| People asked me to give more info on the CD, so here it is.
" ELECTROCLIPS "
25 three minute electroacoustic snapshots
by: empreintes DIGITALes / DIFFUSION i MéDIA
date: 1990
The album features :
-michel smith
-craig harris
-jean-francois denis
-john oswald
-yves daoust
-claude schryer
-martin gotfrit
-john oliver
-zack zettel
-stephane roy
-daniel scheidt
-bruno degazio
-richard truhlar
-gilles gobeil
-robert normandeau
-laurie radford
-C. calon / C. schryer
-hildergard westerkamp
-amnon wolman
-francis dhomont (!)
-roxanne turcotte
-christian calon
-dan lander
-javier alvarez
-charles armirkhaman
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Date: Mon, 9 Feb 1998 14:16:40 +0100 (MET)
From: Guy Van Belle
To: sandra.fauconnier@rug.ac.be
Cc: csound@maths.ex.ac.uk
Subject: Re: discouraged, war!ing, Planar Rotations of Multidimensional Oscillators
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At 01:31 AM 2/9/98 +0100, rasmus ekman wrote:
>Ah! Now, has anybody recently done any masterpiece in Csound?
Yes _ I have but the text is better than the sound, still it seems a
masterpiece at first sight. I actually compiled it from chunks I copied
from this list, because I don't understand a clue of how csound really
works. That is why I am on this list. To sample masterinsight into
masterpieces.
Gz
>
> ......................
> dBONANZAh! --/__
> ......................
> dewey.rug.ac.be
> [e r r o r = h o m e] hihi.
> simsim.rug.ac.be
> [anti_analog:hit_men]
d!g!taLrulz =)
> ......................
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From: David Schuyeteneer
To: csound mailing list
Subject: Fw: discouraged
Date: Mon, 9 Feb 1998 10:33:24 +0100
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> > > I have a new cd. It's called "electroclips" : a collection of 20+
> >
> > in which i had the same reaction:
> > > I listened to it over and over again and slowly became discouraged :
I
> >
> > listen to Jonty's CD and you will have no interest in synthesis
> > anymore..
>
> Nonono you guys think backwards...
> My best (read: only full-scale) work built on, um, somebody's
> Buchla synthesizer piece -- he made it sound like dozens
> of instruments, voices and concrete-ish sources.
> The method was: I listened to a small part (it's 2 hrs+),
> then went to the studio focusing on a particular sound, spent
> my 3 hrs trying to imitate it (on the studio's $15000 Buchla),
> completely and pathetically failed, but in the process I was
I like the phrase : "completely and pathetically failed", I know what it
means when this happens...
Ever tried to imitate a timbre of Stéphane Roy ?? Don't even think about
it.
Stephane Roy is the man who makes those...uhm...soundscapes with motion.
Almost-voices
that vitally and enigmaticly fly and run around your head.
> virtually guaranteed to get at least 30 sec's worth of
> *brilliant* (and utterly different) sounds.
>
> Then it's just a matter of cramming them together in an
> interesting and entertaining shape... but with such first-class
> material the sounds almost laid themselves side by side right away.
Yes...I don't know how you guys do it, when composing a piece, but I just
have (thank God for that)
that FEELING for atmosphere and soundworlds. I think that does the job
fairly well. A recent example
of this is a rather unusual piece by Claude Schryer on the Electroclips
album. It starts with a somewhat
distant, rumbly traffic/city noise fading in, holding maximum volume and
fades out nicely at the end, and
as the noise arises, Claude had the **GRREAT** idea to put a goddamn
*weird* sound of an unknown
little animal in the foreground of all the noise.
The whole piece recalls a vision of an crying, injured and lost little
creature on a traffic-jammed
boulevard in a strange city. Can you people imagine ??
> Ah! Now, has anybody recently done any masterpiece in Csound?
Yeah....haha.....the rms of my voice controlling it's own
pitch.....bleeiipsshPwaoh
no, kiddin.
> (- or generally, is it today possible to do anything worthwhile
> _synthesizing_ sounds rather than fiddling with samples?
No. The best pieces are the one builded from sampled sounds.
When trying to compose 100% synthesized stuff, one always tries to make it
as complex until
it sounds like builded from sampled data.
David.
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Message-Id: <34DF0B09.D18@hexagon.se>
Date: Mon, 09 Feb 1998 14:56:25 +0100
From: rasmus ekman
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Subject: Recouraged
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bruce quaglia wrote:
>
> On Mon, 9 Feb 1998, rasmus ekman wrote:
>
> > Then it's just a matter of cramming them together in an
> > interesting and entertaining shape... but with such first-class
> > material the sounds almost laid themselves side by side right away.
>
> I don't want to appear to be picking a fight....but,
> there's something aesthetically bankrupt in the notion
> that the compostional aspects of writing a good piece
> of electro-acoustic music amount to nothing more
> than coming up with good sounds and then "cramming
> them together in an interesting and entertaining shape"...
Hehe, was I naughty? No really, form aspects are perhaps the
real problem. Whether we're synthesizing from scratch or battering
samples, the classical instrument-originated forms like sonata,
cantata, the song or the jam, are not by themselves enough to
yield a framework for balancing and organising our little friendly
vibrations, etc etc. Maybe I'm bad as that, perhaps I understated
the work involved slightly, but I intended not to talk too much
about composition over this list.
