| Message written at 30 Jul 1999 13:27:49 +0100
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PS: Someone needs to write the documentation as well......
==John ffitch
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Subject: Re: [long] delayr/delayw improvements
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Message written at 30 Jul 1999 13:16:25 +0100
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I thoink I like it, as it is compatible with current system, and
clearly an improvement. Any objectiosn to this as the normal system?
I will modify sources forthwith and release with 3.57 unless I hear
howls or a well reasoned objection.
==John ffitch
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From: Jens Groh
Subject: Re: [long] delayr/delayw improvements
John ffitch wrote:
> PS: Someone needs to write the documentation as well......
Alright.
Jens Groh
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John ffitch wrote:
> PS: Someone needs to write the documentation as well......
Alright.
Jens Groh
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From: Javier Ruiz
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Subject: [algo-comp] AC Toolbox for Macintosh computers.
From: "Javier Ruiz"
I would like to share this address with all Macintosh users.
It is the Instituto de Sonologa de La Haya site, where you can find AC
Toolbox, a lisp based environment for algo-music. It has MIDI, csound
scores, CLM, etc...
I am having a good week using it.
ftp://ftp.koncon.nl/pub/ACToolbox/AC_Toolbox.sea.bin
It comes with a nice tutorial, a PDF manual and has extensive help.
His author is Paul Berg.
Buen verano/Nice Summer
Javier
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Message-ID: <002201bedada$e36008c0$c619883e@default>
From: Richard Bowers
To: Paul Barton-Davis
Cc: csound
Subject: Re: sequencer
Date: Fri, 30 Jul 1999 23:28:41 +0100
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It's obvious that this subject has raised considerable interest and that
there's a need to establish what people want from a MIDI/Csound 'interface'
(for want of a better word) because there are clearly different concerns
here.
For my part I am quite aware of MIDI's limitations re composition but am
also aware of its advantages (via sequence editors) for organising dense
material. It's for this reason that I would like to see some way of simply
using a MIDI sequence (without any concern for 'real' realtime) in the
manner in which we are accustomed with standard .sco files - but
transparently. ie you set up some sort of configuration file which maps the
MIDI messages to particular parts of the orchestra and then the MIDI file
may be used and re-edited etc. without the use of any other conversion
software.
Eg. you could assign channel 2s controller7 messages to instrument25 and
make each 'csound note's' duration last until the next message of the same
type - thereby enabling ramping using the standard score convention. The
output can then be assigned to a global variable for use anywhere within the
orchestra.
If this were possible, using the 'mapping' method, you would at least be
able to draw on the functionality of good sequencers (they are, after all,
pretty good graphic editors and offer a wide range of event filtering,
graphic input, patching functions etc.).
Surely I'm not alone in thinking that this would be desirable?
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Date: Fri, 30 Jul 1999 20:08:05 -0400
From: "Job M. van Zuijlen"
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Subject: Re: sequencer
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I think something like that would be very useful. There are several
good sequencers that have well-developed graphical user interfaces.
They make it relatively easy to organize events and can be a good
compositional tool for that reason, in particular when things get
complex. Being able to control Csound would extend their usefulness.
Job van Zuijlen
Richard Bowers wrote:
>
> [snip]
>
> If this were possible, using the 'mapping' method, you would at least be
> able to draw on the functionality of good sequencers (they are, after all,
> pretty good graphic editors and offer a wide range of event filtering,
> graphic input, patching functions etc.).
>
> Surely I'm not alone in thinking that this would be desirable?
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Subject: AC Toolbox for Macintosh computers.
From: Javier Ruiz
To: csound@maths.ex.ac.uk
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I would like to share this address with all Macintosh users.
It is the Instituto de Sonolog=EDa de La Haya site, where you can find AC
Toolbox, a lisp based environment for algo-music. It has MIDI, csound
scores, CLM, etc...
I am having a good week using it.
ftp://ftp.koncon.nl/pub/ACToolbox/AC_Toolbox.sea.bin
It comes with a nice tutorial, a PDF manual and has extensive help.
His author is Paul Berg.
Buen verano/Nice Summer
Javier
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Message-ID: <37A26933.1355B99B@westnet.com>
Date: Sat, 31 Jul 1999 03:10:43 +0000
From: Larry Troxler
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Subject: (revisited) Linux-unnoficial : can't we just merge???
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Ok, I know I've brought this up before, but didn't seem to get a
satisfactory answer.
What exactly is the purpose/goal(s) of maintaining a seperate unnoficial
linux distribution of csound?
Ah, well, I may as well just go ahead and explain my perceptions as a
casual user of Csound on the Linux platform.
