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Early praise for Programming Sound with Pure Data
This book covering Pure Data is pure fun. Where else can you learn how to make
lightsaber sounds with code? It’s a very nice intro to Pd and basic sound design
and focuses on practical things you can use in your own apps.
➤ Jack Moffitt, senior research engineer, Mozilla
After reading Programming Sound, I had so many ideas running through my head
that I couldn’t sleep. I learned not only how to synthesize amazing sounds (think
oceans, wind, wineglasses, and laser swords), but also why and how to dynami-
cally incorporate those in both web and native mobile applications. Thank you,
Tony!
➤ Zebulon Bowles, freelance musician and developer
Are you a sound designer? Working on a game audio project? Still looking to bring
your projects to the next level? Look no further. Pure Data is your new secret
weapon. And this is the book that will help you to get the most out of this powerful
open source application. Tony delivers!
➤ Benjamin Lemon, composer, sound designer
Hillerson makes the depth of Pure Data accessible, and in the process teaches
the basics of digital sound synthesis. Useful, fun, and highly recommended.
➤ Ben Price, senior developer, DreamQuest Games
Programming Sound raises the bar for what defines a good audio experience in
software. This book will help you see application development through an entirely
different lens. It arms you with the tools necessary to provide another avenue to
engage and delight your audience.
➤ Dan Berry, iOS developer, Tack Mobile
Programming Sound with Pure Data
Make Your Apps Come Alive with Dynamic Audio
Tony Hillerson
Acknowledgments . . . . . . . . . . . ix
Preface . . . . . . . . . . . . . . xi
1. Introduction . . . . . . . . . . . . . 1
Getting Started with Sound Design 2
Introducing Pure Data 5
Installing Pd 7
Other Software 8
Let’s Get Started 8
3. Building Controls . . . . . . . . . . . 27
Visualizing Sound 27
Creating a Subpatch 29
Making Sound Move 34
Building an Envelope 41
Next Up 47
Bibliography . . . . . . . . . . . . 169
Index . . . . . . . . . . . . . . 171
Foreword
Increasingly, new arts and media projects require some programming skills.
Studies in product design, interaction design, and user experience draw not
only on the traditional fields of sound, graphics, and haptics, but also on
practical skills with tiny embedded single-board computers like the Raspberry
Pi and Arduino, on high-level rapid-prototyping languages, and on knowledge
of browser technology and languages such as Python and C. One of the most
popular and powerful rapid-development tools for audio-signal processing is
Pure Data, Miller Puckette’s wonderful visual programming tool. With its
vibrant free-software community, and through the work of Peter Brinkman,
Hans Christoph Steiner, and many others, it has emerged as the number-one
choice for bridging the creative arts and engineering sciences.
1. http://crca.ucsd.edu/~msp/techniques/latest/book-html/
You cannot learn programming from a book, but there is something valuable
in this book that will motivate you and set you on the right course. Only at
the end will you understand why the path is made by walking, and why I
endorse this particular journey. A key factor is that the author has clearly
trodden the road too, and speaks from personal experience, not a collection
of data sheets and theoretical texts.
In The Matrix, Neo plugs in and downloads kung fu. If only learning could be
like that. Programming is very much like kung fu. Indeed, it is no surprise
that hackers talk this way about their skills. That is to say, it is all about
experience. You learn to program by doing it. To some extent motor memory
and ineffable symbolic knowledge play a part, and with time one learns to
translate ideas and intentions into code without really thinking about the
mechanics.
In the end this is a long journey. The ten thousand hours needed to become
a master appear daunting in this age of impatience, and in the interdisciplinary
digital arts where demands are made upon your skills in mathematics, plan-
ning, physics, graphics, psychology, networks, and electronics, it seems an
impossible learning curve for which even two or three lifetimes are not enough.
But the human brain is amazing. Given a motive, an itch to scratch, the right
seeds to grow, and a little sunlight of encouragement, we are able to extrapo-
late, create, and dream our way to extraordinary accomplishments, even with
meager teaching resources. The voice of a good teacher is ever present in this
book, giving solid formative steps and encouraging you toward exploration.
