Aaron posed the following solution, using sndwarp's acmp variable to
balance the output of the filter. I had tried this already, but just to
be on the safe side, I tried it again. Same results--40000 samples out
of range per channel per note, output of about 17 per channel. I'm using
Csound PPC by the way, the so-called "Mills" version. The original code
follows my signature below.

From: Aaron Johnson 

>a1, acmp sndwarp   kamp, itimewarp, iresample, ifn1, ibeg, iwsize,
irandw,
>ioverlap, ifn2, itimemode
>a2 butterlp a1, 14000
>abal balance a2, acmp
>outs abal, abal
>endin

>Use the optional "acmp."   It's purpose is to facilitate balance.  Then

>balance your filter against it using the balance opcode.

--
Carlton Joseph Wilkinson
http://excaliber.net/alex/wilkwrks.htm

;orc
sr = 44100
kr = 44100
ksmps = 1
nchnls = 2

instr 3

;sndwarp parameters
kamp linen p4, .01, p3, .01
itimewarp = p9
iresample = p5 ;2 = octave above
ifn1 = 3
ibeg = 0
iwsize = int(sr/10)
irandw = iwsize*.2
ioverlap = 40
ifn2 = 4
itimemode = 0

a1, acmp sndwarp   kamp, itimewarp, iresample, ifn1, ibeg, iwsize,
irandw, ioverlap, ifn2, itimemode
a2 butterlp a1, 14000
a3 butterlp a2, 20
abal balance a3, acmp
outs abal, abal
endin
;------------
;sco

f1 0 4 2 .1 .82 .82 .1
f2 0 4 2 .82 .1 .1 .82
f3 0 524288 -1 "brakerotor2.aiff" 0 4 0
f4 0 16384 9 .5 1 0

;   p4 amp
;    p5 transposition     2nd 1.125, M3rd 1.25, P5th 1.5
;      p6 passes between speakers
;       p7 phase offset (speaker balance)
;        p8 rvrbgain
;         p9 timewarp
a0 0 8
i3 8  4 .7  5.625  1  .5  .05 .3
i3 9  2 .6  10   .5  1  .05 .2
i3 12.5 2  .6  7.5  2  .25 .05 .2
i3 14.5 4  .6  6.25 1.25 0  .05 .3
i3 15.5 2 .6 5.625  1 .5 .05 .2
i3 16 4 .7 6.25 .35 .75 .05 .3
i3 17 5 .7 7.5  .5 1 .05 .4
i3 18 2 .7 10  .1 0 .05 .2
i3 19.525 4 .7 5   .75 .5 .05 .3
i3 23.5 4 .6 7.5  .1 1 .05 .3
i3 24.5 4 .6 6.25 1 .5 .05 .3
e













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From: Robin Whittle 
Organization: First Principles
To: csound@maths.ex.ac.uk, David Schuyeteneer 
Date: Sun, 28 Jun 1998 00:54:25 +1000
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This afternoon, I sat down and wrote a treatise on my understanding 
of why certain ratios of pitches sound good and others don't.  This 
is all to do with physics of the sound and its harmonics - and 
*nothing* to to with arbitrary human constructs such as scales. 

Quite a few of these ratios fit nicely into the 12 tone even tempered 
system - its a marvel of providence really.  None of them fit 
perfectly, and some don't fit at all.


Theres quite a bit of stuff which I think will be of interest to 
Csounders, including some material on the sharpening of high 
harmonics in instruments with stiff strings, and the always positive 
FM of all harmonics caused the the tension of the string increasing 
as the sum of all harmonic oscillations causes it to assume a shape 
which is other than straight.

I wrote this all at once and no doubt it can be improved.

   http://www.firstpr.com.au/csound/physics/harmon1.txt


It is a simple text file - 5000 words or so.

Jim, if you want me to email it to you, I can.  There are some 
crucial parts which are effectively tables of text, which could drive 
you bananas with a speech synthesiser - but I can't think of how 
better to present it.  I have marked the beginnings and ends of 
tables in a way which I hope will assist you in navigation.

This is an update and extension of things I originally figured out in 
1976. I haven't read most of this anywhere - but I haven't looked 
very hard either.


