Here are two new pieces I made with csound. All the sounds are made in
csound. No samples, mostly FM and physical modeling. Assembled in Cubase
with som reverb and eq. They are the first pieces from a CD that will be out
in a few months. Feel free to comment and critique. 

https://soundcloud.com/fadern/naive-complex

https://soundcloud.com/fadern/horizons-hymn



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May 15 2017, orebronerd has written:
...
> https://soundcloud.com/fadern/naive-complex
...
Hi,
I really like this one. It's evocative and in my ears there's a nice
contradiction between the almost natural elements and the obviously
synthetic bursts. I'd love to know how you created the basic
mid frequency drone that runs through the whole piece. A nice bit of
sound design and your sense of sonic balance is great. Thanks for
sharing.

Best wishes,

Jeanette

--------
When you need someone, you just turn around and I will be there <3

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If you are talking about Horizons-Hymn, the drone is a couple of fixed
frequency FM instruments, that I loop with a lot of random for time and a
little bit of random for frequency, and then all this is looped again 6-8
times for a broader sound.   I think it is 2 instruments in fifths. (I am
not at home right now, so I can´t check.) Generally I work a lot with loops.
I find this a big advantage for csound compared to other ways om making
sounds(Modulars, Reaktor etc) that I also work with. Modulars has the hands
on advantage, but if you want to do more complex sounds that evolve over
time, nothing beats csound.

Best regards Martin Flodin



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They are useless for him without the .csd -- as they are relatively
useless for me. He did say he was both a Csound user and a  Csound
developer -- not just a listener.

Csound is to some considerable extent a more cooperative,
collaborative community. For me this is a big plus.

Regards,
Mike

-----------------------------------------------------
Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com


On Mon, May 15, 2017 at 11:04 AM, Rory Walsh  wrote:
>> Csound works without .cds files are useless for csound useres/developers.
>> There is no way csound users/developers may get anything useful from without
>> reading/examining the .cds files.
>
> So is all music useless unless you have access to the score? I listen to
> music every day without access to the score, and I still find it very
> rewarding.
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> be posted here

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Interesting that this started a discussion. I didn't´t post any code mostly
because I was at work and didn't´t have access to my files. Jeanette C asked
about the drone. I am not sure if this is the sound she was talking about,
but it reflects the way I work with lots of loops. I don´t make a whole csd
file for the whole piece. As I stated elsewhere I assemble things in Cubase.
I don´t work full time as a musician (psychiatrist) so I have to be
pragmatic about the way I work. I find this way of working faster and
easier. (Render sounds in csound, import to Cubase. Mixing, eq, reverb in
Cubase.)
I couldn't find the original file for the drone, (sounds like a lame excuse,
but it´s true) so I made a new one. Probably not exactly the same, but the
principle is the same. This is how it works:





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

gisine	ftgen 0,0,2^16,10,1			;sine wave for FM
seed 1

instr 1		;instr 1 is mostly 2 loops that call instr 10.
index2=0
loop2:		;outer loop for fattening the sound
index =0
loop:			;inner loop that creates a random tremolo with a base note and a
fifth.
itime random 0,9.9    ;Connected to the length of note in score. The upper
value should be increased if you ;make a longer piece.
idur	=0.2
ifreq  random 220,235      ;base note
iamp	random 0.1,0.15
ipan	random 0.1,0.9
event_i "i",10,itime,idur,ifreq,iamp,ipan  ;base note
event_i "i",10,itime+0.1,idur,ifreq*1.5,iamp,ipan     ;fifth
loop_lt index,1,40,loop     ; the counter should be increased if you make a
longer note
loop_lt index2,1,8,loop2 
endin

instr 10
ifreqmod	random 600,700		;random freq for modifier
kmod	poscil 100,ifreqmod,gisine	;Modifier
asig	poscil p5,p4+kmod,gisine		;carrier
kenv linseg 0,0.04,1,p3-0.14,1,0.1,0	;envelope
asig	=asig*kenv
outs 	asig*p6,asig*(1-p6)				;p6 is a random pan number
endin	



;f 0 10
;t 0 60
i 1 0 10





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A comment on the discussion: I mostly listen to music for sound and
composition inspiration. The technical side you can solve in so many
different ways, especially with such a rich program as csound. 
A comment on the code, before anyone else does: In the example above, the
outer loop really doesn´t matter, since the timing is all random. You can
just increase the number on the inner loop, and you get the same effect.
Here is a more rhythmical example where the outer loop makes sense:





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

gisine	ftgen 0,0,2^16,10,1, 0.04,0.01,0.01	;Slightly modified sine wave, so
you hear the individual notes better.
seed 1 

instr 1	;instr 1 is mostly 2 loops that call instr 10. 
index2=0 
loop2:	;outer loop for fattening the sound 
index =0 
loop:			;inner loop that creates a simple rhythm
itime = 	index2 	;creates a simple rhythm
iadd		random 0,0.1		;adds som random to the timing.
itime	= 	itime+iadd  		;combines the timing so you get a sloppy timing.
idur	=	0.15 
ifreq  	random 440,460     ;base note 
iamp		random 0.2,0.25 
ipan		random 0.1,0.9 
event_i "i",10,itime,idur,ifreq,iamp,ipan  ;base note 
loop_lt index,1,10,loop     ; the counter should be increased if you make a
longer note 
loop_lt index2,1,8,loop2    ;the counter should be increased if you want a
fuller sound
endin 

instr 10 
asig		poscil p5,p4,gisine	
kenv 		linseg 0,0.04,1,p3-0.14,1,0.1,0	;envelope 
asig	=	asig*kenv 
outs 		asig*p6,asig*(1-p6)	;p6 is a random pan number 
endin	



;f 0 10 
;t 0 60 
i 1 0 10 





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