These examples are in Csound CVS, and are not platform-specific. I do not 
know whether they are included in the installers for other platforms, but 
they may be, or may soon be. 

You will get everything if you check out all 
sources and build Csound. Unfortunately, this is not a trivial task even if 
you are something of a programmer.

Keep in mind, the algorithmic composition examples are one thing (using 
Python, the csnd Python extension module, usually the CsoundAC module, 
and sometimes wxWidgets which is not part of Csound), and the nonlinear 
synthesis examples are another thing (using current Csound opcodes and 
sometimes the csnd module and wxWidgets).

Also keep in mind, some of the nonlinear synthesis stuff doesn't yet work as pitched
sounds for tonal music, although that is definitely a goal.

The goal, in fact, is tonal (or atonal) music of orchestral size, power, and detail, but
not imitative, and idiosyncratic to the computer -- if there is such a thing.
Idiosyncratic to an algorithmic approach, at any rate, both as to sound and as to form.

Hope this helps,
Mike


----- Original Message ----- 
From: "Joseph Sanger" 
To: 
Sent: Friday, July 18, 2008 8:15 AM
Subject: [Csnd] Re: Re: Re: RE: Re: about the synthesis on an excellent 
sound


> Sorry - this is a very late reply to this thread.
>
> Michael Gogins:
> I heard some samples of your work online (I could only find short segments 
> as I was browsing!) and they are very interesting.
>
> I was wondering if the examples you mention which come with the windows 
> installer are available for other platforms? I use csound on Mac and 
> Linux. They look fascinating. I really like the notion of introducing 
> non-linearity into digital circuits.
>
> All the best,
>
> Joe
>
> Michael Gogins wrote:
>> My own pieces, though composed almost exclusively algorithmically and 
>> rendered almost exclusively with Csound, are usually pieces in time and 
>> pitch, as opposed to acousmatic pieces, and many of them exclusively use 
>> 'pure synthesis' (perhaps better known as 'direct synthesis,' or maybe 
>> this term has gone out of use).
>>
>> One of my better pieces was heard at the 1998 ICMC in Banff ('Cloud 
>> Strata') and can be heard in digital distribution such as iTunes. It uses 
>> a single, very simple, Csound instrument originally created by Michael 
>> Bergman and adapted by me.
>>
>> Another piece, 'Triptych,' also exclusively uses direct synthesis, again 
>> pretty simple instruments adapted from other musicians (plucked strings, 
>> FM, etc.).
>>
>> Personally, I find the juxtaposition of sampled sounds with direct 
>> synthesis hard to manage, even jarring (even though I do it), and for 
>> that reason I tend to prefer direct synthesis.
>>
>> Recently, I have been experimenting with methods of direct synthesis that 
>> produce timbres as complex as natural sounds or acoustical instruments. 
>> There are several examples of such direct synthesis Csound instruments in 
>> the Csound Windows installer examples:
>>
>> PythonDemoApp.py -- LaMonte Young type drone with waveshaping distortion
>> chuas_oscillator -- Chua's circuit (chaotic dynamical system oscillator) 
>> explorer
>> circle_map -- Another chaotic dynamical system explorer.
>>
>> Generally speaking, I think that digital circuits tend to be more linear, 
>> analogue circuits tend to be more nonlinear. The nonlinear distortion in 
>> analogue circuits ends up creating a completely different sound and 
>> different esthetic, which is easier to make musical than digital circuits 
>> are. However, as I hope my examples show, it is possible to introduce 
>> various kinds of nonlinearity into digital circuits. I will continue to 
>> explore this.
>>
>> Once the nonlinearity is present in the digital circuits, the 
>> programmability of the digital circuits should make them considerably 
>> more useful to musicians than the analogue circuits ever were.
>>
>> Also, software instruments tend not have very 'playable' interfaces and, 