Self-learning and the mathematical arts go hand-in-hand. The autodidactic
approach to programming requires curious playfulness that can be brought
out only through clear and quite simple objectives designed to be engaging;
evoke personal, emotive goals; and subtly suggest further work. Activities like
making a browser-based game are perfect for this project. Be prepared to
have a lot of fun and develop a healthy addiction to code.
Andy Farnell
Computer scientist, author of Designing Sound
London, England, October 2013
Enthusiasm is enough to get started with when writing a book, but it’s not
enough to make the book a good one. I’ve needed the help of many other
people: First of all, the people who’ve read it and given feedback and found
errata during the beta. Then the reviewers, who helped immensely by offering
feedback and advice, finding bugs, and pointing out algebraic errors. I’ve
heard math in general well spoken of, but have yet to look into it. Thank you,
all! The reviewers are listed here in purely alphabetic order (by first name):
I’d like to thank Andy Farnell, who graciously provided a foreword. From his
excellent Designing Sound [Far12] I not only learned a great deal about
designing sound with Pure Data, but also got solid grounding in the principles
of sound that I had only intuitive or empirical knowledge of before. I heartily
recommend that anyone wanting to learn more about how sound works and
how to work with sound pick up his book after reading this one.
Next, I’d like to thank the publishers, Dave and Andy, my editor Jackie Carter,
and everyone at The Pragmatic Bookshelf. I’ve always thought of the Prags’
mark as a sign of excellence in our field, and to be able to write for them is
an honor indeed. The tools they provide make writing a technical book so
much easier than had been my experience in the past. In particular, Jackie’s
tireless efforts at banging my pedantic, pedestrian, prosaic, parenthetical,
run-on sentences into some sort of presentable shape are particularly
appreciated.
Finally, thank you to my wife Lori and our boys Titus and Lincoln for sparing
me the time to write this book. Titus and Lincoln, I hope we can share some
interest in programming or making music or both, but if not, I know whatever
your interests and pursuits turn out to be, you will be great at them. Lori, I
know I won’t be able to interest you in programming, but I love you anyway.
And to Diāna, here’s a hopeful Laipni lūdzam mūsu ģimenē!1
I hear little things all the time, which can be either good or bad. If something’s
rattling in the car it drives me crazy and I have to stop the car and make the
noise stop. That makes my wife crazy, but I can’t help myself. That’s why it’s
so important to me to have sound done well in digital experiences, where I
spend most of my time. When I say “digital experiences” I mean anything
happening on a computer: web pages, web applications, native applications,
mobile apps, kiosk apps, art installations, and, of course, games in any form.
Sound, and now I mean sound effects as distinct from music, is tricky to get
right in digital experiences. Sound is very rarely a necessity. Even in games,
where it’s expected as a part of the experience, it’s rare that the user needs
sound to play. There are usually controls somewhere to turn sound off, but
you’ll never find a control to turn off the screen or mouse or touch interaction.
On the other hand, playing a game without sound takes away an important
dimension of the experience. It’s flat, boring, unconvincing. If there’s not a
little ding when you collect a coin, it’s not satisfying. If you’re running through
the forest and you don’t hear forest sounds, it’s the opposite of immersive—it
feels like merely looking at someone running through the forest on a little
screen instead of being there.
Not only games can benefit from sound in this way, though. A few apps I’ve
used struck the right tone, if you’ll pardon the pun, with some tasteful and,
above all, meaningful sounds as part of the experience.
This book is not able to teach you good taste, sadly. But, if you decide this
book is for you, you will learn how to gain understanding and control over
the sound you decide fits the digital experiences you create. You’ll learn how
to design and create the sound you want to hear.
I assume you’ve dabbled with sound design in the past. It was most likely by
digging around in a sample library for the right premade sound and maybe
editing that sound a bit to get what you wanted out of it. Maybe you’re
intrigued by the idea of doing some professional sound design in the game
or movie industry, or maybe not, but for now you want to know how to gain
more control over your ability to enhance digital experiences both native and
on the Web.
You may also be a musician. As I mentioned, this book isn’t about music in
digital experiences; it’s geared toward sound effects. However, all of the skills
you’ll learn here are easily applicable to musical experiences and musical
apps, and at the very least they’ll give you a better understanding of how to
think about sound in music.
In short, I assume you have little to no experience with anything but dabbling
with sound, but you’re interested and want to learn more. I would be
extremely happy if this book helps out those independent or small-shop
developers and designers who have to wear many hats during the day and
don’t have the budget for a dedicated sound team.
