The request about extending the a-statement got me thinking about csound and
it's compositional capabilities. I thought:"it would be logic to have the
a-and t-statement extended so it gives more compositional possibilities!"
Then i thought:"But i will not use them because i work with Blue..."
That got me thinking further:
The proposal for this extension of the a statement expresses a greater need
for the use of Csound not only as a software synthesizer but also as a
compositon tool.
This, of course, can be done in text (as proposed, and probably has to be
possible) and for some people that is the way to do it, but wouldn't it be
so much nicer and more transparent to use the graphical compositional
environment Blue?
Sections of score (or parts as they are named in Blue) can be copied and
placed anywhere on a timeline, and gives an oversight of the whole
composition in the blink of an eye.
This raises a few questions about Csound and its compositional side:
0. how do people use Csound composition wise?
1. shouldn't we concentrate on a compositional program that fits Csound? For
me Blue does just that. 
If we could concentrate on Blue or a derived program, along with the
'normal' development of Csound, perhaps more people will be attracted to it
and use it as it offers a complete system?
2. i use CsoundQT or WinXound as a testing program; i build an instrument
and later copy the instrument in Blue for use in the composition. But that's
me...how is Csound used by others? 
3. Is this a worthy theme for discussion for the next Csound Conference? 



 



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Personally, for composing with Csound, Blue remain my favorite ;)

Le 19 oct. 2012 à 14:45, menno  a écrit :

> The request about extending the a-statement got me thinking about csound and
> it's compositional capabilities. I thought:"it would be logic to have the
> a-and t-statement extended so it gives more compositional possibilities!"
> Then i thought:"But i will not use them because i work with Blue..."
> That got me thinking further:
> The proposal for this extension of the a statement expresses a greater need
> for the use of Csound not only as a software synthesizer but also as a
> compositon tool.
> This, of course, can be done in text (as proposed, and probably has to be
> possible) and for some people that is the way to do it, but wouldn't it be
> so much nicer and more transparent to use the graphical compositional
> environment Blue?
> Sections of score (or parts as they are named in Blue) can be copied and
> placed anywhere on a timeline, and gives an oversight of the whole
> composition in the blink of an eye.
> This raises a few questions about Csound and its compositional side:
> 0. how do people use Csound composition wise?
> 1. shouldn't we concentrate on a compositional program that fits Csound? For
> me Blue does just that. 
> If we could concentrate on Blue or a derived program, along with the
> 'normal' development of Csound, perhaps more people will be attracted to it
> and use it as it offers a complete system?
> 2. i use CsoundQT or WinXound as a testing program; i build an instrument
> and later copy the instrument in Blue for use in the composition. But that's
> me...how is Csound used by others? 
> 3. Is this a worthy theme for discussion for the next Csound Conference? 
> 
> 
> 
> 
> 
> 
> 
> --
> View this message in context: http://csound.1045644.n5.nabble.com/how-do-people-use-Csound-in-compositions-tp5717091.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"
> 

Absolutely.  A great theme for us to discuss.

What happens with me and my students here at Berklee is that they are spending the first half of the semester

learning to do Sound Design and Synthesis in Csound  via CsoundQt.  And the goal by about mid-Term

is - a 1-3 minute note-list composition based on their Etude mods and their original sounds from Chapter 1

and Chapter 11 and a Chapter of their Choice in The Csound Book.

And so... as we are getting into score-shortcuts and into some of the cooler things that can be done with the noteList

(like a, b, r, s, t, carry, randoms, macros, etc..) the question naturally comes up...

can I advance over sections

can I do tempo curves over sections.

And... for 30 years now, I have been wishing that we could.

In parallel - the students are all using Csound For Live and composing Tracks, Songs, Remixes, Collages, etc... each week.

and for sure they can do all the copy and past and automation and tempo tracks there.

They also learn to MIDIfy all their instruments from the first half of the semester - and are required to do Csound compositions

in Logic and Performer - driving Csound instruments from there.

It is only a one semester course (16 weeks) and I carry over and continue using Csound in my DSP class, in my Acousmatic Comp Class

and in my CircuitBending/Sensors/Physical Computing Class, and as a Library in my Audio Programming in C classes - and there too

we solve this problem in  other ways...

We get to csound~

We get to Cabbage

We do Widgets on our Designs

And... for sure

We do get to Blue.

Blue is AMAZING

Blue is designed so perfectly as a composition environment for Csound (It is Csound's Ableton Live!)

The "encapsulation" and "modifier" are especially brilliant and transformative.  But because Blue is 

so Huge, it needs a semester all to itself. 

I hope that one day I get that semester.  CsoundII - where we could just use Blue.

-dB

-----------------------------------------

Dr. Richard Boulanger, Ph.D.   

rboulanger@berklee.edu

Professor of Electronic Production and Design

Professional Writing and Music Technology Division

Berklee College of Music

617-747-2485 (office)  774-488-9166 (cell)

http://csounds.com/boulanger     http://csounds.com/mathews

http://boulangerlabs.com    http://csoundforlive.com   http://csounds.com

-------------------------------------------------------------------------------------------------

On Oct 19, 2012, at 8:45 AM, menno <nabob_cd@yahoo.com> wrote:

The request about extending the a-statement got me thinking about csound and
it's compositional capabilities. I thought:"it would be logic to have the
a-and t-statement extended so it gives more compositional possibilities!"
Then i thought:"But i will not use them because i work with Blue..."
That got me thinking further:
The proposal for this extension of the a statement expresses a greater need
for the use of Csound not only as a software synthesizer but also as a
compositon tool.
This, of course, can be done in text (as proposed, and probably has to be
possible) and for some people that is the way to do it, but wouldn't it be
so much nicer and more transparent to use the graphical compositional
environment Blue?
Sections of score (or parts as they are named in Blue) can be copied and
placed anywhere on a timeline, and gives an oversight of the whole
composition in the blink of an eye.
This raises a few questions about Csound and its compositional side:
0. how do people use Csound composition wise?
1. shouldn't we concentrate on a compositional program that fits Csound? For
me Blue does just that.
If we could concentrate on Blue or a derived program, along with the
'normal' development of Csound, perhaps more people will be attracted to it
and use it as it offers a complete system?
2. i use CsoundQT or WinXound as a testing program; i build an instrument
and later copy the instrument in Blue for use in the composition. But that's
me...how is Csound used by others?
3. Is this a worthy theme for discussion for the next Csound Conference?







