| Hello,
I just wanted to say to all the people who decided to and then did
put together the upcoming Csound book, I just wanted to say thank you
and best wishes. I will purchase the book the DAY it is released. Csound
is one hell of a powerful synth, and I am really just scratching the
surface right now.
Thanks,
SONICMAN=out
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From: Michael Gogins
To: Sean Costello
Cc: CSOUND
Subject: Re: Csound Performance on Multiprocessor Intel Systems?
Date: Sat, 13 Mar 1999 09:40:00 -0500
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The Beowulf idea is pretty good. This would work, of course, only for
systems where threads do not interact but simply sum their results. It would
amount to parceling out a Csound score to separate Csounds and then mixing
the resulting soundfiles. In fact, that sort of approach would be only
moderately difficult to code.
This could work as follows. A master Csound parcels out its score.srt and
orc.srt files, and fires up sub-Csounds, each one on a separate processor or
computer. The sub-Csounds have soundfile output functions that use sockets
to send soundfile buffers back to the master Csound, which acts as a mix
server. The soundfile buffers could even be compressed so that the whole
scheme would be practical over dialup connections.
-----Original Message-----
From: Sean Costello
To: Michael Gogins
Cc: CSOUND
Date: Friday, March 12, 1999 9:45 PM
Subject: Re: Csound Performance on Multiprocessor Intel Systems?
>Michael Gogins wrote:
>>
>> I don't have specific experience with double processor systems and
Csound,
>> but I am a long time Csound user and contributor, and I work as a
>> programmer. I think the story would be that you will not see large
>> improvements in performance using Csound on a multi-processing system
>> because Csound is a single-threaded application. You would see a slight
>> improvement because one processor could devote itself mostly to running
>> Csound, and the other could handle the other things happening on the
>> machine, but this would probably do nothing like double the speed, and
might
>> not even be noticeable.
>
>Bummer. A dual processor system seemed so attractive - the price of two
>Pentium II 350's is considerably less than a single Pentium II 450. Are
>there any multi-threaded computer music languages out there? I know
>Quasimodo is, but it doesn't seem to be fully functional as yet. Is CLM
>multi-threaded? Are there any CLM users out there who can attest to the
>speed differences between CLM and Csound?
>
>> Csound could be rewritten to take advantage of multiprocessing, but the
>> rewrite would be difficult and at a low level; it would involve creating
a
>> pool of threads, from which new instrument instances would receive one.
This
>> would improve performance only if the number of instrument instances was
>> fairly large, because there would some additional processor overhead
>> incurred by requiring each thread to synchronize with the ksmps period,
and
>> to manage the threads.
>
>It sounds like the processing I was doing this week (sndwarp and fog,
>with lots of overlaps) wouldn't be helped by multithreading. However, a
>pvadd orchestra, with Common Music generated score (i.e. calling a pvadd
>instrument for every bin, via a CM-generated score) would greatly
>benefit from a multithreaded system.
>
>Wishful thinking computer music idea of the day: A multithreaded Csound
>that can run on a Beowulf-type distributed system. Get a bunch of cheap
>K6-2 motherboards, and have a home "audio supercomputer" for rendering
>sndwarp and pvoc files.
>
>Sean Costello
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From: nunativs
To: Michael Minnick , csound
Subject: Re: CMask users, GUI?
Date: Sat, 13 Mar 1999 08:32:09 -0800
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Hi Michael,
The only graphical interface based on Cmask but en-hanced that I know of
is HPK Composer. Its written in Java so you have to set up java too. Find
it here:
http://hplank.inetpc.com/hpkcomposer.html
Regards,
Ken
----------
> From: Michael Minnick
> To: csound
> Subject: CMask users, GUI?
> Date: Wednesday, March 10, 1999 7:58 PM
>
> Any CMask users out there? I've been using cmask for a few months now.
> It's just way too much fun!
>
> However, I'm getting tired of editing those mask parameter lists by
> hand. Does anyone know of a graphical editor specifically for tendency
> masks? Or even a generic graphical line segment editor I might be able
> to modify? I hate to take time away from composing to write one, but I'm
> not being very productive with this hand editing...
>
> BTW, the link to CMask on the CSound Front Page
> (http://kgw.tu-berlin.de/~abart/) is broken tonight, perhaps the server
> is just down...