The first set will illustrate a few different sound-synthesis methods, and the
second will show how to work with existing sounds, like you might get from
a professional sound-effect library.
After getting used to using Pure Data and creating these examples, we’ll look
briefly at how to get the sounds we’ve made out of Pure Data and into a usable
format, and then quickly discuss some sound-production topics.
We’ll then take a brief interlude to discuss the user experience (UX) of sound
on the Web and in native applications.
Finally, we’ll consider two premade projects, a web project and a native
application. We’ll design sound effects for both of these, taking into account
what the best UX for each is and what you’ve learned of sound design, and
consider the possibilities of dynamic sound in the native applications.
We’ll wrap up by considering what you’ve learned so far and a few possible
directions you could take next in your journey to becoming a sound designer.
• This book does not cover capturing or recording sounds for analysis or
sound production. Audio engineering, field recording, and Foley studio
work are all good things to have under your belt as a sound designer, but
we won’t discuss them in any depth here.
Online Resources
On The Pragmatic Bookshelf’s page for this book there are some important
resources.1 There are code downloads containing all the Pure Data patches
you’ll see in this book, as well as the source for the web, Android, and iOS
projects. You’ll also find feedback tools such as a community forum and an
errata-submission form where you can recommend changes for future
releases of the book.
1. http://pragprog.com/book/thsound/programming-sound-with-pure-data
Fig. 18.—Supposed union of two nerve-cells and a fibre. The processes subdivide
into a minute network, in which the fibre also loses itself.
124. Bipolar cells abound; multipolar cells are still more abundant;
and these are the cells found in the gray substance of the neural
147
axis. Deiters, in his epoch-making work, propounded an
hypothetic schema which has been widely accepted. Finding that the
large cells in the anterior horn of the spinal cord gave off processes
of different kinds, one branched, the other unbranched, he held that
the latter process was the origin of the axis cylinder of a nerve-fibre,
whereas the branched process was protoplasm which divided and
subdivided, and formed the connection between one cell and
another. Gerlach has modified this by supposing that the minute
fibrils of the branching process reunite and form an axis cylinder
(Fig. 18). There is no doubt that some processes terminate in a fine
network; and there is a probability (not more) that the unbranched
process is always continuous with the axis cylinder of a motor nerve,
as we know it sometimes is with that of a dark-bordered fibre in the
white substances. This, though probable, is, however, very far from
having been demonstrated. Once or twice Kölliker, Max Schultze, and
Gerlach have followed this unbranched process as far as the root of
a motor nerve; and they infer that although it could not be traced
further, yet it did really join an axis cylinder there. In support Of this
148
inference came the observations of Koschennikoff, that in the
cerebrum and cerebellum, processes were twice seen continuous
with dark-bordered nerve-fibres. But the extreme rarity of such
observations amid thousands of cells is itself a ground for hesitation
in accepting a generalized interpretation, the more so since we have
Henle’s observation of the similar entrance of a branched process
149
into the root. Now it must be remembered that the branched
process is by no anatomist at present regarded as the origin of the
axis cylinder; so that if it can enter the root without being the origin
of a nerve-fibre, we are not entitled to assume that the entrance of
the unbranched process has any other significance (on this head
compare § 145), especially when we reflect that no trustworthy
observer now professes to have followed a nerve-fibre of the
posterior root right into a multipolar cell. Figures, indeed, have been
published which show this, and much else; but such figures are
diagrams, not copies of what is seen. They belong to Imaginary
150
Anatomy. The relation of the cell-process to the nerve-fibre will be
discussed anon.
THE NERVES.
127. We now pass to the second order of organites; and here our
exposition will be less troubled by hesitations, for although there is
still much to be learned about the structure and connections of the
nerve-fibres, there is also a solid foundation of accurate knowledge.
A nerve is a bundle of fibres within a
membranous envelope supplied with
blood-vessels. Each fibre has also its
separate sheath, having annular
constrictions at various intervals. It is
more correctly named by many French
anatomists a nerve-tube rather than a
nerve-fibre; but if we continue to use
the term fibre, we must reserve it for
those organites which have a
membranous sheath, and thereby
distinguish it from the more delicate
fibril which has none.
