|
Im using Cool Edit PRO to record eight channels (using the multi track
mode). 'Apparantly' it is possible to get three of these cards
working together, so you could get 12 channels! but I havent tried
this. Each card appears as two seperate devices, with two outs/ins
each.
for more info on CoolEdit PRO checkout;
www.syntrillium.com
and for the Wave/4 cards;
www.gadgetlabs.com/wave4_frame.htm
Since this morning Ive played about with using eight channel output
and have done so with no problem.
Vic
______________________________ Reply Separator _________________________________
Subject: Re: Gadget Labs Quad Card w Csound
Author: jb189@mdx.ac.uk at internet
Date: 28/04/98 08:09
What software are people using to address different outputs individually? I
currently use a four channel sound card (Terratec EWS64), but the closest I
can get to four channel output, is taking a Stereo soundfile, and
'diffusing' it amongst the four outs - ie not really true quad. Eight
channels recorded seperately - what SOFTWARE do you use?
JamieB
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Subject: Re: More on floats in Midi
From: Nathan Day
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I'm not trying to defend Midi I just think that floats are over kill and
really not worth sacrificing bandwidth for eg channels, amount of control
info, timing resolution. A replacement for midi should be robust, cheap
(yes sorry) and easy to set up (sorry again). When I mean abstract I mean
like in object-oriented programming, there are places where different forms
of control belong, one of my criticism of csound is it lack of support for
the abstraction of control. Don't give me this patronising 'real
musician'/'Classically trained musician' nonsense 16 bit, 65536 levels, is
beyond any musicians level of control, yes you can hear two identical
sounds beat when separated by less than .2 cents, but do you really want to
specify that their pitches are 10537.6317 cents and 10537.6434 cents or
that one is 0.0117 cents sharp to the other. Midi should not be designed to
make up for deficiencies in sound module design.
Nathan Day
nathand@senet.com.au
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Subject: Re: More on floats in Midi
Date: Tue, 28 Apr 98 19:56:25 -0000
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>Or perhaps you *don't* want to be able to telnet to a synthesizer that
>implements this hypothetical protocal, and be able to type in simple
>test messages. Or be able to write simple filters using pipes and perl,
>etc.
Some thoughts ->
With regard to the inherent complexity of the science of writing music
and synthesizing sound :
I believe as much as possible should be done to provide GUI,etc. modes
that make it easier to cope during the actual music writing
process.Remember MOTU's ad for FreeStyle : "Are you writing a song or
launching a space shuttle ?"
The science should be balanced with the art.
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Subject: Composing with detailed parameters
Date: Tue, 28 Apr 98 19:56:01 -0000
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Michael Gogins wrote :
>MY music is DEFINITELY represented in physical values such as Hz, location
>in space by angle, phase, and loudness in dB.
Hello Michael (& All the rest of you!),
I'm interested in your approach to specifying these details while
composing.Do you use any particular interface to write Csound scores and
do you use any other software/device to help
visualize and cope with the composition process ? Do you use standard
notation and do you hack it
to represent various parameters ?
I abhor MIDI for it's obvious stupidity /crudeness and I'm curious about
how others have fared in
composing with detailed parameters in floats,etc. and using what
tools.I'm relying on IRCAM's
PatchWork to work this out in Csound.
Cheers,
Drew
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Date: Tue, 28 Apr 1998 10:58:12 -0400
From: Dave Phillips
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Greetings:
Csound 3.481 for Linux is now available in binaries and source
packages. It can be downloaded from the MusTec server at BGSU
in the US, or from the Bath site
in the UK.
Mirror sites should also have it soon. Package titles are:
Csound-3.481.Linux.bin.tgz
Csound-3.481.Linux.src.tgz
The source tree problem with 'sortex' has been fixed, all of jpff's
recent fixes are included, and realtime audio and realtime MIDI i/o are
supported.
Enjoy !
