| Message written at 18 Jan 1999 22:34:47 +0000
--- Copy of mail to kaeru@flash.net ---
I think Gabriel explained about .csd files. One of the advantages is
that they can be used to launch Csound from a web page (with the
correct mailcap entry... not my area) and on CD-ROM material etc.
The .csoundrc file is really a file of things which would appear in a
command line. For example it could say
-------
-W
-d
-m7
-------
The code is fairly simple and options and arguments must be on the
same line. It is read on initialisation so values may be redefined on
teh command line. Such files are common in the unix world, and it
seemed a possible solution to overlong command lines, and when working
on a project. I am sure it could be better written.
==John ffitch
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From: Greg Sullivan
To: csound@maths.ex.ac.uk
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Subject: Re: oscil3
Date: Wed, 20 Jan 1999 00:12:59 +1100
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John,
I'm not sure. But, the problem I reported regarding the interpolation
being very slightly off pitch affects oscili, in addition to oscil3.
(recall that I originally posted my test orc & sco files which
used oscili instead of oscil3, and the problem definitely
existed even then, when I was using oscili)
Greg.
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Date: Tue, 19 Jan 1999 15:37:25 +0200
From: Yair Kass
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Wow, Tnx to everybody who responded.
So i guess i'm back to stereo for a while - right ?
I had real expectations this time from SB.
All the cute little things i could do with 4chnls instead of 2.
Never mind - i WILL find something else to dwell in.
Way off topic - I just got a Soundcraft400B Mixer.
I'm not starting a new thread, but if anybody has something
interesting to say from their own experience with it please
email me personally. I'm curious.
Tnx again all of you.
Yair
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Date: Tue, 19 Jan 1999 10:39:29 -0500
To: csound@maths.ex.ac.uk, troy@resophonic.com, gogins@nyc.pipeline.com,
Paul Winkler , John ffitch ,
pichej@ere.umontreal.ca
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From: tolve
Subject: plug in architecture?
a long post. feel free to skip down to the questions at its end.
post ny csounders meeting i have been lying low, waiting for traffic to
subside, before raising the plug-in issue which we (all of 3 of us at the
meeting) wished to revisit. but now it does seem at least semi-related to
some of that traffic...
some time ago, michael gogins did some coding for a plug-in architecture
for csound and in fact, stands ready to assist in making this a reality.
thereafter additions could be made to csound's canonical version without
changing the canonical version. i currently favor this, but nevertheless
call for a general debate with an open mind...
part of our discussions at the meeting pertained to commercial software
packages turning free. but here concerns may be raised that the opposite
will occur. programmers may create opcodes and, rather than offer them to
be included in the code, sell them as plug-ins.
at this time there are many programs to assist in the creation of csound
scores (including silence by michael gogins), and these have tended to
remain free. will plug-ins that provide more fundamental tools behave
similarly? i'm not sure that, even if they don't, that the outcome will be
so horrible.
for myself, i use csound with cecilia and digital performer. in fact,
without cecilia, i probably would have jumped over to max and msp, despite
the circa US$800 price tag and the need to allocate voices. when i first
downloaded cecilia it was mentioned that there would eventually be a price
to pay for an upcoming release. truth is, this past summer i would have
gladly paid for improvement in operation and features. and digital
performer is a not inexpensive multitrack program which i chose over a
number of shareware alternatives for the macintosh, some of them quite
capable.
a few months ago, when i inquired about a maximizing opcode (intelligent
multi-band limiter), someone commented that there are companies which
allocated resources beyond that which could be expected from those on the
list whose time is limited. i purchased Waves L1 bundled with a number of
tools that have been invaluable to me.
it appears as though csound could well become the tool of choice for the
professional market. but i do confess i enjoy getting something for nothing
(actually i try to give back to the list in the form of information, and
assisted in the same with the csound book). more importantly, i like the
idea that the standards that arise within the program do so based on the
commitment and sense of community of those involved. and that, regardless
of inevitable disagreements -the intentions of our programming benefactors
are good. don't remember anyone here being accused of evil coding to
dominate the professional software market.
but there is a commercial project developing a csound dsp chip. and this is
obviously some sort of an overture to the commercial market. haven't heard
anyone complaining about potential impact lately.
i believe that commercial music aps are moving in the direction of offering
plug-in architecture. not so sure of what the affect of any of this will be
on csound.
questions:
should csound offer a plug in architecture?
analysis of the commercial and developmental consequences of other free
programs (of any type) that have offered a plug-in architecture?
will csound ultimately be crushed by commercial programs that do offer such
an architecture?
tum te tum tum.
tolve
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From: Grant Covell
To: 'Gabriel Maldonado' , jpff@maths.bath.ac.uk
Cc: csound@maths.ex.ac.uk
Subject: RE: b (ignore first)
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Hear, hear!