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Send bugs reports to the Sourceforge bug tracker
           https://sourceforge.net/tracker/?group_id=81968&atid=564599
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About exponential warping, should not be too hard, but there are more than
one exponential....  If you wanted just expseg style the only issue is how
to specify, as one eay want a mix of linear and exponential sectons --
like transeg perhaps.

I will look at the code to check the difficulty

==John ff

>        Here are some thoughts on tempo mapping:
>
>        I find the existing (linear) tempo mapping in Csound to be fairly
>     adequate for my needs. I use it quite a bit. For the newbies
> out       there I will describe the way it works. From what I can
> tell, the       manual is not clear about it.
>
>        Assuming the t parameter in the score as such:
>
>        t 0 60 20 100 20  90  30 90 30 120 50 60
>
>        The tempo of the score would accelerate (accelerando) from 60 bpm
>     at 0 sec to 100 bpm by the time it reaches 20 sec. At 20 sec it
>       changes to 90 bpm and stays there until 30 sec. At 30 sec it
>      changes to 120 which decelerates (ritardando) down to 60bpm by
> the       time of 50 sec and it stays at 60 bpm until the end of
> the       section...
>
>        This linear rate of change works fairly well except I would love
>    for it also to be possible for it to be a variable exponential
>     rate of change as well. Maybe a stipulation in the score for t
> or       te....  ? It would allow the acceleration and deceleration
> rates       to sound more natural I think and would provide
> additional       flexibility with tempo mapping in general.... of
> course I do not       know how feasible that would be.
>
>        Just my two cents....
>
>
>
>
>        On 10/19/12 9:05 AM, Richard Boulanger wrote:
>                         Absolutely.  A great theme for us to discuss.
>               What happens with me and my students here at Berklee is that
>         they are spending the first half of the semester
>   learning to do Sound Design and Synthesis in Csound  via
>       CsoundQt.  And the goal by about mid-Term       is - a
> 1-3 minute note-list composition based on their Etude
>  mods and their original sounds from Chapter 1       and
> Chapter 11 and a Chapter of their Choice in The Csound
>   Book.
>               And so... as we are getting into score-shortcuts and into
>      some of the cooler things that can be done with the
> noteList
>               (like a, b, r, s, t, carry, randoms, macros, etc..) the
>    question naturally comes up...
>               can I advance over sections       can I do tempo curves over
> sections.
>               And... for 30 years now, I have been wishing that we could.
>               In parallel - the students are all using Csound For Live and
>         composing Tracks, Songs, Remixes, Collages, etc...
> each week.       and for sure they can do all the copy and
> past and automation         and tempo tracks there.
>               They also learn to MIDIfy all their instruments from the
>     first half of the semester - and are required to do
> Csound         compositions       in Logic and Performer -
> driving Csound instruments from         there.
>               It is only a one semester course (16 weeks) and I carry over
>         and continue using Csound in my DSP class, in my
> Acousmatic Comp         Class       and in my
> CircuitBending/Sensors/Physical Computing Class,         and
> as a Library in my Audio Programming in C classes - and
>    there too       we solve this problem in  other ways...
>               We get to csound~       We get to Cabbage       We do
> Widgets on our Designs
>               And... for sure
>               We do get to Blue.
>               Blue is AMAZING
>               Blue is designed so perfectly as a composition environment
>       for Csound (It is Csound's Ableton Live!)       The
> "encapsulation" and "modifier" are especially brilliant
>    and transformative.  But because Blue is        so Huge,
> it needs a semester all to itself.
>               I hope that one day I get that semester.  CsoundII - where
> we         could just use Blue.
>               -dB
>                                                                                -----------------------------------------
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> Dr.
> Richard
> Boulanger,
> Ph.D.
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> rboulanger@berklee.edu
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> Professor
> of
> Electronic
> Production
> and
> Design
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> Professional
> Writing
> and
> Music
> Technology
> Division
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> Berklee
> College
> of
> Music
>                                         617-747-2485 (office)
> 774-488-9166 (cell)
>      http://csounds.com/boulanger
>
> http://csounds.com/mathews
>
> http://boulangerlabs.com
>
> http://csoundforlive.com
>               http://csounds.com
>
> -------------------------------------------------------------------------------------------------
>                     On Oct 19, 2012, at 8:45 AM, menno              wrote:
>                      The request about extending the
>           a-statement got me thinking about csound and
>              it's compositional capabilities. I thought:"it would be
>       logic to have the
>              a-and t-statement extended so it gives more compositional
>         possibilities!"
>              Then i thought:"But i will not use them because i work with
>           Blue..."
>              That got me thinking further:
>              The proposal for this extension of the a statement expresses
>            a greater need
>              for the use of Csound not only as a software synthesizer but
>            also as a
>              compositon tool.
>              This, of course, can be done in text (as proposed, and
>      probably has to be
>              possible) and for some people that is the way to do it, but
>           wouldn't it be
>              so much nicer and more transparent to use the graphical
>       compositional
>              environment Blue?
>              Sections of score (or parts as they are named in Blue) can
>          be copied and
>              placed anywhere on a timeline, and gives an oversight of the
>            whole
>              composition in the blink of an eye.
>              This raises a few questions about Csound and its
> compositional side:
>              0. how do people use Csound composition wise?
>              1. shouldn't we concentrate on a compositional program that
>           fits Csound? For
>              me Blue does just that.
>              If we could concentrate on Blue or a derived program, along
>           with the
>              'normal' development of Csound, perhaps more people will be
>           attracted to it
>              and use it as it offers a complete system?
>              2. i use CsoundQT or WinXound as a testing program; i build
>           an instrument
>              and later copy the instrument in Blue for use in the
>    composition. But that's
>              me...how is Csound used by others?
>              3. Is this a worthy theme for discussion for the next Csound
>            Conference?
>
>
>
>
>
>
>
>              --
>              View this message in context:
> http://csound.1045644.n5.nabble.com/how-do-people-use-Csound-in-compositions-tp5717091.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"
>
>
>
>

Good question, Menno.