== Dave Phillips
http://www.bright.net/~dlphilp/index.html
http://www.bright.net/~dlphilp/linux_soundapps.html
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Date: Tue, 28 Apr 1998 11:09:16 -0400
From: Dave Phillips
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Subject: Re: Composing with detailed parameters
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Drew Skyfyre wrote:
> I abhor MIDI for it's obvious stupidity /crudeness...
Gee, you guys are making me feel badly about all the good music I wrote
using MIDI sequencers and synths... ;)
Lighten up on MIDI, fellows: I've yet to meet with a "stupid" or "crude"
musical instrument/technology. Is a didjeridoo crude ? Is a wood-block
stupid ? OTOH, I've certainly heard (and probably written) my share of
stupid and crude music...
Attempting to use the wrong tool for the job hardly defines the tool as
stupid & crude. It does say something about the user though...
Also, most of the critique leveled here at MIDI is just rehashing Dick
Moore's screed published long ago in the CMJ.
Just a couple o' pesetas from the hinterlands...
== Dave Phillips
http://www.bright.net/~dlphilp/index.html
http://www.bright.net/~dlphilp/linux_soundapps.html
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Date: Tue, 28 Apr 1998 08:06:13 -0700
From: Erik Spjut
Subject: Re: FIR and IIR Filters
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At 11:55 AM +0930 4/28/98, Peter wrote:
>Being a bit of a convolution fan I have also often wondered how I would go
>about making one of those " single infinitely-narrow spike " as it might be
>fun to set one off in various accoustic environments to record the impulse
>response for use with convolution. Im sure it's simple enough to do in Csound
>but I dont have any ideas on where to start. Any help would be truly great.
A bit of nomenclature and such: Sounds are continuous signals, meaning that
they exist or have values at all possible values of time. Csound in
particular (and computers in general) deals with discrete signals, meaning
that they exist or have values ONLY at fixed times (the sample times). The
continuous-time impulse is that funny infinitely-narrow
infinitesimally-thin unit-area thing. The discrete-time impulse is a single
sample of value 1 (one) surrounded by zeros.
Within Csound you can measure the impulse response of a Csound ugen with
something like:
;Orc
sr = 44100
kr = 44100 ;avoid problems with impulse generation
ksmps = 1
nchnls = 1
;-----------------------------------------------------------
instr 6
idur1 = 7/sr ;read the table once
idur2 = 1/sr
ifreq = sr/8 ;read the table at 1 point per sample
a1 linseg ifreq,idur1,ifreq,idur2,0,1,0
a2 oscil 1,a1,1
a3 reson a2,sr/10,sr/200 ;the system under test
out a3
display a1,p3 ;display the impulse response
dispfft a3,p3,4096,0,1 ;frequency response
endin
;Sco
f1 0 8 2 0 1 0 0 0 0 0 0
;create a table with an impulse in the second position
;------------------------------------------------------
i6 0 0.185759637 ;create 2^14 (8192) samples
If you send out a2 instead of a3, you will hear the impulse-response of
your A-to-D converter - amplifier - speaker system. As mentioned by someone
else earlier, the total energy in that output would be very small, even if
you scaled it to 32767 or -32768. If you tried to record the room response
to that impulse response, you'd have a horrible S/N ratio. As also
mentioned, some people do use spark gaps as approximate sonic impulse
generators.
As also mentioned earlier (although perhaps just a touch lacking in detail)
since the frequency response is just the Fourier transform of the impulse
response, and the impulse response is just the inverse Fourier transform of
the frequency response, you can measure the frequency response of the room
and take the inverse Fourier transform to get the impulse response. There
are lots of neat tricks you can use (involving auto-correlation,
cross-correlation, and energy spectral density) to increase the S/N and
reject uncorrelated noise, but the basic idea is to measure the room
frequency response to get at the impulse response.
You can calculate the impulse response directly using auto- and
cross-correlation but using FFT's and the spectral density is usually
orders of magnitude faster. In either case the input is usually several
seconds of pseudo-random noise.
