How can we restore ppc/ppc64 as well as full 10.4/10.5 SDK support to Xcode 4?

By JyKang in [EA]OtherTools 0 Comment

Since Apple only ships SDK 10.6 with Xcode4,
developing PPC applications with Xcode4 became impossible. While it is
possible to develop applications with Xcode4 that can also run on 10.5
and maybe even on 10.4 systems (by selecting SDK 10.6, but deployment
target 10.5 or 10.4), they will only run on Intel Macs because you need
at least SDK 10.5 for building PPC applications.

Further there are some rare cases, where you really need to build
against an SDK prior to 10.6 for full platform support, e.g. if certain
deprecated functionality has vanished completely from the 10.6 SDK, but
you’ll have to use it and dynamic linking is not always the best option
in those cases. Also linking against an earlier SDK sometimes will ease
development as functionality you are not supposed to use, as it would
cause incompatibility to earlier OS versions, won’t be available and any
attempt to use it anyhow immediately leads to compiler or linker
errors.

Last but not least Apple has also removed GCC 4.0 support from
Xcode4, which may be necessary for certain software to build correctly
and Apple has never allowed to compile software with GCC 4.2 when using
SDK 10.4, even though I hardly believe that this would really cause any
issues, after all software built with GCC 4.2 and SDK 10.6 can also run
on Mac OS 10.4 without any issues as long as the deployment target has
been set correctly and no functionality that is unavailable under MacOS
10.4 has been used.

Of course you can always have a parallel installation of Xcode3 next
to Xcode4, but that means you must forgo all the (great?) new features
of Xcode4 and keep working with the outdated Xcode3 IDE. It would
certainly be much better if you could also manage all your old projects
within the same IDE as your new ones and benefit from any new features
available. Not all projects can be made 10.6 or Intel only in the
foreseeable future. Further I’m strictly against abolishing support for
older platforms earlier than would be really necessary.

Can we restore this functionality to Xcode4?

2 Answers


The quick answer is: Yes, we can!

Before I get to the “how it is done” part, here are some notes about my patch/hack/fix. Right from the start the major goals have been:

  1. Keep all modifications to an absolute minimum.
    We want to keep the Xcode setups as original as possible.

  2. By all means, try to avoid patching or modifying any files.
    We want all files to stay untouched and keep their original content.

  3. Try to avoid moving or copying files around, unless absolutely necessary.

I was able to keep all those goals. Almost everything is done by
creating symlinks. Only a single existing symlink had to be replaced and
we’ll back it up before replacement, just in case.

If you are no expert on terminal operations, I strongly advise you to
copy/paste all terminal commands from my reply to your terminal, to
avoid typos. Bear in mind that even spacing, quoting and especially
capitalization can be important. Copy/paste them line by line, never
more than one line at once and hit return after each pasted line to
execute the command. Should any operation ever prompt you for a
password, this will be the password of the currently logged in
administrator user (your keystrokes are not displayed while typing, this
is normal, don’t worry, just keep typing the password and hit return;
re-try if you had a typo and get prompted again).

Prerequisite

Before we can start, make sure the following conditions are true:

  • You are logged in as an administrator user.
  • You have started Terminal.app (Applications/Utilities) and a terminal window is open.
  • You have a copy of the Xcode3 (e.g. 3.2.5) and Xcode4 disk image (DMG) or installer available.
  • If you already have either Xcode version installed, consider uninstalling it first,
    so you can start with a fresh/clean setup. Uninstalling Xcode will not
    remove your preferences, color scheme or key binding customizations.
    Ideally you’d start with a system that has no Xcode version (neither 3
    nor 4) currently installed.

Step 1: Installing Xcode3

Important: Do not install “System Tools” or “Unix Development” package of Xcode3.
Whether you want to install “Mac OS X 10.4 SDK” and/or “Documentation” is up to you. If that is a Xcode3 with iOS SDKs, whether you install those or not is also up to you.

You are free to choose any destination folder for your installation. For this guide I have chosen “/Xcode3“, but feel free to pick a different one. Just make sure to alter all terminal commands accordingly.

