| a collueague is playing with music minus one cd's
and wants to change the tuning slightly,
in real time (from say a=440 Hz to a=445 Hz)
is there an easy way of doing this real time in csound?
--
Erich Neuwirth
Computer Supported Didactics Working Group, Univ. Vienna
Visit our SunSITE at http://sunsite.univie.ac.at
NEW PHONE #: +43-1-4277-38629
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i agree that we should have the old opcode for compatibility. however,
for the new 31-bit generator, i think it would be better as an argument to
rand, randh, etc. that way, fewer opcodes to learn! or at least to
remember.
pete
jpff@maths.bath.ac.uk wrote:
> Message written at 9 Nov 1998 23:23:49 +0000
>
> There has in the past been concern about the quality of the random
> number generator used in the opcodes rand, randh and randi (which is
> totally different from the one used in the other noise opcodes by the
> way). Clearly to change it would or could break old orchestras which
> is something I am trying to avoid. I have implemented a rand2, rand2h
> and rand2i set of opcodes which use a full 31 bit generator.
>
> But... is that what is needed or would you prefer to see this as an
> optional argument to the opcode rather than a new opcode? Or not at
> all? I would like to see this in the next release, or the idea
> squashed as it has been hanging around for a long time.
>
> ==John
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First these names are not good ones, and in my next version they are
renamed dumpk etc.
They print vakues at k-rate.
==John
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From: "Matt J. Ingalls"
Subject: Re: Randon numbers again
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--- You wrote:
way). Clearly to change it would or could break old orchestras which
is something I am trying to avoid. I have implemented a rand2, rand2h
and rand2i set of opcodes which use a full 31 bit generator.
But... is that what is needed or would you prefer to see this as an
optional argument to the opcode rather than a new opcode? Or not at
--- end of quote ---
backwards compatibility is nice, but i prefer to look forwards..
my vote:
make "rand" the 31 bit generator, and have an optional
flag to turn it into old (16-bit?) rng...
this might make old orc/scos sound different, but at least they will still
"render" with no errors
-matt
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Date: Tue, 10 Nov 1998 10:08:48 -0600
From: pete moss
Organization: pete moss GmbH
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Subject: csound ethnomusicology
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sorry all, this is quite a bit off topic.
i am currently enrolled in an ethnomusicology course. each of us are
working on projects dealing with some branch of ethnomusicology. for
mine, i have chosen to examine the csound community as a subset of the
electroacoustic community in general. what i am asking is if some of
you could send me personal anecdotes about how you work with csound, why
you chose csound, and what you do in general.
more specific questions are:
1. what is your 'day job'?
2. would you call yourself a composer and why?
3. what attracts you to csound?
4. if you dont think of yourself as a composer, what do you do with
csound?
5. do you view yourself as different from a 'standard'
(non-electroacoustic) composer and why? what do you do that is
nonstandard (or standard for that matter)?
please send as much as you can and i will ask further questions from
there. also, please reply to me personally so as to not clog the list
with this stuff. also also, does anyone know of any articles or books
dealing with this or a similar topic? also also also, didnt someone on
the list in the past few months collect a list of recorded compositons
using csound. if so, may i see it?
thanks,
pete
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Subject: Re: changing tuning
From: Keith Boyle
To: neuwirth , csound@maths.ex.ac.uk
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Er, I think that might be a bit of a CPU load on anything but big metal....
But it /could/ be done
Try using 1) an outboard device (Eventide, anyone) or 2) CMix (slightly less
load on most of the machines I've tried doing similar things on) instead.
This way, your latency isn't an issue concerning the FPU calls made by such
a small increment.
Keith Boyle
3Verse Digital Media
http://www.3verse.com
----------
>From: neuwirth
>To: csound@maths.ex.ac.uk
>Subject: changing tuning
>Date: Tue, Nov 10, 1998, 7:44 AM
>
>a collueague is playing with music minus one cd's
>and wants to change the tuning slightly,
>in real time (from say a=440 Hz to a=445 Hz)
>
>is there an easy way of doing this real time in csound?
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Date: Tue, 10 Nov 1998 09:11:45 -0500 (EST)
From: Larry Troxler
To: Paul Winkler
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Subject: Re: OOP or not? (perl Csound module)
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Why not just use CM (if you don't mind using Lisp instead of perl).
It already is OO, has semantics for manipulating patterns of events, which
can be nested, etc, and allows multiple output modes
(csound,CLM,MIDI,etc.).
Larry
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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Date: Tue, 10 Nov 1998 09:52:41 -0600
From: pete moss
Organization: pete moss GmbH
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i agree that we should have the old opcode for compatibility. however,
for the new 31-bit generator, i think it would be better as an argument to
rand, randh, etc. that way, fewer opcodes to learn! or at least to
remember.
pete
jpff@maths.bath.ac.uk wrote:
> Message written at 9 Nov 1998 23:23:49 +0000
>
> There has in the past been concern about the quality of the random
> number generator used in the opcodes rand, randh and randi (which is
> totally different from the one used in the other noise opcodes by the
> way). Clearly to change it would or could break old orchestras which
> is something I am trying to avoid. I have implemented a rand2, rand2h
> and rand2i set of opcodes which use a full 31 bit generator.
>
> But... is that what is needed or would you prefer to see this as an
> optional argument to the opcode rather than a new opcode? Or not at
> all? I would like to see this in the next release, or the idea
> squashed as it has been hanging around for a long time.