The nerve tube or fibre is thus
constituted: within the sheath lies a
central band of neuroplasm identical
with the neuroplasm of nerve-cells, and
known as the axis cylinder;
surrounding this band is an envelope of
whitish substance, variously styled
myeline, medullary sheath, and white
substance of Schwann: it is closely
similar to the chief constituent of the
yolk of egg, and to its presence is due
the whitish color of the fibres, which in
its absence are grayish. The axis
cylinder must be understood as the
primary and essential element, because
not only are there nerve-fibrils
destitute both of sheath and myeline
yet fulfilling the office of Neurility, but
at their terminations, both in centres
and in muscles, the nerve-fibres always
lose sheath and myeline, to preserve
only the neuroplasmic threads of which
Fig. 20.—a, axis cylinder the axis cylinder is said to be
formed by the fibrils of the cell composed. In the lowest fishes, in the
contents, and at a’ assuming
the medullary sheath; b, naked
invertebrates, and in the so-called
axis cylinder from spinal cord. sympathetic fibres of vertebrates, there
is either no myeline, or it is not
separated from the neuroplasm.
128. Nerve-fibres are of two kinds—1°. The dark-bordered or
medullary fibres, which have both sheath and myeline, as in the
peripheral system; or only myeline, without the sheath, as in the
central system. 2°. The non-medullary fibres, which have the
sheath, without appreciable myeline—such are the fibres of the
olfactory, and the pale fibres of the sympathetic.
Nerve-fibrils are neuroplasmic threads of extreme delicacy, visible
only under high magnifying powers (700–800), which abound in the
centres, where they form networks. The fibrils also form the
terminations of the fibres. Many fibrils are supposed to be
condensed in one axis cylinder. This is represented by Max Schultze
in Figs. 17 and 20.
129. As may readily be imagined, the semi-liquid nature of the
neuroplasm throws almost insuperable difficulties in the way of
accurately determining whether the axis cylinder in the living nerve
is fibrillated or not; whether, indeed, any of the aspects it presents in
our preparations are normal. Authorities are not even agreed as to
whether it is a pre-existent solid band of homogeneous substance,
152
or a bundle of primitive fibrils, or a product of coagulation.
Rudanowsky’s observations on frozen nerves convinced him that the
153
cylinder is a tubule with liquid contents. My own investigations of
the nerves of insects and molluscs incline me to the view of Dr.
Schmidt of New Orleans, namely, that the cylinder axis consists of
minute granules arranged in rows and united by a homogeneous
interfibrillar substance, thus forming a bundle of granular fibrils
154
enclosed in a delicate sheath —in other words, a streak of
neuroplasm which has a fibrillar disposition of its granules. We ought
to expect great varieties in such streaks of neuroplasm; and it is
quite conceivable that in the Rays and the Torpedo there are axis
cylinders which are single fibrils, and others which are bundles, with
155
finely granulated interfibrillar substance.
The fibres often present a varicose aspect, as represented in
Fig. 21. It is, however, so rarely observed in the fresh tissue, that
many writers regard it (as well as the double contour) as the product
156
of preparation. It is, indeed, always visible after the application of
water.
We need say no more at present respecting the structure of
nerve-fibres, except to point out that we have here an organite not
less complex than the cell.
THE NEUROGLIA.
130. Besides cells and fibres, there is the amorphous substance,
which constitutes a great part of the central tissue, and also enters
largely into the peripheral tissue. It consists of finely granular
substance, and a network of excessively delicate fibrils, with nuclei
interspersed. Its character is at present sub judice. Some writers
hold it to be nervous, the majority hold it to be simply one of the
many forms of connective tissue: hence its name neuroglia, or
nerve-cement.
In the convolutions of the frozen brain Walther finds the cells and
fibres imbedded in a structureless semi-fluid substance wholly free
from granules; the granules only appear there when cells have been
crushed. It is to this substance he attributes the fluctuation of the
living brain under the touch, like that of a mature abscess; the
solidity which is felt after death is due to the coagulation of this
substance. Unhappily we have no means of determining whether the
network visible under other modes of investigation is present,
although invisible, in this substance. The neuroglia, as it appears in
hardened tissues, must therefore be described with this doubt in our
minds.
