| You don't say what you are expecting, so it's difficult to answer this,
but what you are getting is a very low frequency signal - som four
cycles per score line. On the face of it, your value for kpch ranges
from 12 down to 0.99 and less, so maybe you need a different scaling
calculation. Drop 22050 by 12 octaves, and you do get down comfortably
below the human frequency range.
Your f2 table has 16 elements, but you are scaling the phasor by 12, is
that intentional? If you scale kpch by 12,24 or whatever, you can get
something audible - but I still cannot say if it what you want!
Richard Dobson
Sherlock wrote:
>
> Could someone take a look at this and tell me where I went wrong?
>
> sr = 44100
> kr = 4410
> ksmps = 10
> nchnls = 1
>
> instr 1
> k1 phasor p5
> kpch table k1 * 12, 2
> a1 oscil p4, cpspch(kpch), 2
> out a1
>
> endin
>
> ;Function 1 uses the GEN8 subroutine to compute a wave
> f1 0 4096 10 1
> f2 0 4096 10 1 .5 .333 .25 .2 .166 .142 .125 .111 .1 .09 .083 .076
> .071 .066 .062
>
> ;inst start duration p4 p5 p6 p7 p8 p9
>
> i1 0 1.75 10000 440
> i1 2 1.75 20000 660
> e
> ________________________________________________________
> NetZero - We believe in a FREE Internet. Shouldn't you?
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From: Ross Bencina
To: csound@maths.ex.ac.uk
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Subject: Re: phasor
Date: Sun, 22 Aug 1999 22:40:27 +0930
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Sherlock asks:
>Could someone take a look at this and tell me where I went wrong?
Ok, I'll have a go...
> sr = 44100
> kr = 4410
> ksmps = 10
> nchnls = 1
...
>k1 phasor p5
^^^^^^^^^this generates a moving phase from 0 to 1, for the notes given you
have it running at 440 or 660 Hz
>kpch table k1 * 12, 2
^^^^^^^^^this generates an lookup on table 2 using the default raw lookup
mode, which will mean you're only scanning the first 12 of 4096 values. you
could try
kpch table k1 * 12, 2, 1
but for values of k1 greater than (1./12.) or less than 0 the table lookup
is clamped so you would end up with a lot of 0
>a1 oscil p4, cpspch(kpch), 2
^^^^^^^^^^I'm not sure kpch is really an octave pitch class when modulated
at audio rate (440Hz), but I'll accept that that's what you're trying to do.
> out a1
>
> endin
>;Function 1 uses the GEN8 subroutine to compute a wave
>f1 0 4096 10 1
>f2 0 4096 10 1 .5 .333 .25 .2 .166 .142 .125 .111 .1 .09 .083 .076
>.071 .066 .062
^^^^^^^^^^^functions 1 and 2 above use GEN10 which isn't in line with your
use of cpspch(), but otherwise would be OK unless you're trying to lookup a
sequence of pitches from f2 (as Richard supposes in which case you shouldn't
be using gen10, and gen 8 is going to glide all over the place - but perhaps
that's what you're after.
>;inst start duration p4 p5 p6 p7 p8 p9
>
>i1 0 1.75 10000 440
>i1 2 1.75 20000 660
>e
Ross.
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From: Sherlock
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To: Richard Dobson ,
"csound@maths.ex.ac.uk"
Subject: Re: phasor
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I just found the sample from the Csound Reference Manuel.
Sorry, I was going by what the book was showing.
I understand now.
What I'm expecting is a sound. Any sound.
Richard Dobson wrote:
>
> You don't say what you are expecting, so it's difficult to answer this,
> but what you are getting is a very low frequency signal - som four
> cycles per score line. On the face of it, your value for kpch ranges
> from 12 down to 0.99 and less, so maybe you need a different scaling
> calculation. Drop 22050 by 12 octaves, and you do get down comfortably
> below the human frequency range.
>
> Your f2 table has 16 elements, but you are scaling the phasor by 12, is
> that intentional? If you scale kpch by 12,24 or whatever, you can get
> something audible - but I still cannot say if it what you want!