>
> ==John
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To: Anders Andersson
From: Richard Boulanger
Subject: Re: [pipe@algonet.se: LFO opcode]
Cc: jpff@maths.bath.ac.uk, CsoundList
Dear Anders and Members of the Csound Community,
At ICMC this past year, I personally asked John ffitch and Hans Mikelson to
develop a series of opcodes based on the modules found on traditional
"analog" synthesizers such as - an adsr, a multiwaveform lfo, a multimode
filter with resonance, a sync osscilator with variable pulse-width.
The reason for this request is based on my years of experience as a teacher
of software synthesis at Berklee. Like you Anders, I love showing my
students how an oscil can be used for envelopes, how to use delay lines to
build plucked strings, how to make adsr's and beyond using linsegs, how to
do FM synthesis by solving for sin(x). That is the thrill of Csound. You
can work at any level - the calculator level, the code level, the opcode
level, the "super-opcode," "preset" or "alfgorithm" level (foscil, pluck,
loscil, diskin, the new cook waveguides) at the instrument level, at the
macro level and via Cecilia and VisOrc, for instance, at the graphical
level.
For me and my students, a great deal of insight, understanding and
innovation has resulted from being able to move from one level to another -
to see and modify the inner workings of the system or combine complex
functions in unorthodox ways.
Also, I have been teaching Csound at Berklee for the past 10 years - three
semesters a year. And I begin every class by saying: "Csound is the
ultimate synthesizer." For an advanced user, this is almost true, but for
a beginner it is rarely the case. They rightfully complain when it is so
difficult to do the most simple things. Things that they have come to
expect from a "professional" commercial synthesizers that they own and have
learned on.
I don't want to loose a single student. In 1990, I spent a year arguing
with Barry Vercoe that Csound desperately needed to be able to play and
transpose looped samples. Why? Because EVERY synthesizer could. But
Csound could not... well not without some (very intereting, but also
resonably advanced use of table and phasors and gen1...etc. ((This, by the
way is another favourite lecture of mine, but not until about week 8.)
When it came to samples, I would say "Barry, how can anyone believe that
Csound is the ultimate synthesizer, when my Ensoniq Mirage can do so much
more?"
He finally caved in and added loscil. In fact he has spent a good part of
the past three years adding and improving the sample playback, mapping and
DLS capabilities of Extended Csound at Analog Devices. Working correctly
with samples is important.
So... I have always been interested in seeing that Csound grow in both
directions...
Personally, I want a neural net opcode, real-time convolution and pvoc with
analysis on the fly, AND at the same time, I want a simple LFO and a simple
ADSR. Do I need these for my music? Absolutely not! But when a beginner
comes to Csound, I want them to find that the language contains many more
of the basic synthesis modules that they are familiar with than it
currently does. I want those who are just beginning to work in the area of
software synthesis to begin their journey in familiar territory. From
the earth I will reach to the stars. Csound is a lifelong quest. The
charting of this universe of possibilities has occupied a good part of my
profesional life and I want to bring along as many friends as I can.
Sincerely,
Richard Boulanger
Professor of Music Synthesis
Berklee College of Music
>------- Start of forwarded message -------
>From: Anders Andersson
>Reply-To: pipe@algonet.se
>To: CSound list
>Date: Fri, 06 Nov 1998 20:46:22 +0100
>In-Reply-To:
>Organization: Nature
>Subject: LFO opcode
>Content-Type: text/plain
>Sender: owner-csound-outgoing@maths.ex.ac.uk
>Precedence: bulk
>
>>instr 1
>>kp lfo 10, 5, 4
>>ar oscil p4, p5+kp, 1
>> out ar
>>endin
>
>Can anyone tell me what the difference is between the
>'lfo' opcode and the (i assume) oldest and most usefull
>of them all: 'oscil'?
>To me, they seem to perform the exactly same thing,
>except for 'oscil' being much more flexible.
>
>
>.--- -- - -
>| Anders "Pipe/Nature" Andersson, pipe@algonet.se
>:
>------- End of forwarded message -------
==================
Dr. Richard Boulanger
Professor - Music Synthesis Department
Berklee College of Music
1140 Boylston Street - Boston, MA 02215-3693
Office Phone: (617) 747-2485 Office Fax: (617) 536-2257
==========================================
Email: radiobaton@earthlink.net
URL: http://www.fortunecity.com/tinpan/underworld/836/
=================================================
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From: David Boothe
To: "'jpff@maths.bath.ac.uk'" , csound@maths.ex.ac.uk
Subject: RE: Randon numbers again
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John wrote:
>
> But... is that what is needed or would you prefer to see this as an
> optional argument to the opcode rather than a new opcode?
Well my vote goes for separate opcodes, especially if syntax is the same as
the old ones. Seems to me optional arguments can become a bit unwieldy and
confusing, especially one that changes the fundamental nature of the opcode.
-David.
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From: David Boothe
To: "'jpff@maths.bath.ac.uk'" , csound@maths.ex.ac.uk
Subject: RE: Randon numbers again
Date: Tue, 10 Nov 1998 11:31:10 -0600
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John wrote:
>
> But... is that what is needed or would you prefer to see this as an
> optional argument to the opcode rather than a new opcode?
Well my vote goes for separate opcodes, especially if syntax is the same as
the old ones. Seems to me optional arguments can become a bit unwieldy and
confusing, especially one that changes the fundamental nature of the opcode.
-David.
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To: Anders Andersson
From: Richard Boulanger
Subject: Re: [pipe@algonet.se: LFO opcode]
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Dear Anders and Members of the Csound Community,
At ICMC this past year, I personally asked John ffitch and Hans Mikelson to
develop a series of opcodes based on the modules found on traditional
"analog" synthesizers such as - an adsr, a multiwaveform lfo, a multimode
filter with resonance, a sync osscilator with variable pulse-width.