I second the need for this type of opcode. If I understand correctly, we're
talking about an opcode that would allow simultaneous and unsynchronized
loops within the same section. I had thought b would allow me to do this,
but I find that with r, b starts at the end of the loop instead of at the
specified earlier point.
-----Original Message-----
From: Gabriel Maldonado [mailto:g.maldonado@agora.stm.it]
Sent: Friday, January 15, 1999 3:10 AM
To: jpff@maths.bath.ac.uk
Cc: csound@maths.ex.ac.uk
Subject: Re: b (ignore first)
I'm testing the new score opcodes. I find them very useful when using macro
arithmetic.
I'd like an opcode which terminates the loop cycle without terminating a
section, in order
to allow using more loops at the same time. Unfortunately at present time
only 's', 'e'
and a new 'r' can be used to terminate the loop cycle, which make impossible
to begin a
concurrent loop. There is a way to avoid this? That is, I'd like a
terminator (such as 's'
opcode) that doesn't reinit the time clock and doesn't obbligate to place
all the new
notes after the end of the previous section. Could it be possible?
jpff@maths.bath.ac.uk wrote:
>
> Message written at 13 Jan 1999 09:18:36 +0000
> --- Copy of mail to g.maldonado@agora.stm.it ---
> In-reply-to: <369B921F.E7B20132@agora.stm.it> (message from Gabriel
Maldonado
> on Tue, 12 Jan 1999 19:19:11 +0100)
> References:
<369B921F.E7B20132@agora.stm.it>
>
> This is all explained in my chapter in Richard Boulanger's book, the
> chapter entitled "Language Extentions" (ch 5 I think)
>
> However as you may not have a copy of the book to hand....
>
> b Resets the base clock for textually following events. I use
> it for repeated sections where I want an overlap with previous version
> as it does not start a new section. It is textual, and is expanded
> before sorting.
>
> v Sets a scaling on the speed of the clock, again textually until
> the end of the section or the next v command. I use it for phase
> music, where there is 1 theme played twice simultaneously at different
> speeds. As it is textual it is local unlike the t command
>
> m Sets a mark in the score which can be referenced by later n
> directives
>
> n repeat a named section (ie from m to end of section).
> Designed to simplify verse+chorus structures.
>
> w is totally different and is used internally related to t
> directives. There is no reason to understand it as it shoudl not be
> used. Alternatively, read the cod if you want to know!
>
> ==John ffitch
--
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
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From: Grant Covell
To: 'Michael Gogins' ,
Gabriel Maldonado , jpff@maths.bath.ac.uk
Cc: Csound Mailing List
Subject: RE: b (ignore first)
Date: Tue, 19 Jan 1999 10:54:39 -0500
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Whoa, we're talking about the score macros. Not inline macros. Right?
Macros can be evil and will obfuscate code.
The Csound score macros are localized and offer very cool possibilites if
combined with scripting front ends in the areas of timesaving and large
scale structures.
-----Original Message-----
From: Michael Gogins [mailto:gogins@nyc.pipeline.com]
Sent: Saturday, January 16, 1999 2:34 PM
To: Gabriel Maldonado; jpff@maths.bath.ac.uk
Cc: Csound Mailing List
Subject: Re: b (ignore first)
Please guys, don't use macros if at all possible. Use functions, use enums,
don't use macros except to keep you from #including the same header file
twice.
-----Original Message-----
From: Gabriel Maldonado
To: jpff@maths.bath.ac.uk
Cc: Csound Mailing List
Date: Saturday, January 16, 1999 3:25 AM
Subject: Re: b (ignore first)
>Dear Jpff,
>two questions about new score opcodes:
>
>1) Another nice thing to do is to implement nested repeats.
>I will be very happy if you will implement such feature.
>
>
>
>2) When I use the debug mode with MSVC, the compiler displays a lot of
error messages when
>using macros:
>
>memory check error at 0x00851C88 = 0x30, should be 0xFD
>
>I noticed that these messages are generated by a free() call, in particular
by:
>
>mfree(str->body);
>
>in file SREAD.C
>
>These errors doesnt appear in release compilation. Have you any idea?
