| > Where can I find documentation about all the physical modeling opcodes and
> generally all undocumented one (mandol, marimba, moog, vibes, voice, shaker,
> "wg" opcodes etc...)
in the manual
and also (osciliaa, oscilikk, osciliak, oscilika, osciln...)
These are not opcodes per se. They are rate variants of oscili. Osciln is
however.
ftp://ftp.musique.umontreal.ca/pub/CsoundManual/
________________________________________________________
Jean Piche
Universite de Montreal
http://mistral.ere.umontreal.ca/~pichej
http://www.musique.umontreal.ca/electro/CEC/
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Date: Wed, 24 Jun 1998 08:54:38 -0400
From: jp
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Subject: Re: PMAX
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Jean-Michel DARREMONT wrote:
>
> Dear CSounders,
>
> Is it possible to set the score PMAX to more than 5000 and how to do it?
>
> I'm working on substractive synthesis with prior soundfile analysis which can
> be fascinating if I can increase this PMAX. The actual setting allowing me
> only 1 second of synthesis.
change it in cs.h
recompile
--
________________________________________________________
Jean Piche
Universite de Montreal
http://mistral.ere.umontreal.ca/~pichej
http://www.musique.umontreal.ca/electro/CEC/
From: jpff@maths.bath.ac.uk
To: jmdbrady@club-internet.fr
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In-reply-to: <3590E176.5BE54A92@club-internet.fr> (message from Jean-Michel
DARREMONT on Wed, 24 Jun 1998 11:22:34 +0000)
Subject: Re: Undocumented opcodes (LONG)
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The oscilixx opcodes are really oscili with different arguments, and
there is an internal mapping, so they are documented.
The physical model opcodes are 'documented' in Version3_47.Notes on
the server. Actually today's task is to revise these as there are
some errors/inaccuracies etc. Anyway, the documentation says
------------------------------------------------------------------------
ar wgclar kamp, kfreq, kstiff, iatt, idetk, kngain, kvibf, kvamp, ifn[, iminfreq]
Audio output is a tone similar to a clarinet, using a physical model
developed from Perry Cook, but re-coded for Csound.
Initialisation
iatt - time in seconds to reach full blowing pressure. 0.1 seems to
correspond to reasonable playing. A longer time gives a definite
initial wind sound.
idetk - time in seconds taken to stop blowing. 0.1 is a smooth ending
ifn - table of shape of vibrato, usually a sine table, created by a
function
iminfreq - lowest frequency at which the instrument will play. If
it is omitted it is taken to be the same as the initial kfreq.
Performance
A note is played on a clarinet-like instrument, with the arguments as
below.
kamp - Amplitude of note.
kfreq - Frequency of note played. While it can be varied in
performance, I have not tried it
kstiff - a stiffness parameter for the reed. Values should be
negative, and about -0.3. The useful range is approximately -0.44
to -0.18.
kngain - amplitude of the noise component, about 0 to 0.5
kvibf - frequency of vibrato in Hertz. Suggested range is 0 to 12
kvamp - amplitude of the vibrato
Example:
a1 wgclar 31129.60, 440, -0.3, 0.1, 0.1, 0.2, 5.735, 0.1, 1
out a1
------------------------------------------------------------------------
ar wgflute kamp, kfreq, kjet, iatt, idetk, kngain, kvibf, kvamp, ifn[, iminfreq]
Audio output is a tone similar to a flute, using a physical model
developed from Perry Cook, but re-coded for Csound.
Initialisation
iatt - time in seconds to reach full blowing pressure. 0.1 seems to
correspond to reasonable playing.
idetk - time in seconds taken to stop blowing. 0.1 is a smooth ending
ifn - table of shape of vibrato, usually a sine table, created by a
function
iminfreq - lowest frequency at which the instrument will play. If
it is omitted it is taken to be the same as the initial kfreq.