Regards,
re
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Date: Mon, 9 Feb 1998 08:24:26 -0600
To: csound@maths.ex.ac.uk
From: =cw4t7abs
Subject: Planar Rotations of Multidimensional Oscillators
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>At 01:31 AM 2/9/98 +0100, rasmus ekman wrote:
>
>>Ah! Now, has anybody recently done any masterpiece in Csound?
>
>Yes _ I have but the text is better than the sound,
tzo. dzen !t = akadem!k.
1 muzt b certa!n 2 attach procesz notez 2 dze cd komponent
tzo az 2 astound humanz w!th 1 analytik m9ndkonta!nr
dze fallow!ng waz allomplischd by kUuTkoOp+epaAste . rout!n.
[e r r o r = h o m e] hihi.
but dze procesz = kontrLd by max
tzo dzat makex !t
al.ad.m.!kk.akk.bl.!p. &| fake.d!zorgan!zd.lab||
still it seems a
>masterpiece at first sight. I actually compiled it from chunks I copied
>from this list, because I don't understand a clue of how csound really
>works. That is why I am on this list. To sample masterinsight into
>masterpieces.
>Gz
>
>>
>> ......................
>> dBONANZAh! --/__
>> ......................
>> dewey.rug.ac.be
>> [e r r o r = h o m e] hihi.
>> simsim.rug.ac.be
>> [anti_analog:hit_men]
>
>
> d!g!taLrulz =)
>> ......................
endin
......................
; Begin Score dBONANZAh! --/__
......................
f1 0 8192 10 1 dd!g!taLrulz.b=)
f2 0 1024 7 1 512 1 0 -1 512 [e r r o r = h o m e] hihi.
f3 0 1024 7 1 1024 -1 simsim.rug.ac.be
taLrulz.b [anti_analog:hit_men]
; Compression Csimsim.ru = h simsim.rug.ac.be
f6 0 1025 7 1 1_analog:hm.ru [e6r.r4o2r6=.h2o2m7e]001 hihi.
simsim.ru.ruh dewey.rug.ac.be
; Sta Dur Amp Prto_rn=lhg:hu...................... 5000 7.00 2 6 1.2
i1 + .15 5000 7.05simsim.ruh dBONANZAh! --/__
i1 . .15 5000 6.07r.o6r1=chb......................
i1 . .15 5000 7.10 ..6 1....d!g!taLrulz =)
i1 . .15 5000 8.05 dBONANZAh taLrulz.b
i1 . .15 5000 7.07 ......... r o r = h
i1 . .15 5000 7.10 Lrulz.1=) simsim.ru simsim.ru
i1 . .15 5000 7.10 . 6 1.0[anti_analog:h _analog:h
i1 . 1.2 5000 7.00 . 6 1.2 simsim.ru simsim.ru
simsim.ru [e r r o r = h r o r = h
[anti_analog:h dewey.rug.ac.b .rtaLrulz.b
simsim.ru .............. simsim.ru.= h
[e r r o r = h dBONANZAh _analog:hm.ru
dewey.rug.ac.b .............. simsim.ru.ruh
.............. !g!taLrulz =) r o_rn=lhg:hu.
dBONANZAh [anti_analog:h _analom.ruh
.............. simsim.ru simsim =chb.
!g!taLimsim.ru [e r r o r = h r o.r ...d
analog:h dewey.rug.ac.b .rtaLrANZAh
imsim.ru .............. simsim.r
o r = h dBONANZAh _analog:
rug.ac.b .............. simsim.r
........ !g!taLrulz =) r o_rn=l
[e r r o r = h o
simsim.rug.a
rulz.b [anti_analog:hit_
ru = h simsim.rug.a
0f0003|m2sch1n3nkunZt|anti.mazter.
p!esz.3z.
_+ b!nar=e.m9ndfukc.rout!n.
hTTp://www.god-emil.dk/=cw4t7abs
http://www.god-emil.dk/spCa
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Date: Mon, 09 Feb 1998 14:29:10 +0000
From: Richard Dobson
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Organization: Composers Desktop Project
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It's funny how so often musicians need to use metaphors or imagery form
the visual arts and visual language to describe musical phenomena. The
more I explore this, the more extraordinary I find it - our language is
desperately short of purely musical constructs. This, I feeel, is a
cultural phenomenon.
Artists have so often sought to defend their work by reference to some
'absolute', almost Platonic, criterion of quality (structure, symmetry,
balance, argument, etc )- none of which says anything concrete about the
experience of sound in time. These terms have been lifted from
architecture, geometry, rhetoric - the great Classical disciplines.
Classical composers and performers have had the advantage (depending on
how skillful they are!) of a long and arduously established (and
~culturally determined, despite the waffle about 'pure' , 'absolute' or
'universal' musical discourse) tradition of 'good practice', and it seems
that right through to the nineteenth century, the highest praise one
could give to a musician was to say they had 'good taste'.
The problem for us is the relative absence of this canon of good
practice, other than by common consent - that very same 'good taste'. And
on what is that common consent based ? We can refer to 'classical' good
practice, any amount of conceptual calculation and ingenuity, endless
comparisons with other art forms, but in the end, I suspect it does
indeed come down to something almost vernacular - is it 'interesting and
entertaining'? If we reflect on the proper non-perjorative meanings of
these words, they do say quite a lot!
My favourite definition of music is from John Beaulieu ('Music and the
Healing Arts') -
"music is the appreciation of sound".