As a composer of pop-music, (see my 'zappfinger' youtube or fandalism
channels), I use Csound to create interesting new sounds and effects, to be
used in my compositions.

Besides that, I always had an interest in Electronic music, both hardware
and software.
In my (electronics) student days, I had contact with Sonology in Utrecht,
and Steim in Amsterdam. I worked for a short period in an Electronic music
studio in Hilversum with Michael Fahres, with really ancient stuff.

Being a software engineer (and software tester) by profession, I love to
explore Csound in my spare time for the above mentioned reasons.


Richard





--
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Sent from the Csound - General mailing list archive at Nabble.com.

Yes... I was wondering if we could in some way add a variable to the t 
parameter that would determine the shape of the rate of change... maybe 
a few choices including the basic expseg... but I had not thought it 
through enough to realize that it would then be desirable to stipulate 
it for each change in the tempo...

Interesting.



On 10/19/12 2:16 PM, jpff@cs.bath.ac.uk wrote:
> About exponential warping, should not be too hard, but there are more than
> one exponential....  If you wanted just expseg style the only issue is how
> to specify, as one eay want a mix of linear and exponential sectons --
> like transeg perhaps.
>
> I will look at the code to check the difficulty
>
> ==John ff
>
>>         Here are some thoughts on tempo mapping:
>>
>>         I find the existing (linear) tempo mapping in Csound to be fairly
>>      adequate for my needs. I use it quite a bit. For the newbies
>> out       there I will describe the way it works. From what I can
>> tell, the       manual is not clear about it.
>>
>>         Assuming the t parameter in the score as such:
>>
>>         t 0 60 20 100 20  90  30 90 30 120 50 60
>>
>>         The tempo of the score would accelerate (accelerando) from 60 bpm
>>      at 0 sec to 100 bpm by the time it reaches 20 sec. At 20 sec it
>>        changes to 90 bpm and stays there until 30 sec. At 30 sec it
>>       changes to 120 which decelerates (ritardando) down to 60bpm by
>> the       time of 50 sec and it stays at 60 bpm until the end of
>> the       section...
>>
>>         This linear rate of change works fairly well except I would love
>>     for it also to be possible for it to be a variable exponential
>>      rate of change as well. Maybe a stipulation in the score for t
>> or       te....  ? It would allow the acceleration and deceleration
>> rates       to sound more natural I think and would provide
>> additional       flexibility with tempo mapping in general.... of
>> course I do not       know how feasible that would be.
>>
>>         Just my two cents....
>>
>>
>>
>>
>>         On 10/19/12 9:05 AM, Richard Boulanger wrote:
>>                          Absolutely.  A great theme for us to discuss.
>>                What happens with me and my students here at Berklee is that
>>          they are spending the first half of the semester
>>    learning to do Sound Design and Synthesis in Csound  via
>>        CsoundQt.  And the goal by about mid-Term       is - a
>> 1-3 minute note-list composition based on their Etude
>>   mods and their original sounds from Chapter 1       and
>> Chapter 11 and a Chapter of their Choice in The Csound
>>    Book.
>>                And so... as we are getting into score-shortcuts and into
>>       some of the cooler things that can be done with the
>> noteList
>>                (like a, b, r, s, t, carry, randoms, macros, etc..) the
>>     question naturally comes up...
>>                can I advance over sections       can I do tempo curves over
>> sections.
>>                And... for 30 years now, I have been wishing that we could.
>>                In parallel - the students are all using Csound For Live and
>>          composing Tracks, Songs, Remixes, Collages, etc...
>> each week.       and for sure they can do all the copy and
>> past and automation         and tempo tracks there.
>>                They also learn to MIDIfy all their instruments from the
>>      first half of the semester - and are required to do
>> Csound         compositions       in Logic and Performer -
>> driving Csound instruments from         there.
>>                It is only a one semester course (16 weeks) and I carry over
>>          and continue using Csound in my DSP class, in my
>> Acousmatic Comp         Class       and in my
>> CircuitBending/Sensors/Physical Computing Class,         and
>> as a Library in my Audio Programming in C classes - and
>>     there too       we solve this problem in  other ways...
>>                We get to csound~       We get to Cabbage       We do
>> Widgets on our Designs
>>                And... for sure
>>                We do get to Blue.
>>                Blue is AMAZING
>>                Blue is designed so perfectly as a composition environment
>>        for Csound (It is Csound's Ableton Live!)       The
>> "encapsulation" and "modifier" are especially brilliant
>>     and transformative.  But because Blue is        so Huge,
>> it needs a semester all to itself.
>>                I hope that one day I get that semester.  CsoundII - where
>> we         could just use Blue.
>>                -dB
>>                                                                                 -----------------------------------------
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> Dr.
>> Richard
>> Boulanger,
>> Ph.D.
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> rboulanger@berklee.edu
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> Professor
>> of
>> Electronic
>> Production
>> and
>> Design
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> Professional
>> Writing
>> and
>> Music
>> Technology
>> Division
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> Berklee
>> College
>> of
>> Music
>>                                          617-747-2485 (office)
>> 774-488-9166 (cell)
>>       http://csounds.com/boulanger
>>
>> http://csounds.com/mathews
>>
>> http://boulangerlabs.com
>>
>> http://csoundforlive.com
>>                http://csounds.com
>>
>> -------------------------------------------------------------------------------------------------
>>                      On Oct 19, 2012, at 8:45 AM, menno              wrote:
>>                       The request about extending the
>>            a-statement got me thinking about csound and
>>               it's compositional capabilities. I thought:"it would be
>>        logic to have the
>>               a-and t-statement extended so it gives more compositional
>>          possibilities!"
>>               Then i thought:"But i will not use them because i work with
>>            Blue..."
>>               That got me thinking further:
>>               The proposal for this extension of the a statement expresses
>>             a greater need
>>               for the use of Csound not only as a software synthesizer but
>>             also as a
>>               compositon tool.
>>               This, of course, can be done in text (as proposed, and
>>       probably has to be
>>               possible) and for some people that is the way to do it, but
>>            wouldn't it be
>>               so much nicer and more transparent to use the graphical
>>        compositional
>>               environment Blue?
>>               Sections of score (or parts as they are named in Blue) can
>>           be copied and
>>               placed anywhere on a timeline, and gives an oversight of the
>>             whole
>>               composition in the blink of an eye.
>>               This raises a few questions about Csound and its
>> compositional side:
>>               0. how do people use Csound composition wise?
>>               1. shouldn't we concentrate on a compositional program that
>>            fits Csound? For
>>               me Blue does just that.
>>               If we could concentrate on Blue or a derived program, along
>>            with the
>>               'normal' development of Csound, perhaps more people will be
>>            attracted to it
>>               and use it as it offers a complete system?
>>               2. i use CsoundQT or WinXound as a testing program; i build
>>            an instrument
>>               and later copy the instrument in Blue for use in the
>>     composition. But that's
>>               me...how is Csound used by others?
>>               3. Is this a worthy theme for discussion for the next Csound
>>             Conference?
>>
>>
>>
>>
>>
>>
>>
>>               --
>>               View this message in context:
>> http://csound.1045644.n5.nabble.com/how-do-people-use-Csound-in-compositions-tp5717091.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"
>>
>>
>>
>>
>
>
>
> 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! I have a question. Existing some OP code to produce a drumms? Or, 
how to produce a Drums in Csound? I am not using a midi keyboard, for 
information. Please, help me.