>
> Mike
>
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Date: Sat, 13 Mar 1999 13:06:03 -0300
From: Ignacio de Campos
Subject: Problems with MacOS 8.5
To: Csound Mail-list
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I would like to know if there is any
incompatibility with CSound.PPC version
3.51 (the latest, I supose) and the MacOS
8.5 running in a G3 300 MHz.
I am used to run CSound in PowerMac
9600 under OS 7.6.5.
A while ago I bought that G3 and
I percevied some strange behaviour
in CSound. Some times it run normal
and others simplly do not run.
I could still not figure out why
it happens.
Any idea?
Thanks
Ignacio de Campos
--
Ignacio de Campos/Gloria Cunha
Rua Helenita Aparecida Bassan de Sa' n792
13083-723 - Campinas, SP
glocunha@turing.unicamp.br
http://www.geocities.com/SiliconValley/Way/9619/musicanova.html
http://www.geocities.com/SoHo/Gallery/7055/bimesp98.html
http://www.geocities.com/SoHo/Gallery/9147/dada.html
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Date: Sat, 13 Mar 1999 14:16:17 +0000
From: Ben Jefferys
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To: CSOUND
Subject: Re: Csound Performance on Multiprocessor Intel Systems?
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Michael Gogins wrote:
> Csound could be rewritten to take advantage of multiprocessing, but the
> rewrite would be difficult and at a low level; it would involve creating a
> pool of threads, from which new instrument instances would receive one. This
> would improve performance only if the number of instrument instances was
> fairly large, because there would some additional processor overhead
> incurred by requiring each thread to synchronize with the ksmps period, and
> to manage the threads.
Here's a few ideas, but not really being very experienced in Csound
(still!) I leave it to others to discuss the viability. All would
require changes to Csound I think.
1. Just chop the total length of audio you wish to create into the
number of processors you have. Now this has very obvious problems in
that the creation of one sample depends on internal states reaches in
the generation of the previous sample. This is a big problem where, say,
you have 2 processors, one sample is created on processor 1, the next on
processor 2 and so on (striping). However if you just partition it into
the "first half" and "second half" (say), then perhaps a good estimate
of Csound's state just before generating the second half of the audio
can be created, using a quick low-resolution (low a-rate yes?) run of
the first half. The second half and first half can then be generated
simultaneously. This obviously extends to >2 processors. This may be
good enough for some orcs.
2. If you are just changing a small section of the audio each time (say
between t=6 and t=7 seconds) then you could store the internal state of
Csound at t=6, make your changes, then somehow map the stored state onto
your changed orc, then just generate audio from t=6 to t=7.
3. I'm not sure what Csound does by way of caching already, but maybe
some performance can be gained by caching the outputs of particular
elements of the orc between runs of Csound. There is obviously some kind
of dependency tree (directed graph really) which can be created (what
uses the output of what) so only stuff which has changed, and stuff
which depends on stuff which has changed, need be regenerated between
sessions. If your small change is near the final output of Csound, then
all the generation prior to it in the dependency graph can be used again
from the cache. You could have a set of cache files, each containing the
output of some element along with the code which generated it (or some
internal representation of it). Csound may well already do this so sorry
if I'm being obvious!
Those are my ideas anyway.
Finally, functional languages. I've just been shown a paper about
"Haskore", a Western music score generation system written in Haskell.
It has convertors for Csound scos and MIDI amongst others. Looks quite
neat, I will post the URL if people are interested. I feel that
functional languages are certainly the way forward, and was wondering if
there was an actual audio synthesis system written for Haskell or
similar fuctional language. I'm sure this is old ground but maybe
something has come up recently?
Bye!
Ben.
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Date: Sat, 13 Mar 1999 20:26:48 -0500 (EST)
From: Greg Judelman
To: CSOUND
Subject: adsyn distortion
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Attention Fellows and Madams,
With regards to adsyn synthesis of hetro analysis:
I've analyzed a piano note with hetro (using up to 50 partials). Upon
resynthesis in adsyn, the resynthesized piano note is not as close to the
original as I would like. The attack of the note is not as sharp (ie less
transient detail) and there is both low frequency and high frequency
distortion. Any ideas on how to improve the quality of analysis to obtain
a more accurate spectrum? Or is adsyn not capable of recreating the hetro
output accurately?
What could be the source of my problem and how could I fix it?
I welcome any wisdom on the subject.