The reason for this request is based on my years of experience as a teacher
of software synthesis at Berklee. Like you Anders, I love showing my
students how an oscil can be used for envelopes, how to use delay lines to
build plucked strings, how to make adsr's and beyond using linsegs, how to
do FM synthesis by solving for sin(x). That is the thrill of Csound. You
can work at any level - the calculator level, the code level, the opcode
level, the "super-opcode," "preset" or "alfgorithm" level (foscil, pluck,
loscil, diskin, the new cook waveguides) at the instrument level, at the
macro level and via Cecilia and VisOrc, for instance, at the graphical
level.
For me and my students, a great deal of insight, understanding and
innovation has resulted from being able to move from one level to another -
to see and modify the inner workings of the system or combine complex
functions in unorthodox ways.
Also, I have been teaching Csound at Berklee for the past 10 years - three
semesters a year. And I begin every class by saying: "Csound is the
ultimate synthesizer." For an advanced user, this is almost true, but for
a beginner it is rarely the case. They rightfully complain when it is so
difficult to do the most simple things. Things that they have come to
expect from a "professional" commercial synthesizers that they own and have
learned on.
I don't want to loose a single student. In 1990, I spent a year arguing
with Barry Vercoe that Csound desperately needed to be able to play and
transpose looped samples. Why? Because EVERY synthesizer could. But
Csound could not... well not without some (very intereting, but also
resonably advanced use of table and phasors and gen1...etc. ((This, by the
way is another favourite lecture of mine, but not until about week 8.)
When it came to samples, I would say "Barry, how can anyone believe that
Csound is the ultimate synthesizer, when my Ensoniq Mirage can do so much
more?"
He finally caved in and added loscil. In fact he has spent a good part of
the past three years adding and improving the sample playback, mapping and
DLS capabilities of Extended Csound at Analog Devices. Working correctly
with samples is important.
So... I have always been interested in seeing that Csound grow in both
directions...
Personally, I want a neural net opcode, real-time convolution and pvoc with
analysis on the fly, AND at the same time, I want a simple LFO and a simple
ADSR. Do I need these for my music? Absolutely not! But when a beginner
comes to Csound, I want them to find that the language contains many more
of the basic synthesis modules that they are familiar with than it
currently does. I want those who are just beginning to work in the area of
software synthesis to begin their journey in familiar territory. From
the earth I will reach to the stars. Csound is a lifelong quest. The
charting of this universe of possibilities has occupied a good part of my
profesional life and I want to bring along as many friends as I can.
Sincerely,
Richard Boulanger
Professor of Music Synthesis
Berklee College of Music
>------- Start of forwarded message -------
>From: Anders Andersson
>Reply-To: pipe@algonet.se
>To: CSound list
>Date: Fri, 06 Nov 1998 20:46:22 +0100
>In-Reply-To:
>Organization: Nature
>Subject: LFO opcode
>Content-Type: text/plain
>Sender: owner-csound-outgoing@maths.ex.ac.uk
>Precedence: bulk
>
>>instr 1
>>kp lfo 10, 5, 4
>>ar oscil p4, p5+kp, 1
>> out ar
>>endin
>
>Can anyone tell me what the difference is between the
>'lfo' opcode and the (i assume) oldest and most usefull
>of them all: 'oscil'?
>To me, they seem to perform the exactly same thing,
>except for 'oscil' being much more flexible.
>
>
>.--- -- - -
>| Anders "Pipe/Nature" Andersson, pipe@algonet.se
>:
>------- End of forwarded message -------
==================
Dr. Richard Boulanger
Professor - Music Synthesis Department
Berklee College of Music
1140 Boylston Street - Boston, MA 02215-3693
Office Phone: (617) 747-2485 Office Fax: (617) 536-2257
==========================================
Email: radiobaton@earthlink.net
URL: http://www.fortunecity.com/tinpan/underworld/836/
=================================================
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From: Richard Karpen
To: "Matt J. Ingalls"
cc: csound@maths.ex.ac.uk
Subject: Re: Randon numbers again
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I like the idea of updating the rand family to 31 bits and having an
optional mode for using it in the old mode.
xr randi xamp, xfreq, [iseed, imode]
imode defaults to 31 bits. Any non-zero value will switch it to old rand.
RK
On 10 Nov 1998, Matt J. Ingalls wrote:
> --- You wrote:
> way). Clearly to change it would or could break old orchestras which
> is something I am trying to avoid. I have implemented a rand2, rand2h
> and rand2i set of opcodes which use a full 31 bit generator.
> But... is that what is needed or would you prefer to see this as an
> optional argument to the opcode rather than a new opcode? Or not at
> --- end of quote ---
>
> backwards compatibility is nice, but i prefer to look forwards..
>
> my vote:
> make "rand" the 31 bit generator, and have an optional
> flag to turn it into old (16-bit?) rng...
>
> this might make old orc/scos sound different, but at least they will still
> "render" with no errors
> -matt
>
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From: "Matt J. Ingalls"
Subject: Re: Randon numbers again
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ok -- if there is a strong case for not wanting to break old things --
BUT with rand it will just be a different algorthm -- still be "random"--
so if anything things just might sound "different" and if you have specific
sound you want you have ability to revert back to old..
the optional flag will only be used to revert back to old so for most people/
orcs it will be not noticable change
--- rcb wrote:
You would break a ton of stuff to require that the old stuff needs to
have a new parameter set. If you like using the same name, then the new
version should require the extra parameter.
--- end of quote ---
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To: Richard Karpen
From: Richard Boulanger
Subject: Re: Randon numbers again
Cc: CsoundList
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I think it would be better to have imode default to the original version
and any non-zero value will switch to the new mode. We shouldn't have to
change all the old orc and scores... for instance, this new rand breaks
Trapped or it did when John last implimented it.