Thank You, Marco Oros.

Maybe a T opcode with transeg-like parameters?

NO PROMISES!

==John ff

> Yes... I was wondering if we could in some way add a variable to the t
> parameter that would determine the shape of the rate of change... maybe
> a few choices including the basic expseg... but I had not thought it
> through enough to realize that it would then be desirable to stipulate
> it for each change in the tempo...
>
> Interesting.
>
>
>
> On 10/19/12 2:16 PM, jpff@cs.bath.ac.uk wrote:
>> About exponential warping, should not be too hard, but there are more
>> than
>> one exponential....  If you wanted just expseg style the only issue is
>> how
>> to specify, as one eay want a mix of linear and exponential sectons --
>> like transeg perhaps.
>>
>> I will look at the code to check the difficulty
>>
>> ==John ff
>>
>>>         Here are some thoughts on tempo mapping:
>>>
>>>         I find the existing (linear) tempo mapping in Csound to be
>>> fairly
>>>      adequate for my needs. I use it quite a bit. For the newbies
>>> out       there I will describe the way it works. From what I can
>>> tell, the       manual is not clear about it.
>>>
>>>         Assuming the t parameter in the score as such:
>>>
>>>         t 0 60 20 100 20  90  30 90 30 120 50 60
>>>
>>>         The tempo of the score would accelerate (accelerando) from 60
>>> bpm
>>>      at 0 sec to 100 bpm by the time it reaches 20 sec. At 20 sec it
>>>        changes to 90 bpm and stays there until 30 sec. At 30 sec it
>>>       changes to 120 which decelerates (ritardando) down to 60bpm by
>>> the       time of 50 sec and it stays at 60 bpm until the end of
>>> the       section...
>>>
>>>         This linear rate of change works fairly well except I would
>>> love
>>>     for it also to be possible for it to be a variable exponential
>>>      rate of change as well. Maybe a stipulation in the score for t
>>> or       te....  ? It would allow the acceleration and deceleration
>>> rates       to sound more natural I think and would provide
>>> additional       flexibility with tempo mapping in general.... of
>>> course I do not       know how feasible that would be.
>>>
>>>         Just my two cents....
>>>
>>>
>>>
>>>
>>>         On 10/19/12 9:05 AM, Richard Boulanger wrote:
>>>                          Absolutely.  A great theme for us to discuss.
>>>                What happens with me and my students here at Berklee is
>>> that
>>>          they are spending the first half of the semester
>>>    learning to do Sound Design and Synthesis in Csound  via
>>>        CsoundQt.  And the goal by about mid-Term       is - a
>>> 1-3 minute note-list composition based on their Etude
>>>   mods and their original sounds from Chapter 1       and
>>> Chapter 11 and a Chapter of their Choice in The Csound
>>>    Book.
>>>                And so... as we are getting into score-shortcuts and
>>> into
>>>       some of the cooler things that can be done with the
>>> noteList
>>>                (like a, b, r, s, t, carry, randoms, macros, etc..) the
>>>     question naturally comes up...
>>>                can I advance over sections       can I do tempo curves
>>> over
>>> sections.
>>>                And... for 30 years now, I have been wishing that we
>>> could.
>>>                In parallel - the students are all using Csound For Live
>>> and
>>>          composing Tracks, Songs, Remixes, Collages, etc...
>>> each week.       and for sure they can do all the copy and
>>> past and automation         and tempo tracks there.
>>>                They also learn to MIDIfy all their instruments from the
>>>      first half of the semester - and are required to do
>>> Csound         compositions       in Logic and Performer -
>>> driving Csound instruments from         there.
>>>                It is only a one semester course (16 weeks) and I carry
>>> over
>>>          and continue using Csound in my DSP class, in my
>>> Acousmatic Comp         Class       and in my
>>> CircuitBending/Sensors/Physical Computing Class,         and
>>> as a Library in my Audio Programming in C classes - and
>>>     there too       we solve this problem in  other ways...
>>>                We get to csound~       We get to Cabbage       We do
>>> Widgets on our Designs
>>>                And... for sure
>>>                We do get to Blue.
>>>                Blue is AMAZING
>>>                Blue is designed so perfectly as a composition
>>> environment
>>>        for Csound (It is Csound's Ableton Live!)       The
>>> "encapsulation" and "modifier" are especially brilliant
>>>     and transformative.  But because Blue is        so Huge,
>>> it needs a semester all to itself.
>>>                I hope that one day I get that semester.  CsoundII -
>>> where
>>> we         could just use Blue.
>>>                -dB
>>>                                                                                 -----------------------------------------
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> Dr.
>>> Richard
>>> Boulanger,
>>> Ph.D.
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> rboulanger@berklee.edu
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> Professor
>>> of
>>> Electronic
>>> Production
>>> and
>>> Design
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> Professional
>>> Writing
>>> and
>>> Music
>>> Technology
>>> Division
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> Berklee
>>> College
>>> of
>>> Music
>>>                                          617-747-2485 (office)
>>> 774-488-9166 (cell)
>>>       http://csounds.com/boulanger
>>>
>>> http://csounds.com/mathews
>>>
>>> http://boulangerlabs.com
>>>
>>> http://csoundforlive.com
>>>                http://csounds.com
>>>
>>> -------------------------------------------------------------------------------------------------
>>>                      On Oct 19, 2012, at 8:45 AM, menno
>>> wrote:
>>>                       The request about extending the
>>>            a-statement got me thinking about csound and
>>>               it's compositional capabilities. I thought:"it would be
>>>        logic to have the
>>>               a-and t-statement extended so it gives more compositional
>>>          possibilities!"
>>>               Then i thought:"But i will not use them because i work
>>> with
>>>            Blue..."
>>>               That got me thinking further:
>>>               The proposal for this extension of the a statement
>>> expresses
>>>             a greater need
>>>               for the use of Csound not only as a software synthesizer
>>> but
>>>             also as a
>>>               compositon tool.
>>>               This, of course, can be done in text (as proposed, and
>>>       probably has to be
>>>               possible) and for some people that is the way to do it,
>>> but
>>>            wouldn't it be
>>>               so much nicer and more transparent to use the graphical
>>>        compositional
>>>               environment Blue?
>>>               Sections of score (or parts as they are named in Blue)
>>> can
>>>           be copied and
>>>               placed anywhere on a timeline, and gives an oversight of
>>> the
>>>             whole
>>>               composition in the blink of an eye.
>>>               This raises a few questions about Csound and its
>>> compositional side:
>>>               0. how do people use Csound composition wise?
>>>               1. shouldn't we concentrate on a compositional program
>>> that
>>>            fits Csound? For
>>>               me Blue does just that.
>>>               If we could concentrate on Blue or a derived program,
>>> along
>>>            with the
>>>               'normal' development of Csound, perhaps more people will
>>> be
>>>            attracted to it
>>>               and use it as it offers a complete system?
>>>               2. i use CsoundQT or WinXound as a testing program; i
>>> build
>>>            an instrument
>>>               and later copy the instrument in Blue for use in the
>>>     composition. But that's
>>>               me...how is Csound used by others?
>>>               3. Is this a worthy theme for discussion for the next
>>> Csound
>>>             Conference?
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>               --
>>>               View this message in context:
>>> http://csound.1045644.n5.nabble.com/how-do-people-use-Csound-in-compositions-tp5717091.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"
>>>
>>>
>>>
>>>
>>
>>
>>
>> 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"
>
>
>
>