Performance
A note is played on a flute-like instrument, with the arguments as
below.
kamp - Amplitude of note.
kfreq - Frequency of note played. While it can be varied in
performance, I have not tried it
kjet - a parameter controlling the air jet. Values should be
positive, and about 0.3. The useful range is approximately 0.08
to 0.56.
kngain - amplitude of the noise component, about 0 to 0.5
kvibf - frequency of vibrato in Hertz. Suggested range is 0 to 12
kvamp - amplitude of the vibrato
Example:
a1 wgflute 31129.60, 440, 0.32, 0.1, 0.1, 0.15, 5.925, 0.05, 1
out a1
------------------------------------------------------------------------
ar wgbow kamp, kfreq, kpres, krat, kvibf, kvamp, ifn[, iminfreq]
Audio output is a tone similar to a bowed string, using a physical model
developed from Perry Cook, but re-coded for Csound.
Initialisation
ifn - table of shape of vibrato, usually a sine table, created by a
function
iminfreq - lowest frequency at which the instrument will play. If
it is omitted it is taken to be the same as the initial kfreq.
Performance
A note is played on a bowed string-like instrument, with the arguments as
below.
kamp - Amplitude of note.
kfreq - Frequency of note played. While it can be varied in
performance, I have not tried it
kpres - a parameter controlling the pressure of the bow on the string.
Values should be about 3. The useful range is approximately 1
to 5.
kratio - the position of the bow along the string. Usual playing is
about 0.127236. The suggested range is 0.025 to 0.23.
kvibf - frequency of vibrato in Hertz. Suggested range is 0 to 12
kvamp - amplitude of the vibrato
Example:
A bowing with vibrato setting in after a short time.
kv linseg 0, 0.5, 0, 1, 1, p3-0.5, 1
a1 wgbowed 31129.60, 440, 3.0, 0.127236, 6.12723, kv*0.01, 1
out a1
------------------------------------------------------------------------
ar wgbrass kamp, kfreq, iatt, kvibf, kvamp, ifn[, iminfreq]
Audio output is a tone related to a brass instrument, using a physical model
developed from Perry Cook, but re-coded for Csound.
Initialisation
iatt -- time taken to reach full pressure
ifn - table of shape of vibrato, usually a sine table, created by a
function
iminfreq - lowest frequency at which the instrument will play. If
it is omitted it is taken to be the same as the initial kfreq.
Performance
A note is played on a bowed string-like instrument, with the arguments as
below.
kamp - Amplitude of note.
kfreq - Frequency of note played. While it can be varied in
performance, I have not tried it
kvibf - frequency of vibrato in Hertz. Suggested range is 0 to 12
kvamp - amplitude of the vibrato
Example:
a1 wgbrass 31129.60, 440, 0.1, 6.137, 0.05, 1
------------------------------------------------------------------------
ar marimba kamp, kfreq, ihrd, ipos, imp, kvibf, kvamp, ivibfn, idec
ar vibes kamp, kfreq, ihrd, ipos, imp, kvibf, kvamp, ivibfn, idec
Audio output is a tone related to the striking of a wooden or metal
block as found in a marimba or vibraphone. The method is a physical
model developed from Perry Cook, but re-coded for Csound.
Initialisation
ihrd -- the hardness of the stick used in the strike. A range of 0 to
1 is used. 0.5 is a suitable value.
ipos -- where the block is hit, in the range 0 to 1.
imp - a table of the strike impulses. The file "marmstk1.wav" is a
suitable function from measurements, and can be loaded with a GEN1
table.
ivfn - shape of vibrato, usually a sine table, created by a
function
idec - time before end of note when damping is introduced
Performance
A note is played on a marimba-like instrument, with the arguments as
below.
kamp - Amplitude of note.
kfreq - Frequency of note played. While it can be varied in
performance, I have not tried it
kvibf - frequency of vibrato in Hertz. Suggested range is 0 to 12
kvamp - amplitude of the vibrato
Example:
a1 marimba 31129.60, 440, 0.5, 0.561, 2, 6.0, 0.05, 1, 0.1
a2 vibes 31129.60, 440, 0.5, 0.561, 2, 4.0, 0.2, 1, 0.1
------------------------------------------------------------------------
ar agogobel kamp, kfreq, ihrd, ipos, imp, kvibf, kvamp, ivibfn
Audio output is a tone related to the striking of a cow bell or
similar. The method is a physical model developed from Perry Cook,
but re-coded for Csound.