Oops! As usual I've given a verbose answer to a short question.
-------------------------------------------------------------------------------
Erik Spjut (rhymes with cute) - Acting Director,The Center for Design Education
and/or Associate Professor of Engineering
Harvey Mudd College, Claremont, CA 91711 USA
Erik_Spjut@hmc.edu Ph & Voice mail (909) 607-3890 Fax (909) 621-8967
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Subject: Re: Composing with detailed parameters
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>Michael Gogins wrote :
>
>>MY music is DEFINITELY represented in physical values such as Hz, location
>>in space by angle, phase, and loudness in dB.
1 !dea dzat konta!nz 2 man+e m!nute yet klosel+e relatd partz
2 man+e relat!onz w!th!n relat!onz kannot b projektd !n2 d!skurs!v form.
muzt pr!nc!pall+e b aware ov wast!ng t!me !n such kasez by proceed!ng at random
+ unmethod!kall+e; 4 even though dze solut!on kan often b found w!thout method
+ by luck+e humanz somt!mz qu!kr - yet such procedure = l!kel+e 2 enfeeble
dze fakult!ez + 2 make peopl akkustomed 2 dze tr!fl!ng + dze ch!ld!sh = krude
dze oLd sekuent!al mode ov thought = csound
error !z dze mark ov dze h!gher organ!zm.
l!sten!ng 2 data.
by way ov d!alogue wh!ch - as not be!ng bound up !n r!g!d observansz ov
mathemat!kl laws
g!vz plasz altzo 2 d!gress!ons dzat = zomt!mz no lesz kur!ous dzen dze
pr!nc!pl argument
4 50 yearz humanz hav b!n trying 2teach elektron!k c!rku!tz 2 procesz
!nformat!on
!n dze same way humanz alwayz hav.
kepler was suksesful bkauz he d!d not konstra!n dze form ov dze answer.
arrang!ng data 1zt one way dzen an other totall+e un!nh!b!td.
2 descartes as 2 newton kepler.z approach was not thought at all. !t waz
zomth!ng !nfer!or 2 thought zomth!ng down at dze level ov mere guess!ng.
onl+e at dze end ov dze 20th century !z !t bkom!ng klear dzat kepler.z
method = > useful than thought. !t kan go where thought al+1 kannot.
!t = 2 destro! dze tendenss+e 2wardz klass!kl + neoklass!kl eku!l!br!um + 2
kreate
1 new d!seku!l!br!um - 2 engage !n dze procesz ov kreat!v deztrukt!on
- dzat = dze role ass!gned 2 dze !nnovatorz !n dze b!t soc!et+e.
b!t evolut!on w!ll kom s!lentl+e - !n zoftkode.
>I abhor MIDI for it's obvious stupidity /crudeness
detailed parameters = stupidity /crudeness = human thought
>and I'm curious about
>how others have fared in
>composing with detailed parameters in floats,etc. and using what
>tools.
max
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Date: Tue, 28 Apr 1998 09:19:48 -0600
From: Mike Berry
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Nathan Day wrote:
>
> I'm not trying to defend Midi I just think that floats are over kill and
> really not worth sacrificing bandwidth for eg channels, amount of control
> info, timing resolution. A replacement for midi should be robust, cheap
The whole fixed number of channels is not necessary in a new protocol. Each
packet of data simply has an identifier. If something is supposed to listen
to a particular input, it knows the identifier and watches for it.
For example, if I were using my PC1600 with 16 faders, each one has a string
name inside the box. It would send the string along with the value. Then the
receiver would watch for the string and grab it.
Instead of setting up variable space for 121 controllers x 16 channels, like
csound does now, variable space could be allocated dynamically, based on the
number of expected different packets.
