGen system calculates pfield after pfield, if you change the order of some pfields, you can make the result of the previous pfield dependent on the present one. short manual: - choose desired number of events to generate - set number of pfields accordingly with the P field slider - to the left of the P field slider, set Dropdown menu of all p-fields used to 'on' - left upper corner, set global random seed value; every seed produces a unique sequence (values between 0 and 65536) - set or enter data from left to right:, Random Deviation (only works for this pfield) --> Input Filter --> Dynamic Data Function A (and B if you want) --> Data Entry for this function --> Output Filter. - check if the right values are used by pressing TEST - up to 15 p fields can be generated Unlike the nGen program itself, the nGen generator is momentarily unable to process: - macro's - include files - if / endif statements - f-tables. Where, in nGen, one puts in the G Block something like '>f1 0 4096 10 1; a sine wave', you are requierd to keep the f-tables like 'f1 0 4096 10 1; a sine wave' in the Global Score of encapsulated instrument, or put it in the Global Score. just work with ftgen inside the instrument to bypass this issue. ------------ version 1.1, February 2021 - extended Tempo options with Tempo types - added second data inputs - added sampling rate option for FFT use version1, August 2020 - initial version by Menno Knevel

2channelModulate outputs 2 output modulations, one has the inverse phase of the other. 2 ranges can be set: from -1 to 1 or from 0 to 1 This modulator can be used to, for example having set the range to 0..1, modulate the amplitude of 2 instruments. Where the amplitude of the one increases, the amplitude of the other decreases at the same speed. When set at slow speeds, one instrument takes over the other one etc. When set to higher speeds, these 2 instruments seem to merge. The range -1..1 can be used, for example, to modulate around a fixed value. A filter of instrument 1 will get modulated around its filter setting, while in instrument 2 the same thing will happen but in inverse. Idea is to create some level of interdependence between 2 instruments. 2channelModulate uses the Global variable system to communicate between different instruments. In the instruments to be modulated, code must be added. For example, for amplitude for the first instrument: blueMixerOut asigL * gkModulate, asigR * gkModulate for the second instrument: blueMixerOut asigL * gkModulate_inverse, asigR * gkModulate_inverse --- version 1.1, November 2022 - changed chnset/chnget for Global k rates (simpler) version 1, November 2022 - initial version

SequencerControl is a sequencer. It triggers and sends data events to the instrument as set in the Instrument column. It does not produce sound on its own. Rhythm length of note, pitch and amplitude are standard parameters of the sequencer. It depends on the receiving Instrument how these data are handled. For example as MIDI pitches or Frequency etc. Other P fields can be added by moving the 'Add P fields' slider to the desired P field number. However, when the SoundObject SequencerControl is Frozen, the wave sound will be available in this Frozen SoundObject. --- version 1, November 2022 - initial version

This Sound SoundObject is meant to control a DAW, Reaper in this case by the OSC protocol. The DAW can run either on the localhost or on a second computer. I use Reaper for this purpose as it is well designed for use with OSC. The commands can be found in the Configuration file of Reaper/OSC. ----- version 2.1, November 2021 - added volume faders & Mute and Solo per channel - rewind and forward option, MasterVolume version 2.0, november 2021 - using latest OSCsend opcode

