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Re: Csound Digest #178 on 28 August 1997

Date1997-08-28 13:10
FromMESSAGE AGENT
SubjectRe: Csound Digest #178 on 28 August 1997
	This is an automatic reply.  Feel free to send additional
mail, as only this one notice will be generated.  The following
is a prerecorded message, sent for root


I am away from Bath again; OK so Boston is not Hawai'i, but it has its
moments.  I expect to return on 18 September 1997.  I hope to have
access to e-mail but in case of difficulty you could mail Audrey on
jpff=aff@maths.bath.ac if you think she could help.

The Computing Group secretary, Angela, can be reached on
amc@maths.bath.ac.uk and she may also know how to contact me.

==John ff



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From: james@maths.ex.ac.uk
Message-Id: <19759.199708281446@zeno.maths.exeter.ac.uk>
Subject: GrainWave 2.0 Release
To: csound@maths.ex.ac.uk
Date: Thu, 28 Aug 1997 15:46:37 +0100 (BST)
Reply-To: mikeb@mills.edu
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owner-csound-outgoing wrote
>From owner-csound-outgoing Thu Aug 28 00:53:01 1997
From: owner-csound-outgoing
Date: Thu, 28 Aug 97 00:53:01 GMT
Message-Id: <7546.9708280053@maths.exeter.ac.uk>
To: owner-csound-outgoing
Subject: BOUNCE Csound: Non-member submission from [Mike Berry ]

>From mikeb@ella.mills.edu Thu Aug 28 01:52:57 1997 remote from 
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Date: Wed, 27 Aug 1997 17:53:34 -0700 (PDT)
From: Mike Berry 
Reply-To: Mike Berry 
To: csound
Cc: soundhack@shoko.calarts.edu, music-dsp@shoko.calarts.edu,
        grainwave@eartha.mills.edu
Subject: GrainWave 2.0 Release
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	I am happy to announce the release of GrainWave 2.0.
GrainWave is a real-time software synthesis and processing program
for Power Macintoshes.  GrainWave 2 is shareware and is available
at http://www.mills.edu/PEOPLE/gr.pages/mikeb.public.html/grainwave.html
or at ftp://mills.edu/ccm/grainwave/GrainWave.hqx

	GrainWave 2 features an open synthesis architecture which
encourages experimental instrument design.  GrainWave 2 is completely
backgroundable and can act as a virtual synthesizer for a variety of
control applications, including Max, HMSL, or any OMS-friendly sequencer.

	GrainWave 2 acheives output latencies on the order of 10 ms., 
with audio input latencies somewhat larger (50 - 75 ms.).  It has a 
graphical function and soundfile editor.  Most of the essential playback
functions are controllable by MIDI.  After registration, GrainWave 2 can 
also record its output directly ot a hard disk.

	Please experiment with GrainWave 2 and let me know what you
think.  Thanks.


Mike Berry
mikeb@mills.edu






-- 
James Andrews, maths CDO, ext.3977



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From: james@maths.ex.ac.uk
Message-Id: <19801.199708281452@zeno.maths.exeter.ac.uk>
Subject: Analog Devices Extended Csound 8/97 [part 2 of 2 ]
To: csound@maths.ex.ac.uk
Date: Thu, 28 Aug 1997 15:52:13 +0100 (BST)
Reply-To: Scotty.Vercoe@analog.com
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Background Information About the Analog Devices Extended Csound Project

Who is on the project staff?

Mike Haidar is the head of the Software and Systems  Technology division
of Analog Devices.  Two-and-a-half years ago, he had the vision of
running software synthesis in real-time on a DSP.  He is the business
manager of the project, and supervises the directions in which we move.
His technical internal team numbers over a dozen; his external team is
even larger.

Internal team:

Barry Vercoe, professor at the MIT Media Lab, is the original author of
public Csound.  As a consultant to Analog Devices, he designed the
structural differences between public Csound and Analog Devices'
Extended Csound.  He supervises all modifications to Extended Csound and
maintains its speed while increasing its functionality.

Richard Boulanger, professor of Music Synthesis at the Berklee College
of Music, is a leading computer music educator, composer and performer
with a special expertise in public Csound.  As a consultant to Analog
Devices, he advises on software changes, product definitions and general
project direction while focusing his creative energies on beta-testing,
sound design
and instrument modeling.

