Could someone compress this to .ogg for the bandwidth-challenged =)

Cheers,
~ andy.f



On Tue, Nov 2, 2010 at 5:26 AM, peiman khosravi
 wrote:
> Dear all,
>
> I am following the tradition of the list by sending a link to my newly baked
> piece. Entirely mixed in Ardour2 with samples processed using mostly
> Csound's PVS opcodes (FFTools).
>
> http://idisk.mac.com/peimankh/Public/convergences_44100.wav
>
> I have the beats near the end of the piece (my first piece featuring beats
> actually).
>
> Comments are welcome as always, but no obligations ;-)
>
> Best,
>
> Peiman
>
>
>


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Try http://dream.cs.bath.ac.uk/convergences_44100.ogg


> Could someone compress this to .ogg for the bandwidth-challenged =)
>
> Cheers,
> ~ andy.f
>
>
>
> On Tue, Nov 2, 2010 at 5:26 AM, peiman khosravi
>  wrote:
>> Dear all,
>>
>> I am following the tradition of the list by sending a link to my newly
>> baked
>> piece. Entirely mixed in Ardour2 with samples processed using mostly
>> Csound's PVS opcodes (FFTools).
>>
>> http://idisk.mac.com/peimankh/Public/convergences_44100.wav
>>
>> I have the beats near the end of the piece (my first piece featuring
>> beats
>> actually).
>>
>> Comments are welcome as always, but no obligations ;-)
>>
>> Best,
>>
>> Peiman
>>
>>
>>
>
>
> Send bugs reports to the Sourceforge bug tracker
>             https://sourceforge.net/tracker/?group_id=81968&atid=564599
> Discussions of bugs and features can be posted here
> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
> csound"
>
>
>
>




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Thank you.

On Tue, Nov 2, 2010 at 12:09 PM,   wrote:
> Try http://dream.cs.bath.ac.uk/convergences_44100.ogg
>
>
>> Could someone compress this to .ogg for the bandwidth-challenged =)
>>
>> Cheers,
>> ~ andy.f
>>
>>
>>
>> On Tue, Nov 2, 2010 at 5:26 AM, peiman khosravi
>>  wrote:
>>> Dear all,
>>>
>>> I am following the tradition of the list by sending a link to my newly
>>> baked
>>> piece. Entirely mixed in Ardour2 with samples processed using mostly
>>> Csound's PVS opcodes (FFTools).
>>>
>>> http://idisk.mac.com/peimankh/Public/convergences_44100.wav
>>>
>>> I have the beats near the end of the piece (my first piece featuring
>>> beats
>>> actually).
>>>
>>> Comments are welcome as always, but no obligations ;-)
>>>
>>> Best,
>>>
>>> Peiman
>>>
>>>
>>>
>>
>>
>> Send bugs reports to the Sourceforge bug tracker
>>             https://sourceforge.net/tracker/?group_id=81968&atid=564599
>> Discussions of bugs and features can be posted here
>> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
>> csound"
>>
>>
>>
>>
>
>
>
>
> Send bugs reports to the Sourceforge bug tracker
>            https://sourceforge.net/tracker/?group_id=81968&atid=564599
> Discussions of bugs and features can be posted here
> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe csound"
>
>


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Wow!  That sounds great!  Thanks for sharing it with us.

Cheers,
~ andy.f



On Tue, Nov 2, 2010 at 5:26 AM, peiman khosravi
 wrote:
> Dear all,
>
> I am following the tradition of the list by sending a link to my newly baked
> piece. Entirely mixed in Ardour2 with samples processed using mostly
> Csound's PVS opcodes (FFTools).
>
> http://idisk.mac.com/peimankh/Public/convergences_44100.wav
>
> I have the beats near the end of the piece (my first piece featuring beats
> actually).
>
> Comments are welcome as always, but no obligations ;-)
>
> Best,
>
> Peiman
>
>
>


Send bugs reports to the Sourceforge bug tracker
            https://sourceforge.net/tracker/?group_id=81968&atid=564599
Discussions of bugs and features can be posted here
To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe csound"

The current studio standard is 96000 24 bit or float, that is what
everybody who is serious about sound should do -- or better.

