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The house provides a spot to look at the vast heavens almost everywhere you go—including your own room. Furthermore, you will be able to admire the various constellations of the realm from the comfort of your own room, as well as through the halls of this massive mansion. Castle Mendoza is already a complete castle; you may not need to leave this home unless you are going on a quest.

The castle comes equipped with various weapon racks and plates where you can go questing. It is also incredibly huge. If you are fan of owning a large home, kinda like the ones in the Dawnguard DLC, you will absolutely love Mendoza.

Bet on it! Although the size of this manor is smaller than others, Dragonsmount is one house which resembles Solitude in design. The design takes the cake and earns it a place above other castles on this list, however. It has a stunning view of the region and allows you to sit on its huge balcony to enjoy a meal with your partner and children. The house is a perfect combination of spacey and quaint.

This means you will be able to find most things quickly, and companions will not elude you when roaming the halls of this splendid manor. Most base-game castles do not suit the Dragonborn and their might. Some players feel as if they deserve a larger castle to live in after having killed Alduin and several other dragons across the game. Complete with indoor waterfalls and weapon racks, the Dragon Lord Castle makes it truly worthy of being the player home of the Dovahkiin.

The home comes with 4 merchants who sell various goods, as well as rooms for you to practice spell craft and smithing to your hearts content.

Lake Ilinalta Estate is one of the most unique player homes you can wish for. It is a rather small home in comparison to others on this list. However, its beauty is so authentic, and its design is undeniably unique. You will love this home regardless of the playstyle you are after.

With dozens of unique meshes, and a design that sets it apart from the rest of the houses on this list, Lake Ilinalta Estate is a beautiful home many Nexus visitors keep close to their hearts.

The Valdmire castle is one of the best modded additions in the game if you are a vampire. With a dark design and a rather eerie feeling, it will suit the darkest lord of the night.

The house is adoption friendly and has room for storage, as well as decorations, such as flowers and weapon racks. The design is suitable for those who want to roleplay as a vampire, with candles being the only emitted light source. This castle is massive. But the creator of this mod has considered many details, making the huge halls of this Castle full and ornate. With a dark theme, the castle has gardens on the inside and a ton of storage room for you to enjoy.

It also comes with a quest, which teaches the lore of the Castle and brings awareness of what was happening before your arrival to Orlok. Vortai is not only an amazing home, it is also a hub where you can travel to all of the big cities in the game without having to visit them first. As its name suggests, it is located in the sky.

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Notice how the first choice is wrapped between the if and the else and the second choice is wrapped between the else and the end.

Sometimes you want to optionally execute just one line of code. This is possible by placing if and then the question at the end. This will play chords of different numbers with the chance of each note playing having a different probability. How do you play them at the same time? One solution is to weave them together manually - play some bass, then a bit of drums, then more bass… However, the timing soon gets hard to think about, especially when you start weaving in more elements.

What if Sonic Pi could weave things for you automatically? Well, it can, and you do it with a special thing called a thread. Once you enter a loop you can never exit from it until you hit stop. How do we play both loops at the same time? We have to tell Sonic Pi that we want to start something at the same time as the rest of the code. This is where threads come to the rescue. Now we have the same problem as before. However, the third loop is never reached. We therefore need another thread:.

This is why pressing it multiple times will layer sounds over each other. As the runs themselves are threads, they will automatically weave the sounds together for you. One of the important jobs they have is to isolate the notion of current settings from other threads.

What does this mean? Notice how the middle sound was different to the others? Notice how the second note is played with the :tb synth even though it was played from a separate thread? Look at the log pane when you run this code. See how the log reports the name of the thread with the message? One last thing to know about named threads is that only one thread of a given name may be running at the same time. Go ahead and paste that into a buffer and press the Run button.

Press it again a couple of times. Listen to the cacophony of multiple amen breaks looping out of time with each other. Ok, you can press Stop now. Try pressing the Run button multiple times with this code. This behaviour may not seem immediately useful to you now - but it will be very handy when we start to live code….