Initialisation
ihrd -- the hardness of the stick used in the strike. A range of 0 to
1 is used. 0.5 is a suitable value.
ipos -- where the block is hit, in the range 0 to 1.
imp - a table of the strike impulses. The file "britestk.wav" is a
suitable function from measurements, and can be loaded with a GEN1
table.
ivfn - shape of vibrato, usually a sine table, created by a
function
Performance
A note is played on a cowbell or agogobell-like instrument, with the
arguments as below.
kamp - Amplitude of note.
kfreq - Frequency of note played. While it can be varied in
performance, I have not tried it
kvibf - frequency of vibrato in Hertz. Suggested range is 0 to 12
kvamp - amplitude of the vibrato
Example:
a1 agogobel 31129.60, 440, p4, 0.561, 3, 6.0, 0.3, 1
------------------------------------------------------------------------
ar shaker kamp, kfreq, kbeans, kdamp, knum, ktimes[, idecay]
Audio output is a tone related to the shaking of a maraca or
similar gourd instrument. The method is a physically inspired model
developed from Perry Cook, but re-coded for Csound.
Initialisation
idecay - If present indicates for how long at the end of the note the
shaker is to be damped. The default value is zero.
Performance
A note is played on a cowbell or agogobell-like instrument, with the
arguments as below.
kamp - Amplitude of note.
kfreq - Frequency of note played, that is the frequency of the
gourd. It can be varied in performance, I have not tried it
kbeans - The number of beans in the gourd. A value of 8 seems suitable,
kdamp -- The damping vsalue of the shaker. Values of 0.98 to 1 seems
suitable, with 0.99 a reasonable default.
knum -- The number of shakes of the gourd. Values over 64 are
considered infinite.
ktimes -- Number of times shaken.
[RICK: Not sure all these are useful -- not clear in code]
Example:
a1 shaker 31129.60, 440, 8, 0.999, 0, 100, 0
------------------------------------------------------------------------
a1 fmtbell kamp, kfreq, kc1, kc2, kvdepth, kvrate, ifn1, ifn2, ifn3, ifn4, ivfn
a1 fmrhode kamp, kfreq, kc1, kc2, kvdepth, kvrate, ifn1, ifn2, ifn3, ifn4, ivfn
a1 fmwurlie kamp, kfreq, kc1, kc2, kvdepth, kvrate, ifn1, ifn2, ifn3, ifn4, ivfn
a1 fmmetal kamp, kfreq, kc1, kc2, kvdepth, kvrate, ifn1, ifn2, ifn3, ifn4, ivfn
a1 fmb3 kamp, kfreq, kc1, kc2, kvdepth, kvrate, ifn1, ifn2, ifn3, ifn4, ivfn
a1 fmpercfl kamp, kfreq, kc1, kc2, kvdepth, kvrate, ifn1, ifn2, ifn3, ifn4, ivfn
A family of FM sounds, all using 4 basic oscilators and various
architectures, as used in the TX81Z synthesiser.
Initialisation
All these opcodes take 5 tables for initialisation. The first 4 are
the basic inputs and the last is the low frequency oscillator (LFO)
used for vibrato. The last table should usually be a sine wave.
For the other opcodes the initial waves should be as in the table
ifn1 ifn2 ifn3 ifn4
fmtbell sinewave sinewave sinewave sinewave
fmrhode sinewave sinewave sinewave fwavblnk
fmwurlie sinewave sinewave sinewave fwavblnk
fmmetal sinewave twopeaks twopeaks sinewave
fmb3 sinewave sinewave sinewave sinewave
fmpercfl sinewave sinewave sinewave sinewave
The sounds produced are then
fmtbell Tubular Bell
fmrhode Fender Rhodes Electric Piano
fmwurlie Wurlitzer Electric Piano
fmmetal "Heavy Metal"
fmb3 Hammond B3 organ
fmpercfl Percussive Flute
Performance
kamp -- Amplitude
kfreq -- frequency
kc1, kc2 -- Controls for the syntheser, as in the table
kc1 kc2 Algorithm
fmtbell Mod index 1 Crossfase of two outputs 5
fmrhode Mod index 1 Crossfase of two outputs 5
fmwurlie Mod index 1 Crossfase of two outputs 5
fmmetal Total mod index Crossfade of two modulators 3
fmb3 Total mod index Crossfade of two modulators 4
fmpercfl Total mod index Crossfade of two modulators 4
kvdepth -- Vibrator depth
kvrate -- Vibrator rate
Examples:
a1 fmtbell 31129.60, 440, 1, 1.2, 0.2, 6, 1,1,1,1, 1
a1 fmrhode 31129.60, 440, 1, 1.2, 0.2, 12, 1,1,1,4, 1
a1 fmwurlie 31129.60, 440, 1, 1.2, 0.2, 8, 1,1,1,4, 1
a1 fmmetal 31129.60, 110, 1, 1.2, 0.2, 5.5, 1,5,5,1, 1
a1 fmb3 31129.60, 440, 1, 1.2, 0.2, 8, 1,1,1,1, 1
a1 fmpercfl 31129.60, 440, 0.1, 0.1, 0.5, 12, 1,1,1,1, 1
------------------------------------------------------------------------
a1 fmvoice kamp, kfreq, kvowel, ktilt, kvibamt, kvibrate, ifn1, ifn2, ifn3, ifn4, ivibfn
FM Singing Voice Synthesis,
Initialisation:
ifn1, ifn2, ifn3,ifn3 -- Tables, usually of sinewaves.