--
Mike Berry
mikeb@nmol.com
http://www.nmol.com/users/mikeb
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unsuscribe
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Reply-To: Ken Locarnini
From: Ken Locarnini
To: Csound mailing list ,
=cw4t7abs
Subject: Re: Composing with detailed parameters
Date: Tue, 28 Apr 1998 10:57:26 -0700
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>detailed parameters = stupidity /crudeness = human thought
>
>Gee, you guys are making me feel badly about all the good music I >wrote
>using MIDI sequencers and synths... ;)
etc. etc.
Jeez I guess all the volumes of music Bach wrote for harpsicord and
clavicord alone are crude. We now have every sound in the known and unknown
universe at our disposal and its still not enough, even with "crude" midi!
"Materialism is a progressive disease. It makes you think that happiness
lies right around the corner if you buy/ obtain just one more thing. Like
the greyhound, you are racing your heart out for a fake rabbit you can never
catch."
"It is interesting and important to note that as wo/man moves back toward
primal Perfection, their wants decline and his economic burdens decrease.
We thus learn what these burdens are and whence they came....
It was not until wo/man began to form habits and adopt practices which
created wants that they began to decline and degenerate. They were
decieved then, as they are now, by the illusion of progress as they
developed new habits that increased their wants."
nunativ
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Subject: Motorola Mathlibmoto
Date: Tue, 28 Apr 98 23:44:45 -0000
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From: Drew Skyfyre
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Hello,
About Motorola's MathLibMoto that accelerates some C math functions:
Anyone using it with significant results ?
-Drew
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From: Paul Winkler
To: csound@maths.ex.ac.uk
Subject: Re: FIR and IIR Filters
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>From: Charles Baker
>The traditional acoustician's impulse is what is known as a "spark
gap"...a
>strong current is applied to two sides of a small gap: the current
leaps the
>gap with a sharp report (caused by the same physics as thunder claps).
I gotta ask... anyone know where to find diagrams of such a thing? It
sounds like it would be fairly simple to build one.
--PW
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Subject: Re: Composing with detailed parameters
Date: Wed, 29 Apr 98 01:47:45 -0000
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From: Drew Skyfyre
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Funny,I'm not the least bit interested in discussing MIDI,so I didn't
get onto the thread.My message had in fact nothing to do with MIDI.
> I abhor MIDI for it's obvious stupidity /crudeness...
See the little "I" in there ?
Stupid/crude to ME, for the way I want to approach the art/science.That's
all I was stating.
It doesn't mean it's bad in itself and I absolutely do not discount in
the least anyone else's success in using it.I've used MIDI and made some
decent noises myself.
Dave Phillips wrote :
>Attempting to use the wrong tool for the job hardly defines the tool as
>stupid & crude. It does say something about the user though...
Uh,Dave,it's not like there's a whole lot of choice as far as this tool
is concerned.
Last I heard is that it's the lone standard supported for years ,in
infinite wisdom,by almost all manufacturers of electronic musical
equipment.And there's a rumor they don't all implement it the same way or
even to the same degree.
You don't like Toyotas ?,try a Ford,or any of a zillion others .You don't
like MIDI ?, good luck to you .Or,find a way around it,which is what I'm
trying to do.
Ken Locarnini wrote :
>Jeez I guess all the volumes of music Bach wrote for harpsicord and
>clavicord alone are crude. We now have every sound in the known and unknown
>universe at our disposal and its still not enough, even with "crude" midi!
Apples and Oranges,Ken,you're missing the point.When I play guitar,I have
to worry about inadequately represented parameters in case my fingers
slip.Other than that it handles audio with floating point precision,and
it's digital ,:-)
I'm still interested in what I actually asked about.
Later,
Drew
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Subject: Re: Composing with detailed parameters
Date: Wed, 29 Apr 98 01:47:45 -0000
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From: Drew Skyfyre
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Funny,I'm not the least bit interested in discussing MIDI,so I didn't
get onto the thread.My message had in fact nothing to do with MIDI.
> I abhor MIDI for it's obvious stupidity /crudeness...
See the little "I" in there ?
Stupid/crude to ME, for the way I want to approach the art/science.That's
all I was stating.