ATTENTION: SSO gives its output over a SubChannel in the Mixer. Create a SubChannel first, name it and gave that name in Cycloop SubChannel box. Otherwise, no sound will be heard. DESCRIPTION: Cycloop can be positioned in between the sampler and the granulator, as it has some aspects of both of them. The instrument takes in the sample and loops it. By retriggering the overlaps and other features like pitch and reading forward/backwards, interesting and evolving textures can be created. The number of overlaps gives the sound an echoic quality that reminds of the granulators. Attention: by activating the filter, also the filter envelope drawings become available. CONTROLLERS: Sample properties: File Selector - select the sample to use start pos. - skip in sample loop begin/end - set looppoints begin and end pitch - pitch if sample Grain properties: size - grain size in seconds rate - readout pointer rate, in grains. The value of 1 will advance the reading pointer 1 grain ahead in the source table. Larger values will time-compress and smaller values will time-expand the source signal. Negative values will cause the pointer to run backwards and zero will freeze it. overlap - maximum number of overlaps amp - amount of amplitude scaling Envelopes: amplitude/filter/pitch envelopes - for each, it changes values over the note event amplitude/filter exponential - convert envelope to exponential scale scale - scale the number of envelopes over the note event jitter - amount of jitter min/max - limits minimum and maximum frequencies for jitter- Filters: On/Off - use filters or not, also activate if you want to use the filter envelope. In that case, frequency cutoff will be overriden bu envelope frequency - frequency cutoff of filter XY controller - move between the 4 filter types lowpass/highpass/bandpass/bandreject - 4 filter types Quality - amount of filter feedback Global: Trigger On/Off - set ADSR trigger to on or off ADSR speed - frequency of retriggering of ADSR Attack/Decay/Sustain/Release - ADSR settings SubChannel - name of SubChannel to use L/R - output gain of SSO --- version 2.0, June 2020 - SSO of Cycloop updated to instr version version 1.1, Octobre 2019 - added amp. envelope and pitch envelope - added 3 ADSRs version 1.0, Octobre 2019 - takes in mono or stereo samples - accepts refresh of overlaps while playing

XlooperSolo is a sampler. XlooperSolo accepts one sample, mono or stereo. Start In Sample, Begin Loop and End Loop are relative to the samples length, so loading a smaller sample gives better resolution for setting a loop. The Sound SoundObject , like all Sound SoundObjects, passes the mixer through the SubChannel. This means: 1. a name entry must be given in the box SubChannel: 2. create a subchannel 3. rename this Subchannel to name given in the box SubChannel: 4. apply effects (if needed) version 1.3, November 2019 - added 'report mono or stereo' to check if sample is mono or stereo - added 3 different ADSRs, but the Amplitude Envelope can be used as an ADSR as well version 1.1, August 2019 - filter section is simpler, added filter depth

The ImagePlayer is a troublemaker; this instrument plays images. The image must in the PNG format. But still it's hard to predict what the sounding result will be, even if the 3 colors red, blue and green scanned and thus have a steady pattern as they are not moving or evolving entities in the image... A few things to understand for chosing the right image: - No sound will be produced when only black image; black is the silent canvas - 3 basic colours (RGB) on which the image opcodes react: red, blue and green. - The three colours (red, green and blue) have volume faders. - The image is scanned from left to right (X axis) and from top to bottom (Y axis) or reverse and rotated - Top of the image = the lower frequencies, bottom of the image = the higher frequencies or reverse - take a low scanning speed for adsyn, so with low base frequency, there will be no problems with Nyquist distortion (aliasing). The harmonics will be built upon the frequency set by p4 - can take a lot of CPU The lpf18 filter can be used to avoid further aliasing when experimenting at higher base frequencies . . please have a look at the Wiki page: https://github.com/kunstmusik/blue/wiki/A-Blue-instrument:-ImagePlayer version 3.1, december 2017 - rotates picture if image width is smaller then image height - replaced ADSRs by multicurve envelopes - added more envelopes - added scaling for amp, filter frequency and filter depth and pitch bend - changed AL names to more understandable ones version 3.0, december 2017 - layout converted to JavaFX standard, blue version >=2.7 - renewed layout so that: - XY controller represents the portion of the image to be scanned - added filter ADSR with depth control - added stereo option that puts RED to the left, GREEN in the middle and BLUE to the right - rescaling of base frequency when playing - more than ImagePlayer can be used in a composition - option to show image in external viewer (xviewer <file> for example). Please change according to your needs version 2.3, december 2015 - improved text for labels - added a setting for basefrequency instead of p4 - added anti-aliasing switch & aliasing filter is adjustable version 2.2, nvember 2015 - changed label 'logaritmic' to 'exponential' - XY positions are now automatable - added labels to explain the range of image to be scanned version 2.1 , november 2015 - fixed file input selector - removed fill table option because prone to errors - removed switch for inverse X Y read out (not interesting enough) - XY position for number of overtones - select log or linear ftable to hold frequencies - choose the part of the image width to play - changed filter to LPF18 with distortion - red, green and blue volume now undependent from each other version 2 , october 2015 - stereo option - add limit to voices to save CPU - variable ftable to hold frequencies - changed filter to LPF18 with distortion - switch for inverse X Y read out - ADSR - 5 basic waveforms * version 1.1, april 2013 - repaired initialization bug - show width and heigth of image - transition from raw sound (=low resolution) to clean sound (+high resolution) is fluid now - added panning * initial version 1, march 2013