The order of the steps given here is usually not really important,
but I strongly advise you to not swap step 1 and step 2. Xcode always
installs a couple of files outside of the chosen destination folder and
trust me, in the end you want the Xcode4 versions of those files on your
disk. By installing Xcode3 before Xcode4, you can be sure that Xcode4
will overwrite those files if necessary. I once swapped steps 1 and 2
and in the end I had some rather strange issues that might have been
related to the incorrect order (I cannot say for sure, but after
re-installing in the correct order the issues were gone).

Step 2: Installing Xcode4

Chose any packets you like. Installing “System Tools” is advisable, but not strictly necessary (though most people will sooner or later miss that functionality).

Again, feel free to pick any target folder you like. For this guide I chose the normal target folder “/Developer“, if you take a different one, alter all terminal commands accordingly.

Step 3: Restoring 10.4/10.5 SDK Support

Switch to your terminal window and run the following commands:

cd /Developer/SDKs
sudo ln -s /Xcode3/SDKs/MacOSX10.4u.sdk .
sudo ln -s /Xcode3/SDKs/MacOSX10.5.sdk .

Of course only run the command for 10.4u if you also installed SDK 10.4 in step 1.

This is enough to bring the SDKs 10.5 (and possibly 10.4) back to the
selection list in Xcode4. Give it a try if you like. Fire up Xcode4,
open a project, try changing the selected SDK. That was easy, huh? Be
sure to close Xcode4 again (the application, not just the window) before
proceeding with the next step.

Step 4: Restoring GCC 4.0 Support

If you have not installed MacOS 10.4 SDK or if you don’t plan to ever
use it, you can safely skip this step and proceed with step 5.

To use SDK 10.4, you’ll have to use GCC 4.0, GCC 4.2 won’t work.
Apple claims that GCC 4.2 is not compatible with SDK 10.4, well, if you
ask me, this is a hoax. I have already overwritten this limitations more
than once and there was never the tiniest issue because of it. It would
be easy to modify SDK 10.4 so that Xcode will allow you to use GCC 4.2
for it, but my goal was to avoid all file modifications, so we just add
GCC 4.0 support back to Xcode, which is also a good thing, because some
projects really depend on GCC 4.0 (e.g. there are some bugs in GCC 4.2
that prevent valid inline assembly code to compile without errors, while
the same code compiles flawlessly on GCC 4.0 and GCC 4.4).

Back to terminal:

cd /Developer/usr/bin
for SRC_FILE in /Xcode3/usr/bin/*4.0*; do sudo ln -s "$SRC_FILE" .; done

cd /Developer/usr/libexec/gcc/powerpc-apple-darwin10
sudo ln -s /Xcode3/usr/libexec/gcc/powerpc-apple-darwin10/4.0.1 .

Don’t get confused by the fact that the syntax highlighting seems
rather broken above; the highlighting is not really optimized for shell
commands.

Right now we have restored full GCC 4.0 support except for the fact
that GCC 4.0 is still not selectable in Xcode4. That is because Xcode4
has no GCC 4.0 compiler plug-in any longer. Fortunately the Xcode3
plug-in also works in Xcode4, only the position has radically changed.
Apple now hides those plug-ins deep within a bundle and only plug-ins
there seem to work, placing them to their old position seems to have no
effect.

cd /Developer/Library/Xcode/PrivatePlugIns
cd Xcode3Core.ideplugin/Contents/SharedSupport/Developer/Library/Xcode/Plug-ins
sudo ln -s "/Xcode3/Library/Xcode/Plug-ins/GCC 4.0.xcplugin" .

Now fire up Xcode4 again, open a project and try selecting the
compiler. You should have GCC 4.0 back on the list. Now you can actually
already select SDK 10.4 or 10.5, GCC 4.0 and you should have no issue
to build a PPC binary. Just select “Other…” for the “Architecture” build setting and manually enter “ppc“, then alter “Valid Architectures” to also include “ppc“. We are almost done, except that trying to build a PPC binary using GCC 4.2 and SDK 10.5 will still fail.