It doesn't mean it's bad in itself and I absolutely do not discount in
the least anyone else's success in using it.I've used MIDI and made some
decent noises myself.
Dave Phillips wrote :
>Attempting to use the wrong tool for the job hardly defines the tool as
>stupid & crude. It does say something about the user though...
Uh,Dave,it's not like there's a whole lot of choice as far as this tool
is concerned.
Last I heard is that it's the lone standard supported for years ,in
infinite wisdom,by almost all manufacturers of electronic musical
equipment.And there's a rumor they don't all implement it the same way or
even to the same degree.
You don't like Toyotas ?,try a Ford,or any of a zillion others .You don't
like MIDI ?, good luck to you .Or,find a way around it,which is what I'm
trying to do.
Ken Locarnini wrote :
>Jeez I guess all the volumes of music Bach wrote for harpsicord and
>clavicord alone are crude. We now have every sound in the known and unknown
>universe at our disposal and its still not enough, even with "crude" midi!
Apples and Oranges,Ken,you're missing the point.When I play guitar,I have
to worry about inadequately represented parameters in case my fingers
slip.Other than that it handles audio with floating point precision,and
it's digital ,:-)
I'm still interested in what I actually asked about.
Later,
Drew
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From: Charles Baker
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To: Drew Skyfyre ,
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Subject: Re: Composing with detailed parameters
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Drew Skyfyre wrote: I'm still interested in what I actually asked about.
Which was, to my recolection, editing tools for 'high precision' composing ;-).
I use CommonMusic (CCRMA) fairly regularly. MAX can be used also.
Also look at Cecilia/CYBIL.
Recently I have begun a large set of routines in PERL to do notelist
editing. Given a kindly work schedule (I hear my company's dir. of Technology
laughing hysterically at that one!), I might release this code some time
..uh..soon. i want to add some Tk stuff for "envelope" editing, etc... Not to
replace cecilia, but to take a more score/"note list" based approach.
I think many folk code their own note list editing routines-
hand editing is too difficult, most of the time....
char lieB
--
*********************************************
Charlie Baker baker@charlieb.com
*********************************************
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From: Michael Gogins
To: Nathan Day ,
Csound mailing list
Subject: Re: More on floats in Midi
Date: Tue, 28 Apr 1998 19:06:38 -0400
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-----Original Message-----
From: Nathan Day
To: Csound mailing list
Date: Tuesday, April 28, 1998 9:12 AM
Subject: Re: More on floats in Midi
>I'm not trying to defend Midi I just think that floats are over kill and
>really not worth sacrificing bandwidth for eg channels, amount of control
>info, timing resolution. A replacement for midi should be robust, cheap
>(yes sorry) and easy to set up (sorry again). When I mean abstract I mean
>like in object-oriented programming, there are places where different forms
>of control belong, one of my criticism of csound is it lack of support for
>the abstraction of control. Don't give me this patronising 'real
>musician'/'Classically trained musician' nonsense 16 bit, 65536 levels, is
>beyond any musicians level of control,
My apologies if I seemed patronizing to you. My remarks were not meant to be
so. However, my experience in this field is considerable and includes making
music with acoustical instruments, electronic instruments before MIDI,
electronic instruments after MIDI, Cmix, Csound, and software I have written
myself. My judgement arises from this experience and not from preconceptions
about how things are supposed to sound or how I would them to sound. I can
hear very small differences (milliseconds of time, fractional cents of
pitch, the difference between 44.1 and 48 KHz sampling rates, etc.), and I
have observed other musicians also hearing these very small differences.
I much prefer working in a numerically precise and abstract representation
where I don't have to fiddle the details, I can just describe what I want.
