| Mr Dobson wrote, wondering where will be the next ICMC...
> about it. It would be great if we can all be there (wherever it is)
the 26th ICMC will take place in Berlin in the year 2000.
Make your hotel reservation fast!
Javier.
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From: Kirsh Family
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To: Csound
Subject: Negative p3 vs polyphonicity (was Re: sequencer)
References: <199907271411.KAA18866@renoir.op.net> <379E3C5E.3751F522@cableinet.co.uk>
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Lest anyone be frightened away from using negative p3 values, I just
wanted to point out that the statement quoted below is not quite
correct. Or that at least it's open to some interpretation. In fact,
it is possible to have multiple instances (usually, but not necessarily,
notes of different pitches) of the same instrument held simultaneously
via negative p3 values. This is accomplished by adding a decimal part
to the instrument number. E.g., to hold three copies of instrument 10
in a simple chord:
i10.1 0 -1 7.00
i10.2 0 -1 7.04
i10.3 0 -1 7.07
Subsequent i-statements can refer to the same sounding note instances,
and if the instrument definition is done properly, the new p-fields can
be used to alter the character of the notes in progress. For example,
to bend the previous chord up an octave and release it:
i10.1 1 1 8.00
i10.2 1 1 8.04
i10.3 1 1 8.07
The instrument definition has to take this into account, however,
especially if clicks are to be avoided. To be fair, it's likely that
Richard Dobson knows all this and just meant that the decimal instrument
number notation couldn't be used in conjunction with real-time MIDI
(which was the context of the discussion), in which case the instrument
would be monophonic while a note was held, as he states. (At least, I
think that's right.)
David Kirsh
Richard Dobson wrote:
>
> A negative p3 does not only make the note hold indefinitely, it makes it
> monophonic - ...
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From: Hans Mikelson
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Subject: Re: FM with feedback loop?
Date: Wed, 11 Aug 1999 19:47:41 -0500
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Hi,
>I am new to Csound and I have tried to make a FM algorithm with feedback
>loop.
I don't know about Visual Orchestra but the trick is to init the variable to
0 before the loop back, something like:
instr 1
iamp = p4
ifqc = cpspch(p5)
iatt = p6
adec = p7
islev = p8
irel = p9
a1 init 0
aenv adsr iatt, idec, islev, irel
a1 oscil aenv, ifqc*(1+a1), 1
outs a1, a1
endin
The pitch tends to drift somewhat though I think.
Bye,
Hans Mikelson
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From: mike chapman
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Subject: Quasimodo and windows
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hello all,
i think the quasimodo code just needs to be made into a minimal port on
windows with no gui. i think realtime io may be coded using drivers from
current csound or from perry cooks stk?
the quasimodo rewrite seems absolutely excellent and represents a huge step
forward in the csound code base.
a windows version would open this excellent version up to more users and
developers :}
mike
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Subject: [algo-comp] [OT] linux in austin [OT]
From: pete moss
really sorry to spam up the lists like this, and sorry for the
crossposting, but...
are there any redhat 6.0 linux users in the austin tx area? i
downloaded the distro from the net, but it is causing big problems and i
would like to borrow someones cd version for a day. i would just buy
the box version, but i cant afford it, what with grad school about to
start.
please email me privately so as not to waste anymore bandwidth.
thx
:P
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really sorry to spam up the lists like this, and sorry for the
crossposting, but...
are there any redhat 6.0 linux users in the austin tx area? i
downloaded the distro from the net, but it is causing big problems and i
would like to borrow someones cd version for a day. i would just buy
the box version, but i cant afford it, what with grad school about to
start.
please email me privately so as not to waste anymore bandwidth.
thx
:P
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really sorry to spam up the lists like this, and sorry for the
crossposting, but...
are there any redhat 6.0 linux users in the austin tx area? i
downloaded the distro from the net, but it is causing big problems and i
would like to borrow someones cd version for a day. i would just buy
the box version, but i cant afford it, what with grad school about to
start.
please email me privately so as not to waste anymore bandwidth.
thx
:P
dupswapdrop: the music-dsp mailing list and website
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From: Richard Dobson
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To: Csound
Subject: Re: Negative p3 vs polyphonicity (was Re: sequencer)
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Yes, that is more or less it (I haven't actually tried using a
fractional p1, though it is explicitly stated in the manual that the
fractional parts can be used to give additional tags to identify tied
notes). As you say, this would all have to be handled in the instrument
- unless the 'next-p' and 'prev-p' fields which I use for legato control
can be adapted to look for the next or previous pfields ~for a given p1~
rather than just the line in the score. Ideally, I would like a
mechanism for 'static' variables ~local~ to an instrument, which
supported multiple polyphonic instances of the instrument (what I call
'managing it's own polyphony'), perhaps up to some compiled limit.
Perhaps 'next-p' and 'prev-p' really need to be opcodes as well as score
directives. Either way, though, it is a bit of a hack, as you are having
to code explicitly for polyphony within an instrument. If the
instruments could be just a little more 'object-like', you could apply a
polyphonic legato score to ~any~ instrument, and get the expected
behaviour.
Something for the Csound Conference, perhasp?
Richard Dobson
Kirsh Family wrote:
>
> Lest anyone be frightened away from using negative p3 values, I just
> wanted to point out that the statement quoted below is not quite
> correct. Or that at least it's open to some interpretation. In fact,
> it is possible to have multiple instances (usually, but not necessarily,
> notes of different pitches) of the same instrument held simultaneously
> via negative p3 values. This is accomplished by adding a decimal part
> to the instrument number. E.g., to hold three copies of instrument 10
> in a simple chord:
>
> i10.1 0 -1 7.00
> i10.2 0 -1 7.04
> i10.3 0 -1 7.07
>
> Subsequent i-statements can refer to the same sounding note instances,
> and if the instrument definition is done properly, the new p-fields can
> be used to alter the character of the notes in progress. For example,
> to bend the previous chord up an octave and release it:
>
> i10.1 1 1 8.00
> i10.2 1 1 8.04
> i10.3 1 1 8.07
>
> The instrument definition has to take this into account, however,
> especially if clicks are to be avoided. To be fair, it's likely that
> Richard Dobson knows all this and just meant that the decimal instrument
> number notation couldn't be used in conjunction with real-time MIDI
> (which was the context of the discussion), in which case the instrument
> would be monophonic while a note was held, as he states. (At least, I
> think that's right.)
>
> David Kirsh
>
> Richard Dobson wrote:
> >
> > A negative p3 does not only make the note hold indefinitely, it makes it
> > monophonic - ...
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