User-Defined Opcodes

A Visual Programming Interface for Digital Luthiery: Implementing Circuits with Veneer

“…We have described the presence or absence of certain traits related to these goals in established music languages in Table 1. In some cases we consider a specific subset or mode of a music language that is geared towards ugens and samplelevel processing, such as ChucK Chugens (Salazar and Wang 2012), Csound user-defined opcodes (Lazzarini et al 2016) and Max gen∼. The table is not intended to be exhaustive or indicative of the relative merit of various music languages, but rather their flavor of signal processing and capabilities relevant to the stated goal.…”

“…Csound has gained support for user-defined opcodes (Lazzarini et al 2016) that call a userdefined routine at the control rate (krate). Because Csound allows locally specified control rates, a user-defined opcode can be made to run at the audio rate and support unit-delay feedback.…”

“…Many music languages provide a built-in set of clock domains such as block rate, control rate, and audio rate. Csound (Lazzarini et al 2016) allows instruments to specify local control rates. Max and Pure Data (Puckette 1996) offer asynchronous message passing for flexible scheduling of low-bandwidth signals.…”

“…ChucK features concurrent interacting threads with explicit control of time (Wang and Cook 2003). Xtlang, Nyquist, and Csound share the highly general scheduling mechanism of temporal recursion (Lazzarini et al 2016;Dannenberg 1991;Sorensen and Gardner 2010).…”

“…In the feature matrix we denote Kronos, Faust, and Nyquist as having first-class, computationally efficient support for this type of processing (Dannenberg 1997;Norilo 2015;Orlarey and Jouvelot 2016). Further, custom multirate schedulers could be implemented by the user in any language that can express imperative control flow, such as Csound or xtlang (Sorensen and Gardner 2010;Lazzarini et al 2016).…”