>
> Richard Dobson
>
> Sherlock wrote:
> >
> > Could someone take a look at this and tell me where I went wrong?
> >
> > sr = 44100
> > kr = 4410
> > ksmps = 10
> > nchnls = 1
> >
> > instr 1
> > k1 phasor p5
> > kpch table k1 * 12, 2
> > a1 oscil p4, cpspch(kpch), 2
> > out a1
> >
> > endin
> >
> > ;Function 1 uses the GEN8 subroutine to compute a wave
> > f1 0 4096 10 1
> > f2 0 4096 10 1 .5 .333 .25 .2 .166 .142 .125 .111 .1 .09 .083 .076
> > .071 .066 .062
> >
> > ;inst start duration p4 p5 p6 p7 p8 p9
> >
> > i1 0 1.75 10000 440
> > i1 2 1.75 20000 660
> > e
> > ________________________________________________________
> > NetZero - We believe in a FREE Internet. Shouldn't you?
> > Get your FREE Internet Access and Email at
> > http://www.netzero.net/download/index.html
>
> --
> Test your DAW with my Soundcard Attrition Page!
> http://wkweb5.cableinet.co.uk/rwd (LU: 6th July 1999)
> CDP: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm (LU: 14th June 1999)
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From: rasmus ekman
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Subject: Re: schedule, schedwhen - bug report
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richard bowers wrote:
>
> I understand that the opcodes schedule and schedwhen will only operate once
> in a single call to the instrument containing them. Is that correct?
Yes. schedule only works at i-time and schedwhen has an internal
switch that is set to "off" after generating the event.
Note that these opcodes are rather buggy:
First, they can not create deferred events (by setting i/kwhen > 0),
so the events are always started immediately. Any attempt to defer
events will give them wrong ringtime, namely i/kwhen + i/kdur, while
the turnoff time will be correctly set to start time+dur, which means
the instr will be around (at least) from generation time through to
deferred time + dur (ie def.time + p3).
(Programmers note: As far as I can determine, there is no simple way
of creating deferred events from an opcode context in Csound, so I
wouldn't care to try to fix this feature, rather disallow it until
the rest is working.)
Secondly, the generated events will not be turned off correctly,
but be left hanging, unless there has been some "real" score
(or midi or line input) event in the meantime.
Prognotes: This is a complication in any Csound event generation from
an opcode. Event turnoff is not handled by kperf() (k-rate performance),
but by playevents() (the score event scheduler, which calls kperf()
to run until next score event). kperf() returns only for new events
or for event turnoff occasions, but may be expired early by "realtime"
(midi, midi file or line input) events. Search for the variable
"sensType" in sources if you want to see how this works.
Both sched* ugens call schedofftim() to set the turnoff time for
the generated event. The time is indeed set, but this is no help since
kperf() as noted doesn't check for turnoff. It does happen to work
for schedule since this opcode generates events at i-time, and so
will have the turnoff logged in playevents() for free before the first
k-cycle of the calling instr.
My solution to this problem (yes, I've been working on and off for the
last few weeks to create an opcode to generate events at k-rate)
is to define a new "realtime" event, and do some changes to playevents()
and kperf() to have it handled. Not tested enough for publishing yet,
as I for one don't think that the compiler does all necessary QA...
Thirdly, since they were created by copying a fair chunk of Csound core
code (the insert() func.) and doing some changes to that (rather than
setting up some scheme which involves calling this function), they are
(and will keep getting) out of synch with changes in that code, specifically,
I believe recent stuff like cpuprc and maxalloc will not work correctly
for instr's that have had events generated by sched* ugens.
Finally, schedwhen shifts the arguments so that p4= p3, p5= intended p4 etc
in the generated instrument. This one is trivial to fix (it has already
been done for schedule at one time).
In conclusion, besides wondering what the point of these opcodes is,
I'm curious as to whether they were tested _at_all_ before publishing?
(Usually I don't complain about stuff without trying to fix it,
but after looking at them I simply don't like them, and think they
should be taken out and sh (*ahem* deprecated and deleted)).