- Robin



===============================================================

Robin Whittle     rw@firstpr.com.au  http://www.firstpr.com.au
                  Heidelberg Heights, Melbourne, Australia 

First Principles  Research and expression: music, Internet 
                  music marketing, telecommunications, human 
                  factors in technology adoption. Consumer 
                  advocacy in telecommunications, especially 
                  privacy. Consulting and technical writing. 

Real World        Electronics and software for music: eg.
Interfaces        the Devil Fish mods for the TB-303. 

===============================================================











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Date: Sat, 27 Jun 1998 12:05:13 -0500
From: "Michael A. Thompson" 
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I found a great book for the mathematically challenged, like myself....
"Who is Fourier? A Mathematical Adventure." Written by Transnational
College of Lex Translated by Alan Gleason. ISBN 0-9643504-0-8

it is pretty good.... comes with cartoons and all...


 "A Digital Signal Processing Primer," by Ken Steiglitz is a great book
also but you really do need the math background. With the above book and
the Steiglitz book you shound understand the math and the FFT pretty
well... well enough to try your hand at programming one yourself I think.

also, a good book of example source code is "C Languahe Algorithms for
Digital Signal Processing" Pual M. Embree, Bruse Kimble...

Michael


--
----------------------------------
Michael A. Thompson
Unix SysAdmin.
[IRIX - NeXTStep - Linux]
University of North Texas
Center for Experimental Music and Intermedia
[C.E.M.I.]
Office: (940) 565-2382
E-Mail: mat0001@jove.acs.unt.edu
----------------------------------














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Hello list,

I am back from Venice having a great time there.
Some bugs with hYdra were reported and now corrected. With old versions you
can easily making your *.ads files unreadable for cSound with setting the
values to high or to a negative value. The current versions of Hydra (v 1.1f )
makes this impossible. 
Sorry for any trouble...

Malte Steiner

-----------------------------------------------------
find hYdra, the adsyn file editor here:
http://members.aol.com/additiv
-----------------------------------------------------











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From: Charles Baker 
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First:
For the fellow who asked about clicks from soundin:
this sounds very much like the problems I
(and others I know) have had with "DC-offset"...
try a DC-blocking filter...for an editor with a excellent
DC blocking filter, I recommend MXV ("MiXViews"),
if you have a UNIX based system (Sun/SGI/NeXT/Linux).
I'm sure high end sound editors on all platforms will have this.

As for the apology:
I am truly sorry to say,
I have lost access to my beta software Perl editor
for csound scores I am writing, at least for a while:
power supply went out on my intel box
and since I mostly code/work under Linux,
well...I hope & pray my SCSI disks are ok.
(i have an older version in hardcopy and on tape,
sooo...even if...)
When I get my machine back, I'll see if I can't finish
this...I think Score-11 is great, but open source is
the way to go: BRAVO to MIT and all (=jpff,N.B.,D.P.,J.P.,ET AL.!!)
for maintainingcsound and cscore as open source!!!
I really thinky editor will be a little simpler to use than the cscore
lib, if only because you don't really have to code
at all to edit your notelist (program prompts you...),
but you can if you want.
Wish me luck. I'm also  sorry to say that I was asked if
I couldn't get it on the MIT book/CDROM...but I doubt
it'll be done in time, now. Sigh. Well, anyway I GOTTA
get it out to you guys so maybe someone will use it and
break it: I'm sure the Cecilia crowd will tell you how
important bug reports are to a software product.

Well,
L&K, all....
Char lieB












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From: David Schuyeteneer 
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Subject: [ambient harmony]Voice-of-Eye example.
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Thanks to all of you who have answered my question about
harmony of ambient tones !! I'll continue my intagible quest for that
particular sound ;-))  hehe...