Performance
kamp -- Amplitude control
kfreq -- Base frequency of sound
kvowel -- the vowel being sung, in the range 0-64; it is rounded to
the nearest integer.
ktilt -- the spectral tilt of the sound in the range 0 to 99
kvibamt -- Depth of vibrato
kvibrate -- Rate of vibrato
Example
k1 line 0, p3, 64
a1 fmvoice 31129.60, 110, k1, 0, 0.005, 6, 1,1,1,1,1
------------------------------------------------------------------------
a1 moog kamp, kfreq, kfiltq, kfiltrate, kvibf, kvamp, iafn, iwfn, ivfn
An emulation of a mini-Moog syntheser.
Initialisation.
iafn, iwfn, ivfn -- three table numbers containing the attack wave
form (unlooped), the main looping wave form, and the vibrato waveform.
The files mandpluk.aiff and impuls20.aiff are suitable for the first two,
and a sine wave for the last.
Performance.
kamp - Amplitude of note.
kfreq - Frequency of note played. It can be varied in performance.
kfiltq - Q of the filter, in the range 0.8 to 0.9
kfiltrate - rate control for the filter in the range 0 to 0.0002
kvibf - frequency of vibrato in Hertz. Suggested range is 0 to 12
kvamp - amplitude of the vibrato
------------------------------------------------------------------------
a1 mandol kamp, kfreq, kpluck, kdetune, kgain, ksize, ifn[, iminfreq]
An emulation of a mandolin.
Initialisation.
ifn -- table number containing the pluck wave form.
The file mandpluk.aiff is suitable for this.
iminfreq -- Lowest frequency to be played on the note. If
it is omitted it is taken to be the same as the initial kfreq.
Performance.
kamp - Amplitude of note.
kfreq - Frequency of note played. It can be varied in performance.
kpluck - The pluck position, in range 0 to 1. Suggested value is 0.4
kgain - the loopgain of the model, in the range 0.97 to 1
kdetune - The proportional detuning between the two strings.
Suggested range 1 and 0.9
ksize - The size of the body of the mandolin. Range 0 to 2
------------------------------------------------------------------------
a1 voice kamp, kfreq, kphoneme, kform, kvibf, kvamp, ifn, ivfn
An emulation of a human voice.
Initialisation.
ifn, ivfn -- two table numbers containing the carrier wave form and
the vibrato waveform.
The files impuls20.aiff, ahh.aiff eee.aiff or ooo.aiff are suitable for
the first of these, and a sine wave for the second.
Performance.
kamp - Amplitude of note.
kfreq - Frequency of note played. It can be varied in performance.
kphoneme - an integer in the range 0 to 16, which select the formants for
the sounds "eee","ihh","ehh","aaa",
"ahh","aww","ohh","uhh",
"uuu","ooo","rrr","lll",
"mmm","nnn","nng","ngg".