>> if they do have playable interfaces, it is hard to put in ten years of 
>> learning as a child on one.
>>
>> This whole discussion omits all music made by morphing or vocoding 
>> sounds...
>>
>> Regards,
>> Michael Gogins
>>
>> ----- Original Message ----- 
>> From: "Joseph Sanger" 
>> To: 
>> Sent: Friday, July 11, 2008 8:34 PM
>> Subject: [Csnd] Re: Re: RE: Re: about the synthesis on an excellent sound 
>> found in freesound.
>>
>>
>>> Hi there,
>>>
>>> Most of my experience with making music has been with acoustic or 
>>> electro-acoustic instruments and for years I shunned anything remotely 
>>> "digital". I still feel this way, largely, certainly for live 
>>> performance - I'm not against the idea of laptop performance at all, but 
>>> I've found it uninspiring when I've tried it myself, compared with the 
>>> experience of playing "real" instruments.
>>>
>>> However, I've recently been experimenting with "purism" in terms of 
>>> creating computer music and I'm finding that making physical models is a 
>>> really exciting way of working (for me), which is a very mathematical 
>>> way of approaching sound design. (I haven't finished anything yet, but 
>>> I'll post when I do!).
>>>
>>> What I'd really like to know is: Are there any other "pure synthesis" 
>>> composers/designers on the list, and can people point to any examples of 
>>> interesting, emotive, exciting... er... good..., music which is entirely 
>>> synthesised, with no "real sound sampling" used in the composition 
>>> process? (Examples which are free to listen to, of course!).
>>>
>>> All the best,
>>>
>>> Joe
>>>
>>>
>>> Tobiah wrote:
>>>>
>>>>>  > Using only pitch change, mixing and reverb, the author
>>>>>  > of the sound that you linked to has created something
>>>>>  > that would take much artistry and effort to create using
>>>>>  > regular opcodes.
>>>>>
>>>>>
>>>>> *all* the matter is to synthesize this sound from nothing, with 
>>>>> whatever opcodes are needed. As a user of csound, i'm interested 
>>>>> mainly in synthesis, and that was the motive i sent the message.
>>>> I understand the purist stance, but I finally agree with a
>>>> synthesis Guru that I studied with in the early nineties who even then 
>>>> had the foresight to describe mathematical synthesis to be 'passe', 
>>>> pointing toward capture and manipulation
>>>> as the new frontier; computers had just risen to that
>>>> level of capability.  I thought that he was a fool at
>>>> the time, my head filled with FM synthesis algorithms,
>>>> and with a passion for the ultimate in freedom from constraints that 
>>>> comes with opcode synthesis.  It may be
>>>> the same reluctance that had so many studios clinging
>>>> to mag-tape as their primary capture medium.
>>>>
>>>> For academic purposes, adding sinewaves together is loads of fun, and I 
>>>> understand your interest in making a synth
>>>> sound similar to your example sound.  The example though, probably
>>>> took the author 15 minutes to create, demonstrating that
>>>> capture and manipulation is the most efficient method to date, and in 
>>>> my experience, no matter the effort and complexity of the algorithm, 
>>>> capable of producing far more alluring and believable textures.
>>>>
>>>> You can still take advantage of all of the old techniques;
>>>> you can FM a source sound, or mod a sine with a source sound..
>>>> or what you like. I know that this all sounds very one sided and 
>>>> opinionated,
>>>> but my message is that one is not failing to use csound
>>>> to its greatest potential because of the liberal use of
>>>> real world source sounds.  I'll stop short of saying that
>>>> the lack of their use would mean the opposite.
>>>>
>>>>
>>>>
>>>> Send bugs reports to this list.
>>>> To unsubscribe, send email sympa@lists.bath.ac.uk with body 
>>>> "unsubscribe csound"
>>>>
>>>
>>> Send bugs reports to this list.
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>>> csound"
>>
>>
>>
>>
>>
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>> csound"
>>
>
>
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