> Hi! I have a question. Existing some OP code to produce a drumms? Or,
> how to produce a Drums in Csound? I am not using a midi keyboard, for
> information. Please, help me.
>
> Thank You, Marco Oros.
>

I am not a sound designer but Mikelson's collection comtaints

bdrum5.orc drum4.orc  drummach.orc  drums.orc  wavedrum.orc

andf Josep's collection (whay happened to him?) includes a couple.  My
students got good results with noise and envelopes (but I would need to
check the details)

Must be others

==John

Interesting indeed and maybe a way to reuse some code....  :)

That would be awesome!!

Thanks for looking into it.



On 10/19/12 2:41 PM, jpff@cs.bath.ac.uk wrote:
> Maybe a T opcode with transeg-like parameters?
>
> NO PROMISES!
>
> ==John ff
>
>> Yes... I was wondering if we could in some way add a variable to the t
>> parameter that would determine the shape of the rate of change... maybe
>> a few choices including the basic expseg... but I had not thought it
>> through enough to realize that it would then be desirable to stipulate
>> it for each change in the tempo...
>>
>> Interesting.
>>
>>
>>
>> On 10/19/12 2:16 PM, jpff@cs.bath.ac.uk wrote:
>>> About exponential warping, should not be too hard, but there are more
>>> than
>>> one exponential....  If you wanted just expseg style the only issue is
>>> how
>>> to specify, as one eay want a mix of linear and exponential sectons --
>>> like transeg perhaps.
>>>
>>> I will look at the code to check the difficulty
>>>
>>> ==John ff
>>>
>>>>          Here are some thoughts on tempo mapping:
>>>>
>>>>          I find the existing (linear) tempo mapping in Csound to be
>>>> fairly
>>>>       adequate for my needs. I use it quite a bit. For the newbies
>>>> out       there I will describe the way it works. From what I can
>>>> tell, the       manual is not clear about it.
>>>>
>>>>          Assuming the t parameter in the score as such:
>>>>
>>>>          t 0 60 20 100 20  90  30 90 30 120 50 60
>>>>
>>>>          The tempo of the score would accelerate (accelerando) from 60
>>>> bpm
>>>>       at 0 sec to 100 bpm by the time it reaches 20 sec. At 20 sec it
>>>>         changes to 90 bpm and stays there until 30 sec. At 30 sec it
>>>>        changes to 120 which decelerates (ritardando) down to 60bpm by
>>>> the       time of 50 sec and it stays at 60 bpm until the end of
>>>> the       section...
>>>>
>>>>          This linear rate of change works fairly well except I would
>>>> love
>>>>      for it also to be possible for it to be a variable exponential
>>>>       rate of change as well. Maybe a stipulation in the score for t
>>>> or       te....  ? It would allow the acceleration and deceleration
>>>> rates       to sound more natural I think and would provide
>>>> additional       flexibility with tempo mapping in general.... of
>>>> course I do not       know how feasible that would be.
>>>>
>>>>          Just my two cents....
>>>>
>>>>
>>>>
>>>>
>>>>          On 10/19/12 9:05 AM, Richard Boulanger wrote:
>>>>                           Absolutely.  A great theme for us to discuss.
>>>>                 What happens with me and my students here at Berklee is
>>>> that
>>>>           they are spending the first half of the semester
>>>>     learning to do Sound Design and Synthesis in Csound  via
>>>>         CsoundQt.  And the goal by about mid-Term       is - a
>>>> 1-3 minute note-list composition based on their Etude
>>>>    mods and their original sounds from Chapter 1       and
>>>> Chapter 11 and a Chapter of their Choice in The Csound
>>>>     Book.
>>>>                 And so... as we are getting into score-shortcuts and
>>>> into
>>>>        some of the cooler things that can be done with the
>>>> noteList
>>>>                 (like a, b, r, s, t, carry, randoms, macros, etc..) the
>>>>      question naturally comes up...
>>>>                 can I advance over sections       can I do tempo curves
>>>> over
>>>> sections.
>>>>                 And... for 30 years now, I have been wishing that we
>>>> could.
>>>>                 In parallel - the students are all using Csound For Live
>>>> and
>>>>           composing Tracks, Songs, Remixes, Collages, etc...
>>>> each week.       and for sure they can do all the copy and
>>>> past and automation         and tempo tracks there.
>>>>                 They also learn to MIDIfy all their instruments from the
>>>>       first half of the semester - and are required to do
>>>> Csound         compositions       in Logic and Performer -
>>>> driving Csound instruments from         there.
>>>>                 It is only a one semester course (16 weeks) and I carry
>>>> over
>>>>           and continue using Csound in my DSP class, in my
>>>> Acousmatic Comp         Class       and in my
>>>> CircuitBending/Sensors/Physical Computing Class,         and
>>>> as a Library in my Audio Programming in C classes - and