>
>Gab
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From: Grant Covell
To: 'Michael Gogins' ,
Gabriel Maldonado , jpff@maths.bath.ac.uk
Cc: Csound Mailing List
Subject: RE: b (ignore first)
Date: Tue, 19 Jan 1999 10:54:39 -0500
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Whoa, we're talking about the score macros. Not inline macros. Right?
Macros can be evil and will obfuscate code.
The Csound score macros are localized and offer very cool possibilites if
combined with scripting front ends in the areas of timesaving and large
scale structures.
-----Original Message-----
From: Michael Gogins [mailto:gogins@nyc.pipeline.com]
Sent: Saturday, January 16, 1999 2:34 PM
To: Gabriel Maldonado; jpff@maths.bath.ac.uk
Cc: Csound Mailing List
Subject: Re: b (ignore first)
Please guys, don't use macros if at all possible. Use functions, use enums,
don't use macros except to keep you from #including the same header file
twice.
-----Original Message-----
From: Gabriel Maldonado
To: jpff@maths.bath.ac.uk
Cc: Csound Mailing List
Date: Saturday, January 16, 1999 3:25 AM
Subject: Re: b (ignore first)
>Dear Jpff,
>two questions about new score opcodes:
>
>1) Another nice thing to do is to implement nested repeats.
>I will be very happy if you will implement such feature.
>
>
>
>2) When I use the debug mode with MSVC, the compiler displays a lot of
error messages when
>using macros:
>
>memory check error at 0x00851C88 = 0x30, should be 0xFD
>
>I noticed that these messages are generated by a free() call, in particular
by:
>
>mfree(str->body);
>
>in file SREAD.C
>
>These errors doesnt appear in release compilation. Have you any idea?
>
>Gab
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From: Grant Covell
To: 'Gabriel Maldonado' , jpff@maths.bath.ac.uk
Cc: csound@maths.ex.ac.uk
Subject: RE: b (ignore first)
Date: Tue, 19 Jan 1999 10:50:03 -0500
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Hear, hear!
I second the need for this type of opcode. If I understand correctly, we're
talking about an opcode that would allow simultaneous and unsynchronized
loops within the same section. I had thought b would allow me to do this,
but I find that with r, b starts at the end of the loop instead of at the
specified earlier point.
-----Original Message-----
From: Gabriel Maldonado [mailto:g.maldonado@agora.stm.it]
Sent: Friday, January 15, 1999 3:10 AM
To: jpff@maths.bath.ac.uk
Cc: csound@maths.ex.ac.uk
Subject: Re: b (ignore first)
I'm testing the new score opcodes. I find them very useful when using macro
arithmetic.
I'd like an opcode which terminates the loop cycle without terminating a
section, in order
to allow using more loops at the same time. Unfortunately at present time
only 's', 'e'
and a new 'r' can be used to terminate the loop cycle, which make impossible
to begin a
concurrent loop. There is a way to avoid this? That is, I'd like a
terminator (such as 's'
opcode) that doesn't reinit the time clock and doesn't obbligate to place
all the new
notes after the end of the previous section. Could it be possible?
jpff@maths.bath.ac.uk wrote:
>
> Message written at 13 Jan 1999 09:18:36 +0000
> --- Copy of mail to g.maldonado@agora.stm.it ---
> In-reply-to: <369B921F.E7B20132@agora.stm.it> (message from Gabriel
Maldonado
> on Tue, 12 Jan 1999 19:19:11 +0100)
> References:
<369B921F.E7B20132@agora.stm.it>
>
> This is all explained in my chapter in Richard Boulanger's book, the
> chapter entitled "Language Extentions" (ch 5 I think)
>
> However as you may not have a copy of the book to hand....
>
> b Resets the base clock for textually following events. I use
> it for repeated sections where I want an overlap with previous version
> as it does not start a new section. It is textual, and is expanded
> before sorting.
>
> v Sets a scaling on the speed of the clock, again textually until
> the end of the section or the next v command. I use it for phase
> music, where there is 1 theme played twice simultaneously at different
> speeds. As it is textual it is local unlike the t command
>
> m Sets a mark in the score which can be referenced by later n
> directives
>
> n repeat a named section (ie from m to end of section).
> Designed to simplify verse+chorus structures.
>
> w is totally different and is used internally related to t
> directives. There is no reason to understand it as it shoudl not be
> used. Alternatively, read the cod if you want to know!