[Rant] In general, in the arts, one should be something of a
perfectionist. This SHOULD mean that, each every time a choice of
means presents itself, one ALWAYS chooses that alternative that DOES,
or even MIGHT, lead to perceptibly or technically better results.
PERIOD.

[End rant]

Regards,
Mike



On Wed, Nov 3, 2010 at 7:45 AM, peiman khosravi
 wrote:
> Yes, at least in the past two years.
>
> I generally use a smaller FFT size (2048) to audition in real-time and then
> render to disk with higher FFT Size (4096 or 8192) and an overlap of
> FFTSize/8 (sometimes 16). The window size is usually set to FFTSize*4.
>
> Best,
> Peiman
>
> On 3 November 2010 10:44, Victor Lazzarini  wrote:
>>
>> So have you been running Csound always at 96K? What kind of fftsizes do
>> you use then?
>> Victor
>>
>> On 3 Nov 2010, at 09:51, peiman khosravi wrote:
>>
>> Thanks very much everyone for your kind comments. Sorry for my late reply,
>> I had a full schedule last night.
>>
>> In fact last night I noticed a couple of subtle glitches (in the concert!)
>> which I think are artifacts of a certain plug-in bounced in ardour in
>> non-real time. I shall go back to the mix and re-bounce that whole section
>> tonight.
>>
>> Anthony, Csound was only used to process (and synthesis) the source
>> material. The actual 'composing' was done in Ardour. I have the luxury of
>> recording, processing and mixing everything at 96k 24bit with almost no
>> conversions until the very final stage (to 44.1kH). For sample-rate
>> conversion I use SampleManager
>> http://www.audiofile-engineering.com/samplemanager/ which uses iZotope's
>> high quality algorithm but unfortunately Mac only. Ardour does a fine job
>> there too (using sox I think). http://src.infinitewave.ca/
>>
>> I am not  sure how important it is to mix at 96k but you do notice the
>> difference (with 96k recordings) when: (a) drastically transposing (slowing)
>> sounds down (no time correction) where the higher spectral range comes
>> within the hearing range so you do not end up with a muddy sound with no
>> high-end (as you would with 44.1 recordings). And (b) when doing FFT
>> frequency processes (e.g. warping, stretching or shifting). The downside is
>> the drastic increase in CPU so one ends up either buying more ram or
>> bouncing tracks down to stems all the time (or most likely both!).
>>
>> I find myself using the pvs opcodes (in FFTools) to do some noise
>> reduction and tweak the spectral contrast of my original sources. The fact
>> that FFT processes in csound can sound so transparent makes Csound just
>> about my favorite software. Also I recommend some of the filter LADSPA
>> plug-ins that come with Ardour, they sound amazingly good.
>>
>> Using an enhancer (DIY in Ardour) on certain sounds can add that extra
>> crispness http://www.ardour.org/node/405
>>
>> And finally, I never use reverb anymore (it tends to muddy the spectral
>> clarity) and have not used compressors or limiters as I don't want to loos
>> the dynamic contrast. One can create the sense of spatial vastness purely by
>> mixing and the choice of sound material without imposing such
>> characteristics by using a reverb algorithm. And subtle 'compression' can be
>> done by drawing a volume curve by hand if needed.
>>
>> Of course having access to a good pair of monitors and mics is probably
>> the most important part. And spending a good few hours recording sound
>> sources in the studio pays off at the end of the day. A while ago I got my
>> hands on a sound devices 702 for doing outdoors recording and ended up using
>> it for studio recordings too. At my university they have the digi02/03
>> interfaces. We did some A/B comparisons of the same signals recorded in
>> parallel with digi03 and SD702 and the SD702 sounded far better, it must be
>> a combination of good preamps and converters. Mind you most of the samples
>> for this piece where recorded with my presonus Firebox before I had access
>> to the SD702.
>>
>> All the best,
>>
>> Peiman
>>
>> On 2 November 2010 22:41, andy fillebrown 
>> wrote:
>>>
>>> Wow!  That sounds great!  Thanks for sharing it with us.
>>>
>>> Cheers,
>>> ~ andy.f
>>>
>>>
>>>
>>> On Tue, Nov 2, 2010 at 5:26 AM, peiman khosravi
>>>  wrote:
>>> > Dear all,
>>> >
>>> > I am following the tradition of the list by sending a link to my newly
>>> > baked
>>> > piece. Entirely mixed in Ardour2 with samples processed using mostly
>>> > Csound's PVS opcodes (FFTools).
>>> >
>>> > http://idisk.mac.com/peimankh/Public/convergences_44100.wav
>>> >
>>> > I have the beats near the end of the piece (my first piece featuring
>>> > beats
>>> > actually).
>>> >
>>> > Comments are welcome as always, but no obligations ;-)
>>> >
>>> > Best,
>>> >
>>> > Peiman
>>> >
>>> >
>>> >
>>>
>>>
>>> Send bugs reports to the Sourceforge bug tracker
>>>            https://sourceforge.net/tracker/?group_id=81968&atid=564599
>>> Discussions of bugs and features can be posted here
>>> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
>>> csound"
>>>
>>
>>
>
>