At present the phonemes
"fff","sss","thh","shh",
"xxx","hee","hoo","hah",
"bbb","ddd","jjj","ggg",
"vvv","zzz","thz","zhh"
are not available
kform - Gain on the phoneme. values 0.0 to 1.2 recommended.
kvibf - frequency of vibrato in Hertz. Suggested range is 0 to 12
kvamp - amplitude of the vibrato
------------------------------------------------------------------------
Hope that is approximately what you wanted! i do have a test orc/sco
as well
==John
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To: jmdbrady@club-internet.fr, csound@maths.ex.ac.uk
In-Reply-To: <3590F70E.6C53F12B@ere.umontreal.ca> (message from jp on Wed, 24
Jun 1998 08:54:38 -0400)
Subject: Re: PMAX
References: <3590EF2B.F9FE3FF9@club-internet.fr> <3590F70E.6C53F12B@ere.umontreal.ca>
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One of those things on my list is to make this number flexible. Turns
out to be harder that is reasonable! Will look again.
==John
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Date: Wed, 24 Jun 1998 10:45:57 -0400
To: csound
From: Bertolt Sobolik
Subject: Re: Undocumented opcodes
Sender: owner-csound-outgoing@maths.ex.ac.uk
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Is the html version of this manual live anywhere?
http://www.esm.rochester.edu/www/onlinedocs/Csound/CsIntro.html#Csound_Title_Pag
e
doesn't mention any of those opcodes.
The ftp site you mention to is not linked to from
http://www.leeds.ac.uk/music/Man/c_front.html
At 8:51 AM -0400 6/24/98, jp wrote:
>> Where can I find documentation about all the physical modeling opcodes and
>> generally all undocumented one (mandol, marimba, moog, vibes, voice, shaker,
>> "wg" opcodes etc...)
>
>in the manual
>
>and also (osciliaa, oscilikk, osciliak, oscilika, osciln...)
>
>These are not opcodes per se. They are rate variants of oscili. Osciln is
>however.
>
>ftp://ftp.musique.umontreal.ca/pub/CsoundManual/
>
>________________________________________________________
>Jean Piche
>Universite de Montreal
>http://mistral.ere.umontreal.ca/~pichej
>http://www.musique.umontreal.ca/electro/CEC/
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Wed, 24 Jun 1998 18:27:24 +0200
Date: Wed, 24 Jun 1998 18:27:21 +0200 (MET DST)
From: Nicola Bernardini
To: Csound mailing list
Subject: Re: PMAX
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On Wed, 24 Jun 1998, jp wrote:
> Jean-Michel DARREMONT wrote:
[snip]
> > Is it possible to set the score PMAX to more than 5000 and how to do it?
[snip]
> change it in cs.h
> recompile
[snip]
On Wed, 24 Jun 1998 jpff@maths.bath.ac.uk wrote:
> One of those things on my list is to make this number flexible. Turns
> out to be harder that is reasonable! Will look again.
Yes, perhaps they are too hard coded to be made flexible. But in the
meantime, we could change all of these #define to (example):
#if !defined(PMAX)
# define PMAX 5000 /* whatever the number is now */
#endif /* !defined(PMAX) */
so that at least they are easily changeable at compile time. Should
make no difference whatsoever on the rest of the code. Pre-processor
checks can also be built to check for out-of-bounds or illegal values
if needed.
Ciao,
Nicola
------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
Re graphics: A picture is worth 10K words -- but only those to describe
the picture. Hardly any sets of 10K words can be adequately described
with pictures.
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Date: Wed, 24 Jun 1998 21:30:12 +0200
From: David Schuyeteneer
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To: Csound List
Subject: panning ?
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Sorry to bother you people with a rather silly question,
but I see that stereo panning is usually done like this :
outs a1*kpan,a2*(-kpan)
were kpan is some slow sine oscili usually...
Thus inverting left and right.....My question is :
when i do that, It doesn't work !!
Could someone please post an idea for stereopanning ????
David.
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Date: Wed, 24 Jun 1998 22:32:16 +0100
From: Jamie Bullock
Subject: Orc and Sco for Ambisonic encoding - decoding
To: Csound List
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Does anyone have a copy of Dave Malham's Orcs and Scos for doing ambisonic
encoding and decoding, and if so could they e-mail them to me.
I spotted them in one of last year's CMJs, but I didn't get chance to copy
them down.
Thanks in advance,
JamieB
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Date: Wed, 24 Jun 1998 18:48:05 -0400
To: David Schuyeteneer ,
Csound List
From: QATJD
Subject: Re: panning ?
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Just happen to be doing the same thing myself. I tried using the pan
opcode, but it's a pain to use. Then Richard Karpen referred me to his new
opcodes locsig, space, and their counterparts. They're great. They use
simple angular location and distance.