>
> ==John ffitch
--
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
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Date: Tue, 19 Jan 1999 10:39:29 -0500
To: csound@maths.ex.ac.uk, troy@resophonic.com, gogins@nyc.pipeline.com,
Paul Winkler , John ffitch ,
pichej@ere.umontreal.ca
MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.omphalos
From: tolve
Subject: plug in architecture?
Sender: owner-csound-outgoing@maths.ex.ac.uk
Precedence: bulk
a long post. feel free to skip down to the questions at its end.
post ny csounders meeting i have been lying low, waiting for traffic to
subside, before raising the plug-in issue which we (all of 3 of us at the
meeting) wished to revisit. but now it does seem at least semi-related to
some of that traffic...
some time ago, michael gogins did some coding for a plug-in architecture
for csound and in fact, stands ready to assist in making this a reality.
thereafter additions could be made to csound's canonical version without
changing the canonical version. i currently favor this, but nevertheless
call for a general debate with an open mind...
part of our discussions at the meeting pertained to commercial software
packages turning free. but here concerns may be raised that the opposite
will occur. programmers may create opcodes and, rather than offer them to
be included in the code, sell them as plug-ins.
at this time there are many programs to assist in the creation of csound
scores (including silence by michael gogins), and these have tended to
remain free. will plug-ins that provide more fundamental tools behave
similarly? i'm not sure that, even if they don't, that the outcome will be
so horrible.
for myself, i use csound with cecilia and digital performer. in fact,
without cecilia, i probably would have jumped over to max and msp, despite
the circa US$800 price tag and the need to allocate voices. when i first
downloaded cecilia it was mentioned that there would eventually be a price
to pay for an upcoming release. truth is, this past summer i would have
gladly paid for improvement in operation and features. and digital
performer is a not inexpensive multitrack program which i chose over a
number of shareware alternatives for the macintosh, some of them quite
capable.
a few months ago, when i inquired about a maximizing opcode (intelligent
multi-band limiter), someone commented that there are companies which
allocated resources beyond that which could be expected from those on the
list whose time is limited. i purchased Waves L1 bundled with a number of
tools that have been invaluable to me.
it appears as though csound could well become the tool of choice for the
professional market. but i do confess i enjoy getting something for nothing
(actually i try to give back to the list in the form of information, and
assisted in the same with the csound book). more importantly, i like the
idea that the standards that arise within the program do so based on the
commitment and sense of community of those involved. and that, regardless
of inevitable disagreements -the intentions of our programming benefactors
are good. don't remember anyone here being accused of evil coding to
dominate the professional software market.
but there is a commercial project developing a csound dsp chip. and this is
obviously some sort of an overture to the commercial market. haven't heard
anyone complaining about potential impact lately.
i believe that commercial music aps are moving in the direction of offering
plug-in architecture. not so sure of what the affect of any of this will be
on csound.
questions:
should csound offer a plug in architecture?
analysis of the commercial and developmental consequences of other free
programs (of any type) that have offered a plug-in architecture?
will csound ultimately be crushed by commercial programs that do offer such
an architecture?
tum te tum tum.
tolve
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From: Fred Floberg
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On Tue, 19 Jan 1999 tlv@tuna.net wrote:
> a long post. feel free to skip down to the questions at its end.
[snip of a proposal to have Csound read plug-in opcodes, and the possibility
of that opening the door to commercial proprietary opcodes being developed(?)]
>
> questions:
>
> should csound offer a plug in architecture?
You make a very good point if I read it right. If Csound were to be able
to use pre-compiled opcodes, i.e. ".o" files, it could very well tempt
companies into trying to sell proprietary opcode packages. This would
guickly lead to incompatability hell for a number of reasons.
1: Different folks may not have purchased a given package needed
to perf a given orc/sco.
2: Different companies may write incompatable versions of the same opcode.
(even with free opcodes there may easily be namespace pollution issues which
will need to be addressed somehow).
3: And because Csound runs on so many platforms, certain opcodes may not
be availible on certain platforms, or there may at least be a lag in
availabliity.
> analysis of the commercial and developmental consequences of other free
> programs (of any type) that have offered a plug-in architecture?
The GIMP (Graphics Image Manipulation Program) is a popular open source
Unix/Linux program which uses plug-ins. I believe it can even use Adobe Photo
Shop modules as well. So far no one has offered commercial plug-ins
specifically for it.
There are a number of "plug-in registery" sites on the web which seem to
manage, either actively or passively, the namespcae pollution issues.
I would cite GIMP as a "successful" example of an application which uses
plug-ins. {www.gimp.org}
> will csound ultimately be crushed by commercial programs that do offer such
> an architecture?