I noticed that most the answers deal with the phenomena of sinusoidal
partials...or something. Note that my question was actually rather
about the overall pitch of (very) complex textures used in dronal
electro-acoustic/ambient music. For example: recently I heard a
track made by Voice-of-Eye, called "flotsam suspended in solar wind".
That track has a huge sound with slooow, very rich textures...As the
sound progresses, other sounds can be heard (ethereal processed voices
etc..) fading in and co-altering on pitch with the sounds that are 
on the foreground at that moment. Of course I'm aware that the whole
sound is not mathematically perfect harmonic (fund *2, *3, *4, etc...),
but with many noise components and inharmonic partials, but that's not
the point. The point is that *all* those textures plus the huge reverb
in that Voice-of-Eye track *STILL* and *ALWAYS* sounds very delightful,
typically ambient harmonically in the ear. When I layer textures, too
much 
sounds NOT delightfully harmonic in the ear (doesn't mean that I dislike
atonal, ugly noise, but when I want harmonic sound, then I want harmonic
sound, not inharmonic sound. And vice-versa of course ;-))) )


David.











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Subject: Re: [ambient harmony]Voice-of-Eye example.
References: <35953DD9.A96CD8E0@pavell.com>
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For rich thick tones: try starting with rich natural sounds such as
voice or a string section:
These will have those "micro" changes of pitch I recommended earlier
sorta "built-in".

And they will still sound "harmonic", but contain enough "randomness" to
add interest
and avoid odd combination tones....


Just an idea (has worked for me in creating thick lovely evolving
tones).


CharlieB












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From: David Schuyeteneer 
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I searched  for good online synthesis documents on the net, but could
not find any...either they are short articles about strange very 
specific stuff, or too basic documents wich I allready know the
content of.

What I'm looking for is a good useful document that explains
the principles of sound synthesis to do it yourself with a
programming language (pascal, c) for a non-math freak.


David.











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This sound suspiciously like a classic 'melody and harmony' phenomenon! Even
apparently random superimpositions of textures could be composed in the
traditional way, to ensure melodic lines, foreground-shifting pitches, etc (
a.k.a. 'voice-leading') all work ...well, in harmony. Sometimes,
paper-and-pencil is the best way to do it. :-)

Richard Dobson

David Schuyeteneer wrote:
> 
> Thanks to all of you who have answered my question about
> harmony of ambient tones !! I'll continue my intagible quest for that
> particular sound ;-))  hehe...
> 
> I noticed that most the answers deal with the phenomena of sinusoidal
> partials...or something. Note that my question was actually rather
> about the overall pitch of (very) complex textures used in dronal
> electro-acoustic/ambient music. For example: recently I heard a
> track made by Voice-of-Eye, called "flotsam suspended in solar wind".
> That track has a huge sound with slooow, very rich textures...As the
> sound progresses, other sounds can be heard (ethereal processed voices
> etc..) fading in and co-altering on pitch with the sounds that are
> on the foreground at that moment. Of course I'm aware that the whole
> sound is not mathematically perfect harmonic (fund *2, *3, *4, etc...),
> but with many noise components and inharmonic partials, but that's not
> the point. The point is that *all* those textures plus the huge reverb
> in that Voice-of-Eye track *STILL* and *ALWAYS* sounds very delightful,
> typically ambient harmonically in the ear. When I layer textures, too
> much
> sounds NOT delightfully harmonic in the ear (doesn't mean that I dislike
> atonal, ugly noise, but when I want harmonic sound, then I want harmonic
> sound, not inharmonic sound. And vice-versa of course ;-))) )
> 
> David.











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If you can find it you might want to look at.

Practical Handbook of Curve Design and Generation
David von Seggern
ISBN 0-8493-8916-X

It's a great book for ideas.  Many diagrams and formulae.  It's not
cheap though my copy cost me $69.75. 

Chris




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Date: Sun, 28 Jun 1998 00:53:02 +0100
From: Jamie Bullock 
Subject: Re: [ambient harmony]Voice-of-Eye example.
To: Csound List 
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Sorry to sound pedantic, but there is an important difference in emphasis
between something being 'harmonic' and something being 'harmonious'. I think
this might be what caused people to respond to your original question in
terms of sine wave interaction! Maybe what you are looking for is something
which sounds 'harmonious'. This may, or may not have anything to do with
harmony in the musical or acoustic sense.  N.B: Sounds which we can
objectively call 'harmonic' (according to a definition) are not necessarily
*perceived* as 'pleasant' - it is often the structural function of the sound
which determines its psychoacoustic effect.