Once you start writing lots of code, you may wish to find a way to organise and structure things to make them tidier and easier to understand. Functions are a very powerful way to do this. They give us the ability to give a name to a bunch of code. Remember to prepend a colon : to the name of your function when you define it.

We can even use foo inside iteration blocks or anywhere we may have written play or sample. This gives us a great way to express ourselves and to create new meaningful words for use in our compositions.

It knows nothing except for what is in the buffer. However, functions change that. When you define a function, Sonic Pi remembers it.

Delete all the code in your buffer and replace it with:. Press the Run button - and hear your function play. Where did the code go? How did Sonic Pi know what to play? Sonic Pi just remembered your function - so even after you deleted it from the buffer, it remembered what you had typed. This behaviour only works with functions created using define and defonce. You might be interested in knowing that just like you can pass min and max values to rrand , you can teach your functions to accept arguments.

You may use any words you want for the parameter names. You may use the parameter names as if they were real values.

You can consider the parameters as a kind of promise that when the code runs, they will be replaced with actual values. You do this by passing a parameter to the function when you call it. Inside the function definition, n is now replaced with 80, so play n turns into play Here I used repeats as if it was a number in the line repeats. I also used root as if it was a note name in my call to play.

A useful thing to do in your code is to create names for things. There are three main reasons for using variables in Sonic Pi: communicating meaning, managing repetition and capturing the results of things.

Although it might seem obvious to you now - it might not be so obvious to others or even your future self! One way to help others understand what your code is doing is to write comments as we saw in a previous section. Another is to use meaningful variable names. Look at this code:.

Why does it use the number 1. Where did this number come from? What does it mean? However, look at this code:. Of course, you might say why not simply write:. Often you see a lot of repetition in your code and when you want to change things, you have to change it in a lot of places. Take a look at this code:.

Now, that does exactly the same as above try it. Finally, a good motivation for using variables is to capture the results of things. For example, you may wish to do things with the duration of a sample:.

Perhaps more importantly, a variable allows us to capture the result of a call to play or sample :. Now we have caught and remembered s as a variable, which allows us to control the synth as it is running:. Whilst variables are great for giving things names and capturing the results of things, it is important to know that they should typically only be used locally within a thread. In the first live loop every 0. This may surprise you - especially that sometimes the list is printed as sorted, and sometimes it is not.

This is called non-deterministic behaviour and is the result of a rather nasty problem called a race-condition. The problem is due to the fact that the second live loop is also manipulating the list in this case shuffling it and by the time the list is printed, sometimes it has just been sorted and sometimes it has just been shuffled. There are two solutions to this. For example, the following code will always print a sorted list as each live loop has its own separate variable:.

However, sometimes we do want to share things across threads. For example, the current key, BPM, synth etc. This is discussed later on in section However, when you restart the thread it is now out of time with the original threads.

This includes the current time. This means that threads are always in time with each other when started simultaneously. However, when you start a thread on its own it starts with its own time which is unlikely to be in sync with any of the other currently running threads. Sonic Pi provides a solution to this problem with the functions cue and sync. However, you can easily register interest with the sync function. The important thing to be aware of is that sync is similar to sleep in that it stops the current thread from doing anything for a period of time.

Here we have two threads - one acting like a metronome, not playing any sounds but sending out :tick heartbeat messages every beat. The second thread is synchronising on tick messages and when it receives one it inherits the time of the cue thread and continues running.

That naughty sleep call would typically make the second thread out of phase with the first. Here we have a main cue loop which is randomly sending one of the heartbeat names :foo , :bar or :baz. We then also have three loop threads syncing on each of those names independently and then playing a different sample.

The net effect is that we hear a sound every 0. This of course also works if you order the threads in reverse as the sync threads will simply sit and wait for the next cue. One of the most rewarding and fun aspects of Sonic Pi is the ability to easily add studio effects to your sounds.

For example, you may wish to add some reverb to parts of your piece, or some echo or perhaps even distort or wobble your basslines. Sonic Pi provides a very simple yet powerful way of adding FX. It even allows you to chain them so you can pass your sounds through distortion, then echo and then reverb and also control each individual FX unit with opts in a similar way to giving params to synths and samples. So, for example, you could increase the reverb on your bass throughout the track….