Step 5: Restoring PPC Support for GCC 4.2

Since Apple is only supporting Intel platforms in Xcode4, not all GCC
4.2 tools have been built with PPC support. There is one important tool
that has no PPC support, the tool is named “as” and it is the GNU Assembler. To compile ppc/ppc64 binaries with GCC 4.2 we need to use an “as”
version with ppc/ppc64 support. This is the one and only file (actually
it also a symlink) we have to first move aside (making a backup copy)
before we can replace it by a symlink:

cd /Developer/usr/libexec/gcc/powerpc-apple-darwin10/4.2.1
sudo mv as as.bak
sudo ln -s /Xcode3/usr/bin/as .

Step 6: There is No Step 6

That’s all folks. Considering how easy that was, you can imagine that
Apple has certainly not dropped SDK 10.4/10.5 or ppc/ppc64 or GCC 4.0
support because this was a necessity, they dropped all that because they
wanted to drop it.

I hope this setup works as well for you as it does for me. I have
been able to compile all my old projects in Xcode4 without any major
changes, except for having to alter a search path here and there.

PS:
It may look strange that I answer my own question here, but since I have
found out how to solve this problem all by myself, I’d like to share my
knowledge with the community, because I believe this is really valuable
input to all MacOS developers out there. This question has been asked
so many times in so many places and so far I have never seen anyone
coming up with a similar fix. Share the wealth, spread the knowledge and
so on, you know what I mean.

Copied from  : http://stackoverflow.com/questions/5333490/how-can-we-restore-ppc-ppc64-as-well-as-full-10-4-10-5-sdk-support-to-xcode-4/5348547

The Australasian Computer Music Conference (ACMC) 2011

By JyKang in Call for Work 0 Comment
The Australasian Computer Music Conference (ACMC) 2011

Time and place:
From 6-9 July 2011 The School of Music University of Auckland New Zealand will host a 4-day research symposium on the topic of Organic Sounds in Live Electroacoustic Music. The keynote presenter will be Simon Emmerson (De Montfort University). Other featured composers and presenters include: John Cousins (New Zealand Composer), Gerardo Dirie (Queensland Conservatorium Griffith University), John Elmsly (University of Auckland), Ricardo Dal Fara (Concordia University) Jóse Halac (National University of Córdoba) Jason Phillips (Taonga Puoro Player), Martin Wesley-Smith (Australian Composer) and Ian Whalley (University of Waikato).
 
As a special feature of the conference, a series of closed concerts will bepresented through a 24-channel geodesic sound dome that will be installed in Studio One Kenneth Myers Centre for the duration of the 4-day event (small audiences only). A second multi-channel system designed to cope with largerpublic audiences will be installed in the Music Theatre, and made available to participating ACMC delegates. Practical workshops will also be offered on Taonga Puoro (traditional Maori Instrument) making and playing, and ambisonic recording and spatialisation techniques.

The special theme of ACMC11 is Organic Sounds in Live Electroacoustic Music
For the sake of clarity, a dictionary definition of the term ‘organic’ is first offered.

organic
organic adj
1. of, produced by, or found in plants or animals, the rocks were carefully searched for organic remains,
2. not using, or grown without, artificial fertilizers or pesticides, organic vegetables, an organic farm,
3. (Chem) of or belonging to the class of chemical compounds that are formed from carbon,
4. (of change or development) gradual and natural rather than sudden or forced,
5. made up of many different parts which contribute to the way in which thewhole society or structure works, an organic whole,
 
Collins English Dictionary Online – 10th Edition 2009 © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009. Retrieved December 2010 from http://www.collinslanguage.com
 
A contextual definition might include sounds made by plants and animals (including humans) as well as all sounds that exhibit the behaviour and/or form of living things (the surrogates of living organisms). In live electroacoustic music, this may include the use of real-world samples, abstract sounds produced by musical instruments, as well as those produced by generative systems.
 
Firstly, regarding the use of sound samples in live electroacoustic music: Australia and New Zealand are home to some of the most remarkable (and some of the most endangered) species of plants and animals in the natural world. Sounds from the Australasian biosphere such as wind, waves, insects, bird and whale song have, for centuries – if not millennia – provided musicians with a source of inspiration, and with settings in which to contemplate their individual and collective heritage. Body sounds and rhythms too, form a powerful subset ofmusical materials on which many claim human appreciation of musical phraseology and dance is based. Then there are the industrial and urban soundscapes  – the sounds of every day life – that might that might be considered to be organic. Since the advent of recording, composers have made prolific use of real-world sounds in their music, and in both Australia and New Zealand there is an established culture of sample editing approaches to music making. Now, with the aid of multichannel technology, and faster computer processing, composers have the capacity to reproduce sophisticated real-world environments in 3-dimensions, and to use a number of once-non-real-time processes in live performance. Some interesting questions arise: What are the advantages of employing such technologies in this way? How might sound samples be used togreatest effect in live electroacoustic performance settings?
 
