Looking for modeling synthesis tonight. Tried wguide2 (using 5.12 on Mac).
The example code on that page of the manual doesn't seem to do a darn thing.
The oscil produces a low-pitched rising sine tone, as one would expect, but
wguide2 isn't creating anything resembling "beaten plate." It isn't even
producing a two-channel delay with feedback, as far as I can tell.

Is it broken? Or is it the description of how to use it that's broken?

--JA

I get this when I 'Run in Term':

flag defaults: csound -s -otest -b4096 -B16384 -m135
Csound Command ERROR:   too many arguments

Further details on how to make it work might be helpful. I'm using 5.11.1 in
QCS 0.6.0 in Windows.

--JA

Okay, that demonstration works fine on the Mac. I've adapted it (see below).

Here's the question: Is it going to bother anybody if I adapt Iain's code as
the example for wguide2 in the Manual? I've taken the liberty of adding just
a tiny bit more functionality than is typical of the bare-bones examples in
the manual. Here's what I'm thinking of:






sr = 44100
ksmps = 8
nchnls = 2
0dbfs = 1

instr 1
kint		random	0.1, 0.4			; INTERVAL BETWEEN IMPULSES IS RANDOMISED SLIGHTLY
a1		mpulse	4, kint			; GENERATE IMPULSES
kcfoct	randomi	8, 12, 2			; GENERATE RANDOM VALUES FOR FILTER CUTOFF
FREQUENCY (OCT FORMAT)
afilt		butlp		a1, cpsoct(kcfoct)	; LOWPASS-FILTER THE STREAM OF CLICKS

; INTRODUCE TWO SLOW-MOVING MODULATION SOURCES
klfo1		lfo	87, 0.063
klfo2		lfo	119, 0.077

;												        CAUTIION: THESE TWO VALUES
;					ARBITRARY STARTING VALUES FOR FREQ		SHOULD ADD TO LESS THAN 0.5
aoutL		wguide2 afilt,	300 + klfo1, 637 - klfo2, 20000, 20000,	0.233, 0.25
aoutR		wguide2 afilt,	356 + klfo2, 601 - klfo1, 20000, 20000,	0.247, 0.239
kdeclick	linseg  0, 0.001, 1, p3 - 0.051, 1, 0.05, 0
		out aoutL * kdeclick, aoutR * kdeclick
endin




f1 0 4096 10 1
i1 0 20
e

Tabs are being swallowed by the Nabble interface, so the comments don't align
properly, but you get the idea.

--JA

Hi Jim,

I'd say go for it, no need to ask in these cases (if there was
something great about the previous example that you didn't notice, it
can be brought back from cvs- that's the good thing about it, it
remembers everything that was there and you can easily bring back
anything). If the example is poor and you have a better one, just
replace it. If the example is good, and you have a better one,
probably add it or replace it if the new example covers all that's
shown in the previous one.

On little caveat when you edit the examples in the examples directory
is that they won't show up in the manual page until you run the syntax
highlighting script. You need to go to the manual directory and run:

python csd2docbook.py -f example.csd

(replacing example.csd for the name of your csd in the examples
directory- note that there is no need to add the "examples/" directory
name)

Cheers,
Andres

On Thu, Jan 6, 2011 at 4:57 AM, Jim Aikin  wrote:
>
> Tabs are being swallowed by the Nabble interface, so the comments don't align
> properly, but you get the idea.
>
> --JA
> --
> View this message in context: http://csound.1045644.n5.nabble.com/wguide2-broken-tp3328386p3329971.html
> Sent from the Csound - General mailing list archive at Nabble.com.
>
>
> 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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Hello Jim,

i am working on replacing examples from the manual too, by better ones or
producing examples for opcodes that have no example yet or incomplete
examples (http://www.csounds.com/node/1394) and after a few discussions with
Andres and Joachim some sort of standardization came up in the structure of
the CsOptions and sr, ksmps, nchnls and 0dbfs=1.

