| Message written at 7 May 1997 10:00:40 +0100
Over the holiday weekend (well it is in the UK) I had a push on a
number of outstanding problems, and although this is not teh
"definitive" release I think it has sufficient advantages that i can
make it available. Version 3.46 is mainly a few new opcodes and
hundreds of minor bug fixes -- probably ones you never knew existed!
I would like to thank Richard Dobson, Richard Karpen, Mike Berry,
Robin Whittle, Michael Clarke, Gabriel Maldonado, and everyone else
who supplied me with fixes and bug reports, and who I failed to
remember your names -- you know who you are, and you should pat
yourselves on the back for taking the time to assist in this
collective activity.
This code is on ftp.maths.bath.ac.uk and I suspect on the Montreal
mirror, at least in the PC and Unix/SGI versions. I will build a
MAC-68K very soon (perhaps tonight) and also an Atari system. I trust
that those kind people who look after other ports will be able to
accept this version.
==John
------------------------------------------------------------------------
Release Notes for v3.46
=======================
Version 3.46 is a large collection of corrections, and some additions
including the Whittle table opcodes, FOG and a more flexible version
of soundin.
Summary
=======
a) Changes in a number of MIDI opcodes (ipchmidib, ioctmidib,
icpsmidib, kpchmidib, koctmidib, kcpsmidib, imidictrl, kmidictrl) to
add additional optional argument, mainly for scaled pitchbend; new
opcode midisetb (Mike Berry)
b) Large number of bug fixes; mainly minor and to do with igoto (many
people). Corrected writing to log file on PC (mega dyslexia!)
c) Negative p3 in score nolonger confuses other references to that
note in the score (JPff/RWD)
d) Attempt to fix LINUX precision problem in large table sizes etc
e) Correction of my fiasco in opcode listing
f) Correction of HRTF code on PCs and other machines with that byte
order.
g) New opcode, diskin. Like soundin except allows variable rate of reading
sound file. (Mike Berry)
h) Fixes to -o dac on Windows95
i) Improved pvoc with optional last argument (Richard Karpen)
j) Defaults for sr/kr/ksmps such that one can omit one. Defaults if
all omitted made CD level.
k) Robin Whittle's table reading opcodes included
l) Missing endin now noticed
m) New opcode fog from Michael Clarke (still needs a little tweaking)
n) Fixed cscore main program for dribble files
o) Number of tables is no longer fixed, but expands as required.
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From: Peter Kearton
Organization: Psychology Dept, Surrey Univ. U.K.
To: csound@maths.ex.ac.uk
Date: Wed, 7 May 1997 16:04:18 GMT
Subject: New Version and HRTF opcode
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Hi,
I'm been eagerly awaiting the latest version, not least for the
inclusion of the HRTF opcode on PC, thanks to John and everybody
involved in the release. However, I've been playing with the HRTF
opcode and it still behaves strangely for me. The first point is that
elevations between +19 and -20 seen okay, but anthing out of this
range causes and shift in volume to the right channel. The other
point is that when more than one call is made to a hrtf instrument in
the same score, the later calls produce extremely amplified results.
Can anyone point to the problems here,
Any help or comments appreciated,
Pete Kearton*************************************************
Peter Kearton,
University of Surrey Psychology Department,
Guildford,
United Kingdom.
GU2 5XH
Tel. UK (01483) 300800 Ext.3346
e-mail - P.kearton@surrey.ac.uk
*************************************************
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From: Richard Dobson
Message-Id: <199705071716.SAA16266@talisker.pact.srf.ac.uk>
Subject: Re: Reinit soundin
To: csound@maths.ex.ac.uk
Date: Wed, 7 May 1997 18:16:20 +0100 (BST)
In-Reply-To: <199705010851.JAA29089@hermes> from "jpff@maths.bath.ac.uk" at May 1, 97 09:51:20 am
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Yup, smack on wrist for me - as soon as I looked at the code I found what
I meant to say - comes from writing replies too quickly without using a brain.
Anyway, the actual problem with soundin was not the file descriptor, but that
the file pointer was not being reset to the start of the sound. I have sent a
simple fix to John Fitch, which I think has gone out in the new release. I am
not at all sure it is a complete fix, but it does restart the sound as
required, so everyone can now do 'N-N-N-Nineteen' imitations in Csound.
Richard Dobson
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Date: Wed, 07 May 1997 12:43:33 -0500
From: Joel Wilder
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Organization: University of Alabama
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To: csound@maths.ex.ac.uk
Subject: the way Csound works
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I am currently writing a thesis that involves providing background
information on Csound, ie, discussing how it works. I haven't been able
to find anything that goes into detail on how Csound actually compiles a
sound file, so I wanted to post my own theory of it's operation to the
group. Please add corrections and take away what I've got all wrong!
Csound is based on the C-programming language. It actually generates
16-bit samples of audio information via algorithms that produce
wavetables. Csound uses gen routines to produce these wavetables by
allowing the user to give such information as spectral content, harmonic
phase information, and time-domain information. The gen routine
produces one cycle of the wave when making the wavetable. Then, the
.sco file repeats the wavetable until the samples completely fill the
specified durations of the notes. The .orc file can to used to further
mathematically manipulate the wavetable. The combination of these
mathematical manipulations along with all the different gen routines
allows almost any imaginable sound to be created! Changes can be made
to the samples at different rates...the sampling rate, control rate, and
at intialization. In this way, a sound doesn't remain static but can be
changed as specified by the user at any of the above rates. The given
sampling rate, as specified in the .orc file, shows how many samples a
second a wavetable is required to fill. The size of the wavetable is
determined by the number of points it's requested to be in the .sco
file. (I'm assuming the higher a sampling rate you choose, the greater
number of points that will be desired to make up a wavetable. Is this
correct? I'm a little fuzzy on this part.) The .orc files are
considered to be the source of the sound, which takes the wavetables
created and uses them for either audio signals, or envelope signals.
These "controllers of the wavetables" in the .orc file range from
oscillators to filters, and allow for many other types of sounds such as
granular synthesis.
I know there's a lot more to Csound, but I would appreciate any guidance
to get me on the right track.
thanks in advance,
Joel Wilder
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Date: 07 May 97 15:09:24 EDT
From: "Marie Pauline G. Esguerra"
Subject: files open?
To: csound@maths.ex.ac.uk
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is there some limit on the number of files that can be open at one time, or the
number of occurrences of one file that can be open at a time? larry p. and i
are still having our very odd problem of csound quitting in a large score using
a LOT of soundfiles
empi
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