d the fact that one pipe goes out and one goes in, that the surface normal direction is opposite for the two surfaces? Based on an earlier thread, you should know why by now. The two curves have opposite directions (again!); see the white arrows using Rhino 'Analyze | Direction'?
As before, you can fix that by flipping one curve to match the other. HOWEVER, you connected your curves directly to the 'Divide' components instead of using 'Crv' geometry params - bad form. And as before, you "fixed it" by reversing the list of starting points ('S' input to 'BiArc'). Better like this - 'Crv' params are internalized, no need for Rhino file:
Well, well! That didn't fix the opposite surface normals after all! Trust me, though, using geometry params and being conscious about matching curve directions is "best practice". But I haven't lofted 'BiArc' curves for awhile, it's late and I want to move on. OH! I just noticed that you reversed the 'Z' direction for one half of the 'BiArc' - that explains it:
Moving on... You've basically got it, though I would do it differently - same result, like this:
I haven't really explained surface normal vectors - can you figure it out from here? One more little wrinkle (Normal_2017Mar17b.gh):
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Added by Joseph Oster at 12:03am on March 18, 2017
i to usb cable and was able to connect Grasshopper with my digital piano realtime through a simple VB.NET component, no need for any other intermediate software. I used this library http://midiservices.codeplex.com/ (but there are several others).
The VB component outputs a list of 88 values that correspond to the intensity of each piano key at the current time (if the pedal is on and a key is depressed the value is halved, if the pedal is off the value is 0).
The rest of the definition is just to do something with this data. It uses these values to display each note as different floating colors that move with the wind (using Kangaroo). The strength of the wind changes as the music dynamics change.
If there are several devices connected you might have to change the line device.Open(0) to another number.
Definition: piano_midi.gh
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an be given as 88° and 95°. All three angles must sum up to 180, and we're already 3 degrees over balance. Or maybe the user specifies three edge-lengths: 21, 12 and 8. 21 is bigger than 12+8, so even if the triangle was stretched flat, the two short edges cannot reach the ends of the long edge. The above is easy to test for and I add errors to the component if an invalid triangle is provided. However there are also many angle+edge length combinations which result in invalid triangles.
I could of course test for these as well, but the problem is now tolerance. What if the user specifies a redundant angle of 54.7°, whereas the mathematics tell us that the actual angle is 54.7002°. Is that an error? If so, is the angle wrong or is perhaps one of the edges wrong? Or has the triangle simply been over-constrained? Is there a mathematically robust way of dealing with this? And if so, would that also be the most user-friendly way of dealing with it?…
Added by David Rutten at 2:23pm on August 23, 2014
s are identical to those in Grasshopper so I am getting an ambiguous reference error when loading the OpenStudio.dll into my component and using the Point type hint.
private void RunScript(Point3d pt, ref object os3DVector)
{
OpenStudio.Point3dVector points = new OpenStudio.Point3dVector();
points.Add(pt);
}
Error: 'Point3d' is an ambiguous reference between 'Rhino.Geometry.Point3d' and 'OpenStudio.Point3d' (line 88)
Is there any particular reason the Grasshopper reference to Point3D is implicit rather than explicit Is this something that can be changed on my end as it appears to be locked down.
Would like it to read as follows:
private void RunScript(Rhino.Geometry.Point3d pt, ref object os3DVector)
{
OpenStudio.Point3dVector points = new OpenStudio.Point3dVector();
points.Add(pt);
}
Awesome, thanks!…
d' and no extension method 'AnnotativeScalingEnabled' accepting a first argument of type 'Rhino.Geometry.TextEntity' could be found (are you missing a using directive or an assembly reference?) (line 94)
Along with some warnings:
1. Warning (CS0618): 'Rhino.Geometry.AnnotationBase.Text' is obsolete: 'Use RichText or PlainText' (line 88)2. Warning (CS0618): 'Rhino.Geometry.AnnotationBase.FontIndex' is obsolete: 'Use Font property instead' (line 92)
3. Warning (CS0618): 'Rhino.RhinoDoc.Fonts' is obsolete: 'Use DimStyles table instead' (line 92)
I've downloaded the latest version of FabTools.
I've completely un-installed and re-installed.