External team:

John ffitch maintains the public version of Csound and is recognized
worldwide for his contributions to public Csound, including adding
public opcodes and managing the communications of the Csound user
community.  He has done extensive consulting for Analog Devices on
Csound to assure that public and Extended Csound work together.

Russell Pinkston, professor at the University of Texas at Austin, has
developed the Patchwork Windows graphical front end and ported it to
Extended Csound.  He is a software synthesis expert and Windows
developer.  At ADI, he consults relating to driver and API issues.

Jean Piche, professor at the University of Montreal, and student
Alexandre Burton are co-authors of Cecilia, a front-end for Csound which
has been ported to Extended Csound.  Piche is also a composer and
award-winning GUI developer.

Omni Digital Systems, consisting of Dustin Barlow and Tim Mielak,
developed the Softsamp and CSounder Windows front-ends.  Although they
have also been ported to Extended Csound, public versions are available
at:
http://www.omnids.com/software

------------------------------------------------------------------------
----

Who are some commercial development partners?

Denon, Pavo and GeneralMusic have all made public announcements
regarding their involvement with Analog Devices' Extended Csound.  They
can send you copies of their previous public announcements.  Here are
the links to those companies:
http://www.c2i.co.jp/denon/
http://www.pavo.com/
http://www.generalmusic.com/

Who are some Extended Csound evangelists?

Robert Cooper, contributor to KEYBOARD Magazine, University of Missouri
at Kansas City
Dennis Miller, contributor to Sound on Sound and Electronic Musician,
Northeastern University

Where can I read about Analog Devices Extended Csound?

Keyboard, January 1997
Electronic Musician, February 1997
EQ, April 1997
Sound on Sound, April and May, 1997
We have reprints of each of these articles.  Let us know if you would
like a copy.

Where is the project headed?

As you may know, Extended Csound is the ultimate sound production tool
with the potential to become an integral force in  the world of music
technology.  Our goal is to provide this powerful tool not only to
high-end users, but also to people with all levels of musical
experience.  From grade school kids getting computerized piano lessons
to college music majors engineering with Csound, Analog Devices will
aggressively pursue commercial initiatives while ensuring that the
educational community has access to this technology.

We plan to lead the project by making available the latest SHARC DSP
chips and development tools, the manufacturing capabilities of our OEMs,
the feedback of our consultants and software developers, and the news of
how the industry reacts from our evangelists and trade publication
editors.  We also plan to continue the development team and offer
enhancements.  As a result
of our expanding internal development effort, new opcodes will continue
to be developed.

Analog Devices believes that Extended Csound will fulfill the
anticipation of audio software developers, foley artists, sound effects
editors for movies, and other pro-audio professionals in providing the
richest environment for effects, enhancement and versatility.  Techno,
rap and pop
artists, in addition to new music composers, will be able to create
unique sounds.

By enabling real-time editing, Extended Csound will enable broadcasters,
concert halls, sports stadiums and live-performance theaters to deliver
a level of live audio comparable to edited films screened in
digitally-equipped movie theaters.  With individualized effects,
listeners will be able to compensate for the limitations of their audio
equipment, hearing losses, room acoustics, background noise and personal
preferences.  Audio producers and distributors will enjoy new audiences
who will be able to listen to the precise sound which the composer or
software developer intended.

By combining the power of Csound, the performance of dedicated
state-of-the-art hardware and additional opcodes and development tools,
and the support of Analog Devices with a dedicated Csound organization,
we believe Extended Csound will become an important tool in the
electronic music world.  It is the uniqueness of this specialized audio
hardware, enhancements and additions to the opcodes found in public
Csound, the unrivaled expertise of Barry Vercoe, and the support and
signal processing experience of Analog Devices which will make Extended
Csound a commercial reality. 

We will keep you posted of future developments.

Please send your comments and suggestions to
systems.solutions@analog.com or 617-461-3732.