Demonstration: The below csd file should generate one 2.33 second beep
after 0.5 seconds, and one after 5 seconds (modulus k-precision).
Just see what you get...
Regards,
re
----------------------
schedbug.csd - demo some bugs in sched* opcodes
----------------------
;
;
sr = 22050
kr = 441
ksmps = 50
nchnls = 1
instr 1
; Start i13 after .5 sec (not)
schedule 13, .5, 2.33, 550, 0
endin
instr 2
; Start i3 after 1 sec
; Since this doesn't work, it starts after 4.0 instead of 5.0 secs
; It should be turned off after 2.33 secs, but hangs until next score event
schedwhen 1, 13, 1, 2.33, 440
endin
instr 13
; itime is actual start time, p2 is the intended,
; and p4=p3, p5=p4 if started by schedwhen
itime times
print itime, p2, p3, p4, p5
; Since p4 won't always be correct, we set a start pitch here
kpitch line 440, p3, p4
; Now we're naughty to rub in the point: this linseg continues beyond p3
; - but the error shows even if you remove the last ", .5, 20000" args
kamp linseg 25000, p3-.1, 25000, .1, 0, .5, 20000
ar oscili kamp, kpitch, 1
out ar
endin
f1 0 4096 10 1
i1 0 3.5
i2 4 6
f0 10
e
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Message-ID:
From: Oded Streigold
To: csound@maths.ex.ac.uk
Subject: RE: cleaning recordings
Date: Sun, 22 Aug 1999 22:26:56 +0200
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The best noise reduction effect I know of is the noise reduction function in
Samplitude.
Oded.
> -----Original Message-----
> From: Kurt S Nelson [SMTP:kurtnelson2@juno.com]
> Sent: Thursday, August 19, 1999 10:33 PM
> To: csound@maths.ex.ac.uk
> Subject: cleaning recordings
>
> Dear Csounders:
>
> I am attempting to clean some noisey soundfiles using the dam opcode.
> The signal (a piano piece off a CD) is not much above the noise floor of
> the original recording. Hhaving not worked with compression or expansion
> much in the past, I am having a hard time selecting values for the
> threshold and compression ratios that result in a sound much better than
> the original. Can anyone suggest any other opcodes or techniques for
> audio cleaning (maybe the term "de-essing" applies here)?
>
> This is a project I am doing to practice for cleaning some old speeches
> on reel-to-reel tapes, and to educate myself in general. Any suggestions
> would be greatly appreciated.
>
> Sincerely, Kurt Nelson
>
> ___________________________________________________________________
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From: Sherlock
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To: rasmus ekman ,
"csound@maths.ex.ac.uk"
Subject: phasor
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Exactly how does phasor work?
I have changed it around since I last posted.
Is is supposed to be used by an oscillator?
That would be my next guess.
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From: David Matthews
To: hljmm@werewolf.net
Cc: csound@maths.ex.ac.uk
Subject: Re: Algorithmic composition with csound
Date: Mon, 23 Aug 1999 01:38:48 GMT
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Where can you get Keykit, and what platforms does it run on?
>From: "Hans Mikelson"
>To:
>Subject: Re: Algorithmic composition with csound
>Date: Thu, 19 Aug 1999 19:15:36 -0500
>
>Hi,
>
>I have been using keykit for alg-comp lately. It is midi based but will
>work with midified Csound orc's. Keykit is very nice.
>
>Bye,
>Hans Mikelson
>
>
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hi,
it runs on win9x and linux:
http://209.233.20.72/keykit/index.html
regards
David Matthews wrote:
>
> Where can you get Keykit, and what platforms does it run on?
>
> >From: "Hans Mikelson"
> >To:
> >Subject: Re: Algorithmic composition with csound
> >Date: Thu, 19 Aug 1999 19:15:36 -0500
> >
> >Hi,
> >
> >I have been using keykit for alg-comp lately. It is midi based but will
> >work with midified Csound orc's. Keykit is very nice.
