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:
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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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innovation technologies and academic realms. We believe that this association will allow participants to be part of the art community of the Guggenheim museum and the academic environment of the UPV -more particularly the ETSASS Escuela Tecnica Superior de Arquitectura de San Sebastian. Moreover, the partnership with Tecnalia will enable us to work together with their most advanced media and research and innovation groups.
The program will start with a symposium in June at the Guggemheim in Bilbao and will be followed by a workshop in July at the Alhondiga in Bilbao and ETSASS digital fabrication laboratory in San Sebastian. The works produced at the visiting school will be exhibited from September on at the Alhondiga in Bilbao:
-To introduce the research topic of the visiting school, the workshop will be preceded by a one-day-long symposium. This event will initiate a debate between professionals, theoreticians and scientists from the field, to discuss about alternative and critic methods of environmental adaptability.
-The workshop will investigate new design processes to produce context sensitive environments from a critical perspective. Local ‘materials’ such as user behaviour, social patterns or environmental analysis will inform the design process.
In order to construct this agenda, the workshop will invest on digital design and fabrication strategies by studying data-feed protocols, environmental simulation software and algorithmic design. To work within actual conditions, the site will be proposed by the Bilbao authority as part of the future city and planning intentions.
-A prototype of the best project from the workshop will be fabricated in the Tecnalia installations. To build this prototype, we will take advantage of the robotics and fabrication department in Tecnalia. In September 2012, an exhibition will be held at the Alhondiga comprising the works developed at the visiting school and the prototype produced in collaboration with Tecnalia.…
o find a feasible solution and show the advantage of such methodology.Registration at trainings@parametric.supportTUITION FEE: 400 EUR (Early Bird) till 30.05450 EUR (Regular)OUTLINE:During the workshop you will learn:- difference between calculation by hand and FEM,- study of simple a structure in Karamba,- free form structure,- cross section optimization, - single objective optimizationPROGRAM:Day 1- introduction of some case study,- example of standard calculation by hand and with commercial FEM software as SAP2000 in order to show the difference in term of time and feasibility of Karamba,- understanding of Karamba component with few easy example:- simple supported beam;- multi supported beam;- truss structures with different layout;- curved beam;Day two- Analyzing a free form surface with beam and shell element;- using genetic algorithm to find the solution with minimum displacement;- cross section optimization;TUTOR:Marco Pellegrino, structural Engineer graduated at the University of Pisa, he worked at AEIprogetti, he participated in several conferences such as: Design Modelling Symposium in Copenhagen and AA Summer School. He is interested in applied new media to structural design. He runs Ingegneria Parametrica fanpage.Marco is a currently working at Parametric Support.This event is for Grasshopper advance users.…
.
Adaptation (http://agile-iot.eu/adaptation) will be hosted as a satellite event with Tech Open Air, a yearly festival held in Berlin of around ideas of tech, music, art and science. The exhibition will be held in Agora Rollberg, an experimental center for sustainable and artistic practices in the heart of Neukölln.
Schedule: Opening: 11th July 6pm-10pm Exhibition: 12th-14th July, 10am-6pm
Get your free ticket at: https://www.eventbrite.de/e/using-iot-to-create-art-using-art-to-envision-iot-tickets-33497054592
The continuously developing AA Visiting School that takes place successfully on a global scale during the recent years and promotes a cosmopolitan pedagogical approach had visited the city of Chania. Under the theme “Progressions”, IVI has been the output of the intense workshop dealing with generative architectural design and digital fabrication techniques where architectural students and architects participated from Greece and abroad.
The project was designed and realized in Lektorio studio space in the old city district of Chania. The completed installation was also presented at the exhibition space of Sabbionara Gate of the Centre for Mediterranean Architecture, co-organized by the Municipality of Chania and KEPPEDICH KAM enabling public visits.…
up structural systems in the parametric environment of Grasshopper. Participants will be guided through the basics of analysing and interpreting structural models, to optimisation processes and how to integrate Karamba3d into C# scripts.
This workshop is aimed towards beginner to intermediate users of Karamba however advanced users are also encouraged to apply. It is open to both professional and academic users.
Course Fee:
Professional EUR 750 (+VAT)
Educational EUR 375 (+VAT)
Course Outline
Introduction & Presentation of project examples
Optimization of cross sections of line based and surface based elements
Geometric Optimization
Topological Optimization
Structural Performance Informed Form Finding
Understanding analysis algorithms embedded in Karamba and visualising results
Complex Workflow processes in Rhino3d, Grasshopper3d and Karamba3d
Places are limited to a maximum of 10 participants with limited educational places. A minimum of 4 places are required for the workshop to take place.
The workshop will be cancelled should this quota not be filled by May 31st.
The workshop will be taught in English. Basic Rhino and Grasshopper knowledge is recommended. No knowledge of Karamba is needed.
Participants should bring their own laptops with either Rhino5/Rhino6 and Grasshopper3d installed. A 90 day trial version of Rhino can be downloaded from Rhino3d.
Karamba ½ year licenses for non-commercial use will be provided to all participants.
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