_____________________________________________
Scotty Vercoe
Extended Csound Project Manager
Analog Devices Software & Systems Technology Division
Tel: (617) 461 - 3569      FAX: (617) 461 - 4291
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^




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From: james@maths.ex.ac.uk
Message-Id: <19794.199708281451@zeno.maths.exeter.ac.uk>
Subject: Analog Devices Extended Csound 8/97 [part 1 of 2]
To: csound@maths.ex.ac.uk
Date: Thu, 28 Aug 1997 15:51:37 +0100 (BST)
Reply-To: Scotty.Vercoe@analog.com
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>From Scotty.Vercoe@analog.com Thu Aug 28 03:50:20 1997 remote from 
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From: "Vercoe, Scotty" 
To: "'CSOUND'" 
Subject: Analog Devices Extended Csound 8/97
Date: Wed, 27 Aug 1997 22:49:47 -0400
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We know that many of you have been wondering about the status of the
Analog Devices'  Extended Csound project.

Here is an update of our progress, our strategy, and how we see it
affecting the market.   We will send you the next update by October
10th.

If you have seen one of our demonstrations (ICMC '96,  AES '96, AES '97,
WINHEC '97, SEAMUS '97), you will appreciate the incredible power and
flexibility Extended Csound provides.  Our new hardware platform (the
Extended Csound PCI Development board) will provide even more MIPS to
run algorithms and support digital multichannel I/O capabilities.

------------------------------------------------------------------------
----

When will the new hardware and software be available and how much will
they cost?

It has always been our plan to provide a reference design to enable
commercial board vendors to manufacture boards and software developers
to write applications.  We are currently negotiating with several boards
suppliers to offer the hardware.  Until these negotiations are
completed,
please contact us.  We have decided to manufacture a specific number of
these cards in-house and make them available to all currently identified
software developers and board manufacturers.  Thus, we will ship an SDK
to every identified sound designer who wants one by October 1, 1997.  We
plan to make an SDK available to everyone who wants one until the boards
are available from commercial manufacturers.

What does the SDK kit consist of?

Extended Csound PCI Development board
	ADSP-2106x SHARC DSP including 2 Mbyte SRAM, 40 MIPS, 120 MFLOPS,
32-bit
floating-point performance, 10 DMA channels, all on-chip
	6 out, 2 in SPDIF
	6 analog out, 4 in (optional daughter board)
	MIDI in/out
Windows 95 GUI
API
Extended Csound executables
Launcher application
Manual
Example and test instruments
Extended Csound Tutorials
Benchmarks
Bill of Materials
Installation documents
How to make the transition from public to Extended Csound efficiently
and under MIDI control
All necessary cables
Directory names
Analog Devices technical and developer support contacts
List of recommended games, MIDI apps, and MIDI files
Technical differences between public and Extended Csound
A definitive book on Public Csound, edited by Richard Boulanger,
published
by MIT Press, sent separately in January, 1998
SHARC specifications
*SHARC tools (optional)

To cover a portion of the cost of these hand-coded cards, ADI will offer
them at a published list price of $1000.

*For developers requiring SHARC DSP tools, there will be a small
additional fee.  These tools enable linking of custom opcodes and
programming aids for the SHARC DSP.



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From: james@maths.ex.ac.uk
Message-Id: <19818.199708281453@zeno.maths.exeter.ac.uk>
Subject: BOUNCE Csound: Non-member submission from [anechoic@sirius.com] (fwd)
To: csound@maths.ex.ac.uk
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owner-csound-outgoing wrote
>From owner-csound-outgoing Wed Aug 27 14:27:23 1997
From: owner-csound-outgoing
Date: Wed, 27 Aug 97 14:27:23 GMT
Message-Id: <2275.9708271427@maths.exeter.ac.uk>
To: owner-csound-outgoing
Subject: BOUNCE Csound: Non-member submission from [anechoic@sirius.com]

>From anechoic@sirius.com Wed Aug 27 15:27:19 1997 remote from 
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Date: Wed, 27 Aug 1997 07:27:44 -0700
To: Reid Sweatman ,
        "'Kim Cascone'" 
Subject: RE: MIDI Files in BIN Format
Cc: "'csound@noether.ex.ac.uk'" 

At 04:37 AM 8/27/97 -0700, Reid Sweatman wrote:


>We seem to be consistently butting heads over semantic difficulties . 
> Obviously, you have to get the files from one machine to another.  Apple 
>File Exchange does a right nifty job of converting between Mac and PC file 
>types.  Just save the MIDI file to disk using AFE and plug the disk into 
>the PC and read it.  Should be no problem with raw MIDI files this way. 
> Done it myself a couple of times.  In a standard MIDI file on the Mac I 
>don't believe anything is done with the resource fork; it's a placeholder, 
>and simply goes away when the file is transferred via AFE.  If you had the 
>machines side by side you could also just *play* the MIDI from one machine 
>to another, capturing and saving it on the PC end.  My point was, there 
>*is* a standard data format for MIDI files, no matter how a particular 
>machine likes to lay them down on disk.

for some reason I always used this little app someone at Headspace wrote
that basically took a PC MIDI file and put in some MIDI resource fork info
for the Mac (it could be set up to batch files)...thanks for all the info...
peaceOut()
KIM
________________________
<> kim.cascone <>

<>sound.editor -- headspace<>

/**
*heavenly.music.corporation
*  pgr
*/

<>anechoic@sirius.com<>
<>http://www.sirius.com/~anechoic<>

"so many atmospheres, so little time"
____________________________________________________

"the meta-designer creates context, not content"
    - Gene Youngblood



-- 
James Andrews, maths CDO, ext.3977



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From: james@maths.ex.ac.uk
Message-Id: <19824.199708281453@zeno.maths.exeter.ac.uk>
Subject: midi files in bin format
To: csound@maths.ex.ac.uk
Date: Thu, 28 Aug 1997 15:53:42 +0100 (BST)
Reply-To: kim@headspace.com
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owner-csound-outgoing wrote
>From owner-csound-outgoing Tue Aug 26 21:08:14 1997
From: owner-csound-outgoing
Date: Tue, 26 Aug 97 21:08:14 GMT
Message-Id: <21847.9708262108@maths.exeter.ac.uk>
To: owner-csound-outgoing
Subject: BOUNCE Csound: Non-member submission from [kim@headspace.com (Kim Cascone)]

>From kim@headspace.com Tue Aug 26 22:08:10 1997 remote from 
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Date: Tue, 26 Aug 1997 14:08:29 -0700
To: Reid Sweatman 
From: kim@headspace.com (Kim Cascone)
Subject: Re: MIDI Files in BIN Format
Cc: csound
In-Reply-To: <01BCB21D.E6511340.Reid.Sweatman@m.cc.utah.edu>
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>I believe those .BIN files are binhexed (might just be another proprietary 
>Mac format, too; dunno).  In any event, if you want to communicate with 
>non-Mac machines, you have to use a common format, not a proprietary one. 
.bin files are not neccessarily binhexed...the suffix for binhex is .hqx...

> The equivalent in PC terms, to turn it around, would be if a PC user sent 
>you a Zipped file; you wouldn't be able to read it on the Mac.
this is not true...I can zip files and read zip files on my Mac...it's the
(PC) binary exe's that won't run on the Mac after you unzip them...

>  Likewise, 
>you couldn't view a Tarred UNIX file.  However, there is a standard MIDI 
>file format, and your software probably creates it; check the output 
>options of your software.  On the PC such files have extensions of .MID; I 
>don't know what they'd be called on the Mac, but probably something real 
>similar.  Hope this helps.
the Mac uses resource forks which contain a Creator and Type that tell the
MacOS what kind of file it is looking at...smf's created on the Mac have
this but smf's create on PC's don't (PC's use suffixes for extension
mapping)...
peaceOut()
KIM

________________________
<> kim.cascone <>

<>sound.editor -- headspace<>

/**
*heavenly.music.corporation
*  pgr
*/

<>anechoic@sirius.com<>
<>http://www.sirius.com/~anechoic<>

"so many atmospheres, so little time"
____________________________________________________

"the meta-designer creates context, not content"
    - Gene Youngblood



-- 
James Andrews, maths CDO, ext.3977



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From: james@maths.ex.ac.uk
Message-Id: <19839.199708281455@zeno.maths.exeter.ac.uk>
Subject: BOUNCE Csound: Non-member submission from [Tobias Kunze ] (fwd)
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owner-csound-outgoing wrote
>From owner-csound-outgoing Tue Aug 26 20:26:26 1997
From: owner-csound-outgoing
Date: Tue, 26 Aug 97 20:26:26 GMT
Message-Id: <21512.9708262026@maths.exeter.ac.uk>
To: owner-csound-outgoing
Subject: BOUNCE Csound: Non-member submission from [Tobias Kunze ]

