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Re: Linear Prediction in Csound

Date1999-03-16 13:19
FromMichael Gogins
SubjectRe: Linear Prediction in Csound
One of the reasons to go with text is that the Document Object Model of the
W3C defines an object oriented interface, already implemented in Java by Sun
and in C++ by Microsoft, for parsing XML files into DOM objects. In
practice, one's primary data object or model object is also, or is attached
to, a DOM object.

This parsing code is robust and easy to use, though not as fast as binary
format reading and writing. The advantages of XML are many, but for
musicians it is a standard form of notation that can be cut and pasted
between applications and files without breaking anything, whether by hand or
by program. This is one of the stated goals of SDIF, but XML has a far wider
audience and is already understood.

I have used a hybrid XML format in which the tags and some data is text, but
other data is length-prefixed binary. This, for example, forms the
 element of the Csound structured data file (csd file), which I
created. But I think the advantages of using binary format for the columns
of a time/frequency analysis, as opposed to a text printout of the vector,
are slight.

-----Original Message-----
From: Richard Dobson 
To: csound@maths.ex.ac.uk 
Date: Tuesday, March 16, 1999 4:23 AM
Subject: Re: Linear Prediction in Csound


>I'm not too worried about the disk - that's what it does. I'm thinking
>of the poor human trying to scroll through it in WordPad or emacs... and
>then trying to repair it when they make a typo...
>
>We can write pvoc data to a text file alreday, in CDP, but this is for
>extra, diagnostic purposes. It is not the primary format, however. I
>will soon adapt my play program to render analysis files directly, for
>which the binary format is naturally appropriate, efficient and safe.
>
>There are times when it is useful to print out the sample values in a
>WAVE file; but I can't imagine anyone would use text as the primary
>working format for all their compositions!
>
>Richard Dobson
>
>Michael Gogins wrote:
>>
>> As for dealing with pvoc in text form, my disk is 14 gigabytes and only
half
>> full, even though loaded with C++, VB, Java, Csound, Silence,
Mathematica,
>> MS Office, all my pieces in mp3s, the master for one album and part of
>> another. I think I can handle a few megabytes. Oh, and some games, Cool
Edit
>> Pro, and Emagic Gold. Oh, and parts of jam sessions recorded to HD in
>> float...
>>
>> -----Original Message-----
>> From: Richard Dobson 
>> To: csound@maths.ex.ac.uk 
>> Date: Monday, March 15, 1999 2:37 PM
>> Subject: Re: Linear Prediction in Csound
>>
>> >I will take another look at the SDIF spec. If the format is still fluid,
>> >than this may be an excuse to get it solidified. I remember feeling that
>> >too many essential items of information were delegated to optional
>> >chunks.
>> >
>> >A pvoc analysis file can be megabytes in size - easily larger than the
>> >soundfile it represents. Can anyone really want to deal with it in text
>> >form?
>> >
>> >Richard Dobson
>> >
>> >
>> >Michael Gogins wrote:
>> >>
>> >> I suggest you use SDIF as this is more in keeping with the
public-domain
>> >> character of our work. I also believe it would be technically
adequate.
>> >>
>> >> As an alternative, I suggest using Extensible Markup Language (tagged
>> text
>> >> files) as it is easier to code readers and writers for this type of
>> format,
>> >> and to use it from and for other applications.
>> >>
>> >
>> >--
>> >Test your DAW with my Soundcard Attrition Page!
>> >http://wkweb5.cableinet.co.uk/rwd
>> >CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm
>
>--
>Test your DAW with my Soundcard Attrition Page!
>http://wkweb5.cableinet.co.uk/rwd
>CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm



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Date: Tue, 16 Mar 1999 11:25:51 -0500
To: Csound List 
From: Charles Starrett 
Subject: Re: phasor & tablemix
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I'm still stumped...I've tried all sorts of different methods to try to get
rid of the click--mostly I'm focusing on the possibility that my cross-fade
envelope ("kross") is not perfectly timed with the table swaps...

Anyhow, my last post had a poor wrap in it, so I'm including the orc/sco
pair again having made it a little more "email friendly."

Thanks again!