I've Googled everything I can think of to find a solution, but most references are circa 2013 which is probably under Rhino 5. Which works totally fine, BTW.
Does anybody know of a solution?
Thanks,
Michael
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ed - but then shouldn't it be needed for the locked nodes as well?
We are not previously familiar with GSA, (we have used mainly ABAQUS), and we are trying to keep the entire analysis in GH, doing the moment analysis with CurveElementForces and 1dSetDecompose. Could we see the moments in GSA directly from the GH file you gave us, or did you "post process" in GSA? (We notice a "Case A1" in your image.)
We have used the Model Decompose component to find the coordinates of nodes, and combine this with the element and node numbers, which we get from outputs P and V in 1dDecompose component. In this way we can recreate your moment image from above! However we get a few strange moments, please see the attached file.
Cheers!
Agnes & Lukas…
ther math and logic. i can usually conceptualise what i want to do and cobble some semi working thing together but don't know which components to use and how to patch it. so i'm super happy to have someone who knows what he's doing to find this interesting.
and i'm glad you mention the fanned frets again, there is one input parameter that's still missing for the multiscale frets to be fully parametric, it's the angle of the nut or which fret should be straight. it depends a bit on personal preferences and playing posture what is more comfortable. so being able to adjust this easily would be cool. again i have no idea how the maths for that work or if you can just rotate each fret the same amount around it's middle point. The input either as fret number (for the straight fret) or as a simple slider from bridge to nut should do as input setting.
Here are the two extremes and the middle ground:
i've been thinkin today while analysing your patches and cleaning up my mess what exactly the monster should do.
Here are the input parameters needed, i think it's the complete list
scale length low E string
scale length high e string
fret angle/straight fret
string width at nut
string width at bridge
number of frets
fretboard overhang at nut (distance from string to fretboard bounds)
fretboard overhang at last fret
string gauges
string tensions
fretboard radius at nut (for compound radius fretboard radius at bridge is calculated with the stewmac formula)
fretwire crown width
fretwire crown height
action height at nut (distance between bottom of string and fretwire crown top)
action height at last fret
pickup 1 neck position
pickup 2 middle position
pickup 3 bridge position
nut width
the pickup positions should be used to draw circles for the magnet poles on each string so they are perfectly aligned and can be used for the pickup flatwork construction. ideally they would need a rotation control aligning the center line of the pickup so it's somewher between the last fret angle and bridge angle. personally i do this visually depending on the design i'm looking for, some people have huge theories on pickup positioning but personally i don't believe in it.
that should result in everything needed to quickly generate all the necessary construction curves or geometry for nut/fingerboard/frets/pickups. this is the core of what makes a guitar work, the more precise this dynamic system is the better the guitar plays and sounds.
i posted another thread trying to understand how i could use datasets form spreadsheets,databse, csv to organize the input parameters. What would make sense for the strings for example is hook into a spreadsheet with the different string sets, i attached one for the d'Addario NYXL string line which basically covers all combos that make sense.
The string tension is an interesting one, and implmenting it would sure be overkill albeit super interesting to try. it should be possible to extrapolate from the scale length of each string what the tension for a given string gauge of that string would be so that you could say 'i want a fully balanced set' or 'heavy top light bottom) and it would calculate which SKU from d'addario would best match the required tension. All the strings listed in the spreadsheet are available as single strings to buy.
i'm trying to reorganize everything which helps me understand it. i just discovered the 'hidden wires' feature which is great since once i understood what a certain block does or have finished one of my own, i can get the wires out of the way to carry on undistracted. a bit risky to hide so many wires but it makes it so much easier not to get completely lost :-)
btw, the 'fanned fret' term is trademarked, some guy tried to patent it in the 80's which is a bit silly since it has been done for centuries. there is a level of sophistication above this as well, check out http://www.truetemperament.com/ and that really is something else. it really is astounding how superior the tuning is on those wigglefrets, the problem is that it's rather awkward for string bending and also you can't easily recrown or level the frets when they are used. …
e matching with a dedicated component which creates combinations of items. You can find the [Cross Reference] component in the Sets.List panel.
When Grasshopper iterates over lists of items, it will match the first item in list A with the first item in list B. Then the second item in list A with the second item in list B and so on and so forth. Sometimes however you want all items in list A to combine with all items in list B, the [Cross Reference] component allows you to do this.