If you want to create 'ambient' music which sounds harmonious (to you) I
recommend that:
1) You sell your computer and by a Korg wavestation ;-) (..only joking..)
2) You take an aural approach to composition, and use trial and error until
you find something which pleases you (... in the process you might stumble
across something which takes you in a new direction..)
..From what I have seen, this is the way many 'ambient' artists tend to work
(aided by a few hallucinogens of course!).

Good luck in finding the ultimate fluffy clouds...

Jamie B


>.......typically ambient harmonically in the ear. When I layer textures,
too
>much
>sounds NOT delightfully harmonic in the ear (doesn't mean that I dislike
>atonal, ugly noise, but when I want harmonic sound, then I want harmonic
>sound, not inharmonic sound. And vice-versa of course ;-))) )
>
>
>David.
>












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Hi David,

There is an error on the manual. The correct syntax of 'flanger' opcode
is:

ar flanger  asig, adel, kfeedback, imaxd

INITALIZATION
imaxd - maximum delay in seconds (needed for inital memory allocation)

PERFORMANCE
ar - output signal
asig - input signal
adel - delay in seconds
kfeedback - feedback amount (in normal tasks this should not exceed 1,
even if bigger values are allowed)


Notice that the 'adel' variable  is an a-rate argument, not a k-rate, as
in the documentation.
The '-+' replaces the simple '-' prefix on all those flags which are
platform dependent, and which enable features not  implemented in other
Operating Systems, to avoid confusion.



David Schuyeteneer wrote:

> Hi,
>
> I tried the flanger opcode, but DirectCsound gives an error on all
> types of the kdelay argument (k-rate not allowed, constant not
> allowed...)  ?? What am i doing wrong ?
>
> Also what does the   " - + "   command arguments mean ???  why is
> it that strange  - + format ??
>
> Seeya
> David.



--
Gabriel Maldonado

http://www.agora.stm.it/G.Maldonado/home2.htm













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From: Paul Winkler 
To: csound@maths.ex.ac.uk, rw@firstpr.com.au
Subject: Re: Harmonics, physics, chords etc.
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Robin,

Interesting reading there. Comparing which overtones match up is an 
approach that is mentioned, but not shown in much detail, in that book I 
was talking about (Science of Musical Sound by John Pierce). 

Pierce also mentions a phenomenon you've neglected, which I think might 
be significant as well: The potential presence of overtones which are 
both strong and within a critical bandwidth so that there is audible 
beating between them. What is the critical bandwidth? It's a ratio 
between sine tones above which there is no perceptual rough beating. 
It's been shown to vary with frequency: it's between 2 and 3 semitones 
from about 1,000 hz on up, but it can be much greater than 3 semitones 
at lower frequencies. In other words, above approx. 1,000 hz, two pure 
sine tones will have no discernible beating as long as they're at least 
3 semitones apart. (This may explain your difficulty in tuning sine 
tones in octaves! Most people consciously or unconsciously listen for 
beating when trying to tune.) 

For pure tones, maximum dissonance seems to occur in the neighborhood of 
1/4 of the critical bandwidth. But for complex tones, these 
generalizations aren't valid. So how is the critical bandwidth and 
beating relevant to complex tones?  This could be shown in much the same 
way that you tabulated overtone correspondencies.  If you go looking for 
the overtones that DON'T correspond, you may notice something 
interesting. For instance: in complex tones one octave apart, most of 
the partials either coincide OR are separated by more than 3 semitones, 
so you won't hear much beating at all. Whereas if you look at two 
complex tones separated by 6 semitones (a diminished 5th or whatever you 
want to call it), you should see a much higher proportion of 
non-corresponding tones within a critical bandwidth. At least Pierce 
says so, but he doesn't show any examples, and I'm too lazy to do the 
math. :-]

Pierce also mentions a theory on where the critical bandwidth phenomenon 
comes from -- having to do with the physical workings of the ear. You 
might want to check it out.