Or I would be happy with a new opcode - especially in light of the fact
that we have added such an extensive new family of rand opcodes.
rick
>I like the idea of updating the rand family to 31 bits and having an
>optional mode for using it in the old mode.
>
>xr randi xamp, xfreq, [iseed, imode]
>
>imode defaults to 31 bits. Any non-zero value will switch it to old rand.
>
>RK
>
>On 10 Nov 1998, Matt J. Ingalls wrote:
>
>> --- You wrote:
>> way). Clearly to change it would or could break old orchestras which
>> is something I am trying to avoid. I have implemented a rand2, rand2h
>> and rand2i set of opcodes which use a full 31 bit generator.
>> But... is that what is needed or would you prefer to see this as an
>> optional argument to the opcode rather than a new opcode? Or not at
>> --- end of quote ---
>>
>> backwards compatibility is nice, but i prefer to look forwards..
>>
>> my vote:
>> make "rand" the 31 bit generator, and have an optional
>> flag to turn it into old (16-bit?) rng...
>>
>> this might make old orc/scos sound different, but at least they will still
>> "render" with no errors
>> -matt
>>
==================
Dr. Richard Boulanger
Professor - Music Synthesis Department
Berklee College of Music
1140 Boylston Street - Boston, MA 02215-3693
Office Phone: (617) 747-2485 Office Fax: (617) 536-2257
==========================================
Email: radiobaton@earthlink.net
URL: http://www.fortunecity.com/tinpan/underworld/836/
=================================================
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Date: Tue, 10 Nov 1998 13:30:08 -0500 (EST)
From: Aaron Isaksen
To: Larry Troxler
cc: Paul Winkler ,
Csound mailing list
Subject: Re: OOP or not? (perl Csound module)
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How about a Perl interface to CM?
That would probably be the most useful.
Writing an interface that everyone is happy with is a lot harder than
starting with someone else's interface.
-Aaron
On Tue, 10 Nov 1998, Larry Troxler wrote:
> Why not just use CM (if you don't mind using Lisp instead of perl).
>
> It already is OO, has semantics for manipulating patterns of events, which
> can be nested, etc, and allows multiple output modes
> (csound,CLM,MIDI,etc.).
>
> Larry
>
> -- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
>
>
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From: Mike Berry
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To: csound@maths.ex.ac.uk
Subject: Re: Randon numbers again
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I'm with Matt here. I think that rand should default to a 31 bit
number. Most old scores just rely on rand being random, not a
particular sequence of (therefore not) random numbers. If you do have
an old score which relied on rand not being random, then you were
relying on something which varied from machine to machine anyway, so you
weren't going accurate playback across platforms, since different
platforms had different rand() C functions. If you want to change your
old score, that's certainly possible to do. But this can't "break"
anything that wasn't already broken cross-platform-wise, since the new
rand will return exactly the same range of numbers that the old rand
did, just in a somewhat more random manner.
--
Mike Berry
mikeb@nmol.com
http://www.nmol.com/users/mikeb
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From: Hans Mikelson
To: csound@maths.ex.ac.uk
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Subject: Re: Randon numbers again
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Here is my vote for those keeping score:
rand should default to the old version so you do not break existing stuff
and add an optional argument for the new version since there are already a
"whole bunch" of opcodes.
Regards,
Hans Mikelson
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Date: Tue, 10 Nov 1998 11:34:51 -0800
From: Sean Costello
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Subject: Phase Quadrature Waveshaping?
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Hi folks:
I am curious about GEN 15, the subroutine used to create two tables of
polynomial functions to be used in phase quadrature waveshaping. My
question is, what is phase quadrature waveshaping? I've done some
internet searches, and the only info I found was a brief description of
how to implement phase quadrature waveshaping in Common Lisp Music. The
description of the CLM file does suggest that it is useful for creating
single side-band spectra, but it gives no further details.
Does anyone know of any literature that might describe phase quadrature
waveshaping? I am going to look up the major articles by Arfib and
LeBrun on waveshaping in general, in case they shed some light on the
topic. Anyone else know of other sources? I have a pretty nice little
computer music literature library, and I haven't found any mention of
it.
In general, I am very interested in single sideband modulation. I am
going to try and implement a frequency shifter in Csound
(single-sideband amplitude modulation), and am going to explore the
asymmetrical FM synthesis technique described in Dodge and Jerse. I
think there might be some interesting stuff going on in there.
Sean Costello
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Date: Tue, 10 Nov 1998 14:57:16 -0500
From: Dave Phillips
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To: Hans Mikelson
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Subject: Re: Randon numbers again
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Hans Mikelson wrote:
> rand should default to the old version so you do not break existing stuff
> and add an optional argument for the new version since there are already a
> "whole bunch" of opcodes.
I like this. My vote goes for it.
== Dave Phillips
http://www.bright.net/~dlphilp/index.html
http://www.bright.net/~dlphilp/linux_soundapps.html
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Date: Tue, 10 Nov 1998 13:11:33 -0700
From: Mike Berry
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To: csound@maths.ex.ac.uk
Subject: Re: Random numbers again ???
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Why is everyone saying that a more random rand would break every old
orchestra out there? The range of numbers would be identical. Yes, you
would get a different sequence of random numbers than you did with the
old rand. But you already get a different sequence with the existing
rand if you render on different platforms. If your old orchestra relied
on rand not being random, its already broken and you can fix it by
storing the "random" values that you want in an ftable. So I see no
reason why rand should default to the current definitely NOT random behavior.