>>>>      there too       we solve this problem in  other ways...
>>>>                 We get to csound~       We get to Cabbage       We do
>>>> Widgets on our Designs
>>>>                 And... for sure
>>>>                 We do get to Blue.
>>>>                 Blue is AMAZING
>>>>                 Blue is designed so perfectly as a composition
>>>> environment
>>>>         for Csound (It is Csound's Ableton Live!)       The
>>>> "encapsulation" and "modifier" are especially brilliant
>>>>      and transformative.  But because Blue is        so Huge,
>>>> it needs a semester all to itself.
>>>>                 I hope that one day I get that semester.  CsoundII -
>>>> where
>>>> we         could just use Blue.
>>>>                 -dB
>>>>                                                                                  -----------------------------------------
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> Dr.
>>>> Richard
>>>> Boulanger,
>>>> Ph.D.
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> rboulanger@berklee.edu
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> Professor
>>>> of
>>>> Electronic
>>>> Production
>>>> and
>>>> Design
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> Professional
>>>> Writing
>>>> and
>>>> Music
>>>> Technology
>>>> Division
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> Berklee
>>>> College
>>>> of
>>>> Music
>>>>                                           617-747-2485 (office)
>>>> 774-488-9166 (cell)
>>>>        http://csounds.com/boulanger
>>>>
>>>> http://csounds.com/mathews
>>>>
>>>> http://boulangerlabs.com
>>>>
>>>> http://csoundforlive.com
>>>>                 http://csounds.com
>>>>
>>>> -------------------------------------------------------------------------------------------------
>>>>                       On Oct 19, 2012, at 8:45 AM, menno
>>>> wrote:
>>>>                        The request about extending the
>>>>             a-statement got me thinking about csound and
>>>>                it's compositional capabilities. I thought:"it would be
>>>>         logic to have the
>>>>                a-and t-statement extended so it gives more compositional
>>>>           possibilities!"
>>>>                Then i thought:"But i will not use them because i work
>>>> with
>>>>             Blue..."
>>>>                That got me thinking further:
>>>>                The proposal for this extension of the a statement
>>>> expresses
>>>>              a greater need
>>>>                for the use of Csound not only as a software synthesizer
>>>> but
>>>>              also as a
>>>>                compositon tool.
>>>>                This, of course, can be done in text (as proposed, and
>>>>        probably has to be
>>>>                possible) and for some people that is the way to do it,
>>>> but
>>>>             wouldn't it be
>>>>                so much nicer and more transparent to use the graphical
>>>>         compositional
>>>>                environment Blue?
>>>>                Sections of score (or parts as they are named in Blue)
>>>> can
>>>>            be copied and
>>>>                placed anywhere on a timeline, and gives an oversight of
>>>> the
>>>>              whole
>>>>                composition in the blink of an eye.
>>>>                This raises a few questions about Csound and its
>>>> compositional side:
>>>>                0. how do people use Csound composition wise?
>>>>                1. shouldn't we concentrate on a compositional program
>>>> that
>>>>             fits Csound? For
>>>>                me Blue does just that.
>>>>                If we could concentrate on Blue or a derived program,
>>>> along
>>>>             with the
>>>>                'normal' development of Csound, perhaps more people will
>>>> be
>>>>             attracted to it
>>>>                and use it as it offers a complete system?
>>>>                2. i use CsoundQT or WinXound as a testing program; i
>>>> build
>>>>             an instrument
>>>>                and later copy the instrument in Blue for use in the
>>>>      composition. But that's
>>>>                me...how is Csound used by others?
>>>>                3. Is this a worthy theme for discussion for the next
>>>> Csound
>>>>              Conference?
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>                --
>>>>                View this message in context:
>>>> http://csound.1045644.n5.nabble.com/how-do-people-use-Csound-in-compositions-tp5717091.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"
>>>>
>>>>
>>>>
>>>>
>>>
>>>
>>> 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"
>>
>>
>>
>>
>
>
>
> 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"

IMHO, the easiest, quikest (and dirtiest) way is to use the general midi 
sound fonts that can be found in the CSound distro for windows.

