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rd:
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<div class="rd-md"><h1>rsc3 for Schemers: An Introduction to rsc3</h1>
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<p>Rohan Drape<br />
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August 2003</p>
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<blockquote>
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<p>These are notes for a talk addressed to Schemers about rsc3, a scheme
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client to the SuperCollider (Sc3) synthesis server. This talk
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provides a brief history of computer music in order to place Sc3 in
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context and to define the problem domain, and then a description of
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and rationale for rsc3.</p>
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</blockquote>
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<p>Max Mathews, working at AT&T, wrote the Music system in 1958
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(Mathews1960a) and successive variants of this system through
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Music-V. Musics I through III were experimental and not used outside
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AT&T, Musics IV and V were written in Fortran and were the first
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widely distributed computer music synthesis systems, used for many
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years in studios including those at Stanford, Princeton, Columbia,
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MIT, IRCAM and Marseille. In 1969 Matthews published the important
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text <em>The Technology of Computer Music</em> (Mathews1969a) which is
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in two parts, the first discusses basic digital signal processing
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theory, the second is a manual for Music-V. Barry Vercoe at MIT wrote
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Music-11 (Vercoe1979a) and variants through CSound
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(Vercoe1985a) which is highly portable and very widely used. Eric
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Scheirer and others at MIT wrote the MPEG4 structured audio
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specification (Scheirer1998a), a variant of CSound. These systems
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are all considered to be part of a <em>Music-N</em> family.</p>
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<h2>The Music-N Paradigm</h2>
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<p>Systems in the Music-N family are acoustical compilers, reading a set
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of instruction files to generate a signal file. Users define a set of
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signal processing graphs called <em>instruments</em> that together form
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an <em>orchestra</em>. The nodes of the signal flow graph are called
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<em>unit generators</em> or <em>Ugens</em>. Ugens read and write continuous
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signals from unidirectional <em>ports</em>. For efficiency many Music-N
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systems provide three rates of signal flow, initialization rate
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<em>i-rate</em>, control rate <em>k-rate</em> and audio rate <em>a-rate</em>.</p>
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<pre><code>instr 1
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k1 linen p5,p6,p3,p7
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a2 oscil k1,p4,2
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out a2
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endin
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</code></pre>
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<p>A piece is written by specifying a sequence of <em>notes</em> in a
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<em>score</em>. A note is a set of parameters, the first five parameters are
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traditionally instrument number, start time, duration, frequency and
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amplitude.</p>
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<pre><code>i1 0 1 440 0.1 0.5 0.25
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i1 0.5 1 442 0.1 0.25 0.5
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</code></pre>
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<h2>Other Computer Music Systems</h2>
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<p>A different family of systems follow the Patcher (Puckette1988a)
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paradigm due to Puckette working at IRCAM. Systems in use include Max
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(Puckette1991b, Zicarelli1998a) and Pd (Puckette1997a). A
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patch is a graph that combines both continuous signal processing
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elements and asynchronous messaging elements. This is at once the
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most interesting and problematic aspect of patcher systems. Patches
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are ordinarily created and edited using a drawing editor.