~~Charles

;-----------------------------------
;clksweep.orc
;
sr = 44100
kr = 4410
ksmps = 10
nchnls = 1

instr 3
	iamp	= p4 ;
	ipitch	= p5 ; base pitch
	iseqfn	= p6 ; f-table selection f-table
	istart	= p7 ; start position on seqfn
	idir	= p8/abs(p8) ; step dir. through table (1 or -1)
	idur	= abs(p3/p8) ; duration of each crossfade
	irange	= p8 - idir ; # of positions to step through

	; lookup starting and ending f-tables for each cross-fade
	kphs	phasor	1/p3
	kndx	= kphs*p8
	knxtndx = kndx+idir
	ktbl	table	kndx, iseqfn, 0, istart
	knxttbl table	knxtndx, iseqfn, 0, istart

	printk	(idur/2), kphs

	; crossfade between two tables using ramp (f198) and write to f199
	kross	oscili	1, 1/idur, 198
	kfade = 1 - kross
		tablemix 199, 0, 4096, ktbl, 0, kfade, knxttbl, 0, kross
		tablegpw 199

	iattrel = .05 ; attack and release times
	kenv	linseg	0, iattrel, iamp, p3-2*iattrel, iamp, iattrel, 0
	asig	oscil	kenv, cpspch(ipitch), 199, -.5
		out	asig
endin

;-----------------------------------
;clksweep.sco
;
;-----------------\
; function tables \
;-----------------\

f1 0 4097 10 1
f2 0 4097 10 1 0 .333333 0 .111111 0 .037037 0 .012345
f3 0 4097 10 0 0 1
f4 0 4097 10 0 0 0 0 1
f5 0 4097 10 0 0 1 0 1
f6 0 4097 10 0 0 1 0 .6 0 1
f7 0 4097 10 0 0 0 0 0  0 1 0 1
f8 0 4097 10 1 .5 .333333 .25 .2 .166666 .142857 .125 .111111 .1
f9 0 4097 10 0 0 0 0 0 0  0 0 0 0 1

; list of function tables to fade between
f191 0 16 -2 2 8 1 1 3 4 5 6 7 9 ; iseqfn table

; other function tables
f198 0 17 -7 0 4 0 8 1 4 1 ; kross table
f199 0 4097 10 1 ; asig table

;-----------------\
; note statements \
;-----------------\

;i3 0 2 10000 5.05 191 3 1
;i3 + 7 10000 5.10 191 0 +9
i3 + 14 10000 5.05 191 9 -9
e

--
/----Charles D. Starrett-----\   "I do not feel that
|    / | ____ | |  ____  |   |    my research suffered unduly
|   /\ | |--  |-|   ___| |   |    from the fact that I enjoyed it."
|   |___ |____| |  |_____|   |   *Daniel Miller,
\--starrett@fas.harvard.edu--/    Modernity--an Ethnographic Approach




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Date: Tue, 16 Mar 1999 21:37:31 +0000
From: Richard Dobson 
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To: csound@maths.ex.ac.uk
Subject: Re: Linear Prediction in Csound
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Well, I will certainly look at an XML representation of pvoc analysis
files with interest, but the main advantages for me of a binary format
are streamability (as for ordinary soundfiles), and flexibility in
defining multifarious pvoc formats (different analysis rates, decimation
factors, window sizes, etc). The binary format will also be smaller than
the text equivalent, by at least a factor of two - assuming that six
decimal places plus the point are used for each value, and one tab, and
one newline (two bytes on disk for DOS). If ad-lib white-space is used,
the file-size will grow accordingly.

At the moment, the Microsoft WAVE-EX format looks extremely attractive,
as it is by definition streamable, and allows new sub-formats to be
defined without the need to register them with Microsoft. One goal I
have is a 'multi-channel' pvoc format (eg for stereo streams and above),
and chaining of frequency-domain processes in real-time as in
DirectShow.

The analogy of editing pvoc files in the way one can edit a single
time-domain sample does not quite hold, as in a pvoc stream of
overlapping frames, several frames will need to be edited together. The
potential for corruption of the format through manual editing and
cut+paste must be very high. The text format will certainly have value
for many purposes, but I cannot see it other than as supplementary to a
main binary format. 

BTW: Martin Puryear has just posted a new version of the Microsoft
WAVE-EX document, and I will send it to my website immediately. It looks
as if the main format is now fixed, as the document concludes by saying
that the format 'can be supported today'.  