I think Csound has a large enough user base distributed across so many platforms
that it'll be hard for a commercial product to crush it simply by offering a
plug-in architecture, IMHO. Besides, if a product were to come out that rivalled
Csound with plug-in support, code could possibly be written for Csound to use
those plug-ins (assuming that they had some advantage over Csound's opcodes)
just as GIMP has done with the APS modules.
> tolve
Fred
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Date: Tue, 19 Jan 1999 20:18:04 +0000
From: Richard Dobson
Organization: Composers Desktop Project
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(long post!)
I am happy to get away from polemics, and look at some useful questions!
Nicola Bernardini wrote:
> 1) is there any particular problem in being or not being a C (C++,perl,lisp
whatever) programmer?
No, but perhaps in the present context we could add Csound to the list?
>
> 2) the csound-unix-dev list receives all the (boring) messages concerning
> CVS check-ins and updates, so that all the people on that list knows
> exactely when that happens. Would you like me to re-direct that bull
> over to this list?
>
Not particularly - that sounds somewhat unix/Linux- specific. I would
expect to subscribe to that list for those things. The dialogs between
John Fitch and the Mills tream don't go though this list, either, as far
as I can tell.
> 3) the csound-unix-dev list discusses very *very* specific csound-to-linux
> problems; anything that is less than very *very* specific gets re-directed
> to this list too; do you think it would be right to actually add these
> messages to this (csound) list? We can arrange that if that is the problem
That's an interesting one - I can certainly imagine being interested in
Linux audio driver issues, given current obsessions. Other Linux users
on this list will have more salient things to say, I imagine. How does
the redirection work? perhaps a digest verison could be available
somewhere?
> 4) one of the problems I (we) intended to solve was the utter unreadability
> of the sources because of ifdefs by writing linux-specific code
> in other files which get included during the configuration process;
> just as it is already being done for the graphics part of csound -
Ah! Now I sympathize with this! I too hate convoluted nested ifdefs.
Some of them got muddled between platform-specifics and
compiler-specifics. This is an issue relevant to all Csound
C-programmers, and I think absolutely should be discussed on this list.
When I do my alternative Windows WAVE driver code, the bulk of that will
be in a new file, with a new header. Then it will be easy to add to the
main sources, at the appropriate time, and, just as important, easy to
remove again if necessary. However, I think some discretion is sensible
too - we don't need to have multiple files where just a few lines have
changed - that could clearly cause far more problems than it solves.
Such a task is also something that requires complete co-ordination
across all custodial and platform-specific teams, if it is to work at
all, and I can be expected to take time.
> 5) *NO OPCODE* that was'nt existing before, nor any general purpose code,
> has been added to the unofficial linux distribution - and if/when someone
> of us will have some new code, *this* is the list where it will be
> submitted
'Submitted' is perhaps not the appropriate term, but of course we would
all like to know about them here, as we would about any opcode developed
by anyone (e.g Hans Mikelson's nested-allpass opcodes when he's finished
them!).
> 6) It's already the third or fourth message in which I ask: what else is
> wanted? that we put our distribution on the bath server so there's
> no 'hassle, hassle, hassle'? (I thought the internet was a solution but
> I now see that it is a problem for some of us);
Until very recently, when these issues arose, I must confess I did not
even know the csound-unix-dev group existed! It doesn't say much for me,
but if either that source distribution was on the Bath server which I
and perhaps many people assume now is the central repository for ~all~
csound distributions, ~pace~ MIT itself), or there was a web link, no
doubt it would be convenient for a lot of people. I can download things
very quickly from there, and time is literally money on my internet
connection!
>
> The times of the good old Atari are over,
well, not quite - the Falcon is still very strong in Germany, where
various fast enhanced models and clones have been produced, and it still
has an edge over most other machines in its price range in that it has
at least 8-channel zero-latency output available from the DSP port; but
I have no idea mow many, if any, people use the Bath Atari version of
Csound. I would be very interested to know! There are still quite a few
people using the CDP system very actively on the Atari (our port of
Csound goes back to ca 1983!).
This is lot of ascii, but I think this is just the sort of debate that
should take place in this list!
Richard Dobson
--
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm
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From: Richard Dobson
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I am VERY sympathetic. In fact I feel that soundcards which are merely
multi-device when they advertise themselves as 'multi-channel' are in
breach of the Trades Descriptions Act. Sue them!
Richard Dobson
Yair Kass wrote:
>
> Wow, Tnx to everybody who responded.