If we examine a bit of central gray substance where the cells and
fibres are sparse, we see, under a low power, a network of fibrils in
the meshes of which lie nerve-cells. Under very high powers we see
outside these cells another network of excessively fine fibrils
embedded in a granular ground substance, having somewhat the
aspect of hoar-frost, according to Boll. It is supposed that the first
network is formed by the ultimate ramifications of the nerve-cell
processes, and that the second is formed by ramifications of the
processes of connective cells. In this granular, gelatinous, fibrillar
substance nuclei appear, together with small multipolar cells not
distinguishable from nerve-cells except in being so much smaller.
These nuclei are more abundant in the tissue of young animals, and
more abundant in the cerebellum than in the cerebrum. The
granular aspect predominates the fresher the specimen, though
there is always a network of fibrils; so that some regard the granules
as the result of a resolution of the fibrils, others regard the fibrils as
157
the linear crystallization (so to speak) of the granules.
131. Such is the aspect of the neuroglia. I dare not venture to
formulate an opinion on the histological question whether this
amorphous substance is neural, or partly neural and partly
connective (a substance which is potentially both, according to
Deiters and Henle), or wholly connective. The question is not at
present to be answered decisively, because what is known as
connective tissue has also the three forms of multipolar cells, fibrils,
and amorphous substance; nor is there any decisive mark by which
these elements in the one can be distinguished from elements in the
other. The physical and chemical composition of Neuroglia and
Neuroplasm are as closely allied as their morphological structure.
And although in the later stages of development the two tissues are
markedly distinguishable, in the early stages every effort has failed
158
to furnish a decisive indication. Connective tissue is dissolved by
solutions which leave nerve-tissue intact. Can we employ this as a
decisive test? No, for if we soak a section of the spinal cord in one of
these solutions, the pia mater and the membranous septa which
ramify from it between the cells and fibres disappear, leaving all the
rest unaltered. This proves that Neuroglia is at any rate chemically
different from ordinary connective tissue, and more allied to the
nervous. As to the staining process, so much relied on, nothing
requires greater caution in its employment. Stieda found that the
same parts were sometimes stained and sometimes not; and
Mauthner observed that in some cells both contents and nucleolus
were stained, while the nucleus remained clear, in other cells the
contents remained clear; and some of the axis cylinders were
159
stained, the others not. Lister found that the connective tissue
between the fibres of the sciatic nerve, as well as the pia mater,
160
were stained like the axis cylinders; and in one of my notes there
is the record of both (supposed) connective cells and nerve-cells
being stained alike, while the nerve-fibres and the (supposed)
connective fibres were unstained. Whence I conclude that the
supposition as to the nature of the one group being different from
that of the other was untenable, if the staining test is to be held
decisive.
132. The histological question is raised into undue importance
because it is supposed to carry with it physiological consequences
which would deprive the neuroglia of active co-operation in neural
processes, reducing it to the insignificant position of a mechanical
support. I cannot but regard this as due to the mistaken tendency of
analytical interpretation, which somewhat arbitrarily fastens on one
element in a complex of elements, and assigns that one as the sole
agent. Whether we call the neuroglia connective or neural, it plays
an essential part in all neural processes, probably a more important
part than even the nerve-cells, which usurp exclusive attention! To
overlook it, or to assign it a merely mechanical office, seems to me
as unphysiological as to overlook blood-serum, and recognize the
corpuscles as the only nutrient elements. The notion of the neuroglia
being a mere vehicle of support for the blood-vessels arises from not
distinguishing between the alimental and instrumental offices. In the
function of a limb, bone is a co-operant. In the function of a centre,
connective tissue is a co-operant; so that even if we acknowledge
neuroglia to be a special form of connective tissue, it is an agent in
neural processes; what its agency is, will be hereafter considered.
Following Bidder and Kupffer, the Dorpat school proclaimed the
whole of the gray substance of the posterior half of the spinal cord
to be connective tissue; and Blessig maintained that the whole of
161
the retina, except the optic fibres, was connective tissue. Even
those anatomists who regarded this as exaggerated, admitted that
connective tissue largely enters into the gray substance, especially if
the granular ground substance be reckoned as connective, the
nerve-cells being very sparse in the posterior region. Be it so. Let us
admit that the gray matter of the frog’s spinal cord is mainly
composed of neuroglia, in which a very few multipolar nerve-cells
are embedded. What must our conclusion be? Why, that since this
spinal cord is proved to be a centre of energetic and manifold reflex
actions—even to the extent of forcing many investigators to attribute
sensation and volition to it—this is proof that connective tissue does
the work of nerve-tissue, and that the neuroglia is more important
than nerve-cells!