--
Mike Berry
mikeb@nmol.com
http://www.nmol.com/users/mikeb
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From: David Boothe
To: "Csound (E-mail)"
Subject: 3.491 pdf Manual
Date: Tue, 10 Nov 1998 16:22:50 -0600
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Now ready for download (complete manual or updated pages only).
http://web2.airmail.net/dboothe
-David.
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From: Michael Gogins
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Subject: Re: Randon numbers again
Date: Tue, 10 Nov 1998 19:05:25 -0500
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I would prefer to see this as new opcodes rand31, rand31h, and rand31iin
case someday we have rand63, rand63h, and rand63i.
-----Original Message-----
From: jpff@maths.bath.ac.uk
To: csound@maths.ex.ac.uk
Date: Tuesday, November 10, 1998 7:46 AM
Subject: Randon numbers again
>Message written at 9 Nov 1998 23:23:49 +0000
>
>There has in the past been concern about the quality of the random
>number generator used in the opcodes rand, randh and randi (which is
>totally different from the one used in the other noise opcodes by the
>way). Clearly to change it would or could break old orchestras which
>is something I am trying to avoid. I have implemented a rand2, rand2h
>and rand2i set of opcodes which use a full 31 bit generator.
>
>But... is that what is needed or would you prefer to see this as an
>optional argument to the opcode rather than a new opcode? Or not at
>all? I would like to see this in the next release, or the idea
>squashed as it has been hanging around for a long time.
>
>==John
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From: Michael Gogins
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Subject: Re: Randon numbers again
Date: Tue, 10 Nov 1998 19:05:25 -0500
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I would prefer to see this as new opcodes rand31, rand31h, and rand31iin
case someday we have rand63, rand63h, and rand63i.
-----Original Message-----
From: jpff@maths.bath.ac.uk
To: csound@maths.ex.ac.uk
Date: Tuesday, November 10, 1998 7:46 AM
Subject: Randon numbers again
>Message written at 9 Nov 1998 23:23:49 +0000
>
>There has in the past been concern about the quality of the random
>number generator used in the opcodes rand, randh and randi (which is
>totally different from the one used in the other noise opcodes by the
>way). Clearly to change it would or could break old orchestras which
>is something I am trying to avoid. I have implemented a rand2, rand2h
>and rand2i set of opcodes which use a full 31 bit generator.
>
>But... is that what is needed or would you prefer to see this as an
>optional argument to the opcode rather than a new opcode? Or not at
>all? I would like to see this in the next release, or the idea
>squashed as it has been hanging around for a long time.
>
>==John
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From: Michael Gogins
To: pete moss , csound
Subject: Re: csound ethnomusicology
Date: Tue, 10 Nov 1998 19:22:13 -0500
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1. My day job is software engineer doing C++ programming and design. I
learned to program in the course of doing computer music.
2. I am a composer because I make new music that I play for other people to
hear.
3. Csound attracts me because I like using a software synthesizer as an
instrument because (a) as a composer I am almost exclusively interested in
algorithmic composition and generate many scores that I want to hear right
away even if they have unusual sounds, tunings, or difficult to play
textures and (b) I don't depend on other musicians to render my stuff and
(c) it's the most widely used software synthesizer that's adequate for
serious music and can be made to sound good and (d) it has a good depth of
publicly available instrument definitions.
5. I am very different from a "standard" composer because of my interest in
algorithmic composition and, specifically, in parametric composition or
composition by exploration of abstract spaces (see my publications, listed
on my resume at my web site http://www.pipeline.com/~gogins).
-----Original Message-----
From: pete moss
To: csound
Date: Tuesday, November 10, 1998 12:14 PM
Subject: csound ethnomusicology
>sorry all, this is quite a bit off topic.
>
>i am currently enrolled in an ethnomusicology course. each of us are
>working on projects dealing with some branch of ethnomusicology. for
>mine, i have chosen to examine the csound community as a subset of the
>electroacoustic community in general. what i am asking is if some of
>you could send me personal anecdotes about how you work with csound, why
>you chose csound, and what you do in general.
>
>more specific questions are:
>1. what is your 'day job'?
>2. would you call yourself a composer and why?
>3. what attracts you to csound?
>4. if you dont think of yourself as a composer, what do you do with
>csound?
>5. do you view yourself as different from a 'standard'
>(non-electroacoustic) composer and why? what do you do that is
>nonstandard (or standard for that matter)?
>
>please send as much as you can and i will ask further questions from
>there. also, please reply to me personally so as to not clog the list
>with this stuff. also also, does anyone know of any articles or books
>dealing with this or a similar topic? also also also, didnt someone on
>the list in the past few months collect a list of recorded compositons
>using csound. if so, may i see it?
>
>thanks,
>pete
>
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Date: Wed, 11 Nov 1998 01:58:43 +0000
From: Larry Troxler
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Frank Brickle wrote:
> You don't have to know much Lisp to use CM.
Well, that's what you and others say, but to be honest, I ended up
getting quite comofortable in Lisp, before I was able to really start
using it well. It was worth the effort, though. Lisp is really powerful,
interactive platform for experimentation, just the thing you need for
music composition, where you don't always know what you want to do ahead
of time.
Larry
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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Date: Tue, 10 Nov 1998 20:21:10 -0800
From: Jay Chernick
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Subject: wgbow example request
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Hello all,
Would someone please assist this Csoudn newbie with an example .orc for
a simple wgbow instrument? Whatever it is I'm doing wrong (something
simple, no doubt) I can't seem to get the pitch to behave itself.
Thanks for your help!