I haven't used Csound for quite a while on my Linux box, and hence
decided I was in need of an upgrade. Naturally, my first thought would
be to download John Fitch's distribution. I did, and although it did
build, I noticed that it did not have the code for grabbing POSIX
real-time priority. Fine, I thought. That's what the unoficial Linux
version is for. I grabbed that, and found the build process quite
different. So, rather than having the comfort of having the same
makefiles as the official version, everything was quite different, and
in fact I ran into some glitches with the unnoficial version that I
wasted some time on to resolve. It is not my point that one of these
versions is better than the other; rather, the problem is that they are
different, and hence, to install both versions entails debugging the
quirks of two entirely different build mechanisms.
Well, once I got the unofficial Linux distro up and running, I naturally
wondered (once again) why there needs to be a seperate distribution in
the first place. And I was quite perplexed as to why, for example, the
Linux/POSIX real-time scheduling option was not submitted into the
official release. If it were, I would not have had to venture out and
learn to install a seperate version of Csound.
The most basic problem I find, as a casual user, in running a
non-official version, is how to deal with apparent bugs that pop up!
It is not at all clear to me how the sources betweeen the two versions
differ, and hence when I come across a core dump or other anomaly (which
with csound being as buggy as it is, is guaranteed to happen in *every*
session), I have no immediate way to determine whether this bug is
specific to the unoficial version, or is common to the real version. I
am instead forced to grep and browse through the sources for both
versions in an attempt to learn whether this is a generic bug or not.
Ok, enough ranting, by now I hope my point is obvious: It is unworkable
for Linux users of Csound to have to use a different source tree and
build method, just to get their platform-specific advantages. Instead,
you Linux developers really need to talk to John and come to some sort
of agreement on including the Linux specifics into the standard
distribution.
Larry
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Date: Sat, 31 Jul 1999 10:06:45 +0200
From: Michel Jullian
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From: Michel Jullian
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To: Richard Bowers
Subject: Re: sequencer
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Implementing the vst2 interface in csound (how is that going, Michael ?) will
help a lot towards this aim :
Duration is encoded in noteon events for notes whose duration is known by the
sequencer at the time of sending the noteon event (e.g. drawn in score or
pianoroll editor) : if we have no concern for 'real' realtime this is much
more pratical than any control change or poly aftertouch message since notes
are represented in the sequencer as notes, not as curves.
- Hosted by upcoming release of most sequencers
- Multiplatform
BTW if we are still concerned by 'real' realtime which we are, the plugin
(csound) could generate the noton and noteoff events itself in response to
other msgs and have them recorded by the sequencer (since vst2 plugins can
send midi as well as receive it), so they could be dealt with thereafter as
notes eg on a pianoroll.
Richard Bowers wrote:
>
> It's obvious that this subject has raised considerable interest and that
> there's a need to establish what people want from a MIDI/Csound 'interface'
> (for want of a better word) because there are clearly different concerns
> here.
>
> For my part I am quite aware of MIDI's limitations re composition but am
> also aware of its advantages (via sequence editors) for organising dense
> material. It's for this reason that I would like to see some way of simply
> using a MIDI sequence (without any concern for 'real' realtime) in the
> manner in which we are accustomed with standard .sco files - but
> transparently. ie you set up some sort of configuration file which maps the
> MIDI messages to particular parts of the orchestra and then the MIDI file
> may be used and re-edited etc. without the use of any other conversion
> software.
>
> Eg. you could assign channel 2s controller7 messages to instrument25 and
> make each 'csound note's' duration last until the next message of the same
> type - thereby enabling ramping using the standard score convention. The
> output can then be assigned to a global variable for use anywhere within the
> orchestra.
>
> If this were possible, using the 'mapping' method, you would at least be
> able to draw on the functionality of good sequencers (they are, after all,
> pretty good graphic editors and offer a wide range of event filtering,
> graphic input, patching functions etc.).
>
> Surely I'm not alone in thinking that this would be desirable?
--
Greetings,
Michel
.........................................................................
Michel Jullian Directeur General email mj@exbang.com
Exbang Industries S.A.
Mas Chauvain route de Villeneuve tel +33(0) 499 529 878
Maurin 34970 Lattes France fax +33(0) 499 529 879
.........................................................................
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Message-ID: <009201bedb38$9ac66f60$5e3d883e@internetpc>
From: richard bowers
To: csound csound
Subject: PCI versions
Date: Sat, 31 Jul 1999 10:39:36 +0100
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Sorry that this is not really to do with CSound, but you're my only source
of help. The SBlive system requirements state PCI 2.1. What the hell does
that mean and how can I find out which version my pc supports?
Thanks,
Rich.
|