Every example in the manual (busy now with the letter E now and go on
alphabetically till the end of the manual) starts with:



; Select audio/midi flags here according to platform
-odac     ;;;realtime audio out
;-iadc    ;;;uncomment -iadc if realtime audio input is needed too
; For Non-realtime ouput leave only the line below:
; -o deltap3.wav -W ;;; for file output any platform



sr = 44100
ksmps = 32
nchnls = 2
0dbfs = 1   
 
.......
.....

if you can agree with this can i ask you to use this too in your examples?

I feel a bit strange about this because on one hand i believe
standardization is great in that it simplifies and unifies the manual (and
there are good arguments for wanting this standardization and not
another...), on the other hand of course you are totally free on how you see
that your example is the best example the way you make it.
Please let me know what you think,

greetings
menno

I completely agree Jim. By all means add flavour!

On 6 January 2011 16:30, Jim Aikin  wrote:
> On 1/6/2011 1:42 AM, menno [via Csound] wrote:
>>
>> i am working on replacing examples from the manual too, by better ones
>> or producing examples for opcodes that have no example yet or
>> incomplete examples (http://www.csounds.com/node/1394) and after a few
>> discussions with Andres and Joachim some sort of standardization came
>> up in the structure of the CsOptions and sr, ksmps, nchnls and 0dbfs=1.
>
> That makes excellent sense. I'll use that header. Personally, I tend to
> use a lower ksmps, as it improves the sound quality in some areas ...
> but then, I have a fast computer, so I can get away with it.
>
> My question was mainly about adding "flavoring" features to an example
> to make it a little more musical. My perception of the examples in the
> manual (not your examples, which I don't believe I've seen, but the
> existing ones) has been that many of them are so simple as to show the
> newcomer nothing except the syntax. I'm not proposing to write complete
> musical phrases, in most cases, but it does seem to me that if someone
> can load the example and hear something that sounds a tiny bit cool,
> they're more likely to "get it." That's why my wguide2 example has a
> couple of LFOs in it. They make the sound more interesting!
>
> --JA
>
>
> ________________________________
> View this message in context: Re: wguide2 broken?
> Sent from the Csound - General mailing list archive at Nabble.com.
>


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Or even 'Mary had a little lambs' with filter sheeps...

On 6 January 2011 17:41, Aaron Krister Johnson  wrote:
> I 100% agree....the examples don't show anything interesting by and large.
> In fact, I'd say it would be kinda cool to add musical phrases to
> them...."Mary had a little lamb" with filter sweeps!!! Why not?
>
> AKJ
>
> On Thu, Jan 6, 2011 at 10:30 AM, Jim Aikin  wrote:
>>
>> On 1/6/2011 1:42 AM, menno [via Csound] wrote:
>> >
>> > i am working on replacing examples from the manual too, by better ones
>> > or producing examples for opcodes that have no example yet or
>> > incomplete examples (http://www.csounds.com/node/1394) and after a few
>> > discussions with Andres and Joachim some sort of standardization came
>> > up in the structure of the CsOptions and sr, ksmps, nchnls and 0dbfs=1.
>>
>> That makes excellent sense. I'll use that header. Personally, I tend to
>> use a lower ksmps, as it improves the sound quality in some areas ...
>> but then, I have a fast computer, so I can get away with it.
>>
>> My question was mainly about adding "flavoring" features to an example
>> to make it a little more musical. My perception of the examples in the
>> manual (not your examples, which I don't believe I've seen, but the
>> existing ones) has been that many of them are so simple as to show the
>> newcomer nothing except the syntax. I'm not proposing to write complete
>> musical phrases, in most cases, but it does seem to me that if someone
>> can load the example and hear something that sounds a tiny bit cool,
>> they're more likely to "get it." That's why my wguide2 example has a
>> couple of LFOs in it. They make the sound more interesting!
>>
>> --JA
>>
>>
>> ________________________________
>> View this message in context: Re: wguide2 broken?
>> Sent from the Csound - General mailing list archive at Nabble.com.
>
>
>
> --
> Aaron Krister Johnson
> http://www.akjmusic.com
> http://www.untwelve.org
>
>


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In general, I think Csound (and other software sound synthesis
systems) would benefit greatly from a few, relatively simple,
stylistically diverse, musically interesting examples. The last
modifier is the most important.