Thanks,
Greg
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Date: Sat, 13 Mar 1999 19:47:54 -0700 (MST)
From: Mark T Vigorito
To: Lemoine Jean-Pierre
cc: "csound@maths.ex.ac.uk"
Subject: Re: HPKComposer status
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Hi,
Can HPKC run with JDK1.2? (now called Java 2). Or should I get
version 1.1.7 of JDK in order to run it?
Thanks,
Mark Vigorito
mtv@u.arizona.edu
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From: SONICMAN
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To: Csound Q&A list
Subject: Question, write one note then have it repeat x times with 1 pitch inc.
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Question,
How could I write one note or on line in a score then have it repeat x
number of times with a 1 note pitch increment each time?
i.e. a dminor scale, then a eminor scale, then ~ ~ etc.,
Thanks,
SONICMAN=out
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From: Michael Gogins
To: Greg Judelman ,
CSOUND
Subject: Re: adsyn distortion
Date: Sat, 13 Mar 1999 22:00:30 -0500
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When running your hetro analysis, try a lot more initial breakpoints (n
option). Have it work out to about .005 seconds between breakpoints. Also
use a lot more partials (h option). Try 512 or 1024. There may still be
trouble with sharp attacks, however. If hetro doesn't catch it, adsyn can't
make it.
-----Original Message-----
From: Greg Judelman
To: CSOUND
Date: Saturday, March 13, 1999 8:27 PM
Subject: adsyn distortion
>
>Attention Fellows and Madams,
>
>With regards to adsyn synthesis of hetro analysis:
>
>I've analyzed a piano note with hetro (using up to 50 partials). Upon
>resynthesis in adsyn, the resynthesized piano note is not as close to the
>original as I would like. The attack of the note is not as sharp (ie less
>transient detail) and there is both low frequency and high frequency
>distortion. Any ideas on how to improve the quality of analysis to obtain
>a more accurate spectrum? Or is adsyn not capable of recreating the hetro
>output accurately?
>
>What could be the source of my problem and how could I fix it?
>
>I welcome any wisdom on the subject.
>
>Thanks,
>
>Greg
>
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Date: Sat, 13 Mar 1999 23:38:46 -0500 (EST)
From: jim altieri
Subject: Re: Question, write one note then have it repeat x times with 1 pitch
inc.
In-reply-to: <36EB27FB.23C66A98@att.net>
To: SONICMAN
Cc: Csound Q&A list
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> How could I write one note or on line in a score then have it repeat x
> number of times with a 1 note pitch increment each time?
>
> i.e. a dminor scale, then a eminor scale, then ~ ~ etc.,
>
i'll say this once again:
excel, lotus 123, or any spreadsheet is absolutely perfect for this type
of thing. spreadsheets are EXTREMELY easy to learn, and are very quick to
throw together.
much luck.
love,
jim altieri
http://www.mp3.com/tweeg/
http://www.oberlin.edu/~jaltieri/
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Date: Sun, 14 Mar 1999 04:52:01 +0000
From: Larry Troxler
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To: SONICMAN
CC: Csound Q&A list
Subject: Re: Question, write one note then have it repeat x times with 1 pitch inc.
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SONICMAN wrote:
>
> Question,
>
> How could I write one note or on line in a score then have it repeat x
> number of times with a 1 note pitch increment each time?
>
> i.e. a dminor scale, then a eminor scale, then ~ ~ etc.,
>
> Thanks,
> SONICMAN=out
This might be possible, or it might not, with the latest features of the
score language. Someone else could answer this.
Regardless, based on the type of questions you have been asking, I think
you really should look into using some other program or programming
language to generate your scores. Sure, the problem you pose today
might be solvable with the latest score language extensions. But what
about tommorow's problem? The point is, that the score language is not
meant to be a full-featured composition language.
Treat the scound score as you would a raw midi-file - it's something
that you generate using other tools. In your case, why not use a
sequencer to generate the events you want, then convert the midi file to
a score file? Or write some quick thing in Visual Basic, Perl, Tcl, or
do some magic in your editor. Or, as someone suggested, use a
spreadsheet?
I think I understand your position, that you would rather not get
involved with using other tools, but the problem is that, once you get
into the realm of describing higher-level constructs in the score
language, then you *really* open a can of worms, because there are so
many ways of describing music. Csound doesn't attempt to tackle this
problem, just as the Midi file format doesn't. Csound is a synthesis
engine, not an algorithmic composition package or composer's toolkit.