>From tkunze@ulysses.stanford.edu Tue Aug 26 21:26:22 1997 remote from 
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Date: Tue, 26 Aug 1997 13:28:21 -0700 (PDT)
From: Tobias Kunze 
To: James Garfield 
Cc: John Francis Beahan , csound 
Subject: Re: MIDI files to PC
In-Reply-To: <3402D458.90005D48@badrat.com>
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Pete and James are right but things are a little confusing, so
please excuse my attempt to clarify:

  - Mac files come in 2 files ("forks"), a data (raw, private)
    and resource (structured, public) fork, which causes problems
    when they are transferred to a different platform

  - to remedy that, Apple came up with numerous ways of encoding
    both forks into one file (with only a data fork) that may be 
    transferred easily.  The most well-known are the "BinHex"
    format (7-bit ASCII data, similar to uuencode) and the
    "MacBinary II" format (8-bit binary). The latter is nothing
    more than a header followed by the unencoded resource fork,
    followed by the unencoded data fork.

  - Mac Transfer software normally deals with conversion issues
    automatically with the intent to keep the conversion
    transparent.

Now, being a cross-platform format, MIDI files do not have a 
resource fork, even on Macs.  Therefore, you have to find a way
to instruct your transfer software NOT to use any conversion
(sometimes called just "Binary").  Plus, as James pointed out,
make sure the file ends in ".midi" or ".mid" and doesn't contain
characters that may interfere with URL's, such as ' ', '%', '&', 
';', etc.


Hope that helps, 

-Tobias



-- 
James Andrews, maths CDO, ext.3977



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From: james@maths.ex.ac.uk
Message-Id: <19859.199708281458@zeno.maths.exeter.ac.uk>
Subject: BOUNCE Csound: Non-member submission from [jesus ] (fwd)
To: csound@maths.ex.ac.uk
Date: Thu, 28 Aug 1997 15:58:31 +0100 (BST)
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owner-csound-outgoing wrote
>From owner-csound-outgoing Tue Aug 26 14:28:06 1997
From: owner-csound-outgoing
Date: Tue, 26 Aug 97 14:28:06 GMT
Message-Id: <16718.9708261428@maths.exeter.ac.uk>
To: owner-csound-outgoing
Subject: BOUNCE Csound: Non-member submission from [jesus ]

>From fauno@pop3.redestb.es Tue Aug 26 15:28:01 1997 remote from 
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Subject: Spectral Dynamics in CSOUND
Date: Tue, 26 Aug 97 16:32:07 +0200
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From: jesus 
To: "csound" 
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Does anyone Know if there is an implementation of the Spectral Dynamics 
Algorithm of SoundHack (Tom Erbe) developed in Csound?
Thanks

------------------------
Jesus L. Alvaro
fauno@redestb.es
------------------------



-- 
James Andrews, maths CDO, ext.3977



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From: james@maths.ex.ac.uk
Message-Id: <19888.199708281503@zeno.maths.exeter.ac.uk>
Subject: ACCCI question
To: csound@maths.ex.ac.uk
Date: Thu, 28 Aug 1997 16:03:19 +0100 (BST)
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owner-csound-outgoing wrote
>From owner-csound-outgoing Sat Aug 23 18:28:38 1997
From: owner-csound-outgoing
Date: Sat, 23 Aug 97 18:28:38 GMT
Message-Id: <12874.9708231828@maths.exeter.ac.uk>
To: owner-csound-outgoing
Subject: BOUNCE Csound: Non-member submission from [richard s ]

>From richard@rasmith.demon.co.uk Sat Aug 23 19:28:31 1997 remote from 
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From: richard s 
To: CSound MailList 
Subject: Nubee ACCCI question
Date: Sat, 23 Aug 1997 18:10:37 +0100
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Could anyone spare the time to tell me how to get the Amsterdam CSound
Catalogue I've been hearing so much about.

I'm running Windows 95. I've downloaded the zip file, unzipped it and run
RUN ME in ACID, and just get an incomprehensible dos window that seems to
produce an error.