This is more than just saying 'beauty is in the eye of the beholder',
because 'appreciation' carries with it a host of implicits, concerning
knowledge, discrimination, culture, and so on. So we make sounds, and
collections, sequences of sounds, which we, and hopefully others, may
appreciate.
The amazing thing about computer music is that we are not just making the
sounds, but making the appreciation too! And, thank goodness, it is still
too soon to close the book on either.
Richard Dobson
bruce quaglia wrote:
> On Mon, 9 Feb 1998, rasmus ekman wrote:
>
> > Then it's just a matter of cramming them together in an
> > interesting and entertaining shape... but with such first-class
> > material the sounds almost laid themselves side by side right away.
> >
>
> I don't want to appear to be picking a fight....but,
> there's something aesthetically bankrupt in the notion
> that the compostional aspects of writing a good piece
> of electro-acoustic music amount to nothing more
> than coming up with good sounds and then "cramming
> them together in an interesting and entertaining shape"...
> In fact, I would say that this notion accounts for more
> truly bad pieces of electro-acoustic music than I can
> count. A new sound, a new technology or a new midi
> controller is not in an of itself enough to make a
> piece of music anymore than a Beethoven sonata is
> some "some good chords" or tunes crammed together.
> A painter mixes his/her pallette...AND THEN THEY PAINT!
> Anyone with me on this? (again, pardon the pugilistic
> tone, I'm sure you didn't mean that remark litterally,
> (I hope), but it's a real issue...honest to God it is..)
>
> Bruce Quaglia
> bruce.quaglia@m.cc.utah.edu
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Date: Mon, 9 Feb 98 18:23:09 GMT
From: J P Fitch
To: csound@maths.ex.ac.uk
Subject: Re: Planar Rotations of Multidimensional Oscillators
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m I missing anytging, or should I just thrwo away all messages from thi
incorresctly functioning robot program? I cannot remember ANY message from this
incorresctly functioning robot program? I cannot remember ANY message from
this address which gave me any inside or information.
Should I just block?
=John
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Date: Mon, 9 Feb 1998 11:46:27 -0700 (MST)
From: bruce quaglia
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To: Qian Chen
Cc: csound@maths.ex.ac.uk
Subject: Re: pvanal analysis file with 2 channels
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On Mon, 9 Feb 1998, Qian Chen wrote:
> Hi,
>
> I am using pvanal.exe to analysis my wave file. Since the file is a
> stereo file, and there is not any stereo version of pvoc, so I got the
> error message like this(my pvc file is called zhong.pvc):
>
> INIT ERROR in instr 1: 2 chans (not 1) in PVOC file zhong.pvc
>
> Could anybody tell me how I could use pvoc with stereo analysis file?
>
I just seperate the channels, analyse each, and deal with
each channel seperately while resynthesizing until they need
to be reassembled into a stereo out or whatever.
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Date: Mon, 9 Feb 1998 20:33:25 +0100 (MET)
From: Nicola Bernardini
To: Csound mailing list
Subject: entry.c and dynamic linking
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Some months ago I remember a discussion about limiting the
addition of opcodes to avoid the explosion of entry.c and to keep
the sources manageable.
Now that practically all systems support dynamic library loading
(yes I know there is still DOS, but we could consider a work-around for that),
maybe a solution could be to distribute the opcodes in several
dynamic libraries (libxxx.so under linux, .dlls under Win95, etc.)
and these libraries could loaded dynamically (w/ dlopen(),dlclose() calls)
as requested by the orcs. The entry table could be substituted by
a linked list of tables (one for each library) and perhaps a configuration
file to define loading paths and priorities.
This could have a number of advantages:
1) better structuring of opcode code
2) smaller in-core runtime executables when few opcodes are requested
(which, paradoxically, could help real-time)
3) opcode libraries could be maintained separately
by different groups, with better sharing of workload
4) even if I personally do not like the approach at all, some libraries
could be distributed in binary form only when the author(s) do
not feel like distributing the sources (think, for example, about
the famous ambisonic opcode which cannot exist for patent problems...)
The disadvantages are obvious but need some consideration:
1) system is slower (even if it could be argued that it would only be
slower in orchestra loading and not during play)
2) the package requires some quite thorough definition of how to
build libraries, how to call them, etc. otherwise everything is bound
to end up in chaos
I am willing to help in this endeavour if there is a general agreement
that this thing is useful.
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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Date: Mon, 9 Feb 1998 20:14:33 +0100 (MET)
From: Nicola Bernardini
To: Csound mailing list
Subject: complete 3.47 distribution for Linux dynamically linked
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Dear all,
I picked up Dave Phillips sources for Csound 3.47 and made some small
changes (mainly to Makefiles) in order to compile all applications
with just one library dynamically linked (so they are all very small).
I did not do any further debug, I just made a binary distribution
and placed it on:
ftp://musart.dist.unige.it/pub/CSOUND/csound-3.47-linux-bin-elf.tar.gz
I add to this mail the list of the files included in the distribution.
If you wish to compile the distribution, you just pick up Dave Phillips
sources, apply the patches.diff file with 'patch -p0 < patches.diff'
and recompile. The Makefile contained in *this* distribution is JUST
for installation. I thank very much Dave Phillips for his kind words
and suggestions, but I am the only responsible for this distrib:
if installing etc. does not work, please let me know.
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.