Regards,
Mike

On Thu, Jan 6, 2011 at 12:44 PM, Rory Walsh  wrote:
> Or even 'Mary had a little lambs' with filter sheeps...
>
> On 6 January 2011 17:41, Aaron Krister Johnson  wrote:
>> I 100% agree....the examples don't show anything interesting by and large.
>> In fact, I'd say it would be kinda cool to add musical phrases to
>> them...."Mary had a little lamb" with filter sweeps!!! Why not?
>>
>> AKJ
>>
>> On Thu, Jan 6, 2011 at 10:30 AM, Jim Aikin  wrote:
>>>
>>> On 1/6/2011 1:42 AM, menno [via Csound] wrote:
>>> >
>>> > i am working on replacing examples from the manual too, by better ones
>>> > or producing examples for opcodes that have no example yet or
>>> > incomplete examples (http://www.csounds.com/node/1394) and after a few
>>> > discussions with Andres and Joachim some sort of standardization came
>>> > up in the structure of the CsOptions and sr, ksmps, nchnls and 0dbfs=1.
>>>
>>> That makes excellent sense. I'll use that header. Personally, I tend to
>>> use a lower ksmps, as it improves the sound quality in some areas ...
>>> but then, I have a fast computer, so I can get away with it.
>>>
>>> My question was mainly about adding "flavoring" features to an example
>>> to make it a little more musical. My perception of the examples in the
>>> manual (not your examples, which I don't believe I've seen, but the
>>> existing ones) has been that many of them are so simple as to show the
>>> newcomer nothing except the syntax. I'm not proposing to write complete
>>> musical phrases, in most cases, but it does seem to me that if someone
>>> can load the example and hear something that sounds a tiny bit cool,
>>> they're more likely to "get it." That's why my wguide2 example has a
>>> couple of LFOs in it. They make the sound more interesting!
>>>
>>> --JA
>>>
>>>
>>> ________________________________
>>> View this message in context: Re: wguide2 broken?
>>> Sent from the Csound - General mailing list archive at Nabble.com.
>>
>>
>>
>> --
>> Aaron Krister Johnson
>> http://www.akjmusic.com
>> http://www.untwelve.org
>>
>>
>
>
> 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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I suggest that the less interesting of the examples be posted to the
list for review. While the majority of people don't have the time to
edit the Csound manual pages I'm sure that most would be happy to
contribute where and when they could.

Rory.




On 6 January 2011 18:03, Michael Gogins  wrote:
> In general, I think Csound (and other software sound synthesis
> systems) would benefit greatly from a few, relatively simple,
> stylistically diverse, musically interesting examples. The last
> modifier is the most important.
>
> Regards,
> Mike
>
> On Thu, Jan 6, 2011 at 12:44 PM, Rory Walsh  wrote:
>> Or even 'Mary had a little lambs' with filter sheeps...
>>
>> On 6 January 2011 17:41, Aaron Krister Johnson  wrote:
>>> I 100% agree....the examples don't show anything interesting by and large.
>>> In fact, I'd say it would be kinda cool to add musical phrases to
>>> them...."Mary had a little lamb" with filter sweeps!!! Why not?
>>>
>>> AKJ
>>>
>>> On Thu, Jan 6, 2011 at 10:30 AM, Jim Aikin  wrote:
>>>>
>>>> On 1/6/2011 1:42 AM, menno [via Csound] wrote:
>>>> >
>>>> > i am working on replacing examples from the manual too, by better ones
>>>> > or producing examples for opcodes that have no example yet or
>>>> > incomplete examples (http://www.csounds.com/node/1394) and after a few
>>>> > discussions with Andres and Joachim some sort of standardization came
>>>> > up in the structure of the CsOptions and sr, ksmps, nchnls and 0dbfs=1.
>>>>
>>>> That makes excellent sense. I'll use that header. Personally, I tend to
>>>> use a lower ksmps, as it improves the sound quality in some areas ...
>>>> but then, I have a fast computer, so I can get away with it.
>>>>
>>>> My question was mainly about adding "flavoring" features to an example
>>>> to make it a little more musical. My perception of the examples in the
>>>> manual (not your examples, which I don't believe I've seen, but the
>>>> existing ones) has been that many of them are so simple as to show the
>>>> newcomer nothing except the syntax. I'm not proposing to write complete
>>>> musical phrases, in most cases, but it does seem to me that if someone
>>>> can load the example and hear something that sounds a tiny bit cool,
>>>> they're more likely to "get it." That's why my wguide2 example has a
>>>> couple of LFOs in it. They make the sound more interesting!
>>>>
>>>> --JA
>>>>
>>>>
>>>> ________________________________
>>>> View this message in context: Re: wguide2 broken?
>>>> Sent from the Csound - General mailing list archive at Nabble.com.
>>>
>>>
>>>
>>> --
>>> Aaron Krister Johnson
>>> http://www.akjmusic.com
>>> http://www.untwelve.org
>>>
>>>
>>
>>
>> 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
>
>
> 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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Hi Jim,