Think of csound as the software equivalent of a synth or sound-card.
OTOH, if you're willing to constrain yourself to the things that the
score language macros can do for you, and have no wish to go any
farther, then go for it. As long as you're sure that tomorrow you won't
want to do *diatonic* transpositions :-)
Larry
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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From: Sergey Batov
To: Larry Troxler
Cc: csound@maths.ex.ac.uk
MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.omphalos
Subject: Re: Question, write one note then have it repeat x times with 1 pitch inc.
Date: Sun, 14 Mar 1999 10:07:16 +0300
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Hi,
I'm reading you conversation with interest and suddenly thought:
Csound can do MIDI-out. Is it possible to save this MIDI-out stream
as a standard MIDI-file? If it's so one can create some fantastic
(algoritmic)
compositions using any program language (BASIC, PERL, e.t.c.) and transfo=
rm
it
through Csound to MIDI-file. It's possible to do, of course, directly
(without Csound)
but in this case it's necessary to learn MIDI-file format.
Excuse me if this "moment notice" seems too foolish...
Regards,
Sergey Batov batov@glasnet.ru
----------
> =CE=F2: Larry Troxler
> =CA=EE=EC=F3: SONICMAN
> =CA=EE=EF=E8=FF: Csound Q&A list
> =D2=E5=EC=E0: Re: Question, write one note then have it repeat x times =
with 1
pitch inc.
> =C4=E0=F2=E0: 14 =EC=E0=F0=F2=E0 1999 =E3. 7:52
>=20
> SONICMAN wrote:
> >=20
> > Question,
> >=20
> > How could I write one note or on line in a score then have it repeat =
x
> > number of times with a 1 note pitch increment each time?
> >=20
> > i.e. a dminor scale, then a eminor scale, then ~ ~ etc.,
> >=20
> > Thanks,
> > SONICMAN=3Dout
>=20
> This might be possible, or it might not, with the latest features of th=
e
> score language. Someone else could answer this.
>=20
> Regardless, based on the type of questions you have been asking, I thin=
k
> you really should look into using some other program or programming
> language to generate your scores. Sure, the problem you pose today
> might be solvable with the latest score language extensions. But what
> about tommorow's problem? The point is, that the score language is not
> meant to be a full-featured composition language.=20
>=20
> Treat the scound score as you would a raw midi-file - it's something
> that you generate using other tools. In your case, why not use a
> sequencer to generate the events you want, then convert the midi file t=
o
> a score file? Or write some quick thing in Visual Basic, Perl, Tcl, or
> do some magic in your editor. Or, as someone suggested, use a
> spreadsheet?
>=20
> I think I understand your position, that you would rather not get
> involved with using other tools, but the problem is that, once you get
> into the realm of describing higher-level constructs in the score
> language, then you *really* open a can of worms, because there are so
> many ways of describing music. Csound doesn't attempt to tackle this
> problem, just as the Midi file format doesn't. Csound is a synthesis
> engine, not an algorithmic composition package or composer's toolkit.
> Think of csound as the software equivalent of a synth or sound-card.
>=20
> OTOH, if you're willing to constrain yourself to the things that the
> score language macros can do for you, and have no wish to go any
> farther, then go for it. As long as you're sure that tomorrow you won'=
t
> want to do *diatonic* transpositions :-)
> =20
> Larry
>=20
> -- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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From: nunativs
To: Csound
Subject: MkGraph
Date: Sun, 14 Mar 1999 00:02:51 -0800
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Can anyone point me to where this utility is located or has it been
dis-continued. Its not present in the Csound-new zip.
Thanks,
Ken
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From: david ds
To: csound@maths.ex.ac.uk
Subject: Ambientscapes artists here ?
Date: Sun, 14 Mar 1999 02:53:55 PST
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Hi,
I was wondering if there are people here with a special
passion for deep ambient, with lots of drones, processed and harmonized
long textures....
David
Get Your Private, Free Email at http://www.hotmail.com
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From: Jim Stevenson
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To: affectdis@hotmail.com, csound@maths.ex.ac.uk
Subject: Re: Ambientscapes artists here ?
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Do you have some examples of code to create these effects?
If so, please post them.
Thanks.
>I was wondering if there are people here with a special
>passion for deep ambient, with lots of drones, processed and harmonized
>long textures....
>
>David
>
>
>Get Your Private, Free Email at http://www.hotmail.com
> |