> So i guess i'm back to stereo for a while - right ?
> I had real expectations this time from SB.
> All the cute little things i could do with 4chnls instead of 2.
>
--
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm
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To: csound@maths.ex.ac.uk
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Subject: RE: loscil3/loscil difference apart from interpolation scheme ?
Date: Wed, 20 Jan 1999 10:02:34 +1100
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For what it's worth, I tested loscil3 with a WAV file,
using manually entered loop info - it worked fine. Haven't
tried AIFF files yet.
By the way, I had entered loop points into the WAV header,
with Sound Forge. Csound ignored those loop points - is that
expected behaviour? I would have thought by now that Csound
would understand WAV loop info! :)
Greg.
-----Original Message-----
From: jpff@maths.bath.ac.uk [mailto:jpff@maths.bath.ac.uk]
Sent: Tuesday, January 19, 1999 11:54 PM
To: csound@maths.ex.ac.uk
Subject: Re: loscil3/loscil difference apart from interpolation scheme ?
Message written at 18 Jan 1999 22:15:59 +0000
--- Copy of mail to huber@iamexwi.unibe.ch ---
There is not supposed to be any difference. I copied the loscil code
and edited it to get loscil3 so I am a little surprised if there is
any substantial difference
==John ffitch
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From: Anders Andersson
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Subject: [offtopic] Linelevel -> Headphone driver?
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Hello! Sorry for posting this mail, but I'm looking for a scheme for a good
headphone amplifier (with good datas).
Does anyone here on the list know any webpage for this?
.--- -- - -
| Anders "Pipe/Nature" Andersson, pipe@algonet.se
| Proud member of the Amiga community, Nature and Mensa Sweden.
:
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Hi!
I wonder if there are anyone that knows how to synthesize a good sounding
crash, or hihat?
I have tried with some variations using white noise with different
highpass-filters and ringmodulators, but I can't seem to even come close to
the natural ringing melodic inharmonic sound..
On a page about analog drums, someone mentioned that you could do it with 6
squarewaves, but it's almost impossible to try to find the right
pitch-correlations between those 6 waves! (haven't even tried..)
Btw, thanx for the responce on my question about computer music universitys!
.--- -- - -
| Anders "Pipe/Nature" Andersson, pipe@algonet.se
| Proud member of the Amiga community, Nature and Mensa Sweden.
:
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Date: Wed, 20 Jan 1999 00:48:49 +0100 (ROM )
From: Nicola Bernardini
To: Richard Dobson
cc: csound@maths.ex.ac.uk
Subject: Re: Useful Questions! (was: Re: troy's rant)
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On Tue, 19 Jan 1999, Richard Dobson wrote:
[snip]
> Until very recently, when these issues arose, I must confess I did not
> even know the csound-unix-dev group existed! It doesn't say much for me,
> but if either that source distribution was on the Bath server which I
> and perhaps many people assume now is the central repository for ~all~
> csound distributions, ~pace~ MIT itself), or there was a web link, no
> doubt it would be convenient for a lot of people. I can download things
> very quickly from there, and time is literally money on my internet
> connection!
Hey! I'm ready when you are. As a matter of fact, I have been for
some years now. Last time the issue arose, I was told I was some terrible
mishap of nature because it would have been *sooo* difficult to recognize
the official canonical linux sources/binaries vs. the 'unofficial' ones,
so I did'nt even dare to think about it! Bear with me when I repeat once
again that I don't find it heretic at all to have two linux distribution,
as different distributions exist for other platforms too (yes, that's
something I've been asking myself all along: what's the problem with
linux? why all of this does not happen with Win95? I must be really bad :)
ciao
Nicola
------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
Re graphics: A picture is worth 10K words -- but only those to describe
the picture. Hardly any sets of 10K words can be adequately described
with pictures.
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From: Charlie Hubbard
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I'm trying to create an exponentially decaying envelope. However, I
want to control the curvature of the envelope. I'm trying to modify
the frequency and the amplitude of a simple sine wave.
I tried the following, but it didn't even come close to working.
gisin ftgen 1, 0, 2048, 10, 1
girise ftgen 1, 0, 256, 5, 1, 256, 0.001
instr 2
ifreq = 1000
kfreqmod envlpx ifreq, 0.01, p3, p3, girise, 0.1, 0.1
kampmod envlpx ampdb(p4), 0.01, p3, p3, girise, 7.9433, 7.9433
adm oscil kampmod, kfreqmod, gisin
out adm
endin
Is there any easier exponential envelope opcode?
charlie
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From: Richard Dobson
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I have been browsing a bit, to see exactly what is where!