The file sf_GMbank.sf2 contains a whole host of sounds, including drums.

Though if you're on this list, you might want to try using samples, or just 
synthesize the sounds yourself.

All the best,

Jacques

----- Original Message ----- 
From: "Marco Oros" 
To: 
Sent: Friday, October 19, 2012 7:40 PM
Subject: [Csnd] Drums in Csound


> Hi! I have a question. Existing some OP code to produce a drumms? Or, how 
> to produce a Drums in Csound? I am not using a midi keyboard, for 
> information. Please, help me.
>
> Thank You, Marco Oros.
>
>
> 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"
> 

Jacob Joaquin has some nice drums in his Csound Journal article about dseq.

On 10/19/12, Jacques Leplat  wrote:
> IMHO, the easiest, quikest (and dirtiest) way is to use the general midi
> sound fonts that can be found in the CSound distro for windows.
>
> The file sf_GMbank.sf2 contains a whole host of sounds, including drums.
>
> Though if you're on this list, you might want to try using samples, or just
>
> synthesize the sounds yourself.
>
> All the best,
>
> Jacques
>
> ----- Original Message -----
> From: "Marco Oros" 
> To: 
> Sent: Friday, October 19, 2012 7:40 PM
> Subject: [Csnd] Drums in Csound
>
>
>> Hi! I have a question. Existing some OP code to produce a drumms? Or, how
>>
>> to produce a Drums in Csound? I am not using a midi keyboard, for
>> information. Please, help me.
>>
>> Thank You, Marco Oros.
>>
>>
>> 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"
>
>

Thanks Michael for this elaboration and inspiring suggestion.

For me, what is always confusing about "t" is.....

Since you are accelerating or decelerating over 20 seconds or 30 seconds  (of clock time or p3/score time?)  how many "seconds" of the score (p3) have passed and how does one compute/calculate/visualize/synchronize this 

relationship/information of score-time/clock-time when using t (and imagine if we could see it in the console or in some file or on a timeline?)

R

--------------------------------

Dr. Richard Boulanger

rboulanger@berklee.edu

-----------------------------------

On Oct 19, 2012, at 2:10 PM, Michael Rhoades <mrhoades@perceptionfactory.com> wrote:

Great ideas Rick. Sounds like a fantastic program you provide there.

Here are some thoughts on tempo mapping:

I find the existing (linear) tempo mapping in Csound to be fairly adequate for my needs. I use it quite a bit. For the newbies out there I will describe the way it works. From what I can tell, the manual is not clear about it.

Assuming the t parameter in the score as such:

t 0 60 20 100 20  90  30 90 30 120 50 60

The tempo of the score would accelerate (accelerando) from 60 bpm at 0 sec to 100 bpm by the time it reaches 20 sec. At 20 sec it changes to 90 bpm and stays there until 30 sec. At 30 sec it changes to 120 which decelerates (ritardando) down to 60bpm by the time of 50 sec and it stays at 60 bpm until the end of the section...

This linear rate of change works fairly well except I would love for it also to be possible for it to be a variable exponential rate of change as well. Maybe a stipulation in the score for t or te....  ? It would allow the acceleration and deceleration rates to sound more natural I think and would provide additional flexibility with tempo mapping in general.... of course I do not know how feasible that would be.

Just my two cents....




On 10/19/12 9:05 AM, Richard Boulanger wrote:

Absolutely.  A great theme for us to discuss.

What happens with me and my students here at Berklee is that they are spending the first half of the semester

learning to do Sound Design and Synthesis in Csound  via CsoundQt.  And the goal by about mid-Term

is - a 1-3 minute note-list composition based on their Etude mods and their original sounds from Chapter 1

and Chapter 11 and a Chapter of their Choice in The Csound Book.

And so... as we are getting into score-shortcuts and into some of the cooler things that can be done with the noteList

(like a, b, r, s, t, carry, randoms, macros, etc..) the question naturally comes up...

can I advance over sections

can I do tempo curves over sections.

And... for 30 years now, I have been wishing that we could.

In parallel - the students are all using Csound For Live and composing Tracks, Songs, Remixes, Collages, etc... each week.

and for sure they can do all the copy and past and automation and tempo tracks there.

They also learn to MIDIfy all their instruments from the first half of the semester - and are required to do Csound compositions

in Logic and Performer - driving Csound instruments from there.

It is only a one semester course (16 weeks) and I carry over and continue using Csound in my DSP class, in my Acousmatic Comp Class

and in my CircuitBending/Sensors/Physical Computing Class, and as a Library in my Audio Programming in C classes - and there too

we solve this problem in  other ways...

We get to csound~

We get to Cabbage

We do Widgets on our Designs

And... for sure

We do get to Blue.

Blue is AMAZING

Blue is designed so perfectly as a composition environment for Csound (It is Csound's Ableton Live!)

The "encapsulation" and "modifier" are especially brilliant and transformative.  But because Blue is 

so Huge, it needs a semester all to itself. 

I hope that one day I get that semester.  CsoundII - where we could just use Blue.

-dB

-----------------------------------------

Dr. Richard Boulanger, Ph.D.   

rboulanger@berklee.edu

Professor of Electronic Production and Design

Professional Writing and Music Technology Division

Berklee College of Music

617-747-2485 (office)  774-488-9166 (cell)

http://csounds.com/boulanger     http://csounds.com/mathews

http://boulangerlabs.com    http://csoundforlive.com   http://csounds.com

-------------------------------------------------------------------------------------------------

On Oct 19, 2012, at 8:45 AM, menno <nabob_cd@yahoo.com> wrote:

The request about extending the a-statement got me thinking about csound and
it's compositional capabilities. I thought:"it would be logic to have the
a-and t-statement extended so it gives more compositional possibilities!"
Then i thought:"But i will not use them because i work with Blue..."
That got me thinking further:
The proposal for this extension of the a statement expresses a greater need
for the use of Csound not only as a software synthesizer but also as a
compositon tool.
This, of course, can be done in text (as proposed, and probably has to be
possible) and for some people that is the way to do it, but wouldn't it be
so much nicer and more transparent to use the graphical compositional
environment Blue?
Sections of score (or parts as they are named in Blue) can be copied and
placed anywhere on a timeline, and gives an oversight of the whole
composition in the blink of an eye.
This raises a few questions about Csound and its compositional side:
0. how do people use Csound composition wise?
1. shouldn't we concentrate on a compositional program that fits Csound? For
me Blue does just that.
If we could concentrate on Blue or a derived program, along with the
'normal' development of Csound, perhaps more people will be attracted to it
and use it as it offers a complete system?
2. i use CsoundQT or WinXound as a testing program; i build an instrument
and later copy the instrument in Blue for use in the composition. But that's
me...how is Csound used by others?
3. Is this a worthy theme for discussion for the next Csound Conference?