yes, ksmps=32 is is not a very high resolution, but it was decided because
of 2 reasons:
1) a power of two value is better for realtime input/output because of
duplex buffering;
2) 32 may be a good compromise between performance and time resolution.
The idea is that when you uncomment in the Csoptions the line " ;-iadc   
;;;uncomment -iadc if realtime audio input is needed too"
then it should work right away because of those 2 reasons.

And i agree that a musical example is far more inspiring -for newcomers but
also for people that are looking for an opcode that could suit their needs. 
Only printing values done by some random generators does not do it for me.
But when using those values to produce simple sines (oscil) then this random
opcode becomes alive and it can be compared with another random opcodes that
have a different distribution. Then you can make a better decision about
which road to travel i think. That is what i was missing in the manual, too
many "black boxes". On the other hand i try to focus the attention on the
opcode of that particular the manual page.
You can find my examples in cvs, i am starting the letter E now, nearly
every opcode (up till E that is) has an example now and will not stop till
the work is done :)

bye,
menno

It's great work your doing menno. I haven't looked at any of the
examples yet but I'm a little concerned that all the examples might
end up in the musical style of menno? I'm not in any way criticising
your style, in fact I've never heard any of your music but the idea
that one person write all the musical examples in a manual that has
over 1200 or so opcodes seems little much. But don't stop! Keep going,
it's better to have musical examples in the manual, regardless of my
concerns.

On 6 January 2011 18:22, menno  wrote:
>
> Hi Jim,
>
> yes, ksmps=32 is is not a very high resolution, but it was decided because
> of 2 reasons:
> 1) a power of two value is better for realtime input/output because of
> duplex buffering
> 2) 32 may be a good compromise between performance and time resolution.
> The idea is that when you uncomment in the Csoptions the line " ;-iadc
> ;;;uncomment -iadc if realtime audio input is needed too"
> then it should work right away because of those 2 reasons.
>
> And i agree that a musical example is far more inspiring -for newcomers but
> also for people that are looking for an opcode that could suit their needs.
> Only printing values done by some random generators does not do it for me.
> But when using those values to produce simple sines (oscil) then this random
> opcode becomes alive and it can be compared with another random opcodes that
> have a different distribution. Then you can make a better decision about
> which road to travel i think. That is what i was missing in the manual, too
> many "black boxes". On the other hand i try to focus the attention on the
> opcode of that particular the manual page.
> You can find my examples in cvs, i am starting the letter E now, nearly
> every opcode (up till E that is) has an example now and will not stop till
> the work is done :)
>
> bye,
> menno
>
> --
> View this message in context: http://csound.1045644.n5.nabble.com/wguide2-broken-tp3328386p3330894.html
> Sent from the Csound - General mailing list archive at Nabble.com.
>
>
> 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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please have a look at those examples A - D in cvs Rory. I am not aware that i
apply "my" musical style to them and that is certainly not my intention; the
examples are too basic for that i think. I am trying to make a sound
producing example that explains why that particular opcode is unique.
It IS a lot of work and i am glad other people are producing good examples
too. So that i can start using that opcode too, because for me using an
example gives me the feeling for that opcode, so that is pretty vital to me.
I wanted to have examples for all the opcodes that have non yet. Or on other
pages where there is not a complete csd. I complete that csd as much in the
style as that the incomplete example already has, trying to respect the
creator.
Maybe we can team up so that the work can go faster? When i started this i
was thinking it would take me about a year, but i don't mind if the manual
would be finished sooner :)