The term ‘organic’, within the context of music is not without precedent. In popular music it is often used to describe the quality of certain sounds as‘living’, or to highlight a specific process of natural and/or evolutionary development – so it is with ease, that it migrates to the realm of abstract instrumental sounds. Traditional Maori and Aboriginal instruments have achieved a special status in their ability to evoke associations with living things present and past, while modern and ancient instruments made from wood, bone, seashells, clay, and stone appear to be being used more and more in live contemporary performance. Electroacoustic composers can now elect to transform acoustic instruments (both traditional and modern), and/or other objects of personalvalue into complex hyper-instruments that produce organic acoustic, and electroacoustic sounds. Very quiet, (and sometimes inaudible) sounds, such as those produced by some ethnic instruments, or sounds from the human body, can be amplified, and spectrally extended in real time, transforming our ordinary sense of spatial organisation. Within this sub-domain, some important questions arise: How might traditional Maori and Aboriginal instruments be respectfully employed within the context of electroacoustic music? How might technology be used to extend or change our own body boundaries?
 
The term may also be used to describes generative systems based on conversational or evolutionary models. For this special class, we might adopt the category of ‘surrogates of living things’. These intelligent artificial agents are being used more and more (in various musical settings) as a means of extending the sonic capabilities of instruments, to manage information too complex for the ordinary performer to comprehend (such as multimodal gestural data), and as performers in their own right. How might this new technology be used to assist the ordinary electroacoustic performer/composer?
 
Scientific and socio-cultural approaches to the subject unearth several complex sub-topics each with its own set of detailed questions: What are the salient features (abstract sonic characteristics) that lead to the appreciation of sound as organic? Does psychological projection of ‘the self’ (or selves) play a part in the efficacy of such sounds? Does the use of organic sounds in electroacoustic music encourage a paradigm shift from Music for Performance to Music for Personal Growth?
 
Academic discussion on the theme Organic Sounds In Live Electroacoustic Music is a difficult proposition, as there are a number of remote, yet intersecting domains to consider – each with its own set of terms, and its own cluster of research priorities. Nevertheless,significant contributions to the topic (and sub-topics) have already been made. There is much to be gleaned from the music of Australasian composers and performers who work with the (often unique) sound sources specified; from their artist’s talks and research publications; and from the expert domain literature associated with the fields of acoustic ecology, Maori and Aboriginal music,socio-cultural aspects of electroacoustic music, live electronic music, andpsychology of human audition. The organisers of ACMC11 feel that the subject is important to Australasia, and worthy of further investigation.

Call for Papers and Presentations of Research
Conference papers for peer review and publication in the conference proceedings are requested concerning all aspects relating to the theme of the conference. Papers and presentations concerning Organic Sounds in Acousmatic Electroacoustic Music / Sonic Art are also welcome.
 
Submissions from wider fields are also welcome: Themes may include:
 
·    Performance-Based Electroacoustic Music / Sonic Art (with live electronics and/or acoustic instruments and/or dance)
·    Acousmatic Electroacoustic Music / Sonic Art
·    Multi-channel Electroacoustic Music
·    Electroacoustic Music with Moving Images,
·    Interactive Installation / Sonic Sculpture, 
·    Electroacoustic Music with other disciplines,

Papers and presentations may be in one of the following categories:
+ Research Paper – Fully refereed (6-8 pages)
+ Paper – Abstract refereed (500 word abstract)
+ Poster – Abstract (500 word abstract)
+ Studio Report (100 word abstract)
+ Artist Talk (500 word abstract)

Each spoken presentation (excludes studio reports) will be 20-min in duration with 10-min reserved for questions. The inclusion of creative work is encouraged as a means of research reporting. Stereo playback, and data projection facilities will be made available to all presenters.
 