I was expecting lots of lovely instruments in text files with descriptions;
have I misunderstood what ACCCI is?

Thanks in advance,

Richard S


-- 
James Andrews, maths CDO, ext.3977



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From: james@maths.ex.ac.uk
Message-Id: <19899.199708281505@zeno.maths.exeter.ac.uk>
Subject: beCsound 3.46 for BeOS
To: csound@maths.ex.ac.uk
Date: Thu, 28 Aug 1997 16:05:19 +0100 (BST)
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owner-csound-outgoing wrote
>From owner-csound-outgoing Thu Aug 21 06:38:22 1997
From: owner-csound-outgoing
Date: Thu, 21 Aug 97 06:38:22 GMT
Message-Id: <5947.9708210638@maths.exeter.ac.uk>
To: owner-csound-outgoing
Subject: BOUNCE Csound: Non-member submission from ["Jens Kilian" ]

>From jensk@bidra168.bbn.hp.com Thu Aug 21 07:38:18 1997 remote from 
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Subject: [ANN] Csound 3.46 for BeOS DR9 PR
To: csound, bedevtalk@be.com
Date: Thu, 21 Aug 1997 8:39:01 METDST
Reply-To: jens_kilian@bbn.hp.com
Organization: Hewlett-Packard GmbH
From: "Jens Kilian" 
Reply-To: Jens_Kilian@bbn.hp.com
X-Mailer: Elm [revision: 212.2]

I've made a version of Csound 3.46 compiled for the Be Operating System (DR9)
available for downloading from my home page:

        http://www.bawue.de/~jjk/download.html

I've also submitted it to Be's FTP server (ftp://ftp.be.com/pub/contrib/audio/)
but it may take some time to show up there.

Missing features in this version:
- Graphics displays.
- Real-time audio I/O.

Features specific to the BeOS version:
- BeOS UI front-end.

Source code for the UI, and patches for the baseline Csound source, are
available in a separate archive.  You'll need the registered version of
CodeWarrior if you want to recompile them.

Please feel free to contact me (jjk@acm.org) if you find any bugs.

Have fun,

        Jens.
--
mailto:jjk@acm.org                 phone:+49-7031-14-7698 (HP TELNET 778-7698)
  http://www.bawue.de/~jjk/          fax:+49-7031-14-7351
PGP:       06 04 1C 35 7B DC 1F 26 As the air to a bird, or the sea to a fish,
0x555DA8B5 BB A2 F0 66 77 75 E1 08 so is contempt to the contemptible. [Blake]


-- 
James Andrews, maths CDO, ext.3977



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Date: Fri, 29 Aug 1997 01:57:38 -0400 (EDT)
From: David Densmore 
To: csound@maths.ex.ac.uk
Subject: Cecilia Problem
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I have just installed Cecilia on my Linux PC, and am experiencing a problem.

If I type in orc and sco parameters in the modules window, it works fine.
I can preview it, or write it to disk and play it.  I can also save as a
module or orc/sco pair.

But I can't load any files from disk.  When I go to the file menu and
select Open...  the fileselect box appears and I can select a file and the
file name appears in the file rectangle, but when I click ok, nothing
happens.  The box just disappears and no file is loaded.  I get the same
behavior with orc and module files.

The only thing I can load is a score from the module window's file menu.
Whatever file I select will appear in the bottom pane.  The only way I can
load an orc/sco pair without typing them manually, is to first load the orc
file into the score pane then paste it into its proper pane.  Then I load
the score and I can process the module.  For some reason I can't paste in
text from another application, or even from the module window's scratch
editor (I can load files into the scratch editor). 

Have anyone else ever experienced a problem like this?  Could this be a bug
in the Linux port?

The only other thing I can think of is that possibly I am missing a
particular library on my system.  I am running Debian 1.3.1, which I
installed via ftp, and have had to install lots of components individually,
which I gather is not necessary when installing from a CD.

For example, I just obtained a copy of vplay from Dave Phillips.  The first
time I tried to run it I got an an error message saying libc4 could not be
found.  So I got it from the Debian ftp site and installed it.  Then vplay
ran fine.

But if the problem were a missing library, wouldn't I get an error message
like I did with vplay?

Can anyone help me solve this problem?

Thanks,

David Densmore