Jay Chernick
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Date: Wed, 11 Nov 1998 06:43:08 +0100
To: Csound list
From: rasmus ekman
Subject: Random vote (Re: Random numbers again ???)
In-Reply-To: <36489DF1.1D100F1A@nmol.com>
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<36489A9C.6806FC9A@bright.net>
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At 21:11 1998-11-10 , Matt wrote (and someone agreed):
>old rand. But you already get a different sequence with the existing
>rand if you render on different platforms.
Is that really so? Nowhere in Ugens4.c is the C function rand() called,
instead it looks like an in-house algorithm is used (short integer
rand = rand * 15625 + 1).
However, the non-uniform or "x-class noise" random opcodes (trirand,
betarand, cauchy etc in file cmath.c) call the standard C library function,
so here the argument holds. Also they haven't been around for as long
and they have just changed names, so nothing stops us from changing
their functionality.
So, my vote is:
Don't change rand/randi/randh, (or at least make the old version the default
if an optional is added).
Instead, change the implementation of uniform() in cmath.c (which is used
by all the "x-class noise" opcodes) to use some 31-bit random function.
This will make the output of those opcodes cross-platform identical. If we
want 63- or 1023-bit versions of random later, an option could be added
when the time comes (or a dummy option now, for maximum confusion).
Note that this will affect GEN21 too, since it uses the x-noise opcodes
internally.
Perhaps an "iseed" option should be added at the same time if people
like that, no strong opinion there.
(Aside:
There is the undocumented opcode "seed", but this might as well stay
undocumented: Unless I've misread the code in cmath.c, it looks like the
last instance of seed (the one appearing in the highest-numbered instrument)
will init all x-class noise opcodes on a global level, so you couldn't presently
tweak two x-noise opcodes in the same orchestra independently.
Further, if you add another x-noise opcode to any instrument, all instances
of these opcodes will have their pseudo-random sequences changed, since
they all end up calling the same ANSI C function. This would make the present
"seed" of limited use.
)
Regards,
rasmus ekman
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Date: Wed, 11 Nov 1998 09:13:51 +0100
From: Josep M Comajuncosas
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To: Csound list , John Ficht ,
Hans Mikelson ,
Gabriel Maldonado ,
Michael Gogins ,
Robin Whittle
Subject: tapw : An opcode suggestion
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Let me suggest to the masters in the list the possibility to add a new
opcode.
It should work like deltapi (that it, inside a delayr/delayw pair) but
*injecting* and audio signal inside the delay line, and not extracting
it.
This simple hack would allow a great simplification of multiple
feedbacked delay lines (Gardner reverbs are an example, also piecewiese
waveguide instruments with tone holes and so on...), which till now must
be modelled with multiple delayr/delayw pairs. They would only need a
single pair and as much deltapi/tapw pairs as needed inside it.
It should work like delayw, something like
tapw asig, ktime, imode
asig - Signal to be injected into the delay line. Uses linear
interpolation.
ktime - Time in seconds
imode - = 0 (default) mix with the current value in the delay =! 0
replace existing value. Or viceversa maybe...
What do you think? Ive never attempted to add a new opcode, it might
well be easy, but Ive never tried it. Id really like something like
this, it seems logical and useful.
Josep M Comajuncosas
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Date: Wed, 11 Nov 1998 09:03:37 +0100
From: Josep M Comajuncosas
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To: rasmus ekman
CC: Csound list
Subject: Re: Random vote (Re: Random numbers again ???)
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rasmus ekman wrote:
> There is the undocumented opcode "seed", but this might as well stay
> undocumented: Unless I've misread the code in cmath.c, it looks like th=
e
> last instance of seed (the one appearing in the highest-numbered instru=
ment)
> will init all x-class noise opcodes on a global level
I noticed this when trying to add some random vibrato stuff with multiple=
detuned
oscillators using gaussian noise with independent "seed"=B4s. It was neve=
r thick
enough for this reason. It should really be fixed. Which is the usability=
of a
random opcode, no matter its length, if it always outputs the same sequen=
ce?? It
won=B4t work for multiple chorus, nor for algorithmic composition, nothin=
g... just as
"noise"...
Josep M Comajuncosas
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Date: Wed, 11 Nov 1998 09:13:51 +0100
From: Josep M Comajuncosas
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To: Csound list , John Ficht ,
Hans Mikelson ,
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Subject: tapw : An opcode suggestion
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Let me suggest to the masters in the list the possibility to add a new
opcode.
It should work like deltapi (that it, inside a delayr/delayw pair) but
*injecting* and audio signal inside the delay line, and not extracting
it.
This simple hack would allow a great simplification of multiple
feedbacked delay lines (Gardner reverbs are an example, also piecewiese
waveguide instruments with tone holes and so on...), which till now must
be modelled with multiple delayr/delayw pairs. They would only need a
single pair and as much deltapi/tapw pairs as needed inside it.
It should work like delayw, something like
tapw asig, ktime, imode
asig - Signal to be injected into the delay line. Uses linear
interpolation.
ktime - Time in seconds
imode - =3D 0 (default) mix with the current value in the delay =3D! 0
replace existing value. Or viceversa maybe...
What do you think? I=B4ve never attempted to add a new opcode, it might
well be easy, but I=B4ve never tried it. I=B4d really like something like
this, it seems logical and useful.
Josep M Comajuncosas
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Date: Wed, 11 Nov 1998 04:03:27 -0500
From: Paul Winkler
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Aaron Isaksen wrote:
>
> How about a Perl interface to CM?
Because then I'd have to learn CM first, and then I probably wouldn't
bother with an interface to it. :)
But that's a good project for on down the line...
--PW
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From: Paul Winkler
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Larry Troxler wrote:
>
> Why not just use CM (if you don't mind using Lisp instead of perl).