Maybe the file naming needs to be much more distinct. I see that it is
important for people visiting the server for the first time to be able
to understand what the different versions are, especially while the
directory is not itself a web page, as such. The versions on the Bath
site are all co-ordinated, obviously, so that you know the versions for
each platform are the same.
A distinctive web link is still perhaps the best solution, if it can be
managed. Gabriel Maldonado's RTSound is obtainable from his website, and
Michael Gogin's version from his. Both sites describe the particular
version in detail. All are pointed to from the MIT front page. It would
be convenient (faster, = cheaper) for me to get them all in this
country, but I am of course speaking selfishly there! If I do a special
CDP version (whatever form that might take), it would naturally be on
ours; if I did my own experimental Windows version, it would be on mine.
If you had a csound_linux_dev website, it would be on yours!
It is therefore a bit of a paradigm shift (not heresy!) to have
alternative non-coordinated but otherwise identical versions at the same
location, which is why the suggestion goes out to coordinate them, I
suppose. Those are the versions John maintains personally. The others
versions aren't. The difference is currently expressed by the difference
of site, which in all other respects works very well. If there were
different Windows versions on the same site, I think I might be confused
too. Certainly a new visitor would. Both John and I have a link to the
MIT Cosund page, and one further click (to select resolution) takes you
to the Csound distributions, which does list all versions very
distinctly (even points to CDP)- no confusion there. What is really
needed is a page which explains the differences between the two
versions, whch you are obviously in a good position to provide. If you
have no means of providing a website (though I would have though the
magnitude of your Linux version and work warrants it!), perhaps the
Csound Front Page could be extended pro tem?
Maybe the names can be changed to 'canonical Linux' and 'Linux
Development Group'. That sound very impressive to me!
That is really about as much as I can think of to say on this. long
teaching day tomorrow (oops, today...), and I want to start thinking
about plugins again!
Richard Dobson
Nicola Bernardini wrote:
>
>
> Hey! I'm ready when you are. As a matter of fact, I have been for
> some years now. Last time the issue arose, I was told I was some terrible
> mishap of nature because it would have been *sooo* difficult to recognize
> the official canonical linux sources/binaries vs. the 'unofficial' ones,
> so I did'nt even dare to think about it! Bear with me when I repeat once
> again that I don't find it heretic at all to have two linux distribution,
> as different distributions exist for other platforms too (yes, that's
> something I've been asking myself all along: what's the problem with
> linux? why all of this does not happen with Win95? I must be really bad :)
>
> ciao
>
> Nicola
>
> ------------------------------------------------------------------------
> Nicola Bernardini
> E-mail: nicb@axnet.it
>
> Re graphics: A picture is worth 10K words -- but only those to describe
> the picture. Hardly any sets of 10K words can be adequately described
> with pictures.
--
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm
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From: Hans Mikelson
To: Csound Mailing list
Subject: Re: Exponential envelopes decay
Date: Tue, 19 Jan 1999 21:32:24 -0600
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>Is there any easier exponential envelope opcode?
expseg
Hans Mikelson
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Date: Wed, 20 Jan 1999 00:32:50 -0500
From: Charlie Hubbard
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Hans Mikelson wrote:
> >Is there any easier exponential envelope opcode?
>
> expseg
I would like something like expseg, but how would I
control the curvature of the exponential envelope?
For example, how could I specify a curve like this
(excuse the ascii art)
|
|
|
(
\
\
----------------
or
-----------\
\
|
|
|
And somewhere in between these two curves is a straight line.
Any ideas??
charlie
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On Wed, 20 Jan 1999 rwd@cableinet.co.uk wrote:
> I have been browsing a bit, to see exactly what is where!
>
> Maybe the file naming needs to be much more distinct. I see that it is
> important for people visiting the server for the first time to be able
> to understand what the different versions are, especially while the
> directory is not itself a web page, as such. The versions on the Bath
> site are all co-ordinated, obviously, so that you know the versions for
> each platform are the same.
>
> A distinctive web link is still perhaps the best solution, if it can be
> managed.
http://www.bright.net/~dlphilp/linux_csound.html has links to the 'developer's'
version of ULCsound as well as the Official version. (Strangely, Dave's mirror
at sound.condrow.com dished up a stock market web page for some reason).
There is a list of enhancements to ULCsound on that page, but it isn't as
current as it could be.