> >
> >Bye,
> >Hans Mikelson
> >
> >
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
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>Where can you get Keykit, and what platforms does it run on?
http://www.nosuch.com/
hotmail platforms
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Date: Sun, 22 Aug 1999 23:55:00 -0400
From: Antoine Lefebvre
Subject: init error
To: Mailing List
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The following orc give me the following error
INIT ERROR: oscili: not initialized
and I don't see the solutio...
instr 1
aout init 0
asig in ; get the live input
krms rms asig
if krms > 700 kgoto startinst
goto end
startinst:
aout oscili 10000, 440, 1
end:
out aout
endin
It is possible to initialise oscili to do what I want, trigger an oscillator with the input rms.
thanks
--
Antoine Lefebvre
antoinelefebvre@softhome.net
http://pages.infinit.net/linux/rocket/index.html
http://pages.infinit.net/linux/music/music.html
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From: Peter =?iso-8859-1?Q?Neub=E4cker?=
Date: Mon, 23 Aug 99 09:50:03 +0200
To: csound@maths.ex.ac.uk
Subject: Re: phasor
Reply-To: peter@orpheus.selene.cube.net
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>Exactly how does phasor work?
>I have changed it around since I last posted.
>Is is supposed to be used by an oscillator?
>That would be my next guess.
A phasor just outputs cyclic values between
0 an 1 for the given frequency and is mostly
used to index a table. If you use the output
of phasor as audio signal you wuld get a
sawtooth wave. phasor and table together do
what an oscil does internally.
Peter
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Ohlfs>Exactly how does phasor
work?
>I have changed it around since I last posted.
>Is is supposed to be used by an oscillator?
>That would be my next guess.
A phasor just outputs cyclic values between
0 an 1 for the given frequency and is mostly
used to index a table. If you use the output
of phasor as audio signal you wuld get a
sawtooth wave. phasor and table together do
what an oscil does internally.
Peter
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From: Peter =?iso-8859-1?Q?Neub=E4cker?=
Date: Mon, 23 Aug 99 10:11:19 +0200
To: csound@maths.ex.ac.uk
Subject: tablew bug
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I just came across a bug in the tablew opcode -
Robin Whittle documented it in his sourcecode,
but I think it does't appear in the documentation:
If you want to write a constant value to a table,
you have to make it a k-rate variable. So if you
write:
tablew 0.5, kindex, 1
that will not work (always...) - instead you should write:
knumber init 0.5
tablew knumber, kindex, 1
I think this should be mentioned in the manual.
I don't know if it's the same with the index -
any experience?
Peter
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Date: Sun, 22 Aug 1999 20:02:11 +0200
From: Josep M Comajuncosas
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Subject: Insisting on PITCH
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I=B4m sorry to insist on the topic, but... does anyone has a working
example of a pitchtracker using the PITCH opcode, or anything else? I=B4m
really needing it!
Tnx
--
Josep M Comajuncosas
C/ Circumval.lacio 75 08790 Gelida - Penedes
Catalunya - SPAIN tel. 93 7792243
e-mail: gelida@intercom.es
ET Informatica de Sistemes
e-mail: jcomajuncosas@campus.uoc.es
http://members.tripod.com/csound/
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From: Josep M Comajuncosas
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Relace kgoto by goto to avoid skipping of the initialisation at i-time.
Antoine Lefebvre escribi=F3:
> The following orc give me the following error
> INIT ERROR: oscili: not initialized
>
> and I don't see the solutio...
>
> instr 1
> aout init 0
> asig in ; get the live input
> krms rms asig
> if krms > 700 kgoto startinst
> goto end
> startinst:
> aout oscili 10000, 440, 1
> end:
> out aout
> endin
>
> It is possible to initialise oscili to do what I want, trigger an oscil=
lator with the input rms.