---list of files------list of files------list of files---
-rwxr-xr-x nicb/tr1 556064 Jan 30 15:29 1998 libcsound.so.3.47
-rwxr-xr-x nicb/tr1 2720 Jan 30 15:29 1998 csound
-rwxr-xr-x nicb/tr1 5468 Jan 30 15:29 1998 hetro
-rwxr-xr-x nicb/tr1 5469 Jan 30 15:29 1998 lpanal
-rwxr-xr-x nicb/tr1 5485 Jan 30 15:29 1998 pvanal
-rwxr-xr-x nicb/tr1 17425 Feb 1 00:42 1998 libcscore.so.3.47
-rwxr-xr-x nicb/tr1 17584 Jan 30 15:29 1998 scot
-rwxr-xr-x nicb/tr1 6128 Jan 30 15:29 1998 envext
-rwxr-xr-x nicb/tr1 4508 Jan 30 15:29 1998 pv_export
-rwxr-xr-x nicb/tr1 3892 Jan 30 15:29 1998 het_export
-rwxr-xr-x nicb/tr1 3888 Jan 30 15:29 1998 lpc_export
-rwxr-xr-x nicb/tr1 3732 Jan 30 15:29 1998 het_import
-rwxr-xr-x nicb/tr1 4120 Jan 30 15:29 1998 pv_import
-rwxr-xr-x nicb/tr1 21161 Jan 30 15:29 1998 mixer
-rwxr-xr-x nicb/tr1 13297 Jan 30 15:29 1998 extractor
-rwxr-xr-x nicb/tr1 20321 Jan 30 15:29 1998 scale
-rwxr-xr-x nicb/tr1 3568 Jan 30 15:29 1998 sndinfo
-r--r--r-- nicb/tr1 2208 Feb 1 12:41 1998 Makefile
-r--r--r-- nicb/tr1 564 Jan 30 22:24 1998 INSTALL.linux-bins
-r--r--r-- nicb/tr1 1344 Jan 30 22:24 1998 README.linux
-rw-r--r-- nicb/tr1 38028 Feb 1 12:42 1998 patches.diff
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Date: Mon, 09 Feb 1998 23:21:22 +0300
To: csound@maths.ex.ac.uk
From: Yuri Pavlovetsky
Subject: veloc in 3.47
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Hello !
It seems that reviced veloc in 3.47 needs some extra arguments. I
can't find their meaning in manuals. Could somebody explain it ?
Thank you very much.
Best regards,
Yuri Pavlovetsky.
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Date: Mon, 9 Feb 1998 16:29:17 -0500 (EST)
From: Burton Alexandre
Subject: GEN19?
To: csound@maths.ex.ac.uk
In-Reply-To: <19980204224116.20365.qmail@ella.mills.edu>
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i can't quite find a reason for the way GEN19 is implemented, ie DC
offset for each partial. Why not simply a "master" DC offset? Individual
offsets would (maybe) be usefull if they were applied before weighting,
not after... now they just directly cancel each other.
so, what am i missing?
Alex Burton.
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Date: Mon, 9 Feb 1998 17:22:08 -0800 (PST)
From: Qian Chen
Subject: Re: Planar Rotations of Multidimensional Oscillators
To: =cw4t7abs
Cc: csound@maths.ex.ac.uk
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Could you please use the language that all of us understand?
Honestly, I always delete your mail without reading it since I could
not understand it. What a pity!
---=cw4t7abs wrote:
>
> >At 01:31 AM 2/9/98 +0100, rasmus ekman wrote:
> >
> >>Ah! Now, has anybody recently done any masterpiece in Csound?
> >
> >Yes _ I have but the text is better than the sound,
>
>
> tzo. dzen !t = akadem!k.
> 1 muzt b certa!n 2 attach procesz notez 2 dze cd komponent
> tzo az 2 astound humanz w!th 1 analytik m9ndkonta!nr
>
>
> dze fallow!ng waz allomplischd by kUuTkoOp+epaAste . rout!n.
>
> [e r r o r = h o m e] hihi.
>
> but dze procesz = kontrLd by max
> tzo dzat makex !t
>
> al.ad.m.!kk.akk.bl.!p. &| fake.d!zorgan!zd.lab||
>
>
>
> still it seems a
> >masterpiece at first sight. I actually compiled it from chunks I
copied
> >from this list, because I don't understand a clue of how csound
really
> >works. That is why I am on this list. To sample masterinsight into
> >masterpieces.
> >Gz
> >
> >>
> >> ......................
> >> dBONANZAh! --/__
> >> ......................
> >> dewey.rug.ac.be
> >> [e r r o r = h o m e] hihi.
> >> simsim.rug.ac.be
> >> [anti_analog:hit_men]
> >
> >
> > d!g!taLrulz =)
> >> ......................
>
>
>
>
>
> endin
> ......................
> ; Begin Score dBONANZAh! --/__
> ......................
> f1 0 8192 10 1 dd!g!taLrulz.b=)
> f2 0 1024 7 1 512 1 0 -1 512 [e r r o r = h o m e] hihi.
> f3 0 1024 7 1 1024 -1 simsim.rug.ac.be
> taLrulz.b [anti_analog:hit_men]
> ; Compression Csimsim.ru = h simsim.rug.ac.be
> f6 0 1025 7 1 1_analog:hm.ru [e6r.r4o2r6=.h2o2m7e]001 hihi.