Three hypotheses are maintainable—1°. The neuroglia is the
amorphous ground-substance of undeveloped tissue (neuroplasm)
out of which the cells and fibres of nerve-tissue and connective
tissue are evolved. 2°. It is the product of dissolved nerve cells and
fibres. 3°. It is the undeveloped stage of connective tissue. For
physiological purposes we may adopt any one of these views,
provided we keep firm hold of the fact that the neuroglia is an
essential element, and in the centres a dominant element. To make
this clear, however, we must inquire more closely into the relations of
the three elements, nerve-cells, fibres, and neuroglia.
RECAPITULATION.
148. At the opening of this chapter mention was made of the
besetting sin of the analytical tendency, namely, to disregard the
elements which provisionally had been set aside, and not restore
them in the reconstruction of a synthetical explanation. Familiar
experiences tell us that a stimulus applied to the skin is followed by
a muscular movement, or a glandular secretion; sometimes this
takes place without any conscious sensation; sometimes we are
distinctly conscious of the stimulus; and sometimes we consciously
will the movement. These facts the physiologist tries to unravel, and
to trace the complicated processes involved. The neurologist of
course confines himself exclusively to the neural processes; all the
other processes are provisionally left out of account. But not only so:
the analytical tendency is carried further, and even in the neural
process the organs are neglected for the sake of the nervous tissue,
and the nervous tissue for the sake of the nerve-cell. The
consequence has been that we have an explanation offered us which
runs thus:—
149. The nerve-cell is the supreme element, the origin of the
nerve-fibre, and the fountain of nerve-force. The cells are connected
one with another by means of fibres, and with muscles, glands, and
centres also by means of fibres, which are merely channels for the
nerve-force. A stimulus at the surface is carried by a sensory fibre to
a cell in the centre; from that point it is carried by another fibre to
another cell; and from that by a third fibre to a muscle: a reflex
contraction results. This is the elementary “nervous arc.” But this arc
has also higher arcs with which it is in connection: the sensory cell
besides sending a fibre directly to a motor cell, also sends one
upwards to the cerebral centres; and here again there is a nervous
arc, so that the cerebral centre sends down an impulse on the motor
cells, and the contraction which results is due to a volitional impulse.
The transmission of the stimulation which in the first case was purely
physical, becomes in the latter case psychical. The sensory
impression is in one cell transformed into a sensation, in another cell
into an idea, in a third cell into a volition.
150. This course is described with a precision and a confidence
which induces the inexperienced reader to suppose that it is the
transcript of actual observation. I venture to say that it is imaginary
from beginning to end. I do not affirm that no such course is
pursued, I only say no such course was ever demonstrated, but that
at every stage the requisite facts of observation are either
incomplete or contradictory. First, be it noted that the actions to be
explained are never the actions of organs so simple as the
description sets forth. It is not by single fibres and cells that the
stimulus is effected, but by complex nerves and complex centres.
Only by a diagrammatic artifice can the fibre represent the nerve,
and the cell the centre. In reality the cells of the centre (supposing
them to be the only agents) act in groups, and Anatomy should
therefore show them to be mutually united in groups—which is what
no Anatomy has succeeded in showing, unless the Neuroglia be
called upon. Secondly, be it noted that the current scheme of the
relations between cells and fibres is one founded on physiological
postulates, not on observation. Thirdly, much of what is actually
observed is very doubtful, because we do not know whether the
appearances are normal, or due to modes of preparation and post-
mortem changes. We cannot at present say, for instance, whether
the fibrillated appearance of cell contents and axis cylinder
represents the living structure or not. We may either suppose that
the neuroplasmic pulp splits longitudinally into fibres, or that
neuroplasmic threads resolve themselves into a homogeneous pulp—
the axis cylinder may be a condensation of many fibrils, or the fibrils
may be a resolution of the substance.
151. Let us contrast step by step the Imaginary Anatomy found in
the text-books with the Objective Anatomy as at present disclosed
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