Once you play around with it a little, it will all become quite clear. Before you do though, a simple analogy is that of guitar FX pedals. There are many kinds of FX pedals you can buy. Some add reverb, others distort etc. A guitarist will plug his or her guitar into one FX pedal - i. The output of the reverb pedal can then be plugged into the amplifier:. This is called FX chaining.

Sonic Pi supports exactly this. Additionally, each pedal often has dials and sliders to allow you to control how much distortion, reverb, echo etc. Sonic Pi also supports this kind of control.

Everything sounds pretty nice with reverb. For example a fun echo opt to play with is phase: which represents the duration of a given echo in beats. One of the most powerful aspects of the FX blocks is that you can nest them. This allows you to very easily chain FX together. For example, what if you wanted to play some code with echo and then with reverb? Easy, just put one inside the other:.

Think about the audio flowing from the inside out. We may use very deep nestings for crazy results. So be sparing with your use of FX especially on low powered platforms such as the Raspberry Pi. Sonic Pi ships with a large number of FX for you to play with.

Although they look deceptively simple on the outside, FX are actually quite complex beasts internally. Their simplicity often entices people to overuse them in their pieces. This may be fine if you have a powerful machine, but if - like me - you use a Raspberry Pi to jam with, you need to be careful about how much work you ask it to do if you want to ensure the beats keep flowing.

All good so far. First we have a loop which means everything inside of it is repeated forever. This means we will create a new reverb FX every time we loop. This is like having a separate FX reverb pedal for every time you pluck a string on a guitar.

For example, this code will struggle to run nicely on a Raspberry Pi. How do we make it more similar to a traditional setup where our guitarist has just one reverb pedal which all sounds pass through?

This way we only create a single reverb for all notes played in our loop. This code is a lot more efficient and would work fine on a Raspberry Pi. Both the reps: 16 and Remember, there are no mistakes, just possibilities.

However, some of these approaches will have a different sound and also different performance characteristics. So play around and use the approach that sounds best to you whilst also working within the performance constraints of your platform.

Each sound triggered is essentially its own sound with its own list of options set for the duration of the sound. However, Sonic Pi gives us the ability to manipulate and control currently running sounds. We do this by using a variable to capture a reference to a synth:. Here, we have a run-local variable s which represents the synth playing note Once we have s , we can start controlling it via the control function:.

We can pass any of the standard opts to control , so you can control things like amp: , cutoff: or pan:.

This is the case for all the ADSR envelope parameters. You can find out which opts are controllable by looking at their documentation in the help system. This behaviour is identical to using parameterised functions.

You might have even tried calling them and seeing no effect. Here, you can hear the synth pitch changing immediately on each control call.

However, we might want the pitch to slide between changes. Now we hear the notes being bent between the control calls. Sometimes you may wish to represent and use more than one thing.

For example, you may find it useful to have a series of notes to play one after another. Programming languages have data structures to allow you do exactly this. There are many exciting and exotic data structures available to programmers - and people are always inventing new ones.

However, for now we only really need to consider a very simple data structure - the list. We met it very briefly before in the section on randomisation when we randomly chose from a list of notes to play:. One option is to place all the notes in a list: [52, 55, 59]. Our friendly play function is smart enough to know how to play a list of notes.

Now those of you lucky enough to have studied some music theory might recognise that chord as E Minor played in the 3rd octave. Another very useful feature of a list is the ability to get information out of it. The only strange thing is that in programming indexes usually start at 0 not 1. That was easy. There are three parts to the line above: the word puts , our list 52, 55, 59 and our index [1]. We need to surround our index with square brackets and because counting starts at 0 , the index for the second element is 1.

Change the index 1 to other indexes, try longer lists and think about how you might use a list in your next code jam. For example, what musical structures might be represented as a series of numbers…. That looks a lot more pretty than the raw lists and is easier to read for other people. So what other chords does Sonic Pi support? Well, a lot. Try some of these:. Chords and scales are great ways of constraining a random choice to something meaningful.