Richard Dobson

Michael Gogins wrote:

> 
> I have used a hybrid XML format in which the tags and some data is text, but
> other data is length-prefixed binary. This, for example, forms the
>  element of the Csound structured data file (csd file), which I
> created. But I think the advantages of using binary format for the columns
> of a time/frequency analysis, as opposed to a text printout of the vector,
> are slight.
> 


-- 
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm


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From: Michael Gogins 
To: Richard Dobson , csound@maths.ex.ac.uk
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Subject: Re: Linear Prediction in Csound
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The XML format is, by definition, extensible and is, with careful naming of
tags, to a certain degree self-documenting. If Microsoft has created an
extensible WAV chunk system that does not require pre-registration, then
that is a big plus that should be seriously considered. Could you briefly
explain how it works?

Most XML and XML like language is not actually edited much by hand. HTML is
a good example. VRML is another. But it invariably turns out to be extremely
handy to be able to edit it by hand (fix broken files, quickly touch
something up, etc.).

-----Original Message-----
From: Richard Dobson 
To: csound@maths.ex.ac.uk 
Date: Tuesday, March 16, 1999 4:36 PM
Subject: Re: Linear Prediction in Csound


>Well, I will certainly look at an XML representation of pvoc analysis
>files with interest, but the main advantages for me of a binary format
>are streamability (as for ordinary soundfiles), and flexibility in
>defining multifarious pvoc formats (different analysis rates, decimation
>factors, window sizes, etc). The binary format will also be smaller than
>the text equivalent, by at least a factor of two - assuming that six
>decimal places plus the point are used for each value, and one tab, and
>one newline (two bytes on disk for DOS). If ad-lib white-space is used,
>the file-size will grow accordingly.
>
>At the moment, the Microsoft WAVE-EX format looks extremely attractive,
>as it is by definition streamable, and allows new sub-formats to be
>defined without the need to register them with Microsoft. One goal I
>have is a 'multi-channel' pvoc format (eg for stereo streams and above),
>and chaining of frequency-domain processes in real-time as in
>DirectShow.
>
>The analogy of editing pvoc files in the way one can edit a single
>time-domain sample does not quite hold, as in a pvoc stream of
>overlapping frames, several frames will need to be edited together. The
>potential for corruption of the format through manual editing and
>cut+paste must be very high. The text format will certainly have value
>for many purposes, but I cannot see it other than as supplementary to a
>main binary format.
>
>BTW: Martin Puryear has just posted a new version of the Microsoft
>WAVE-EX document, and I will send it to my website immediately. It looks
>as if the main format is now fixed, as the document concludes by saying
>that the format 'can be supported today'.
>
>
>Richard Dobson
>
>Michael Gogins wrote:
>
>>
>> I have used a hybrid XML format in which the tags and some data is text,
but
>> other data is length-prefixed binary. This, for example, forms the
>>  element of the Csound structured data file (csd file), which
I
>> created. But I think the advantages of using binary format for the
columns
>> of a time/frequency analysis, as opposed to a text printout of the
vector,
>> are slight.
>>
>
>
>--
>Test your DAW with my Soundcard Attrition Page!
>http://wkweb5.cableinet.co.uk/rwd
>CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm



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From: SONICMAN 
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Hello,

    I got some great suggestions regaurding DSP/audio code books, and
because Csound has gotten me so inspired my interest in everything
mathmatical has gone haywire! I want to know everything I can about the
full depth of mathmatics but honestly I will need a really "GREAT" book
that was written with an emphasis on learning not on the writer trying
to show how brainy he is. I'm sure you all know what I'm talking about
there. I once read 2 or 3 books on one subject still not understanding
it, until I hapt across a ONE paragraph explanation in a magazine
article and it was crystal clear. It is not WHAT is said but HOW it is
said!
    So if y'all know of some powerful math books that could help a
begginer mathmatician "LEARN" ...yes folks I actually want to learn,
Please refer them to me!

Your friend and future master of "Biotechmolecular Synthesis", =A91999
sonicman studios,
SONICMAN!



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From: SONICMAN 
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To: Csound Q&A list 
Subject: THANKS, to all the DSP book survey responses
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Just thought I'd let you all know I appreciate your help.
I am obsessed with the goal of total DSP mastery!

Thanks,
SONICMAN=out



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> It is not WHAT is said but HOW it is said!

yeah, but that's different for everyone!  I guess you will 
find that the read-one-book-and-get-it-all approach does 
never work.  If you are serious about "total DSP mastery", 
you need to start with one, then cross-check with others.

