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Appendix D

This is additional information for Section 2.2.2. Pen-Y-Pass. The following is an overview of the workflow between the vvvv and Max patches in /3.Max_vvvv_patches/2.2.2.Pen-Y-Pass/Pen-Y-Pass_vvvv/0.Penypass_Mainconsole.v4p and /3.Max_vvvv_patches/2.2.2.Pen-Y-Pass/Pen-Y-Pass_Max/0.TOP_Penypass.maxpat in Windows 7 using Bootcamp. First, the Gametrak controllers are connected to the Arduino microcontroller and the received data is monitored through the patch 1.muxshield_master_penypass.maxpat. This first step is the same as Locus (see Appendix B).

Before loading any Max patches, the folder /Pen-Y-Pass_Max should be added to the Max search path in the Options> File Preferences menu. Otherwise it won’t load any Gametrak simulation files or sound files for buffer~ object.

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** If any error occurs when loading sound files for buffer~ object even though the folder is added to the Max search, the issue may be resolved if the entire folder /Pen-Y-Pass_Max is copied and pasted to the desktop, and the Max patch is opened from the desktop directly instead of from the USB drive.      

 

The first part of the Max patch shows the main volume control and the volume controls for each part of the composition. On the right, I can choose whether I want to receive the real Gametrak data from the Arduino board or the simulation data from the 1.muxshield_master_penypass.maxpat patch.

The next part shows the master clock for activating each part of the composition. This information is also sent to the vvvv patch to activate the visual composition. Before running the composition, the red RESET button should be pressed several times to reset every part of the composition. The composition can then be started by pressing the blue START button.  

On the right is the main vvvv patch of Pen-Y-Pass. The entire communication flow between Max and vvvv can be seen in the sub-patches Os_to_MAX and osc_from_max.

The Gametrak data sent to the sub-patch osc_from_max.v4p is scaled to control the visual parameters in each section of the composition.

Below is the sub-patch oscillatorstrings, which generates the horizontal lines for the first part of the composition (see here in Section 2.2.2).

This is the first part of the composition, consisting of two variations (see Video 2.11).

This is the second part of the composition in Max (see here in Section 2.2.2). I created a “Gametrak Patchbay” so that I could easily redirect the real-time Gametrak data to the vvvv patch depending on the Gametrak controllers the dancers decided to use during the composition process. 

For the second part, I created a sub-patch with a groove object that I can easily map onto the volume control with a function object. I then called up the sub-patch with multiple bpatcher. This was to make it easy to calibrate the Gametrak data and the volume control during the rehearsal at the performance space.

This is the sub_patch of Whitetexture for the second part of the composition.

This is the sub-patch of 2planets for the third part of the composition (see here in Section 2.2.2). Whenever more spheres are populated, it sends the number of populated spheres to the sub-patch Os_to_MAX.

The sub-patch Os_to_MAX receives the information that more spheres have been triggered and sends that information to Max.

This is the third part of the composition in Max. It triggers the high-pitched tones at random. On the right, it receives information about the populated spheres and triggers the two different sphere sounds. 

This is the fourth part of the composition (see here in Section 2.2.2). On the left, I used the same technique as the first part of the composition to generate a wind-like sound.

This is the sub-patch multivideo for the fourth part of the composition.

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