#1407

Hey Hey! new to the forum, I looked around and searched to see if an answer already existed but i didn’t see much. My question is about a eurorack module and Orca on raspberry-pi. Orca on MacOS recognized this plug and play MIDI-to-CV module but Orca on Pi does not respond when the module is connected. I have PortMIDI installed, but is there some other library that can recognize random MIDI devices? My ORCA-PI automatically recognized my Behringer Neutron but is not responding to 2HP MIDI.

#1408

Read up on the aconnect command (from the command line)

You probably just need to route the midi devices to each other (in the system software - using aconnect).

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#1409

After a quick glance, this looks like it could be promising. Thanks a ton!

1 Like
#1410

Two newb questions after watching some example videos.

I see the D operator being used with a midi control change. In the video I see D1. If I use D1 it kills the operator. If I use D2 or leave the numeral blank it works. It does the same thing with a midi note. Has this behavior been changed since the making of the video?

In the same video I see “. B z” producing a changing value to modulate the third midi control change value. But B always produces a fixed value for me. There is nothing above or near the B to explain the changing value. I’m thinking I must be missing some fundamental aspect of Orca that isn’t mentioned in the newbie videos.

#1411

the way that B is changing in this video is mysterious to me too. if there was some sort of variable changing on the ‘a’ input I would understand but the way that it’s behaving here seems more like the R operator below it.

#1412

I’m not sure what you mean by kill the operator?

Ah yes, that’s an old video, before, the B operator contained a clock, you can replicate this same behavior now with:

C..
1B4

Where the second port of B is half the length of the clock.

#1413

What I meant by kills the operator is the “!” or the “:” turn grey and the midi stops sending if you put a 1 after the “D”. You can put another integer there, but a 1 kills it. I presume this is because having a 1 there is the same as having nothing there? But in the video this seems to be allowed behavior.

I had already added the clock to B. I was looking for a reason why I had to :wink:

#1414

can you take a picture or video of your patch? .D1 should give you a midi note on every click, it basically just holds the gate open.

#1415

Here’s what D1 does for me, it plays a note every frame:

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#1416

I looked at the midi channel in VCV Rack. With D1 you get a constant stream of gates (clicks), and a very unpredictable occasional heard note. Making it essentially useless. I just don’t know if this is the expected behavior or not. Looking at it in Orca it’s definitely hard to see what is actually going on. And my screen definitely looks nothing like the one in the video I’m watching. He is using D1 with a midi control change, and his “!” remains lit up (highlighted). On mine the “!” dims as if nothing is happening. The same way “:” does. There is a clear reaction if you add the “1” after the D, different from any other integer. And the midi operators don’t go dim until you have a midi channel, octave and note.

#1417

Hi friends - been playing around with Orca and just wanted to share a cool construct.

I wanted to create an oscillating clock (e.g. 0 to z back to 0 and so on), but it looks like the suggested approach is to now use the following construct:

Cy.
1Bh

However, the largest period we can get from this is only 2*h ticks, because the second operand of B has to be half our clock:

Here’s what I came up with instead:

.25O.....
...00O0z.
....Z0B..
....0F0..
.....*i2.
......1..

Despite its messiness, I’m quite proud of this iteration as my previous attempts at such a clock broke if you tried to change the range halfway through the period, but this one seems pretty solid. It works by comparing Z's output to its target such that when the two are equal, we switch Z's target to the next endpoint of our oscillation.

The above snippet oscillates within [0,z], but we can specify the lower-bound too, e.g. the following would oscillate within [2,7].

...00O27.

You can get pretty crazy and form some elaborate oscillations by changing the pattern length too. The following goes from 2 to a, down to 7, up to g, and back down to 2:

.25O.......
...00O2a7g.
....Z0B....
....1F0....
......i4...
......0....

Orca is really cool and I’m having a lot of fun with it. Thanks for this awesome language!

6 Likes
#1418

One way I like to do this is:

4 Likes
#1419

Orca has been basically everything I wanted in a generative sequencer, but I found myself wanting to create longer song arcs w/o live-coding.

One way of injecting potentially a ton of variation into patches without having to live-edit might be dynamic commenting. I initially struggled a lot moving #s around, so I thought I’d share just a few constructions to dynamically mute/unmute channels, a common performance gesture.

(These examples flip every couple frames, but of course could be extended to cue after arbitrarily long times!)

3 Likes
#1420

It looks like you’re using the javascript version of Orca, did you know about the injection command to create larger songs?

3 Likes
#1421

Yes! This is definitely more straightforward and I’ll have to practice with it.

#1422

Good day everyone - I started a live stream called Electro-lunch. It’s every M-W-F at 1:30pm CST. find replays and follow along it at Twitch, YouTube, and Facebook.

Orca on a Raspberry Pi is central to the writing process. It doesn’t replace my other sequencing tools, but Orca adds another go-to option for creation for me. Performance is tricky because of the clock. I find it matches Arturia’s Beatstep Pro more than it matches Ableton and Orca on Pi has a more accurate clock and spacebar trigger than Orca does on Mac OS (it could be my particular machines not sure). Happy to talk shop about anything I do on these streams. Check it out, see what’s up.

1 Like
#1423

Hi everyone,

I’ve been playing with orca and is really fun.

I would like to know if there’s a possible way to send
the result of a variable to control the channel that is played by a track

Here’s an example of what I’m trying to achieve:

I’m using casseter - so this works well I can send a bang every time

..1C1................................
.D101To..............................
.*!10o1z.............................

and then, change where the sample starts, so I play the whole sample

..1Cu................................
.D1huT123456789abcdefghijklmnopqrstu.
.*!16i1z.............................

however I would like to control the sample (channel !1 to !0)
every time that the track arrives to u, so I did this

uC2................................
u12T01.............................
.zV1...............................

The problem is that I don’t know how to pass this variable into my tracks,
any help would be really appreciated,

Have a nice one,
Rodrigo

#1424

Could you edit your post and wrap your orca code between backticks?

#1425

sure @neauoire, I didn’t know how, so thanks for the tip and for this amazing software:)

#1426

You could create a few variables and route them into your midi operator like this:

................
...........4C3..
.8C.........1A2.
cV4...nVC..oV3..
................
................
................
.....3Kcon......
......:43C......
................

@yecto Thanks for correcting your post :slight_smile: use 3 backticks in a row to create a code block.

1 Like