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Ideomatically the graph drawing represents the state of the system,
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however in practice graphs often become too complicated to be written
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in this manner and sub-graphs and references to stored data files are
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required.</p>
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<p>Another family of systems follow the Editor (Moore1985a) paradigm,
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due to Moore working at Lucasfilm. These systems have direct
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precedents in analog studios and are very widely used in digital
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studios. Two current implementations are ProTools from Digidesign
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and Logic from Apple.</p>
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<h2>SuperCollider</h2>
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<p>SuperCollider (Sc) is a family of real-time audio signal processing
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systems written by James McCartney. SuperCollider is a descendant of
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Pyrite, a system for describing and generating Max patches.</p>
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<p>The first SuperCollider (McCartney1996a) is a dialect of Scheme
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highly optimized for musical signal processing. Sc2
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(McCartney1998a) and Sc3d5 (McCartney2000a) are dialects of
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SmallTalk with the same optimizations. The interpreters for these
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languages generate real-time audio signals as a side effect of
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evaluating certain expressions.</p>
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<pre><code>f = LFSaw.kr(0.4, 0, 24, LFSaw.kr([8,7.23], 0, 3, 80)).midicps;
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CombN.ar(SinOsc.ar(f, 0, 0.04), 0.2, 0.2, 4);
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</code></pre>
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<p>Sc3 is a variant of Sc2 that cleanly separates the language intepreter
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and synthesis engine into two processes. These processes communicate
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over network sockets using a subset of the Open Sound Control (Osc)
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protocol (Wright1997a). The Sc3 synthesis engine, <em>scsynth</em>,
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manages a graph of instruments. Instruments are specified as byte
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strings. All operations on the graph are initiated by sending an Osc
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message over a network socket. Osc messages are timestamped using the
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Network Time Protocol (Ntp). Operations that are not atomic reply to
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the client when the operation completes. Ugens are loaded dynamically
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when the system boots and can be written by users. The Sc3 language
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interpreter <em>sclang</em> implements the same SmallTalk dialect
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provided by Sc2. Sc3 is efficient, well designed and well
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implemented.</p>
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<h2>Music-N, Sc3 and Moore's Law</h2>
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<p>Earlier systems had provided high level languages for music signal
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processing by targeting Music-N systems. Common Lisp Music (Clm)
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(Schottstaedt1994a) is one instance of this.</p>
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<p>The most significant contribution of SC is to real-time musical signal
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processing. Music-N systems were designed as accoustical compilers at
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a time when works were submitted to computer administrators on punch
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card and the output tapes were sent to a digital to analgue converter
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that rendered analogue tapes offline. Although traditional Music-N
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systems have been progressively adapted for real time environments the
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basic architectures are not properly dynamic. SuperCollider was
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initially designed as a high level language interpreter for real-time
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music signal processing.</p>
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<p>Correct dynamic behavior of the signal processing system requires:</p>
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<ol>
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<li>
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<p>graphs of instruments</p>
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</li>
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<li>
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<p>dynamic insertion and deletion of instruments at these graphs (this
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requires real-time constraints on Ugen instatiation as well as runtime
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operation)</p>
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</li>
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<li>
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<p>dynamic audio and control signal routing and rerouting (global
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audio and control signal paths).</p>
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</li>
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</ol>
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<p>Real time systems adapt to offline compilation use well.</p>
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<h2>Scheme</h2>
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<p>As this paper is addressed to Schemers this section will be terser
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still. Scheme is a good working environment for music composition.
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Scheme is simple, dynamic, fast and well supported.</p>
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<h2>rsc3</h2>
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<p>rsc3 is an R6RS (Sperber2009a) library that facilitates using
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scheme as a client to the Sc3 synthesis server.</p>
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<p>rsc3 is a client of the Sc3 synthesis server in the same sense that
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sclang is. Where appropriate rsc3 provides a similar interface layer