Here we have two input lists {A,B,C} and {X,Y,Z}. Normally Grasshopper would iterate over these lists and only consider the combinations {A,X}, {B,Y} and {C,Z}. There are however six more combinations that are not typically considered, to wit: {A,Y}, {A,Z}, {B,X}, {B,Z}, {C,X} and {C,Y}. As you can see the output of the [Cross Reference] component is such that all nine permutations are indeed present.
We can denote the behaviour of data cross referencing using a table. The rows represent the first list of items, the columns the second. If we create all possible permutations, the table will have a dot in every single cell, as every cell represents a unique combination of two source list indices:
Sometimes however you don't want all possible permutations. Sometimes you wish to exclude certain areas because they would result in meaningless or invalid computations. A common exclusion principle is to ignore all cells that are on the diagonal of the table. The image above shows a 'holistic' matching, whereas the 'diagonal' option (available from the [Cross Reference] component menu) has gaps for {0,0}, {1,1}, {2,2} and {3,3}:
If we apply this to our {A,B,C}, {X,Y,Z} example, we should expect to not see the combinations for {A,X}, {B,Y} and {C,Z}:
The rule that is applied to 'diagonal' matching is: "Skip all permutations where all items have the same list index". 'Coincident' matching is the same as 'diagonal' matching in the case of two input lists which is why I won't show an example of it here (since we are only dealing with 2-list examples), but the rule is subtly different: "Skip all permutations where any two items have the same list index".
The four remaining matching algorithms are all variations on the same theme. 'Lower triangle' matching applies the rule: "Skip all permutations where the index of an item is less than the index of the item in the next list", resulting in an empty triangle but with items on the diagonal.
'Lower triangle (strict)' matching goes one step further and also eliminates the items on the diagonal:
'Upper Triangle' and 'Upper Triangle (strict)' are mirror images of the previous two algorithms, resulting in empty triangles on the other side of the diagonal line:
…
radiance parameters to get rid of blotching. To add another level of complexity to my problem, I am running simulations with a translucent material with the following properties: void trans testTrans
0
0
7 0.478 0.478 0.478 0.000 0.010 0.178 0.635
I have had no issues with the renderings when I use clear glazing, as seen on this image:
However the blotching-issue becomes very noticeable when I introduce translucent glazing into the scene:
For the two above cases I used the following parameters:
_av_ is set to 0
xScale is set to 2
_ab_ is set to 6
_dc_ is set to 0.5
_aa_ is set to 0.2
_ad_ is set to 2048
_st_ is set to 0.5
yScale is set to 2
_ps_ is set to 4
_ar_ is set to 64
_as_ is set to 2048
_ds_ is set to 0.25
_pt_ is set to 0.1
_dr_ is set to 1
_pj_ is set to 0.9
_dp_ is set to 256
_dt_ is set to 0.25
_lr_ is set to 6
_dj_ is set to 0.5
_lw_ is set to 0.01
I ran another test with increased Radiance parameters and got the following output:
with the following parameters:
_av_ is set to 0
xScale is set to 6
_ab_ is set to 6
_dc_ is set to 0.75
_aa_ is set to 0.1
_ad_ is set to 4096
_st_ is set to 0.15
yScale is set to 6
_ps_ is set to 2
_ar_ is set to 128
_as_ is set to 4096
_ds_ is set to 0.05
_pt_ is set to 0.05
_dr_ is set to 3
_pj_ is set to 0.9
_dp_ is set to 512
_dt_ is set to 0.15
_lr_ is set to 8
_dj_ is set to 0.7
_lw_ is set to 0.005
Although the second blotching case is much better than the first, it is still very bad for hours when the sun is lower in the sky. The above images are rendered for a clear sky at 18:00 in Germany in a West-facing room.
Sorry for the long post! Can someone help? Kind regards, Örn
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uld like to split this solid with different geometries to create gaps into the tower, without seeing an empty tower or only a thin skin.
Is there a way to do this? I have put the grasshopper file in the attachment.
The image below shows what form I finally will achieve, three segments of a tower who can rotate apart from eachother. Whit on one side a straight sloping surface, and the rest af the surface is curved.
Is there another way to achieve the same but then in an easier way?
…