This is the place where you can find some of my music:
http://www.jamendo.com/de/album/6789/
http://www.jamendo.com/en/album/7428/

greetings,
menno

It's a huge undertaking and I admire your enthusiasm. I'm afraid I'm
too busy with other projects right now to be able to help out. Once
the summer comes around I'll have more free time. If you're not
already finished by then that is.

Rory.


On 6 January 2011 20:01, menno  wrote:
>
> please have a look at those examples A - D in cvs Rory. I am not aware that i
> apply "my" musical style to them and that is certainly not my intention; the
> examples are too basic for that i think. I am trying to make a sound
> producing example that explains why that particular opcode is unique.
> It IS a lot of work and i am glad other people are producing good examples
> too. So that i can start using that opcode too, because for me using an
> example gives me the feeling for that opcode, so that is pretty vital to me.
> I wanted to have examples for all the opcodes that have non yet. Or on other
> pages where there is not a complete csd. I complete that csd as much in the
> style as that the incomplete example already has, trying to respect the
> creator.
> Maybe we can team up so that the work can go faster? When i started this i
> was thinking it would take me about a year, but i don't mind if the manual
> would be finished sooner :)
>
> This is the place where you can find some of my music:
> http://www.jamendo.com/de/album/6789/
> http://www.jamendo.com/en/album/7428/
>
> greetings,
> menno
> --
> View this message in context: http://csound.1045644.n5.nabble.com/wguide2-broken-tp3328386p3331037.html
> Sent from the Csound - General mailing list archive at Nabble.com.
>
>
> 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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> Personally, I tend to
> use a lower ksmps, as it improves the sound quality in some areas ...

I thought this, too, for a long time. But now I think, it's not the
question of ths ksmps value, but to decide whether to use k-rate or
a-rate signals. For instance, there are many situations, you should use
an a-rate envelope instead of a k-rate envelope (and all the relevant
opcodes allow this). Or to use a-rate modulator signals for frequency
modulation instead of k-rate and so on.

As far as I experienced, the ksmps value is mainly important for the
realtime latency, but not for the sound quality.

	joachim



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Good point, Joachim. Thanks for clarifying it! I'm sure you're right -- my experience with lower sound quality was specifically in using a k-rate linseg envelope to control oscillator pitch or amplitude. A high value for ksmps can introduce noise (due to stairstepping) into a rapidly ascending or descending envelope segment.

--JA

On 1/6/2011 12:27 PM, joachim-3 [via Csound] wrote:

> Personally, I tend to
> use a lower ksmps, as it improves the sound quality in some areas ...

I thought this, too, for a long time. But now I think, it's not the
question of ths ksmps value, but to decide whether to use k-rate or
a-rate signals. For instance, there are many situations, you should use
an a-rate envelope instead of a k-rate envelope (and all the relevant
opcodes allow this). Or to use a-rate modulator signals for frequency
modulation instead of k-rate and so on.

As far as I experienced, the ksmps value is mainly important for the
realtime latency, but not for the sound quality.

        joachim



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---

View message @ http://csound.1045644.n5.nabble.com/wguide2-broken-tp3328386p3331077.html
To unsubscribe from wguide2 broken?, click here.

This exactly was my experience, too. Our ear is so incredible sensitive
for very small irregularities. I often heard some uncleanness in the
sound until I discovered it was this stairstepping which you describe.
I would add one suggestion regarding the examples: always replace oscil
by poscil, or at least by oscili/oscil3. oscil is not worth to be used
as standard oscillator, as it is very inexact due to non-interpolating
table indexing. I once made a test. If you find it useful, it could
perhaps added somewhere in the manual. I attach it.
As we have this very precise poscil opcode, I think we should give it
the place as standard oscillator, as it's able to work at any rate and
gives perfect results also for extreme situations.