> What is really
> needed is a page which explains the differences between the two
> versions, whch you are obviously in a good position to provide.
Yup. See the link above. It's been around for quite a while. It could
stand a bit of updating, but otherwise is what you suggest. It'd be nice
to have a link back from the official Csound page, I think. But that's Dave's
department. (His main page, located at the link above takes some heavy hits
and so he may want any links pointing to one of his mirror sites. I don't know.)
Fred
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Oops. I just went to mitpress's Csound web page and I see why there might be
some confusion. They have John's verson labelled with the Unofficial numbering
and the Unofficial version is a bad link (typoed). The only thing that
distinguishes the two versions (as far as can be discerned from mitpress's page)
is the parenthetic "(Official)" and "(Unofficial)". So that needs to be
straightened out.
Fred
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Date: Wed, 20 Jan 1999 08:38:45 +0100
From: Gabriel Maldonado
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The pitch error is probably caused by the use of integer math in oscil, oscili and oscil3.
I have developed the opcode 'posc' (precise oscillator) which is substantially an oscili
with floating-point indexing math. The sources of this opcode (as well as of all
DirectCsound) are available in my site:
http://www.agora.stm.it/G.Maldonado/download.htm
Greg Sullivan wrote:
>
> John,
> I'm not sure. But, the problem I reported regarding the interpolation
> being very slightly off pitch affects oscili, in addition to oscil3.
> (recall that I originally posted my test orc & sco files which
> used oscili instead of oscil3, and the problem definitely
> existed even then, when I was using oscili)
>
> Greg.
--
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
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From: Greg Sullivan
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Ah, ok - thanks.
Note that oscil doesn't seem to suffer from the same problem,
though. It was only oscili and oscil3. (well, I didn't try all the
rest, so maybe all the interpolating oscil's suffer from it)
What I find strange, though, is that the pitch error is occurring
even when the readback rate is an EXACT integer multiple
of the base sample rate of the ftable. I would have thought
that in these cases it would read back at exactly the right
rate. I have not looked at the code at all, though.
Greg.
-----Original Message-----
From: Gabriel Maldonado
To: csound@maths.ex.ac.uk
Date: Wednesday, 20 January 1999 6:43
Subject: Re: oscil3
>The pitch error is probably caused by the use of integer math in oscil,
oscili and oscil3.
>I have developed the opcode 'posc' (precise oscillator) which is
substantially an oscili
>with floating-point indexing math. The sources of this opcode (as well as
of all
>DirectCsound) are available in my site:
>
>http://www.agora.stm.it/G.Maldonado/download.htm
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Use .aif files.
Csound seems to recognize loop points only in .aif files.
gregory.sullivan@digital.com wrote:
> By the way, I had entered loop points into the WAV header,
> with Sound Forge. Csound ignored those loop points - is that
> expected behaviour? I would have thought by now that Csound
> would understand WAV loop info! :)
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Date: Wed, 20 Jan 1999 09:13:13 +0100
From: Gabriel Maldonado
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I really think that it is better to embed the command line flags into the .csd file,
together with the orc and sco.
jpff@maths.bath.ac.uk wrote:
> The .csoundrc file is really a file of things which would appear in a
> command line. For example it could say
> -------
> -W
> -d
> -m7
> -------
> The code is fairly simple and options and arguments must be on the
> same line. It is read on initialisation so values may be redefined on
> teh command line. Such files are common in the unix world, and it
> seemed a possible solution to overlong command lines, and when working
> on a project. I am sure it could be better written.
> ==John ffitch
--
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
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Date: Wed, 20 Jan 1999 06:19:53 -0500
From: Dave Phillips
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Fred Floberg wrote:
> http://www.bright.net/~dlphilp/linux_csound.html has links to the 'developer's'
> version of ULCsound as well as the Official version. (Strangely, Dave's mirror
> at sound.condrow.com dished up a stock market web page for some reason).
Actually, the mirror address is sound.condorow.net, but Fred's right
about the mirror being there no longer. I've written to the site
maintainer to find out what's happening. Btw, that URL is a mirror of
the Linux soundapps page, not the Linux Csound page.
Fred is also right about the Linux Csound page being out of date. I've
been adding useful URLs and some clarification regarding the
official/unofficial versions, but the text does need updating, I'll try
to fix that yet this week. I also have a new edition of the Linux
soundapps page coming out this week.
== Dave Phillips
http://www.bright.net/~dlphilp/index.html
http://www.bright.net/~dlphilp/linux_soundapps.html |