Problem with DSP is that it is heavily based on two unfortunately
arcane fields: complex variables and the Fourier transform.
Thus, and depending on where you stand, you probably need to 
allott three to six months to get a grasp of it.  A good place 
to start is 

  * Ken Steiglitz: "A DSP Primer: With Applications to Digital
    Audio and Computer Music," Addison-Wesley, 1996, 314 pp.

and several papers about DSP in the Computer Music Journal by
Julius Smith, David Jaffe and especially the

  * Two-part tutorial on the "Mathematics of signal processing"
    by Andrew Moorer (also in: John Strawn, ed., Digital Audio 
    Signal Processing: An Anthology, Los Altos, CA: W. Kaufmann,
    1985.)

Finally, you will need a good reference text.  That would be 
either the classic "Oppenheim-Schafer": 

  * A. V. Oppenheim and R. W. Schafer, Discrete-Time Signal
    Processing. Englewood Cliffs, NJ: Prentice Hall, 1989

or the newer

  * Sophocles J. Orfanidis: Introduction to Signal Processing, 
    Prentice Hall. 1995. (798 pp., hardcover, $88)

But check for instance 

  http://shoko.calarts.edu/~glmrboy/musicdsp/dspbooks.html

for other choices.


-Tobias


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Subject: Re: Okay, now your fav' MATH books survey!
References: <36EF2187.19B4D642@att.net> <36EF3107.47B50133@ccrma.stanford.edu>
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Tobias Kunze (*very* correctly) recommends this old publication:


>
>   * Two-part tutorial on the "Mathematics of signal processing"
>     by Andrew Moorer (also in: John Strawn, ed., Digital Audio
>     Signal Processing: An Anthology, Los Altos, CA: W. Kaufmann,
>     1985.)
>

but I gotta point out the article in question was by F. Richard Moore,
who also has good intro to computer music(heavy in c code examples) in
"Elements of Computer Music" Prentice-Hall 1990

I personally found Dick Moore's "Mathematics of signal processing"
article and *especially also* the Julius O. Smith Digital Filter theory
article that follows
in that book to be key in developing what understanding I have of
D.S.P..
( my main background was as a performing classical musician and
composer who used software synthesis languages )
If (as has been said on this list ) this book is out of print, it is a
shame.
I have  a copy of the book....does anyone have a copy of the book and a
scanner? () ;-)
That same series has just published a
"Fundamentals of Digital Audio" from Alan Kefauver, who teaches
recording arts at
Pebody Institute of Johns Hopkins...it is a short intro (not to DSP) but
to the fundamental
mechanics of digital audio ...it is remarkable mainly in the extent to
which it avoids and simplfies
the math involved...
We should all contact AR Editions of Madison WI (which took over the W.
Kaufman series a while back)
and ask that the early volume with Moore & Julius' article be reprinted
!
It truely is a classic text of computer music, IMHO...check it out , oh,
those who can (libraries are good places to start, maybe?)
Pax,
CharlieB




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Subject: Re: Csound Performance on Multiprocessor Intel Systems?
To: csound@maths.ex.ac.uk
Date: Wed, 17 Mar 1999 8:12:57 MET
In-Reply-To: <36ED13C5.DA337F1B@cygnus.com>; from "Thomas Hudson" at Mar 15, 99 2:05 pm
Organization: Hewlett-Packard GmbH
From: Jens Kilian 
Reply-To: Jens_Kilian@bbn.hp.com
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> My 300mHz Celeron has been running continuously at 464mHz for over two
> months. I had to bump the core voltage to 2.3 and use a heat sink with
> three cooling fans. 
> 
> I think what you are saying used to be true. Today however, marketing 
> probably plays a greater role. I'm sure Intel doesn't want an $80
> Celeron competing with the much more expensive and profitable
> Pentium II 450.

I've been told that there is no official higher-speed version of the Celeron,
so this may be true; I've no idea.  However, if there IS a higher rated model
of the same processor line, my original remark will apply (the lower-speed
chips are those that have failed a "speed binning" test).

Good luck,

        Jens.
--
mailto:jjk@acm.org                 phone:+49-7031-14-7698 (HP TELNET 778-7698)
  http://www.bawue.de/~jjk/          fax:+49-7031-14-7351
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From: Alessandro Andreuccetti 
To: csound@maths.ex.ac.uk
Subject: looking for italian csound users
Date: Wed, 17 Mar 1999 02:50:58 PST
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as in subject I'm looking for csound italian users.

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