	joachim





Am 07.01.2011 00:08, schrieb Jim Aikin:
> Good point, Joachim. Thanks for clarifying it! I'm sure you're right --
> my experience with lower sound quality was specifically in using a
> k-rate linseg envelope to control oscillator pitch or amplitude. A high
> value for ksmps can introduce noise (due to stairstepping) into a
> rapidly ascending or descending envelope segment.
> 
> --JA
> 
> On 1/6/2011 12:27 PM, joachim-3 [via Csound] wrote:
>> > Personally, I tend to
>> > use a lower ksmps, as it improves the sound quality in some areas ...
>>
>> I thought this, too, for a long time. But now I think, it's not the
>> question of ths ksmps value, but to decide whether to use k-rate or
>> a-rate signals. For instance, there are many situations, you should use
>> an a-rate envelope instead of a k-rate envelope (and all the relevant
>> opcodes allow this). Or to use a-rate modulator signals for frequency
>> modulation instead of k-rate and so on.
>>
>> As far as I experienced, the ksmps value is mainly important for the
>> realtime latency, but not for the sound quality.
>>
>>         joachim
>>
>>
>>
>> Send bugs reports to the Sourceforge bug tracker
>>            
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I second that. Also check out James Hearons Csound journal entry on
the different types of oscillators. He presents some nice graphs,
seeing is believing!


On 7 January 2011 12:18, joachim heintz  wrote:
> This exactly was my experience, too. Our ear is so incredible sensitive
> for very small irregularities. I often heard some uncleanness in the
> sound until I discovered it was this stairstepping which you describe.
> I would add one suggestion regarding the examples: always replace oscil
> by poscil, or at least by oscili/oscil3. oscil is not worth to be used
> as standard oscillator, as it is very inexact due to non-interpolating
> table indexing. I once made a test. If you find it useful, it could
> perhaps added somewhere in the manual. I attach it.
> As we have this very precise poscil opcode, I think we should give it
> the place as standard oscillator, as it's able to work at any rate and
> gives perfect results also for extreme situations.
>
>        joachim
>
>
>
>
>
> Am 07.01.2011 00:08, schrieb Jim Aikin:
>> Good point, Joachim. Thanks for clarifying it! I'm sure you're right --
>> my experience with lower sound quality was specifically in using a
>> k-rate linseg envelope to control oscillator pitch or amplitude. A high
>> value for ksmps can introduce noise (due to stairstepping) into a
>> rapidly ascending or descending envelope segment.
>>
>> --JA
>>
>> On 1/6/2011 12:27 PM, joachim-3 [via Csound] wrote:
>>> > Personally, I tend to
>>> > use a lower ksmps, as it improves the sound quality in some areas ...
>>>
>>> I thought this, too, for a long time. But now I think, it's not the
>>> question of ths ksmps value, but to decide whether to use k-rate or
>>> a-rate signals. For instance, there are many situations, you should use
>>> an a-rate envelope instead of a k-rate envelope (and all the relevant
>>> opcodes allow this). Or to use a-rate modulator signals for frequency
>>> modulation instead of k-rate and so on.
>>>
>>> As far as I experienced, the ksmps value is mainly important for the
>>> realtime latency, but not for the sound quality.
>>>
>>>         joachim
>>>
>>>
>>>
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Yes, great work Menno does. And as far as I understood, it's mainly to
replace the Conder examples by GPL compatible ones, and to add an
example where nothing is. So I think your concerns are not necessary.
And as you said, much better to hear Menno's musical style in an
example,  as having the impression an opcode has nothing to do with music.

Looking forward you find the time to contribute to the manual or to
floss again, Rory. Best regards -