> simsim.ru.ruh dewey.rug.ac.be
> ; Sta Dur Amp Prto_rn=lhg:hu...................... 5000 7.00 2 6 1.2
> i1 + .15 5000 7.05simsim.ruh dBONANZAh! --/__
> i1 . .15 5000 6.07r.o6r1=chb......................
> i1 . .15 5000 7.10 ..6 1....d!g!taLrulz =)
> i1 . .15 5000 8.05 dBONANZAh taLrulz.b
> i1 . .15 5000 7.07 ......... r o r = h
> i1 . .15 5000 7.10 Lrulz.1=) simsim.ru simsim.ru
> i1 . .15 5000 7.10 . 6 1.0[anti_analog:h _analog:h
> i1 . 1.2 5000 7.00 . 6 1.2 simsim.ru simsim.ru
> simsim.ru [e r r o r = h r o r = h
> [anti_analog:h dewey.rug.ac.b .rtaLrulz.b
> simsim.ru .............. simsim.ru.= h
> [e r r o r = h dBONANZAh _analog:hm.ru
> dewey.rug.ac.b .............. simsim.ru.ruh
> .............. !g!taLrulz =) r o_rn=lhg:hu.
> dBONANZAh [anti_analog:h _analom.ruh
> .............. simsim.ru simsim =chb.
> !g!taLimsim.ru [e r r o r = h r o.r ...d
> analog:h dewey.rug.ac.b .rtaLrANZAh
> imsim.ru .............. simsim.r
> o r = h dBONANZAh _analog:
> rug.ac.b .............. simsim.r
> ........ !g!taLrulz =) r o_rn=l
> [e r r o r = h o
> simsim.rug.a
> rulz.b [anti_analog:hit_
> ru = h simsim.rug.a
>
>
>
>
>
> 0f0003|m2sch1n3nkunZt|anti.mazter.
>
p!esz.3z.
> _+ b!nar=e.m9ndfukc.rout!n.
> hTTp://www.god-emil.dk/=cw4t7abs
> http://www.god-emil.dk/spCa
>
>
>
>
_________________________________________________________
DO YOU YAHOO!?
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Date: Tue, 10 Feb 1998 09:09:55 +0100
From: Gabriel Maldonado
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To: Csound Mailing List
Subject: Re: entry.c and dynamic linking
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Michael Gogins already proposed, some time ago, the same concept,
developing a Csound version which supports external dll loading. The
external library provided by Gogins includes all original C++ Perry Cook
tool-kit opcodes.
Then I linked Michael Gogins' external library support to Win95 realtime
MIDI Csound version (RTsound 1.9), so even my version supports external
DLL now. The
problem is how to extend the programming interface to all the other
platforms without introducing too many differences, so the sources of an
external
library of opcodes can be ported to all platforms without a too big
effort.
Another thing I believe to be useful, is to open and close orchestra and
scores without having to restart Csound each time. In this case the time
of loading will be reduced and this will help us especially when writing
and testing new osc/scos. Any idea?
-
Gabriel Maldonado
mailto:g.maldonado@agora.stm.it
http://www.agora.stm.it/G.Maldonado/home2.htm
http://www.geocities.com/SiliconValley/Way/7041/home2.htm
Nicola Bernardini wrote:
> Some months ago I remember a discussion about limiting the
> addition of opcodes to avoid the explosion of entry.c and to keep
> the sources manageable.
>
> Now that practically all systems support dynamic library loading
> (yes I know there is still DOS, but we could consider a work-around
> for that),
> maybe a solution could be to distribute the opcodes in several
> dynamic libraries (libxxx.so under linux, .dlls under Win95, etc.)
> and these libraries could loaded dynamically (w/ dlopen(),dlclose()
> calls)
> as requested by the orcs. The entry table could be substituted by
> a linked list of tables (one for each library) and perhaps a
> configuration
> file to define loading paths and priorities.
>
> This could have a number of advantages:
>
> 1) better structuring of opcode code
> 2) smaller in-core runtime executables when few opcodes are requested
> (which, paradoxically, could help real-time)
> 3) opcode libraries could be maintained separately
> by different groups, with better sharing of workload
> 4) even if I personally do not like the approach at all, some
> libraries
> could be distributed in binary form only when the author(s) do
> not feel like distributing the sources (think, for example, about
> the famous ambisonic opcode which cannot exist for patent
> problems...)
>
> The disadvantages are obvious but need some consideration:
>
> 1) system is slower (even if it could be argued that it would only be
> slower in orchestra loading and not during play)
>
> 2) the package requires some quite thorough definition of how to
> build libraries, how to call them, etc. otherwise everything is
> bound
> to end up in chaos
>
> I am willing to help in this endeavour if there is a general agreement
>
> that this thing is useful.
>
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Date: Tue, 10 Feb 1998 10:27:52 +0100 (MET)
From: Guy Van Belle
Reply-To: Guy Van Belle
To: Qian Chen
Cc: csound@maths.ex.ac.uk
Subject: Re: Planar Rotations of Multidimensional Oscillators
In-Reply-To: <19980210012208.22865.rocketmail@send1b.yahoomail.com>
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Could you please use the language that all of us understand?
- I did get the message
Honestly, I always delete your mail without reading it since I could
not understand it. What a pity!
- it is, try it a couple of times, begin with small chunks
after a while you will get better
BTW, do you like my new .sig?
gz
......................