--
View this message in context: http://csound.1045644.n5.nabble.com/how-do-people-use-Csound-in-compositions-tp5717091.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"

>        The term BPM may be a misnomer for our purposes. It does let us
>   know that at 60 BPM 1 second in the score is 1 second in the
> sound       file we are generating... at 120 BPM  1 second of score
> time is       1/2 second in the sound file. Seems like there could
> be a better       term than BPM.

especially when the music does not have any beats

Exactly. It might be clearer to call it a timing ratio instead of BPM

Time Ratio = score(sec) : sound file(sec)

At that point in the t field instead of 60 we would stipulate 1 and 120 
would be .5 ...

Makes it easier for me to visualize the overall relationships.



On 10/21/12 10:18 AM, jpff@cs.bath.ac.uk wrote:
>>         The term BPM may be a misnomer for our purposes. It does let us
>>    know that at 60 BPM 1 second in the score is 1 second in the
>> sound       file we are generating... at 120 BPM  1 second of score
>> time is       1/2 second in the sound file. Seems like there could
>> be a better       term than BPM.
> especially when the music does not have any beats
>
>
>
>
> 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"

Cabbage can sync plugins with the hosts clock, is this what you mean?
Iain has posted some examples to the Cabbage forum that show this.
It's not currently documented because I want to make sure everything
is working first, but in his examples he shows how you can start or
stop an instrument using the host transport panel, and how to sync the
host's BMP to your instruments.

I personally would rather use Csound for *everything* -- recording,
playback, synthesis etc. so that it all would be synced to start with.
Maybe use Cscore or the API, or a Python script. But that is just my
opinion and for me as a blind musician a necessity (I refuse to call
it a "necessary evil" because I rather enjoy writing code.)

For those of you who are sighted and prefer to use GUIs, wouldn't it
be better to use a universal bridge to all your DAWs? Or use only ones
with compatible plugin formats? (Do I not fully understand what you're
saying? as I have never used Ableton or Logic before because Csound is
sufficient for me).

On 10/21/12, Richard Boulanger  wrote:
> Yes.  This is exactly what I mean.  And it is for sure an important way to
> get things Csound coordinated with
> other Audio Production/Performance Software.
>
> -dB
>
> -----------------------------------------
> Dr. Richard Boulanger, Ph.D.
> rboulanger@berklee.edu
> Professor of Electronic Production and Design
> Professional Writing and Music Technology Division
> Berklee College of Music
> 617-747-2485 (office)  774-488-9166 (cell)
> http://csounds.com/boulanger     http://csounds.com/mathews
> http://boulangerlabs.com    http://csoundforlive.com   http://csounds.com
> -------------------------------------------------------------------------------------------------
>
> On Oct 21, 2012, at 11:30 AM, Rory Walsh  wrote:
>
>> Cabbage can sync plugins with the hosts clock, is this what you mean?
>> Iain has posted some examples to the Cabbage forum that show this.
>> It's not currently documented because I want to make sure everything
>> is working first, but in his examples he shows how you can start or
>> stop an instrument using the host transport panel, and how to sync the
>> host's BMP to your instruments.
>>
>>
>> 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"
>
>

I am always happiest when it can be done in Csound.  Yours is a wonderful reason to consider supporting this capability.  For me, relying on Live or Logic is fine, productive, but often a "workaround"

Sent from my iPhone.

On Oct 21, 2012, at 1:07 PM, Adam Puckett  wrote:

> I personally would rather use Csound for *everything* -- recording,
> playback, synthesis etc. so that it all would be synced to start with.
> Maybe use Cscore or the API, or a Python script. But that is just my
> opinion and for me as a blind musician a necessity (I refuse to call
> it a "necessary evil" because I rather enjoy writing code.)
> 
> For those of you who are sighted and prefer to use GUIs, wouldn't it
> be better to use a universal bridge to all your DAWs? Or use only ones
> with compatible plugin formats? (Do I not fully understand what you're
> saying? as I have never used Ableton or Logic before because Csound is
> sufficient for me).
> 
> On 10/21/12, Richard Boulanger  wrote:
>> Yes.  This is exactly what I mean.  And it is for sure an important way to
>> get things Csound coordinated with
>> other Audio Production/Performance Software.
>> 
>> -dB
>> 
>> -----------------------------------------
>> Dr. Richard Boulanger, Ph.D.
>> rboulanger@berklee.edu
>> Professor of Electronic Production and Design
>> Professional Writing and Music Technology Division
>> Berklee College of Music
>> 617-747-2485 (office)  774-488-9166 (cell)
>> http://csounds.com/boulanger     http://csounds.com/mathews
>> http://boulangerlabs.com    http://csoundforlive.com   http://csounds.com
>> -------------------------------------------------------------------------------------------------
>> 
>> On Oct 21, 2012, at 11:30 AM, Rory Walsh  wrote:
>> 
>>> Cabbage can sync plugins with the hosts clock, is this what you mean?
>>> Iain has posted some examples to the Cabbage forum that show this.
>>> It's not currently documented because I want to make sure everything
>>> is working first, but in his examples he shows how you can start or
>>> stop an instrument using the host transport panel, and how to sync the
>>> host's BMP to your instruments.
>>> 
>>> 
>>> 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"
> 
> 
> 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"
>