BUT they aren't in the docs yet. See the release notes for the usage
instructions.
At 09:30 PM 6/24/98 +0200, David Schuyeteneer wrote:
>Sorry to bother you people with a rather silly question,
>but I see that stereo panning is usually done like this :
>
> outs a1*kpan,a2*(-kpan)
>
>were kpan is some slow sine oscili usually...
>
>Thus inverting left and right.....My question is :
>
> when i do that, It doesn't work !!
>
>
>Could someone please post an idea for stereopanning ????
>
>
>
>David.
>
>
>
thank you for your bandwidth
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Date: Wed, 24 Jun 1998 17:33:33 -0500
To: David Schuyeteneer ,
Csound List
From: "Daniel W. Hosken"
Subject: Re: panning ?
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At 9:30 PM +0200 6/24/98, David Schuyeteneer wrote:
>
>Could someone please post an idea for stereopanning ????
Here's my panning method of choice. Put this function table in your score:
f3 0 8193 9 .25 1 0 ; quarter sine wave for panning function
This uses gen 9 to create a quarter sine wave (the .25 for the partial
number) with a strength of 1 and phase offset of 0. This is a decent
approximation for equal power panning. Then have this in your score:
a1, a2, a3, a4 pan asig, kpan, 1, 3, 1
This takes input signal (asig), a left-right position or trajectory (kpan
between 0 and 1), a front-back position (here just 1 for always front
because I'm only doing stereo), a function table number (here 3), and a
mode (here 1 for position data normalized between 0 and 1). Use a1 and a2
for left and right and disregard the other outs.
Hope this was what you were looking for!
--Dan Hosken
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Subject: INTRO: Edward Spiegel
Date: Thu, 25 Jun 98 01:54:14 -0700
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Hi!
I am new to CSound but have composed electronic music on and off for the
past 20 or so years. I started out with an Arp AXXE a phase shifter, a
flanger and a reel to reel tape recorder that could record at 3 speeds.
(I mention that because I did experiments with AM and FM
synthesis--though I didn't know at the time that's what it was. My method
was to play low-pitched sounds with a flanging or phase-shifting set to a
fast modulation and recorded at the tape deck's slowest speed and then
bounced the signal at the fastest speed to another deck and repeated the
process). (Note: I was in high school at the time)
Ever since that time, I have been interested in 'sound sculpture'. I
moved up to a moog model 6 and an Emu modular since that were available
for use at the local junior college (I was a high school student).
When I was at University, I started concentrating more on guitar (which I
had been playing for some years) and have only recently returned to my
'sonic sculptures.' I am looking to both do abstract pieces and also work
on pieces that use acoustic and electric guitar, tabla, djembe and
electronically generated sound.
I've spent a lot of hours in the past couple of months using metasynth
and that led me to CSound.
So far, I am a total novice but hoping to find the time to become more
proficient at it.
I have been running Cecilia 2.0 on a PowerMac.
Well, that's me.
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From: Paul Winkler
To: csound@maths.ex.ac.uk, jpff@maths.bath.ac.uk
Subject: Re: several messages
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Date: Thu, 25 Jun 1998 02:14:24 PDT
I should mention that I just don't know whether or not independent
control of the two buffers would make any difference at all... it might
be worth testing to see. The only reason I pointed it out was that I
thought they were "supposed" to be independently adjustable.
Regards,
PW
>I was given code recently which for the Windows version sets teh -b
>size to half teh -B sixe; I did not understand why but as realtime
>output is just not important to me (listen to the sounds I like!) I
>just accepted it as from a "usually-reliable-source". If you want
>control of -b and -B from the dialog it is easy to arrange.
>==John
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From: Paul Winkler
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I should mention that I just don't know whether or not independent
control of the two buffers would make any difference at all... it might
be worth testing to see. The only reason I pointed it out was that I
thought they were "supposed" to be independently adjustable.
Regards,
PW
>I was given code recently which for the Windows version sets teh -b
>size to half teh -B sixe; I did not understand why but as realtime
>output is just not important to me (listen to the sounds I like!) I
>just accepted it as from a "usually-reliable-source". If you want
>control of -b and -B from the dialog it is easy to arrange.
>==John
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