-- 
Michael Gogins
Irreducible Productions
http://www.michael-gogins.com
Michael dot Gogins at gmail dot com


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Hi Peiman,

I just had a chance to listen: outstanding! Thanks so much for sharing
the piece as well as sharing parts of your working process.

Steven

On 11/3/10, peiman khosravi  wrote:
> Yes, at least in the past two years.
>
> I generally use a smaller FFT size (2048) to audition in real-time and then
> render to disk with higher FFT Size (4096 or 8192) and an overlap of
> FFTSize/8 (sometimes 16). The window size is usually set to FFTSize*4.
>
> Best,
> Peiman
>
> On 3 November 2010 10:44, Victor Lazzarini  wrote:
>
>> So have you been running Csound always at 96K? What kind of fftsizes do
>> you
>> use then?
>>
>> Victor
>>
>>
>> On 3 Nov 2010, at 09:51, peiman khosravi wrote:
>>
>> Thanks very much everyone for your kind comments. Sorry for my late reply,
>> I had a full schedule last night.
>>
>> In fact last night I noticed a couple of subtle glitches (in the concert!)
>> which I think are artifacts of a certain plug-in bounced in ardour in
>> non-real time. I shall go back to the mix and re-bounce that whole section
>> tonight.
>>
>> Anthony, Csound was only used to process (and synthesis) the source
>> material. The actual 'composing' was done in Ardour. I have the luxury of
>> recording, processing and mixing everything at 96k 24bit with almost no
>> conversions until the very final stage (to 44.1kH). For sample-rate
>> conversion I use SampleManager
>> http://www.audiofile-engineering.com/samplemanager/ which uses iZotope's
>> high quality algorithm but unfortunately Mac only. Ardour does a fine job
>> there too (using sox I think). http://src.infinitewave.ca/
>>
>> I am not  sure how important it is to mix at 96k but you do notice the
>> difference (with 96k recordings) when: (a) drastically transposing
>> (slowing)
>> sounds down (no time correction) where the higher spectral range comes
>> within the hearing range so you do not end up with a muddy sound with no
>> high-end (as you would with 44.1 recordings). And (b) when doing FFT
>> frequency processes (e.g. warping, stretching or shifting). The downside
>> is
>> the drastic increase in CPU so one ends up either buying more ram or
>> bouncing tracks down to stems all the time (or most likely both!).
>>
>> I find myself using the pvs opcodes (in FFTools) to do some noise
>> reduction
>> and tweak the spectral contrast of my original sources. The fact that FFT
>> processes in csound can sound so transparent makes Csound just about my
>> favorite software. Also I recommend some of the filter LADSPA plug-ins
>> that
>> come with Ardour, they sound amazingly good.
>>
>> Using an enhancer (DIY in Ardour) on certain sounds can add that extra
>> crispness http://www.ardour.org/node/405
>>
>> And finally, I never use reverb anymore (it tends to muddy the spectral
>> clarity) and have not used compressors or limiters as I don't want to loos
>> the dynamic contrast. One can create the sense of spatial vastness purely
>> by
>> mixing and the choice of sound material without imposing such
>> characteristics by using a reverb algorithm. And subtle 'compression' can
>> be
>> done by drawing a volume curve by hand if needed.
>>
>> Of course having access to a good pair of monitors and mics is probably
>> the
>> most important part. And spending a good few hours recording sound sources
>> in the studio pays off at the end of the day. A while ago I got my hands
>> on
>> a sound devices 702 for doing outdoors recording and ended up using it for
>> studio recordings too. At my university they have the digi02/03
>> interfaces.
>> We did some A/B comparisons of the same signals recorded in parallel with
>> digi03 and SD702 and the SD702 sounded far better, it must be a
>> combination
>> of good preamps and converters. Mind you most of the samples for this
>> piece
>> where recorded with my presonus Firebox before I had access to the SD702.
>>
>> All the best,
>>
>> Peiman
>>
>> On 2 November 2010 22:41, andy fillebrown
>> wrote:
>>
>>> Wow!  That sounds great!  Thanks for sharing it with us.
>>>
>>> Cheers,
>>> ~ andy.f
>>>
>>>
>>>
>>> On Tue, Nov 2, 2010 at 5:26 AM, peiman khosravi
>>>  wrote:
>>> > Dear all,
>>> >
>>> > I am following the tradition of the list by sending a link to my newly
>>> baked
>>> > piece. Entirely mixed in Ardour2 with samples processed using mostly
>>> > Csound's PVS opcodes (FFTools).
>>> >
>>> > http://idisk.mac.com/peimankh/Public/convergences_44100.wav
>>> >
>>> > I have the beats near the end of the piece (my first piece featuring
>>> beats
>>> > actually).
>>> >
>>> > Comments are welcome as always, but no obligations ;-)
>>> >
>>> > Best,
>>> >
>>> > Peiman
>>> >
>>> >
>>> >
>>>
>>>
>>> Send bugs reports to the Sourceforge bug tracker
>>>            https://sourceforge.net/tracker/?group_id=81968&atid=564599
>>> Discussions of bugs and features can be posted here
>>> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
>>> csound"
>>>
>>>
>>
>>
>
> Send bugs reports to the Sourceforge bug tracker
>             https://sourceforge.net/tracker/?group_id=81968&atid=564599
> Discussions of bugs and features can be posted here
> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
> csound"
>
>