	joachim


Am 06.01.2011 19:43, schrieb Rory Walsh:
> It's great work your doing menno. I haven't looked at any of the
> examples yet but I'm a little concerned that all the examples might
> end up in the musical style of menno? I'm not in any way criticising
> your style, in fact I've never heard any of your music but the idea
> that one person write all the musical examples in a manual that has
> over 1200 or so opcodes seems little much. But don't stop! Keep going,
> it's better to have musical examples in the manual, regardless of my
> concerns.
> 
> On 6 January 2011 18:22, menno  wrote:
>>
>> Hi Jim,
>>
>> yes, ksmps=32 is is not a very high resolution, but it was decided because
>> of 2 reasons:
>> 1) a power of two value is better for realtime input/output because of
>> duplex buffering
>> 2) 32 may be a good compromise between performance and time resolution.
>> The idea is that when you uncomment in the Csoptions the line " ;-iadc
>> ;;;uncomment -iadc if realtime audio input is needed too"
>> then it should work right away because of those 2 reasons.
>>
>> And i agree that a musical example is far more inspiring -for newcomers but
>> also for people that are looking for an opcode that could suit their needs.
>> Only printing values done by some random generators does not do it for me.
>> But when using those values to produce simple sines (oscil) then this random
>> opcode becomes alive and it can be compared with another random opcodes that
>> have a different distribution. Then you can make a better decision about
>> which road to travel i think. That is what i was missing in the manual, too
>> many "black boxes". On the other hand i try to focus the attention on the
>> opcode of that particular the manual page.
>> You can find my examples in cvs, i am starting the letter E now, nearly
>> every opcode (up till E that is) has an example now and will not stop till
>> the work is done :)
>>
>> bye,
>> menno
>>
>> --
>> View this message in context: http://csound.1045644.n5.nabble.com/wguide2-broken-tp3328386p3330894.html
>> Sent from the Csound - General mailing list archive at Nabble.com.
>>
>>
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>>
>>
> 
> 
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> 
> 
> 


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As am I. I'll try to find some time once I know what my schedule will
be like for this semester.

Rory.


On 7 January 2011 13:15, joachim heintz  wrote:
> Yes, great work Menno does. And as far as I understood, it's mainly to
> replace the Conder examples by GPL compatible ones, and to add an
> example where nothing is. So I think your concerns are not necessary.
> And as you said, much better to hear Menno's musical style in an
> example,  as having the impression an opcode has nothing to do with music.
>
> Looking forward you find the time to contribute to the manual or to
> floss again, Rory. Best regards -
>
>        joachim
>
>
> Am 06.01.2011 19:43, schrieb Rory Walsh:
>> It's great work your doing menno. I haven't looked at any of the
>> examples yet but I'm a little concerned that all the examples might
>> end up in the musical style of menno? I'm not in any way criticising
>> your style, in fact I've never heard any of your music but the idea
>> that one person write all the musical examples in a manual that has
>> over 1200 or so opcodes seems little much. But don't stop! Keep going,
>> it's better to have musical examples in the manual, regardless of my
>> concerns.
>>
>> On 6 January 2011 18:22, menno  wrote:
>>>
>>> Hi Jim,
>>>
>>> yes, ksmps=32 is is not a very high resolution, but it was decided because
>>> of 2 reasons:
>>> 1) a power of two value is better for realtime input/output because of
>>> duplex buffering
>>> 2) 32 may be a good compromise between performance and time resolution.
>>> The idea is that when you uncomment in the Csoptions the line " ;-iadc
>>> ;;;uncomment -iadc if realtime audio input is needed too"
>>> then it should work right away because of those 2 reasons.
>>>
>>> And i agree that a musical example is far more inspiring -for newcomers but
>>> also for people that are looking for an opcode that could suit their needs.
>>> Only printing values done by some random generators does not do it for me.
>>> But when using those values to produce simple sines (oscil) then this random
>>> opcode becomes alive and it can be compared with another random opcodes that
>>> have a different distribution. Then you can make a better decision about
>>> which road to travel i think. That is what i was missing in the manual, too
>>> many "black boxes". On the other hand i try to focus the attention on the
>>> opcode of that particular the manual page.
>>> You can find my examples in cvs, i am starting the letter E now, nearly
>>> every opcode (up till E that is) has an example now and will not stop till
>>> the work is done :)
>>>
>>> bye,
>>> menno
>>>
>>> --
>>> View this message in context: http://csound.1045644.n5.nabble.com/wguide2-broken-tp3328386p3330894.html
>>> Sent from the Csound - General mailing list archive at Nabble.com.
>>>
>>>
>>> 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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>>
>>
>
>
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>


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