So, for example where a note-on MIDI message is an arcane cryptic series of numbers: 1001 0011–0100 0101–0100 1111, an analogous OSC message would be: /Synth/MIDI/Channel_1/Note_On, tt: “ii”, 69, 79.Ī crucial difference to OSC’s predecessors, is that while OSC has a per-message schema, there is no overall fixed schema to define or restrict the set of possible messages, as is the case with legacy protocols (e.g. The great advantage of OSC is that messages are self-descriptive, and directly human-readable: just by looking at the text of a message, you can tell what it is for, unlike with any of OSC’s predecessors. OSC gives musicians and developers more flexibility in the kinds of data they can send over the wire, enabling new applications that can communicate with each other at a high level. OSC messages are commonly transported within home and studio computer networks, but can also be transmitted across the internet. It was originally intended for sharing music performance data between electronic musical instruments, computers, and other multimedia devices. Open Sound Control (OSC) is a control message content format developed at CNMAT by Adrian Freed and Matt Wright. OSC enables the additional advantageous use case for the final instrument shipped, of enabling end-users to integrate the instrument within the broader ecosystem of OSC capable devices. This article will detail the use of OSC, with future articles in the series covering the use of SENSEI, and gRPC. But the GUI can also be running on the instrument, and interfacing for example over a multi-touch screen, with SUSHI and the hosted plug-ins. A common use-case is that the GUI is remotely accessible through a tablet or mobile phone.
Given a finalized design, the implementation of the hardware controls is then achieved using a combination of Elk’s SENSEI, and the optional custom development of a GUI. During prototyping, OSC is incredibly flexible, and the ecosystem of tools and devices which support OSC are highly conducive for quick iteration, and thus speedily arriving at a final design for the combination of physical and on-screen controls of the instrument. OSC and gRPC are both crucial components in the process of developing an instrument with the ELK platform. SUSHI automatically exports these over OSC and/or gRPC so that it is easy to make a client GUI application for controlling your plug-in. If your plug-in can be fully controlled by automation parameters and/or MIDI, then it is the host’s responsibility to wrap access to those controls in a suitable way – in this case, SUSHI is this host. MIDI messages, from external MIDI controllers.Device creators having built an optional PCB with physical controls (Knobs, Buttons, LED’s, LCD’s, etc), and connected those to control SUSHI and plug-ins using ELK’s SENSEI software.Control messages received over the Google Remote Procedure Call (gRPC) protocol.Control messages received over the Open Sound Control (OSC) protocol.For control, they rely on the following options: Once your plug-in is running without its original GUI (assuming it had one to begin with), you now need to control it. That also means that a plug-in that is ported to work with ELK, might need some refactoring to compile without including desktop GUI dependencies.
This means they all run as command-line processes, and lack a Graphical User Interface (GUI). As we have covered in previous articles in this series, SUSHI, Elk’s DAW and plug-in host, and the plug-ins running within it, are headless.
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