; Begin Score dBONANZAh! --/__
......................
f1 0 8192 10 1 dd!g!taLrulz.b=)
f2 0 1024 7 1 512 1 0 -1 512 [e r r o r = h o m e] hihi.
f3 0 1024 7 1 1024 -1 simsim.rug.ac.be
taLrulz.b [anti_analog:hit_men]
; Compression Csimsim.ru = h simsim.rug.ac.be
f6 0 1025 7 1 1_analog:hm.ru [e6r.r4o2r6=.h2o2m7e]001 hihi.
simsim.ru.ruh dewey.rug.ac.be
; Sta Dur Amp Prto_rn=lhg:hu...................... 5000 7.00 2 6 1.2
i1 + .15 5000 7.05simsim.ruh dBONANZAh! --/__
i1 . .15 5000 6.07r.o6r1=chb......................
i1 . .15 5000 7.10 ..6 1....d!g!taLrulz =)
i1 . .15 5000 8.05 dBONANZAh taLrulz.b
i1 . .15 5000 7.07 ......... r o r = h
i1 . .15 5000 7.10 Lrulz.1=) simsim.ru simsim.ru
i1 . .15 5000 7.10 . 6 1.0[anti_analog:h _analog:h
i1 . 1.2 5000 7.00 . 6 1.2 simsim.ru simsim.ru
simsim.ru [e r r o r = h r o r = h
[anti_analog:h dewey.rug.ac.b .rtaLrulz.b
simsim.ru .............. simsim.ru.= h
[e r r o r = h dBONANZAh _analog:hm.ru
dewey.rug.ac.b .............. simsim.ru.ruh
.............. !g!taLrulz =) r o_rn=lhg:hu.
dBONANZAh [anti_analog:h _analom.ruh
.............. simsim.ru simsim =chb.
!g!taLimsim.ru [e r r o r = h r o.r ...d
analog:h dewey.rug.ac.b .rtaLrANZAh
imsim.ru .............. simsim.r
o r = h dBONANZAh _analog:
rug.ac.b .............. simsim.r
........ !g!taLrulz =) r o_rn=l
[e r r o r = h o
simsim.rug.a
rulz.b [anti_analog:hit_
ru = h simsim.rug.a
0f0003|m2sch1n3nkunZt|anti.mazter.
p!esz.3z.
_+ b!nar=e.m9ndfukc.rout!n.
On Mon, 9 Feb 1998, Qian Chen wrote:
> Could you please use the language that all of us understand?
> Honestly, I always delete your mail without reading it since I could
> not understand it. What a pity!
>
>
>
>
> ---=cw4t7abs wrote:
> >
> > >At 01:31 AM 2/9/98 +0100, rasmus ekman wrote:
> > >
> > >>Ah! Now, has anybody recently done any masterpiece in Csound?
> > >
> > >Yes _ I have but the text is better than the sound,
> >
> >
> > tzo. dzen !t = akadem!k.
> > 1 muzt b certa!n 2 attach procesz notez 2 dze cd komponent
> > tzo az 2 astound humanz w!th 1 analytik m9ndkonta!nr
> >
> >
> > dze fallow!ng waz allomplischd by kUuTkoOp+epaAste . rout!n.
> >
> > [e r r o r = h o m e] hihi.
> >
> > but dze procesz = kontrLd by max
> > tzo dzat makex !t
> >
> > al.ad.m.!kk.akk.bl.!p. &| fake.d!zorgan!zd.lab||
> >
> >
> >
> > still it seems a
> > >masterpiece at first sight. I actually compiled it from chunks I
> copied
> > >from this list, because I don't understand a clue of how csound
> really
> > >works. That is why I am on this list. To sample masterinsight into
> > >masterpieces.
> > >Gz
> > >
> > >>
> > >> ......................
> > >> dBONANZAh! --/__
> > >> ......................
> > >> dewey.rug.ac.be
> > >> [e r r o r = h o m e] hihi.
> > >> simsim.rug.ac.be
> > >> [anti_analog:hit_men]
> > >
> > >
> > > d!g!taLrulz =)
> > >> ......................
> >
> >
> >
> >
> >
> > endin
> > ......................
> > ; Begin Score dBONANZAh! --/__
> > ......................
> > f1 0 8192 10 1 dd!g!taLrulz.b=)
> > f2 0 1024 7 1 512 1 0 -1 512 [e r r o r = h o m e] hihi.
> > f3 0 1024 7 1 1024 -1 simsim.rug.ac.be
> > taLrulz.b [anti_analog:hit_men]
> > ; Compression Csimsim.ru = h simsim.rug.ac.be
> > f6 0 1025 7 1 1_analog:hm.ru [e6r.r4o2r6=.h2o2m7e]001 hihi.
> > simsim.ru.ruh dewey.rug.ac.be
> > ; Sta Dur Amp Prto_rn=lhg:hu...................... 5000 7.00 2 6 1.2
> > i1 + .15 5000 7.05simsim.ruh dBONANZAh! --/__
> > i1 . .15 5000 6.07r.o6r1=chb......................