>
> thanks
> --
> Antoine Lefebvre
> antoinelefebvre@softhome.net
> http://pages.infinit.net/linux/rocket/index.html
> http://pages.infinit.net/linux/music/music.html
--
Josep M Comajuncosas
C/ Circumval.lacio 75 08790 Gelida - Penedes
Catalunya - SPAIN tel. 93 7792243
e-mail: gelida@intercom.es
ET Informatica de Sistemes
e-mail: jcomajuncosas@campus.uoc.es
http://members.tripod.com/csound/
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From: Peter Neubacker
Date: Mon, 23 Aug 99 11:22:23 +0200
To: csound@maths.ex.ac.uk
Subject: new adsynt opcode
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I just finished another new opcode for additive synthesis.
It's purpose is to enable an instrument to generate synthesis
parameters at k-time (or i-time) that are written to tables with
the tablew opcode and that are being read by adsynt.
See decription below.
It would be nice to have it in the next release -
if you want to use it now and compile it yourself
you can find the sources at:
http://www.harmonik.de/femc/femcdown.html
Peter
adsynt
--------
ar adsynt kamp, kcps, ifn, ifreqtbl, iamptbl, icnt [, iphs]
DESCRIPTION
This opcode performs additive synthesis with an arbitrary number of
partials (not necessarily harmonic). Frequency and amplitude of each
partial is given in the two tables provided. The purpose of this opcode
is to have an instrument generate synthesis parameters at k-time and
write them to the global parameter tables with the tablew opcode.
INITIALIZATION
ifn - a function table, usually a sine. Table values are not
interpolated for performance reasons, so you better
provide a larger table for better quality.
ifreqtbl - an arbitrary function table. Size has to be at least icnt.
Table can contain frequency values for each partial at start,
but is usually used for generating parameters at runtime
with tablew. Frequencies must be relative to kcps.
iamptbl - same as ifreqtbl for relative partial amplitudes.
icnt - number of partials to be generated.
iphs - initial phase if each oscillator, if -1 initialization is skipped.
If > 1 all phases will be initialized with a random value.
PERFORMANCE
kamp - Amplitude of note.
kcps - Base frequency of note. Partial frequencies will be relative
to kcps.
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Date: Mon, 23 Aug 1999 11:24:48 +0100
To: Csound list
From: Lars Luthman
Subject: Unified file format
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I sent this message yesterday, but I haven't seen it on the list, so here
it is again.
--
I was looking at some Csound compositions in unified file format (.csd),
and I saw that they had start and end tags that looked just like HTML. I
thought, "Cool! Does that mean that I can put a Csound composition in a
HTML file and maybe write some words about the composition, so the same
file can be read as a webpage in my browser and given to Csound for
rendering? That would be very convenient."
I copied a simple CSD file into the body of a HTML file and tried rendering
it with Csound (I changed the file name extension to .csd). It didn't work,
of course (as I would have known if I had read the manual). Perf complained
"Unknown command: " (or something like that, it froze before
finishing the line). Strange, it didn't say anything about "" being
an unknown command, and that line appeared before "". I tried moving
the contents of the CSD file almost to the beginning of the file, between
the "" and the "" tags, and this time it was rendered without
any problems.
Later, when I read the manual, I found out that it actually shouldn't have
worked the second time either, since the first line in a CSD file must be
"" and the last line must be "".
But I still think it would be a great if I could put a Csound composition
in a webpage, and don't have to copy and paste the composition itself to a
new textfile when I want to render it. So I have a suggestion.
Couldn't Csound ignore everything outside the "" tags?
That way a composition could be incorporated in any kind of file (e.g.
HTML, ASCII text, Word or PDF documents). Maybe someone could write a web
browser plugin that played Csound compositions!
What do you think? I'm afraid I don't have the time or the programming
skills to do any of these changes, but I sure would use it if it was done.
--ll
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Date: Mon, 23 Aug 1999 05:23:18 -0600
To: csound@maths.ex.ac.uk
From: "17.hzV.tRL.478"
Subject: Re: Insisting on PITCH
Sender: owner-csound-outgoing@maths.ex.ac.uk
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>I=B4m sorry to insist on the topic, but... does anyone has a working
>example of a pitchtracker using the PITCH opcode, or anything else? I=B4m
>really needing it!