You, Frank, and Aaron all make some good points, but I anticipated this
question in my original post. To quote myself:
> --I don't know Lisp at all.
> --I like Perl.
> --Lots of other people like Perl and don't know Lisp.
> --Some of those people might be fellow Csounders.
> --There is room for many ways to generate Csound scores... and this
> might be a very useful addition to the existing tools (CM, Cscore, SCOT,
> cecilia & cybil, SILENCE, HPKComposer, Midi2CS, ermmm... what else?)
(I forgot TkScore!)
And I will add a couple more reasons:
--I think it will be fun to do.
--I'm considering changing what I do for a living, and "I've written a
Perl module" might be more impressive on a resume than "I know how to
use Common Music" ... depends on the employer, I guess! Oh, forget it,
that's a silly reason to do this project.
> [Common Music] already is OO, has semantics for manipulating patterns of events, which
> can be nested, etc, and allows multiple output modes
> (csound,CLM,MIDI,etc.).
Yes, and in fact, to people who are impatient to get to work now, and/or
don't know Perl already, and/or need a multi-output-mode solution
anytime soon, and/or already have some knowledge of Lisp, I would
encourage them to investigate CM. I included a pointer to the CM home
page in my original post for that reason. It is quite possible that my
project will never become quite so ambitious as CM already is today. And
as I said, it is quite possible that I myself will eventually check out
CM. Maybe I will switch to CLM entirely and forget about Csound
permanently. But I still think a Perl/Csound-score programming library
would be useful for many purposes, and hopefully easy to use.
--PW
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Date: Wed, 11 Nov 1998 03:51:43 -0500
From: Paul Winkler
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Bernhard Wagner wrote:
> There should be groups with semantics:
> - Synchro
> - Sequence
> - Timeline
> - Loop
> The semantics of the group type Synchro assures that all events contained are
> started simultaneously.
> Group type Sequence assures that all events contained are played in sequence
> without gaps. Whenever an event is deleted the following remaining events are
> shifted to fill the gap automatically.
This strict time enforcement is too inflexible for me. But someone
(you?) could probably extend the module to add such things later. I do
think it might be useful to associate certain kinds of behavior with
certain groups of events, but nothing you've suggested really sparks my
interest, sorry.
However, it probably wouldn't be that hard for someone (you?) to write
an add-on module to do these things, which you could optionally use via
"use".
> The framework also includes concepts for abstract instruments.
That may be a good idea. But as I've said, my main desire is to get some
work done in Csound! I don't want to let this project become a
never-ending quest for the perfect composition environment. Not sure
what to do.
PW
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Date: Wed, 11 Nov 1998 04:29:57 -0500
From: Paul Winkler
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Frank Brickle wrote:
>
> On Tue, 10 Nov 1998, Aaron Isaksen wrote:
>
> > How about a Perl interface to CM?
> > ...
> > On Tue, 10 Nov 1998, Larry Troxler wrote:
> >
> > > Why not just use CM (if you don't mind using Lisp instead of perl).
> > >
> > > It already is OO, has semantics for manipulating patterns of events, which
> > > can be nested, etc, and allows multiple output modes
> > > (csound,CLM,MIDI,etc.).
>
> ...recalling the remark by Stephen Daedalus about
> trading an absurdity that is logical and consistent
> for one that is illogical and inconsistent...
My music is illogical and inconsistent, I see no reason for my
programming language to be any different. :)
I have no interest in a Lisp-vs.-Perl argument. Scheme is already on my
list of languages to learn, but I feel like I've already done too much
eclectic information-gathering this year... last January I knew a few
very simple shell-scripting techniques, didn't even know HTML,
remembered just enough BASIC from elementary school to be able to say
"10 PRINT 20 ; 20 GOTO 10"... in the spring I over-ambitiously started
learning C, and actually wrote a few useful utilities (that I really
use!), in the summer I quickly gulped down simple HTML, then learned
enough nroff to write man-pages, then in early Fall I started on Perl
and so far I really, really like Perl. At this point I feel like I will
benefit a lot more from doing some serious work in one language I
already understand and like, rather than learning another radically
different one.
> One towering advantage of CM (and Lisp) is that,
> unlike Perl, it is not write-only ;-)
Which means what? I'm not being grumpy, I honestly don't know what this
means.
PW
p.s. if anybody grumbles that I've lumped in markup languages with
programming languages... aw, gimme a break.
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Date: Wed, 11 Nov 1998 04:39:30 -0500
From: Paul Winkler
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Subject: Re: Random vote (Re: Random numbers again ???)
References: <003901be0cdf$b72be4a0$15e167ce@default>
<36489A9C.6806FC9A@bright.net> <199811110536.GAA02796@mb05.swip.net> <364944D9.B63FD6CD@intercom.es>
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Josep M Comajuncosas wrote:
> Which is the usability of a
> random opcode, no matter its length, if it always outputs the same sequ=
ence?? It
> won=B4t work for multiple chorus, nor for algorithmic composition, noth=
ing... just as
> "noise"...
Hmm. I haven't yet used any of the random opcodes very much, but
personally, this sounds like a much bigger problem than the word length.
If I had an instrument using random numbers for any purpose, and I
called it twice like this:
i1 0 1 ...
i1 0 1 ...
... I would want the two notes to do different things. Are you saying
they wouldn't? That's no good!
--PW
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From: Matti Koskinen
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hello
using csound -U sndinfo *.aiff shows info + the file name,
doing the same for *.wav shows only info, not the file names.