Regards,

PW

>From: "Robin Whittle" 
>To: csound@maths.ex.ac.uk, davids@pavell.com (David Schuyeteneer)
>Date: Sun, 28 Jun 1998 00:54:25 +1000
>Subject: Harmonics, physics, chords etc.
>Reply-To: rw@firstpr.com.au
>
>This afternoon, I sat down and wrote a treatise on my understanding 
>of why certain ratios of pitches sound good and others don't.  This 
>is all to do with physics of the sound and its harmonics - and 
>*nothing* to to with arbitrary human constructs such as scales. 
(snip)


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From: Paul Winkler 
To: csound@maths.ex.ac.uk
Subject: Fwd: Re: Linux Csound and Posix.1b
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Dear folks,

I'm posting this because it came up in a private correspondence and I 
thought it might be of interest. I don't really know *anything* about 
posix.1b , and I'm way too new to system programming to really 
understand this, but Jay seemed to think it might be worth looking into 
as a way to improve the Linux (and Solaris?) version's realtime 
performance. As long as it didn't cause the linux version to 
irretrievably fork, this sounds interesting to me...

(We were talking about csound realtime output. Jay hasn't tried csound 
yet; I was telling him about it. I've noted which of us said what, for 
clarity.)

>Date: Sat, 27 Jun 1998 16:16:18 -0700
>From: Jay Ts 
>To: zarmzarm@hotmail.com
>Subject: Re: Csound and sound synthesis
(snip)

Jay:
>> >Is that "realtime" as in POSIX.1b real time?
>>

Paul:
>> I don't think so. Csound has realtime outs in the Mac and Windows
>> versions, too.

Jay:
>> > I was just looking over
>> >that (it was added to Linux recently (and Solaris too), and is now 
used
>> >by cdrecord to avoid buffer underruns while burning CD-Rs).  If 
Csound
>> >doesn't have it, it looks like it would be simple to add.  See 'man 
2
>> >sched_setscheduler' for details.  Also 'man 2 mlockall'.

Paul:
>> Interesting. This would meet with some resistance in the Csound
>> community, though, since one of the things people like about it is a
>> high degree of platform independence.

Jay:
>It is (in theory, at least) possible to have platform independence and
>support all platforms well.
>
>Adding POSIX.1b support would apparently simply be a matter of adding
>some pieces of code like,
>
>#ifdef LINUX
>        /* realtime code here */
>#endif
>
>I do not pretend to be an expert, or anywere near, on POSIX.1b at the
>moment, but I've looked at the manual pages, and it *looks* very
>simple!  During initialization, simply call mlockall() to lock all the
>process' pages into memory, then do a sched_setscheduler() to add the
>process to the real-time queue.  Like this:
>
>#include 
>#include 
>
>main()
>{
>        struct sched_param s_parm;
>
>        /* lock *all* pages into memory */
>        if(mlockall(MCL_FUTURE) == -1) perror("mlockall");
>
>        /* make this process a real-time one */
>        s_parm.sched_priority = 1;      /* can be 1-99 */
>        if(sched_setscheduler(0,SCHED_FIFO,&s_parm) == -1)
>                perror("sched_setscheduler");
>
>        /* from here on, operate in real-time mode */
>        printf("hello, world\n");
>}
>
>At least that seemed to work when run with superuser (root) permissions
>(required for the mlockall() and sched_setscheduler() calls).  You 
might
>try throwing the above code into csound's main() routine near the start
>and see if it makes any difference.  You might get lucky.  Hopefully, 
it
>will not lock up your system, which will happen if the real-time 
process
>enters an infinite loop (containing no system calls)!

(end of mail excerpt)

Regards,

PW

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From: Richard Dobson 
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A rough rule-of-thumb for critical bandwidth which seems to work most of the
time is that it a bit like the Q of a filter. When two pitches are within a few
Hz, we get a beat. While this beat has a frequency < 5Hz, say, the effect is
similar to vibrato, and may be useful musically. As the frequencies separate
further, the beat frequency increases, until it reaches the point where it is at
the lower limit of our hearing - say 20Hz. Between these points we are hitting
the critical bandwidth - a beat at 15Hz is very disagreeable! Obviously, when
the generating tones are at a low pitch anyway, the difference of 15 or 20Hz
represents a significant interval. 