> > i1 . .15 5000 7.10 ..6 1....d!g!taLrulz =)
> > i1 . .15 5000 8.05 dBONANZAh taLrulz.b
> > i1 . .15 5000 7.07 ......... r o r = h
> > i1 . .15 5000 7.10 Lrulz.1=) simsim.ru simsim.ru
> > i1 . .15 5000 7.10 . 6 1.0[anti_analog:h _analog:h
> > i1 . 1.2 5000 7.00 . 6 1.2 simsim.ru simsim.ru
> > simsim.ru [e r r o r = h r o r = h
> > [anti_analog:h dewey.rug.ac.b .rtaLrulz.b
> > simsim.ru .............. simsim.ru.= h
> > [e r r o r = h dBONANZAh _analog:hm.ru
> > dewey.rug.ac.b .............. simsim.ru.ruh
> > .............. !g!taLrulz =) r o_rn=lhg:hu.
> > dBONANZAh [anti_analog:h _analom.ruh
> > .............. simsim.ru simsim =chb.
> > !g!taLimsim.ru [e r r o r = h r o.r ...d
> > analog:h dewey.rug.ac.b .rtaLrANZAh
> > imsim.ru .............. simsim.r
> > o r = h dBONANZAh _analog:
> > rug.ac.b .............. simsim.r
> > ........ !g!taLrulz =) r o_rn=l
> > [e r r o r = h o
> > simsim.rug.a
> > rulz.b [anti_analog:hit_
> > ru = h simsim.rug.a
> >
> >
> >
> >
> >
> > 0f0003|m2sch1n3nkunZt|anti.mazter.
> >
> p!esz.3z.
> > _+ b!nar=e.m9ndfukc.rout!n.
> > hTTp://www.god-emil.dk/=cw4t7abs
> > http://www.god-emil.dk/spCa
> >
> >
> >
> >
>
> _________________________________________________________
> DO YOU YAHOO!?
> Get your free @yahoo.com address at http://mail.yahoo.com
>
>
>
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Date: Tue, 10 Feb 1998 10:51:15 +0100
From: Marc Resibois
Organization: Solar Flare
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To: csound@maths.ex.ac.uk
Subject: about =cw4t7abs
References:
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Guy Van Belle wrote:
>
> Could you please use the language that all of us understand?
This guy has nothing to say. He has a bot that automatically takes
incoming mail and replies it with (not so) random junk. I saw him
already on other lists. If you ask me, he should be removed from the
list.
Marc.
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Date: Tue, 10 Feb 1998 04:24:45 -0600
To: csound@maths.ex.ac.uk
From: =cw4t7abs
Subject: Re: ofFt.op.!k.eTc.
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>Could you please use the language that all of us understand?
>Honestly, I always delete your mail without reading it since I could
>not understand it. What a pity!
!t onl+e makex senss 2 un.der.stand that wh!ch 1 doez.nt under.stand.
!nfinite loop rekuezt sat!sf!ed.
0f0003|m2sch1n3nkunZt|anti.mazter.
>p!esz.3z.
_+ b!nar=e.m9ndfukc.rout!n.
hTTp://www.god-emil.dk/=cw4t7abs
http://www.god-emil.dk/spCa
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Date: Tue, 10 Feb 1998 11:22:42 +0100 (MET)
From: Guy Van Belle
Reply-To: Guy Van Belle
To: Marc Resibois
Cc: csound@maths.ex.ac.uk
Subject: Re: about =cw4t7abs
In-Reply-To: <34E02313.794BDF32@ping.be>
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You wrote:
Guy Van Belle wrote:
>
> Could you please use the language that all of us understand?
-- I am trribly misquoted here
I actually wrote:
>Could you please use the language that all of us understand?
- I did get the message
>Honestly, I always delete your mail without reading it since I could
>not understand it. What a pity!
- it is, try it a couple of times, begin with small chunks
after a while you will get better
> This guy has nothing to say. He has a bot that automatically takes
You mean Guy (my name) or antiorp (who gave me a nice .sig)
In any case we (Guy) must disagree
> incoming mail and replies it with (not so) random junk. I saw him
> already on other lists. If you ask me, he should be removed from the
> list.
your description doesn't really fit with the nature and content of
antiorp's writing. I think replies like these should be banned completely
because they reflect intolerance. I expect people in collaboration and
conversation to have this quality.
I am much more intolerant for mails like:
Win over any woman you want in less than an hour.
GUARANTEED!
Start dating women that until now were 'out of your league'
GUARANTEED!
As incredible as it sounds, it is now possible for you to
achieve in minutes, what typically takes most men days, months, and
sometimes even years to accomplish...SEDUCING A WOMAN!
Skeptical?
Read this. Then visit our web site to learn the FACTS!
Scientists worldwide agree that, in certain applications, subliminal mind
control can accomplish amazing things. You might have heard how in the
1950s
subliminal advertising was used in movie theaters to induce an unnatural
craving for popcorn and an unquenchable desire for Coke.
They are boring in the first place and stupid in the second. Antiorp's
messages are witty, funny and contain essential info.
Gz
......................