What about when you want to create sound from anti-aliasing artifacts gotten 
only at lower sample rates?

Never say never...

Michael Bechard




----- Original Message ----
From: Michael Gogins 
To: csound@lists.bath.ac.uk
Sent: Wed, November 3, 2010 7:33:26 AM
Subject: [Csnd] Re: Re: Re: Re: Re: new piece

The current studio standard is 96000 24 bit or float, that is what
everybody who is serious about sound should do -- or better.

[Rant] In general, in the arts, one should be something of a
perfectionist. This SHOULD mean that, each every time a choice of
means presents itself, one ALWAYS chooses that alternative that DOES,
or even MIGHT, lead to perceptibly or technically better results.
PERIOD.

[End rant]

Regards,
Mike



On Wed, Nov 3, 2010 at 7:45 AM, peiman khosravi
 wrote:
> Yes, at least in the past two years.
>
> I generally use a smaller FFT size (2048) to audition in real-time and then
> render to disk with higher FFT Size (4096 or 8192) and an overlap of
> FFTSize/8 (sometimes 16). The window size is usually set to FFTSize*4.
>
> Best,
> Peiman
>
> On 3 November 2010 10:44, Victor Lazzarini  wrote:
>>
>> So have you been running Csound always at 96K? What kind of fftsizes do
>> you use then?
>> Victor
>>
>> On 3 Nov 2010, at 09:51, peiman khosravi wrote:
>>
>> Thanks very much everyone for your kind comments. Sorry for my late reply,
>> I had a full schedule last night.
>>
>> In fact last night I noticed a couple of subtle glitches (in the concert!)
>> which I think are artifacts of a certain plug-in bounced in ardour in
>> non-real time. I shall go back to the mix and re-bounce that whole section
>> tonight.
>>
>> Anthony, Csound was only used to process (and synthesis) the source
>> material. The actual 'composing' was done in Ardour. I have the luxury of
>> recording, processing and mixing everything at 96k 24bit with almost no
>> conversions until the very final stage (to 44.1kH). For sample-rate
>> conversion I use SampleManager
>> http://www.audiofile-engineering.com/samplemanager/ which uses iZotope's
>> high quality algorithm but unfortunately Mac only. Ardour does a fine job
>> there too (using sox I think). http://src.infinitewave.ca/
>>
>> I am not  sure how important it is to mix at 96k but you do notice the
>> difference (with 96k recordings) when: (a) drastically transposing (slowing)
>> sounds down (no time correction) where the higher spectral range comes
>> within the hearing range so you do not end up with a muddy sound with no
>> high-end (as you would with 44.1 recordings). And (b) when doing FFT
>> frequency processes (e.g. warping, stretching or shifting). The downside is
>> the drastic increase in CPU so one ends up either buying more ram or