As the generating frequencies diverge still further, we eventually reach a new
region of cognitive interatcion - the resultant tone. Frequencies of 800 and
1000 will create a phantom pitch in our ears at 200Hz (it will not show up in an
FFT analysis, for example, though the effect on the visible waveform is clear).
These three pitches are in a harmonic relationship, so the net result is a
'harmonious' sound (in fact we can often get more than one resultant tone - in
this case, probably at 600Hz). Shift the upper pitch by a fraction - say, to
1005, and the resultant tone rises accordingly, and is now out of harmonic
relationship - the sound becomes inharmonious. The shift at the top is almost
inconsequential, but the effect on the resultant tone is vivid. Attempt to add a
new 'correct' bass tone at 200 Hz and we get a clash between that and the
resultant tone at 205Hz. On paper, we have three tones at 200, 800 and 1005 -
well separated - but the resultant tone messes it up very nicely.

As a flute player, I have to deal with this problem any time I play in an
orchestra. As I will often be playing the highest note in the wind section, any
deviation from good tuning will have a devastating effect on the harmoniousness
of the whole section. A group of expert players will be continually
'negotiating' tuning amonst themselves to reduce beats and inharmonic resultant
tones to a minimum, the ultimate determinant generally being the bass note - but
less so if that note is not the root of the chord. There has been little
research into exactly how this is managed, but I feel that knowledge of the
primary principles of harmony is crucial - we learn to hear what the harmonic
root note is, of any chord we are playing, whether at the top, the bass, or in
the middle, and negotiate tuning towards that note. Needless to say, equal
temperament has little to offer here - we create new mean-tone tunings
on-the-fly, as it were.

Just possibly, this could form the basis for an algorithm which at any point
will attempt to identify the root pitch (the Hindemith principles might work
well for this), and adjust secondary pitches accordingly. I will have to leave
that to the maths boffins, however!

Richard Dobson

Paul Winkler wrote:
> 
> Robin,
> 
> Interesting reading there. Comparing which overtones match up is an
> approach that is mentioned, but not shown in much detail, in that book I
> was talking about (Science of Musical Sound by John Pierce).
> 
> Pierce also mentions a phenomenon you've neglected, which I think might
> be significant as well: The potential presence of overtones which are
> both strong and within a critical bandwidth so that there is audible
> beating between them. What is the critical bandwidth? It's a ratio
> between sine tones above which there is no perceptual rough beating.
> It's been shown to vary with frequency: it's between 2 and 3 semitones
> from about 1,000 hz on up, but it can be much greater than 3 semitones
> at lower frequencies. In other words, above approx. 1,000 hz, two pure
> sine tones will have no discernible beating as long as they're at least
> 3 semitones apart. (This may explain your difficulty in tuning sine
> tones in octaves! Most people consciously or unconsciously listen for
> beating when trying to tune.)
> 
> For pure tones, maximum dissonance seems to occur in the neighborhood of
> 1/4 of the critical bandwidth. But for complex tones, these
> generalizations aren't valid. So how is the critical bandwidth and
> beating relevant to complex tones?  This could be shown in much the same
> way that you tabulated overtone correspondencies.  If you go looking for
> the overtones that DON'T correspond, you may notice something
> interesting. For instance: in complex tones one octave apart, most of
> the partials either coincide OR are separated by more than 3 semitones,
> so you won't hear much beating at all. Whereas if you look at two
> complex tones separated by 6 semitones (a diminished 5th or whatever you
> want to call it), you should see a much higher proportion of
> non-corresponding tones within a critical bandwidth. At least Pierce
> says so, but he doesn't show any examples, and I'm too lazy to do the
> math. :-]
> 
> Pierce also mentions a theory on where the critical bandwidth phenomenon
> comes from -- having to do with the physical workings of the ear. You
> might want to check it out.
> 
> Regards,
> 
> PW
>











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>Just possibly, this could form the basis for an algorithm which at any point
>will attempt to identify the root pitch (the Hindemith principles might work
>well for this), and adjust secondary pitches accordingly. I will have to leave
>that to the maths boffins, however!


max handlz !t n!szl+e !n real t!me [assum!ng t!me = real]
howevr. harmon+e = ezkape 4rom undrztand!ng

>As the generating frequencies diverge still further, we eventually reach a new
>region of cognitive interatcion - the resultant tone.

howevr. luvl+e pozt.
part!all+e bkauz ov d!sz `interatcion`
howevr. resultant tone = val!d.
fault tolerant mask!nz. humanz +?
oui. harmon+e = ezkape 4rom undrztand!ng


\\ maths boffins, however!

bof.
+ fin