; Begin Score dBONANZAh! --/__
......................
f1 0 8192 10 1 dd!g!taLrulz.b=)
f2 0 1024 7 1 512 1 0 -1 512 [e r r o r = h o m e] hihi.
f3 0 1024 7 1 1024 -1 simsim.rug.ac.be
taLrulz.b [anti_analog:hit_men]
; Compression Csimsim.ru = h simsim.rug.ac.be
f6 0 1025 7 1 1_analog:hm.ru [e6r.r4o2r6=.h2o2m7e]001 hihi.
simsim.ru.ruh dewey.rug.ac.be
; Sta Dur Amp Prto_rn=lhg:hu...................... 5000 7.00 2 6 1.2
i1 + .15 5000 7.05simsim.ruh dBONANZAh! --/__
i1 . .15 5000 6.07r.o6r1=chb......................
i1 . .15 5000 7.10 ..6 1....d!g!taLrulz =)
i1 . .15 5000 8.05 dBONANZAh taLrulz.b
i1 . .15 5000 7.07 ......... r o r = h
i1 . .15 5000 7.10 Lrulz.1=) simsim.ru simsim.ru
i1 . .15 5000 7.10 . 6 1.0[anti_analog:h _analog:h
i1 . 1.2 5000 7.00 . 6 1.2 simsim.ru simsim.ru
simsim.ru [e r r o r = h r o r = h
[anti_analog:h dewey.rug.ac.b .rtaLrulz.b
simsim.ru .............. simsim.ru.= h
[e r r o r = h dBONANZAh _analog:hm.ru
dewey.rug.ac.b .............. simsim.ru.ruh
.............. !g!taLrulz =) r o_rn=lhg:hu.
dBONANZAh [anti_analog:h _analom.ruh
.............. simsim.ru simsim =chb.
!g!taLimsim.ru [e r r o r = h r o.r ...d
analog:h dewey.rug.ac.b .rtaLrANZAh
imsim.ru .............. simsim.r
o r = h dBONANZAh _analog:
rug.ac.b .............. simsim.r
........ !g!taLrulz =) r o_rn=l
[e r r o r = h o
simsim.rug.a
rulz.b [anti_analog:hit_
ru = h simsim.rug.a
0f0003|m2sch1n3nkunZt|anti.mazter.
p!esz.3z.
_+ b!nar=e.m9ndfukc.rout!n.
On Tue, 10 Feb 1998, Marc Resibois wrote:
> Guy Van Belle wrote:
> >
> > Could you please use the language that all of us understand?
>
> This guy has nothing to say. He has a bot that automatically takes
> incoming mail and replies it with (not so) random junk. I saw him
> already on other lists. If you ask me, he should be removed from the
> list.
>
> Marc.
>
>
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From: Christophe
To: csound@maths.ex.ac.uk
MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.stork
Subject: Tips for newbies
Date: Tue, 10 Feb 1998 11:52:24 +0100
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Hello !
As I'm new to CSound I would like to make some easy tries. What I need is
quite simple :
There are a lot a impressive sound (.ORC files) that I would like to use
with a midi sequence :
1) I record a 1track midi file using a "similar" sound from a GM Module
2) I use CSound with several .ORC files using the midi file option to
generate a wav file
The question is : why do I need an SCO file when I use a MIDI file as note
input ?
The second is : If I must use a SCO file , what is the minimal commands a
SCO file must contains ?
Conclusion : using SCO file is not my goal, I prefer to generate separate
waves to be used in a multitrack audio sequencer.
Thanks
[ Am I enough clear ?? sorry for my english ]
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Date: Tue, 10 Feb 1998 11:31:51 +0000 (GMT)
From: JAMIE B
Subject: =cw4t7abs alias antiorp
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on Feb 10 Marc wrote:
Guy Van Belle wrote:
>
> Could you please use the language that all of us understand?
This guy has nothing to say. He has a bot that automatically takes
incoming mail and replies it with (not so) random junk. I saw him
already on other lists. If you ask me, he should be removed from the
list.
- I agree, what would it be like if we all invented our own personal language,
to use on mailing lists? - No-one would be able to communicate.
If Antiorp's language is supposed to an attempt at universality, it isn't!
It's basically English with a few z's and !'s thrown in. I find the whole
thing very arrogant, and annoying.
Jamie B
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Date: Tue, 10 Feb 98 12:40:46 GMT
From: jpff@maths.bath.ac.uk
Subject: Re: discouraged
To: csound@maths.ex.ac.uk
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Message written at 10 Feb 1998 09:51:00 +0000
In-reply-to: <34DE4E5A.34A2@hexagon.se> (message from rasmus ekman on Mon, 09
Feb 1998 01:31:22 +0100)
I have two answers to this question of a Csound masterpiece -- well
perhaps three.
1) My next-but-one work is a masterpiece; I have been working on it
for 8 years now, but when it is finished you will all be bowled
over and all give up composition as it has all been said..... sorry
wrong blurb... you will see the depth of my feelings on the
underlying tradagy
2) I think the Richard Boulanger's "At Last...Free" is a candidate for
a masterpiece. OK so I am biased, but it is really good.
Third answer; there are a number of composers whose work I respect and
enjoy who I know use Csound. Whether they used it on particular works
or not I do not know, nor indeed in a real sense, care. I like the
music however it comes.
And as a final thought, who cares if it is a masterpiece? I had been
composing too long without any work having been performed (like about
40yrs off an on) to have any illusions that I was doing this for
public acclaim. I write what I write because it needs to be written.
Even the bad stuff (or which there is a great proportion) exists
because I need to write it. That is close to saying I do not care
what everyone else thinks. The first work of mine which I thought had
star quality existed in my sitting room for a long time. I like it;
my wife likes it. That is enough.
If I had the attitude to give up when I heard a real masterpiece I
would have given up at 10 when I heard Dowland, or 17 with Dvorak and
Tchaikovsky, or Bruckner at 18, or Wagner at 20, or Xenakis at 40....
Let's face it -- it is fun.
=John
Well teaching started yesterday, so I have no energy for real work,
just philosophising.
|