![]() When the purpose of timecode is perfect sync, 1/6 of a second feels like a gigantic margin of error. It’s like a conductor reading measure numbers: “ONE two three four, TWO two three four, THREE two three four…” it’s fine in principle, but in practice what it means is that at 24 frames per second, a device following MTC might be as much as 1/6 of a second off. For those who don’t know, that means that four frames of MTC must be read before the receiving device knows exactly what frame we’re on. My dislike is for exactly three aspects of timecode:įirst: MIDI timecode, because it must exist within the technical limitations MIDI which are objectively very restrictive by modern standards, uses a quarter-frame format. ![]() And feel free to share your results across different applications (not just Resolume) on Noisepages - even if it’s a quick message to say, “darnit, I’m confused about all this and don’t know where to start.My dislike is not for timecode in and of itself. Have a look and let us know what you think. Also, this illustrates that we need a basic protocol that allows auto-discovery of OSC-controllable parameters, but that’s a separate discussion. That also holds the promise of Resolume sending as much as it receives – no reason visual software has to be receive-only. Change the port and address to whatever is appropiate for your setup. This way you can quickly find out what messages you’ll need to send to specific objects.Ģ.Open the ‘config.xml’ file in ‘My DocumentsResolume Avenue 3preferences’ and look for the OSC section. There is an undocumented feature that enables you to send OSC messages from the mapping panel. Last week, though, we got into some other interesting details in that thread, like how to control the BPM thread and an undocumented feature: That’ll get you started controlling Resolume Avenue with Processing, which could make for some cool integration of your custom-coded Processing visuals with a more traditional Resolume visual or A/V set. Our friend Gian Pablo (check out his fantastic blog) clues us in to some recent developments with Resolume 3 “Avenue.”įirst stop: be sure to read the full OSC thread on the forums, starting with how Resolume Avenue’s OSC receive implementation works: ![]() So, visualists, it’s time to reap the fruit of that development work, and make the live performance rig work the way you’ve always dreamt it should work. Thanks to the fact that this community is unburdened by tradition and commercial development tends to involve small, responsive teams, change hasn’t been so tough. Happily, visual software developers proprietary and open source alike have done what music developers generally haven’t – embrace OSC. With MIDI, um… well, prepare for lots of mucking around. With OSC, it’s possible to control the array of things software might do, with easy use of high-resolution data, descriptive names in plain English (or your language of choice), a path hierarchy that makes it easier to structure messages in modular software, and smart networking features that makes assignment and communication a breeze. When it comes to controlling software, let’s put it bluntly: OSC good, MIDI bad. Photo of a Resolume 3 rig ( CC) Retinafunk.
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