Guidelines for submission of papers
All written submissions will be subject to a process of peer review.
 
The text should be single-spaced; use a 12-point font; employ italics, rather than underlining (except with URL addresses); and all illustrations, figures, and tables should be placed within the text at the appropriate points, rather than at the end.
 
The text should adhere to the stylistic and bibliographic requirements outlined in the ACMC submission templates.
 
The submission file should be in PDF format.
 
PLEASE NOTE: Various changes have been made to thestyle guides used in previous years. Please use the 2011 templates
 
The deadline for receipt of proposals is Thursday 7 April 2011. Please visit the conference website for full details on submitting papers – http://conference.acma.asn.au/ocs/index.php/acmc/acmc11
 
Call for Presentations of Creative Work:
Delegates are welcome to submit creative works for inclusion in the following concert series. Space in some events may be limited, as a number of high profile Australian and New Zealand Composers have already accepted invitations to present.

Lunchtime Concert Series
6 July, 1pm:  Lunchtime Concert, Music Theatre
7 July, 1pm:  Young Composers, Music Theatre
8 July, 1pm:  Lunchtime Concert, Music Theatre

SONIC ART 2011 (Live Works)
Thursday 7 July, 7.00pm, Music Theatre

Guidelines for submission of creative work
The organisers welcome submissions of recorded, acoustic, and mixed works with any combination of electronic and acoustic elements. Playback formats available will include CD, DVD, and file-based playback for stereo or multichannel works (up to 16 channels).
 
Creative works should be submitted by post (to the following address) in file format on optical media (CD/DVD) in either stereo or multiple-mono format. Works containing visual elements should also be submitted as DV PAL or HD files. Alternatively, submitters are welcome to use the ACMC11 dropbox set up at the following server address: For other server transfer options please contact acmc11@auckland.ac.nz
 
From Apple please connect to: smb://moleskin/drop/ACMC11 and windows: \\moleskin\drop\ACMC11
 
Street Address:
School of Music
National Institute of Creative Arts and Industries
University of Auckland
6 Symonds St
Auckland

Postal Address:
School of Music
National Institute of Creative Arts and Industries
University of Auckland
Private Bag 92019
Auckland,
New Zealand

Telephone: +64 9 373 7999
Facsimile: +64 9 373 7446
 
Additionally, creative work submissions should include a PDF file specifying the following:
 
Title of Work:
Author:
Duration:
Instrumentation:
Required resources: (video cameras, projectors, microphones, speaker configuration, etc).
 
The deadline for receipt of proposals is Thursday 7 April 2011. Please visit the conference website for full details on submitting papers – http://conference.acma.asn.au/ocs/index.php/acmc/acmc11

Call for Workshop Proposals
Workshops are educational sessions run by a conference delegate or partner on a particular area of their expertise. There will be opportunities for delegates to host workshops on Saturday 9 July (the day after the conference). Proposals for workshops are welcome on any topic related to the theme of the conference.
 
Guidelines for submission of workshop proposals
Please submit a proposal (no more than 500 words) detailing the topic, scope and likely resource requirements for the workshop. Proposals should be discussed with the conference organisers before submitting. Please visit the conference website for full details on submitting workshop proposals -http://conference.acma.asn.au/ocs/index.php/acmc/acmc11

Registration
Conference registration is now available. To book and register please visit: http://www.iticket.co.nz/events/2011/jul/australasian-computer-music-conference-2011
 
All ACMC11 concerts are free to the public, with the exception of the Sonic Art concert on 7 July, which is $15 (but free to ACMC delegates). Special concerts held in the ‘sound dome’ will be closed to the public (attended by ACMC delegates only)

Programme
The full conference programme will be available in early May 2011

Contact details
For further details please visit http://conference.acma.asn.au/ocs/index.php/acmc/acmc11or contact the ACMC11 Conference Manager directly acmc11@auckland.ac.nz.

The organisers would like to thank the Composers Association of New Zealand(CANZ) for publicising the event.

Dr John Coulter
Senior Lecturer
Head of Sound Programmes
School of Music
National Institute of Creative Arts and Industries
The University of Auckland
 
Email: j.coulter@auckland.ac.nz