Partikkulary is a granulator. Partikkulary accepts 4 samples, mono or stereo. Start In Samples are relative to the samples length combined, so a smaller sample gives better resolution for setting a loop. The Sound SoundObject , like all Sound SoundObjects, passes the mixer through the SubChannel. This means: 1. a name entry must be given in the box SubChannel: 2. create a subchannel 3. rename this Subchannel to name given in the box SubChannel: 4. apply effects (if needed) version 1.0, Juin 2019 - available as Instrument and Sound SoundObject - amplitude envelope can be scaled and looped

;formula = offset + npartials*incr The ATS Player Xtended uses the 2 opcodes ATSadd and ATSnz. version 1.0, April 2019

The ATSCreator uses the ATS analyses system to create determenitic and residual signals. Changing various options of the ATS analyzer has a great impact on the result. The ATS Player, made by Steven Yi, can be used to synthesize those signals, but, of course, other ATS synhtesize opcodes can be used as well. - default settings are displayed between parentheses - set switch manually between standard analyszing and personal settings - the input file is an existing file, the output filname has to be created - the Sound SoundObject has to have a length of 10 seconds, to be sure the Analyses has completed - after which the ATS Player with the according input ATS file can be placed - analyzed files can vary with different settings version 1, March 2019

This Sound SoundObject is meant to control a DAW (Ardour in my case) by the OSC protocol. The DAW can run either on the localhost or on a second computer. I use Ardour for this purpose, as it is well designed for use with OSC. version 1.3, december 2017 - due to changed code of OSCsend (26 dec. 2017), adapted code to meet present status - now, OSCsend code produces messages as expected by Ardour: http://manual.ardour.org/using-control-surfaces/controlling-ardour-with-osc/osc-control/ - better description for the choices in the Dropdown Menu version 1.2, december 2017 version 1.1, december 2017 - better naming - with Ardour, option to run from one of the Ardour 9 markers - localhost (same computer) or 192.168.1.xxx (destiantion computer) version 1.0, december 2017 - 5 different ways to control the playbackhead of Ardour - standard input port for Ardour = 3819 - the position of the playbackhead of Ardour is in samples

Midi output test Utility for external hardware or software synthesizers. This instrument can generate a gesture so you can hear quickly if the produced sound is the sound you are looking for. The program change dial can be adjusted while playing. If the choice has been made, you can switch off the gesture and use scores like: i1 0 2 80 120 ; note 80, velocity 120 My personal Csound command in Ubuntu include the options: -+rtmidi=alsaseq -Q16 It is making use of the alsasequencer driver, connecting the midioutput -Q to port 16 of my hardware midi output. aconnect -o shows the right numbers of the midi outputs: client 16: 'M Audio Delta 1010' [type=kernel] 0 'M Audio Delta 1010 MIDI' For my external synth i have to substract 1 from the Program Change setting in order to get the corresponding value on my synths' display. On another synth i found that this substraction was not necessary. version 3.0, September 2017 - latest GUI (Blue 2.7.0 or greater) version 2: - include test button to hear what sound the synth will produce while skipping through the sound banksusing the Program Change dial - include 4 midi controllers: brightness, filter Q, panning and volume version 1.0, october 2015

A simple ATS file player. Allows controls for time pointer, Sin and Noise levels, Frequency Modulation, and panning.

Several JackTransport Sound SoundObjects can be placed on the Score Timeline, in order to start or stop Jacktransport. Jacktransport can be used to run other Jack-aware programs in parallel with Blue. The Master is Blue, the other program(s) must be slave. Other programs can be Midi editors and Midi sequencers come to mind. My program of choice, a big counter showing the Jack Time as it progresses, is gjackclock. This is a Linux program, so you have to look for a similar program for your system. september 2017, version 1.0