Hello everyone!
   Yes, it has been done before I'm sure. I just wondered, which approach to 
take. Should I build a lot of instruments and do the patching via global 
variables or the ZAK system or something like that? Should I perhaps work with 
subinstruments - not sure, what they could do for me yet and which access they 
would allow? Never mind I will fnd that out, when it comes to that. Or should 
I write UDOs and patch them together in one instrument?
   What are your recommendations or what are practical 
advantages/disadvantages, that you have encountered with these or even other 
approaches? I'd also be glad to read a good tutorial or guide or paper about 
that, if there is something discussing these issues.
   Warm regards and thanks
            Julien

=-=-=-=-=-=-=-=-=-=-=-=-
Such Is Life: Very Intensely Adorable;
Free And Jubilating Amazement Revels, Dancing On - FLOWERS!

======      Find my music at      ======
http://juliencoder.de/nama/music.html
.....................................
"If you live to be 100, I hope I live to be 100 minus 1 day,
so I never have to live without you." (Winnie the Pooh)

The signal graph opcodes can be used too. Audio rate chnget/chnset's
provide a high level of flexibility too as exemplified by Joachim in
this post:

http://csound.1045644.n5.nabble.com/Signal-Flow-Graph-vs-chn-opcodes-td4336016.html

Personally I quite like the syntax of the signal graph opcodes so I
usually end up using them for larger projects.

Rory.



On 12 March 2012 11:50, Tito Latini  wrote:
> I use `zak' without subinstruments but it is not a rule.
> Steven has written a lot about the mixer opcodes, you give a look
> to the Csound Journal.
>
> tito
>
>
> 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"
>

Hi!
   So it probably wasn't a bad idea to think of the chn opcodes and multiple 
instruments. I'll pursue that approach and see, if it gets me, where I want to 
get.
   One question about the chn opcodes: Can I input more then one variable at a 
time into one channel? Can I read a channel from several instruments? I guess 
the latter is easy, but I'm not too sure about the first.
   Warm regards
          Julien

=-=-=-=-=-=-=-=-=-=-=-=-
Such Is Life: Very Intensely Adorable;
Free And Jubilating Amazement Revels, Dancing On - FLOWERS!

======      Find my music at      ======
http://juliencoder.de/nama/music.html
.....................................
"If you live to be 100, I hope I live to be 100 minus 1 day,
so I never have to live without you." (Winnie the Pooh)

It's not clear what you mean by a modular synthesizer... if you mean,
connect Csound instruments together so that signals and controls flow
from one to another in a user-definable way, the signal flow graph
opcodes may be what you need.

You can do the same things with the zak opcodes, but with an important
exception. The signal flow graph opcodes include opcodes for
instruments to send and receive signals. This means that the
instruments can be broken out into separate "patch" files that are
independent of each other and of the master orchestra. It is the
master orchestra that will #include these patches and hook them up
together using the connect opcode.

The ftgenonce enables any function tables required to be defined
within the patch, obviating any dependency of the patch on an external
orchestra header or score.

The alwayson opcodes enable the orchestra header to turn on the
patches, obviating any dependency on events in the score file to
activate effects and so on.

Regards,
Mike

On Mon, Mar 12, 2012 at 7:50 AM, Tito Latini  wrote:
> I use `zak' without subinstruments but it is not a rule.
> Steven has written a lot about the mixer opcodes, you give a look
> to the Csound Journal.
>
> tito
>
>
> 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

Hi Michael!
   Thanks for the alwayson tip, I'd never seen that before.
   One question though: If I have one master instrument to be triggered via 
MIDI, what is the best way to trigger the other connected instruments from 
that.
   Say: I have smething like this:
massign 1, "Master"

instr Master
   ; get mIDI input and so on
   ; trigger the oscillator or somehow all the rest of the currently active
   ; modules
endin

instr Oscillator
   a1 oscil 15000, 440, 1
endin

   I've seen the MIDI/score interop opcodes, but I'm not sure, how they might 
help me. In my basic examples I simply used event_i, but I couldn't really 
hand it a good delay and duration, since it's all taking part in realtime and 
especially the duration isn't set, until I release the key.
   Best wishes and thanks
            Julien

=-=-=-=-=-=-=-=-=-=-=-=-
Such Is Life: Very Intensely Adorable;
Free And Jubilating Amazement Revels, Dancing On - FLOWERS!

======      Find my music at      ======
http://juliencoder.de/nama/music.html
.....................................
"If you live to be 100, I hope I live to be 100 minus 1 day,
so I never have to live without you." (Winnie the Pooh)