Shouldn't it show the names too. No matter what platform, or
version csound is.
just wandering
-matti
mjkoskin@sci.fi
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To: Csound list
From: =cw4t7abs
Subject: Re: Random vote (Re: Random numbers again ???)
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http://www.one38.org/=3Dcw4t7abs/0+7/URandomLib.sit.hqx
-
1 yesh!va bo! - 1 young man ztud!ng !n 1 rab!n!kl koll.age. - took
!nztrukt!onz 4rom 3 rab!tz. 1 fr!end azkd h!m h!z reakt!onz.
- dze 1zt ! found v.dfklt. d!zorgan!zd + poorl! eczpla!nd - but ! undrztood
what he waz ze!ng.
dze 2nd waz a lot klear.r + much mor klvr. ! undrztood prt ov dzat
- and dze 3rd +? dze! sa! he =3D v.good
- o. he waz br!ll!ant. such 1 magn!f!sent rezonant vo!sz -
!t floud az !f 4rom dze heart. ! waz tranzportd be!ond m! !mag!n!ng.
tzo art!kulate tzo luc!d + ! d!dnt undrztand 1 word
s!rkulr + el!pt!kl
pres!j!on trajektor!ez
!nterplanetar! konnekt!onz
dze hundreth ov ur ord!nar! mass
dze grav!tat!onl forsz
free ov d!mens!onal!t!
komplecz!t!ez hav teeth
(def!ne deep
(lambda (m)
(kond
((zero? m) (kuote tzzt))
else ( konz (deep (sub1 m))
(koute ()))))))
what =3D dze value ov ( zuprkountr f) wher f =3D deep +?
5 0 0 5 1 2
|=7F|
|abs| - krvava gruda-plodna zemlja
|=7F|
punKtproTokol[4'7c m9ndfukc.macht.fre! < hTTp:/194.19.130.194/=3Dcw4t7ab=
s
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From: Paul Winkler
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Eric Lyon, for some reason calling himself Red Hat Linux User, wrote:
> I'm glad to hear that there is considerable enthusiasm in response to
> Paul Winkler's recent excellent Perl proposals.
Me too. Actually I'm a little worried by it-- people want things I
hadn't thought of! Too much work to do!
> Let me be the one crank to suggest that OOP is not necessarily the way
> to go, or perhaps is suitable for only some of the many possibilities
> to which Paul alluded.
I wonder if maybe a mixed approach is a reasonable idea... but the
impression I get is that once you hide data inside an object, things go
haywire if you try to fiddle with it without using the object's methods.
Can anyone tell me if this a misconception?
> OOP has several well documented benefits. However it has a few
> downsides -
>
> 1) You have to do more typing to make something happen than with
> procedural code.
Bummer. In fact, BIG bummer.
> 2) There is more structural overhead to consider when designing object
> frameworks, which both distracts from the compositional task at hand
> and can force the programmer/composer to make quick decisions about
> structure which may later irritate him/her and/or other users who try
> to build on or cannibalize the code.
That's a concern also. I think I'd rather implement something that left
you with maximum flexibility, rather than provide objects and methods
for everything I can think of.
In fact, I'm considering doing my own work entirely in non-OOP style and
leaving it open to other people whether to implement OOP score
processing. I haven't decided yet. I may start doing some work in
non-OOP style and see how I like it, and whether I find myself really
yearning for objects and methods... As I said, I'll be making my code
available under the GPL, so anyone who has the skill and desire to chop
it up and re-work it however they see fit would always be able to do
that. So even if I never take an OOP approach, there's no reason someone
else couldn't.
One other objection to the OOP approach that I've thought of is that I'd
kinda like a user of my module to be able to start composing with it
just by having a basic knowledge of "Learning Perl", because that seems
to be one of the most common books people have when learning Perl, and
besides, "Programming Perl" costs ten bucks more. ;) I mention this
because OOP is conspicuously absent from "Learning Perl," except in a
breezy introduction to CGI programming at the end.
> Although these may seem frivolous objections, Perl *is* a hacker
> language, which has the benefit of allowing the programmer to make
> things happen fast. This is a major advantage when programming is
> happening concurrently with composition.
That, in fact, is exactly why I thought of taking the module approach,
rather than writing an interpreter for a newly-invented score format...
I thought, "It would be no more difficult and a lot more flexible to do
this directly in a Perl script." At the time I wasn't even considering
OOP, I was just thinking of allowing for logical tests, iterative and
recursive musical structures, and the like...
> This is not to say "don't use OOP", but rather to say, "think very
> carefully about if you really need it". Some of the data manipulations
> Paul mentioned might well benefit from OOP if they require maintaining
> state information.
Such as keeping track of time? I thought I would do that with an
exported global value so the user would have free reign to f**k it up
however they saw fit at any time.
Or were you thinking of something else?
Argh. The trouble is, if I had any experience with OOP, I would know the
answer to my conundrums, but I don't want to spend the time to learn OOP
if it's not something I'll need right away... and every time I get a
message saying "yes OOP" or "no OOP", I flip-flop... Maybe I should just
start coding some more of the ideas I already have and understand, and
see how I feel about it.
> 1. It would be quite interesting if the resulting package is
> implemented on the WWW such that different algorithms from different
> people could interact to some degree.
Yeek! Are you volunteering to implement this? :)
> 2. Don't necessarily stick to score manipulations. Automatic
> generation of orcs can be equally as interesting. I have a recent
> soundfile processor generator which demonstrates orc generation at
> http://eric.iamas.ac.jp/~eric/CPROC/index.cgi .
Well, that's why I thought of naming the module "Csound:Pscore" rather
than just "Pscore". But I will probably leave it up to others to create
"Csound:Porc" or anything else they can think of.
--PW |