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and uses the same or similar names and is therefore a derivative work
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of Sc3. The rsc3 core implements:</p>
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<ol>
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<li>
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<p>The Osc protocol. A bytecode generator and parser for the
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subset of the Osc protocol used by Sc3.</p>
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</li>
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<li>
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<p>Sc3 Synth Definition management. A bytecode generator and
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parser. Implementations for all Ugens distributed with Sc3. Sc3 type
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input replication (multiple channel expansion).</p>
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</li>
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<li>
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<p>An <em>Emacs</em> (Stallman1981a) mode, with rsc3 and Sc3 session
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management, expression evaluation, textual rewriting for evaluation,
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graph drawing and symbol lookup of rsc3 source and help files.</p>
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</li>
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</ol>
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<p>The expressions below show the equivalent Sc3 language and rsc3
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declarations of a trivial Synth definition.</p>
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<pre><code>Synthdef("sin", {
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arg f=440, a=0.1;
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Out.ar(0, SinOsc.ar(f, 0) * a)})
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</code></pre>
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<pre><code>(synthdef "sin"
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(letc ((f 440) (a 0.1))
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(Out 0 (Mul (SinOsc f 0) a))))
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</code></pre>
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<p>rsc3 provides a moderate set of procedures related to audio signal
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processing and musical composition. Using modern scheme systems
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thread latency is adequate for most musical work and Gc stop times are
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reasonable though not ideal.</p>
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<p>The rsc3 source repository is available from: <a href="http://rohandrape.net/?t=rsc3">http://rohandrape.net/?t=rsc3</a>.</p>
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<h2>Examples</h2>
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<p>A series of examples demonstrate: the Emacs mode, partial Ugen graphs,
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graph drawing, the dissasembler, the Utc and tempo schedulers, the
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widget set and control data integration.</p>
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<h2>References</h2>
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<p>M. V. Mathews. Computer Program to Generate Acoustic Signals. <em>Journal of the Acoustical Society of America</em>, 32:1493, 1960.</p>
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<p>M. V. Mathews. <em>The Technology of Computer Music</em>. MIT Press, Cambridge, MA, 1969.</p>
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<p>James McCartney. SuperCollider: a new real time synthesis language. In <em>Proceedings of the International Computer Music Conference</em>. International Computer Music Association, 1996.</p>
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<p>James McCartney. Continued evolution of the SuperCollider real time synthesis environment. In <em>Proceedings of the International Computer Music Conference</em>, pages 133--136. International Computer Music Association, 1998.</p>
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<p>James McCartney. A New, Flexible Framework for Audio and Image Synthesis. In <em>Proceedings of the International Computer Music Conference</em>, pages 258--261. International Computer Music Association, 2000.</p>
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<p>F. R. Moore. <em>The Lucasfilm digital audio facility</em>. W. Kaufmann, Los Altos, CA, 1985.</p>
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<p>Miller Puckette. The Patcher. In <em>Proceedings of the International Computer Music Conference</em>, pages 420--429, San Francisco, 1988. Proceedings of the International Computer Music Conference.</p>
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<p>Miller Puckette. Combining Event and Signal Processing in the Max Graphical Programming Environment. <em>Computer Music Journal</em>, 15(3):68--77, 1991.</p>
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<p>Miller Puckette. Pure Data. In <em>Proceedings of the International Computer Music Conference</em>, pages 224--227. International Computer Music Association, 1997.</p>
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<p>Eric Scheirer. SAOL: The MPEG-4 structured audio orchestra language. In <em>Proceedings of the International Computer Music Conference</em>, pages 432--438, 1998.</p>
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<p>William Schottstaedt. Machine Tongues XVII: CLM - Music V meets Common Lisp. <em>Computer Music Journal</em>, 18(2), 1994.</p>
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<p>Michael Sperber, R. Kent Dybvig, Matthew Flatt, Anton Van Straaten, Robby Findler, and Jacob Matthews. Revised6 report on the algorithmic language scheme. <em>J. Funct. Program.</em>, 19(S1):1--301, 2009.</p>
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<p>Richard Stallman. EMACS: The Extensible, Customizable, Self Documenting Display Editor. <em>Symposium on Text Manipulation</em>, pages 147--156, 1981.</p>
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<p>Barry Vercoe. <em>Reference Manual for the Music 11 Sound Synthesis Language</em>. MIT Electronic Music Studio, Cambridge, MA, 1979.</p>
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<p>Barry Vercoe. <em>Csound: A manual for the audio processing system</em>. MIT Media Lab, Cambridge, MA, 1985. Revised 1996.</p>
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<p>Matthew Wright and Adrian Freed. Open Sound Control: A New Protocol for Communicating with Sound Synthesizers. In <em>Proceedings of the International Computer Music Conference</em>, pages 101--104. International Computer Music Association, 1997.</p>
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<p>David Zicarelli. An extensible real-time signal processing environment for Max. In <em>Proceedings of the International Computer Music Conference</em>, pages 463--466. International Computer Music Association, 1998.</p>
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<hr />
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<p>Minor revisions November 2006, May 2010, June 2014, June 2019, May 2021</p>
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