Have a play with this example which picks random notes from the chord E3 minor:. To find out which scales and chords are supported by Sonic Pi simply click the Lang button on the far left of this tutorial and then choose either chord or scale in the API list. An interesting spin on standard lists are rings.

If you know some programming, you might have come across ring buffers or ring arrays. In the previous section on lists we saw how we could fetch elements out of them by using the indexing mechanism:. Now, what happens if you want index ? So Sonic Pi will return you nil which means nothing. However, consider you have a counter such as the current beat which continually increases.

Great, we got Super, we now get 55 and if we do it again we get What if we wanted to just loop back round and start at the beginning of the list again? This is what rings are for. We can create rings one of two ways. Either we use the ring function with the elements of the ring as parameters:.

Or we can take a normal list and convert it to a ring by sending it the. A useful thing to know is that the lists returned by scale and chord are also rings and allow you to access them with arbitrary indexes. In addition to ring there are a number of other functions which will construct a ring for us. In addition to the constructors such as range and spread another way of creating new rings is to manipulate existing rings.

What if we wanted it backwards? This is already a powerful way of creating new rings. However, the real power comes when you chain a few of these commands together. Can you see how we can just create a long chain of these methods by just sticking them together. We can combine these in any order we want creating an extremely rich and powerful way of generating new rings from existing ones.

These rings have a powerful and important property. They are immutable which means that they can not change. This means that the chaining methods described in this section do not change rings rather they create new rings. Of course, those chain methods that take numbers can take other numbers too!

So feel free to call. One advantage of this approach is to give you more feedback whilst composing get a simple loop running and keep tweaking it till it sounds just perfect. However, the main advantage is that you can take Sonic Pi on stage and gig with it. We first need a function containing the code we want to play. We also want to loop calls to that function in a thread:.

If that looks a little too complicated to you, go back and re-read the sections on functions and threads. What we have here is a function definition which just plays note 50 and sleeps for a beat. Now, this is where the fun starts.

Whilst the code is still running change 50 to another number, say 55, then press the Run button again. It changed! Also, the sound changed because we redefined the function. When the :looper thread looped around it simply called the new definition.

Try changing it again, change the note, change the sleep time. For example, change it to:. Now it sounds pretty interesting, but we can spice it up further.

Instead of playing the same note again and again, try playing a chord:. Ok, so this section of the tutorial is the real gem. If you only read one section, it should be this one. Now press the Run button. You hear a basic beep every beat. Nothing fun there. Change the 60 to 65 and press Run again. You may have wondered why it needs the name :foo.

This name is important because it signifies that this live loop is different from all other live loops. This means that if we want multiple concurrently running live loops, we just need to give them different names:. One thing you might have already noticed is that live loops work automatically with the thread cue mechanism we explored previously.

Every time the live loop loops, it generates a new cue event with the name of the live loop. We can therefore sync on these cues to ensure our loops are in sync without having to stop anything. This is because the loops are out of phase.

In the section about the rings we were talking about the counter that is constantly increasing, like a current beat number. Tick just implements this idea. It provides you with the ability to tick through rings. This is done by adding. This tick is local to the live loop, so each live loop can have its own independent tick:.

However, it is much nicer to call. The tick fn is for when you want to do fancy things with the tick value and for when you want to use ticks for other things than indexing into rings. Take a look at the examples in the docs for tick for many ways of working with this. This is available via the look fn. You can call look as a standard fn or by adding. This is achieved by giving your tick a name:.

In the example above we called one tick :foo and the other :bar. If we want to look at these we also need to pass the name of the tick to look.

Just focus on ticking through a single ring. Take a look at the documentation for tick where there are many useful examples and happy ticking! Often it is useful to have information that is shared across multiple threads or live loops. At the end of Section 5. This might sound complex and difficult in fact, in the UK, programming with multiple threads and shared memory is typically a university level subject.

Sonic Pi has a global memory store called Time State. The two main things you do with it are to set information and get information. For example, we might want to store the number with the key :intensity. This is possible using the set function:. We can use any name for our key. If information has already been stored with that key, our new set will override it:. To fetch information from the Time State we just need the key we used to set it, which in our case is :intensity.

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