>> bouncing tracks down to stems all the time (or most likely both!).
>>
>> I find myself using the pvs opcodes (in FFTools) to do some noise
>> reduction and tweak the spectral contrast of my original sources. The fact
>> that FFT processes in csound can sound so transparent makes Csound just
>> about my favorite software. Also I recommend some of the filter LADSPA
>> plug-ins that come with Ardour, they sound amazingly good.
>>
>> Using an enhancer (DIY in Ardour) on certain sounds can add that extra
>> crispness http://www.ardour.org/node/405
>>
>> And finally, I never use reverb anymore (it tends to muddy the spectral
>> clarity) and have not used compressors or limiters as I don't want to loos
>> the dynamic contrast. One can create the sense of spatial vastness purely by
>> mixing and the choice of sound material without imposing such
>> characteristics by using a reverb algorithm. And subtle 'compression' can be
>> done by drawing a volume curve by hand if needed.
>>
>> Of course having access to a good pair of monitors and mics is probably
>> the most important part. And spending a good few hours recording sound
>> sources in the studio pays off at the end of the day. A while ago I got my
>> hands on a sound devices 702 for doing outdoors recording and ended up using
>> it for studio recordings too. At my university they have the digi02/03
>> interfaces. We did some A/B comparisons of the same signals recorded in
>> parallel with digi03 and SD702 and the SD702 sounded far better, it must be
>> a combination of good preamps and converters. Mind you most of the samples
>> for this piece where recorded with my presonus Firebox before I had access
>> to the SD702.
>>
>> All the best,
>>
>> Peiman
>>
>> On 2 November 2010 22:41, andy fillebrown 
>> wrote:
>>>
>>> Wow!  That sounds great!  Thanks for sharing it with us.
>>>
>>> Cheers,
>>> ~ andy.f
>>>
>>>
>>>
>>> On Tue, Nov 2, 2010 at 5:26 AM, peiman khosravi
>>>  wrote:
>>> > Dear all,
>>> >
>>> > I am following the tradition of the list by sending a link to my newly
>>> > baked
>>> > piece. Entirely mixed in Ardour2 with samples processed using mostly
>>> > Csound's PVS opcodes (FFTools).
>>> >
>>> > http://idisk.mac.com/peimankh/Public/convergences_44100.wav
>>> >
>>> > I have the beats near the end of the piece (my first piece featuring
>>> > beats
>>> > actually).
>>> >
>>> > Comments are welcome as always, but no obligations ;-)
>>> >
>>> > Best,
>>> >
>>> > Peiman
>>> >
>>> >
>>> >
>>>
>>>
>>> Send bugs reports to the Sourceforge bug tracker
>>>            https://sourceforge.net/tracker/?group_id=81968&atid=564599
>>> Discussions of bugs and features can be posted here
>>> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
>>> csound"
>>>
>>
>>
>
>