>Tnx
here is that answer
[one may need bifocals to read this e-mail]
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Date: Mon, 23 Aug 1999 05:55:47 -0600
To: csound@maths.ex.ac.uk
From: "17.hzV.tRL.478"
Subject: Re: Ousting PITCH \ losing the fundamental
Sender: owner-csound-outgoing@maths.ex.ac.uk
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0.5 ua! betu!n real!t + p!tch
real!z+t!k z!ner! + l!ght!ng 2 kult!vat dze !luz!on
>>I need to know how the fundamental frequency of a sound can be detected.
>>Correct me if I'm wrong: The fundamental frequency is the lowest frequency
>>harmony, from which all the other harmonies can be detected by multiplying
>>it.
>>I though at first that it can be detected, by searching for the highest
>>amplitude frequency, but I found out, both from experience, and from looki=
ng
>>at the SHARC timbre database, that very often the highest amplitude
>>frequency isn't the fundamental, the highest amplitude frequency could be
>>the 2nd, 3rd, or 4th harmony for example.
>>I guess you can find it by using a peek search algorithm, but I'm looking
>>for a simpler way.
>>If there is no other way then peek search, I would already ask, can anyone
>>give me clues or references for peek search algorithms?
>>
>>10x!
>
>here is that answer
>[one may need bifocals to read this e-mail]
p!tch - abrev!az!on ov real!t! deja
!t =3D d!f!c!l 2 `trk` 1 abrev!az!on az truth
=3D z!ngulr memorabl fantaz!e. =3D !f dez!rd ma! zkan zorsez
ov zvrl `p!tch` trk kode konta!nrz ava!lbl on l!ne.
fft baszd 4 dze mzt prt
humanz !=3D posez 1 ef!z!ent del ke!.
[az truth =3D z!ngulr memorabl fantaz!e]
p!tch =3D 1 mozt out datd abrev!az!on
dzoze onl! 4rom 1 odr epok dzn kurnt =3D kould posz!bl!
akzept az 1 val!d abrev!z!on ov data.
future =3D belongz 2 1 ecztravagant l!e =3D glass bead game.
truth =3D 1 zubt!l l!e.
csound =3D dze b!fokalz on reku!rmnt 4 zert!tud due 2 1 losz ov
$MachinePrecision
16
$MachineEpsilon
2.22044604925031308`*^-16
a
1
b
1.`
b =3D 1. + 2 $MachineEpsilon
1.00000000000000044`
a =3D=3D b
True
0.5 zekond+ lngr reakz!on t!mez obzrvd !n kogn!t!v prozez!ng
=3D 1 puzl 4rom dze ztandpo!nt ov kondukz!on t!mez + z!napt!k dla!z.
kort!kokort!kl !m.prov.mnt : : koruptd f!loz : : dez!ntegraz!on
au.revo!r.
[+ neceszar! engl!sh verz+?]
-
samo poznavanje teh orod!j lahko zagotavlja zenskam kreat!vno rabo
elektronskega omrezja za bogatenje druzbenega !n kulturnega z!vljenja
_\- m9ndfukc.macht.fre!.
- | | - - | | -
fr2ktur | | - - | | -
- | | - - | | -
dze zeparaz!on betu!n obzervaz!on + theor!
n 17 n 14 n 11 n 8 n 5
n 2 n -1 n 2 n 5 n 8 n 11 n 14
n 17 n 20 n 10 23
t 20 t 17 t 14 t
11 t 8 t 5 t 2 t -1 t 2 t 5 t 8 t
11 t 14 t 17 t 20
t 23 . 20 . 17
. 14 . 11 . 8 . 5 . 2 . -1 . 2
. 5 . 8 . 11 . 14 . 17
. 20 . 500 - dze
konzp!rasz! ov s!lensz part!kulr charm ov dze prev!ouz wak!ng ztajt
|=7F=7F|
|=7F=7F=3D=3D=7F=7F|
v ! R u s |=7F=7F| p u N K t
s y m m e t r +3 [k 0 r ; u p t -1 p n
|