For realtime work, the bandwidth of MIDI is already very limited by its slow
serial protocol - this is one of the main things we would like to do away
with. Floats over TCP/IP at 10 megabits per second would have a GREAT deal
more zip than bytes over MIDI and 31 kilobits per second.
yes you can hear two identical
>sounds beat when separated by less than .2 cents, but do you really want to
>specify that their pitches are 10537.6317 cents and 10537.6434 cents or
>that one is 0.0117 cents sharp to the other. Midi should not be designed to
>make up for deficiencies in sound module design.
If pitch is represented as any sort of floating point number, then it is
easy to translate that number to Hertz, cents, octaves, steps, MIDI key
numbers, or anything else with one line of code.
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Subject: Re: More on floats in Midi
To: Csound mailing list
Date: Tue, 28 Apr 1998 19:04:01 -0400 (EDT)
From: Eli Brandt
In-Reply-To: from "Nathan Day" at Apr 28, 98 10:21:00 pm
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Nathan Day wrote:
> sounds beat when separated by less than .2 cents, but do you really want to
> specify that their pitches are 10537.6317 cents and 10537.6434 cents or
> that one is 0.0117 cents sharp to the other.
Actually I'd prefer it in hertz, but yes I do; my large-scale
structure may depend on the phase relationships among oscillators.
This particular list has probably seen enough discussion of MIDI, so
I'll hold off on your other points -- the price of bandwidth and the
proper layering of abstraction. Just be careful what you trade off as
"obviously of no use", ok? :-)
oh, and on other folk's comments like:
> Jeez I guess all the volumes of music Bach wrote for harpsicord and
> clavicord alone are crude.
I don't think anybody's saying that MIDI is unacceptable across the
board -- it works fine for Bach keyboard works. It was, after all,
designed by keyboardists for keyboardists. But it does break down in
other areas.
--
Eli Brandt | eli+@cs.cmu.edu | http://www.cs.cmu.edu/~eli/
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From: Michael Gogins
To: Drew Skyfyre ,
Csound mailing list
Subject: Re: Composing with detailed parameters
Date: Tue, 28 Apr 1998 19:25:21 -0400
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>Michael Gogins wrote :
>
>>MY music is DEFINITELY represented in physical values such as Hz, location
>>in space by angle, phase, and loudness in dB.
> Hello Michael (& All the rest of you!),
>
>I'm interested in your approach to specifying these details while
>composing.Do you use any particular interface to write Csound scores and
>do you use any other software/device to help
>visualize and cope with the composition process ? Do you use standard
>notation and do you hack it
>to represent various parameters ?
>
I write my own software that generates Csound scores. My current software
assumes the Csound pfields are laid out:
p1 instrument number
p2 starting time of note in seconds
p3 duration of note in seconds
p4 pitch in linear octaves, where middle C = 8.0.
p5 loudness in decibels, where 0 is silence and 96 dB is the loudest you
can get out of 16 bits.
p6 phase in units of pi
p7 x coordinate of spatial location, the origin is the listener
p8 y coordinate of spatial location
p9 z coordiante of spatial location
Additional pfields can be used to control other parameters of instruments.
Since all my instruments have these 9 fields, I can rearrange a piece just
by reassigning the instrument numbers to different instruments. In fact my
software does this for me - it has a patch library with about 50 instruments
in it, and I pick the ones I want out and put them in the right order, and
that's my arrangement.
I should add the instruments are adjusted so that if p5 = 80 decibels, the
average maximum amplitude of the note is as close as I can get to 15848.926,
which is what ampdb(80) returns in Csound.
And I use the following code to make the x coordinate of space translate to
a constant power pan between the stereo speakers:
; x location ranges from hard left = -1 through center = 0 to hard right =
1.
; angle of pan ranges from hard left = - pi / 2 through center = 0 to hard
right = pi / 2.
ix = p7
iangle = ix * 3.14159265359 / 2.0
ileftpan = sqrt(2.0) / 2.0 * (cos(iangle) + sin(iangle))
irightpan = sqrt(2.0) / 2.0 * (cos(iangle) - sin(iangle))
I sometimes do write standard music notation, which I save as MIDI and
translate to the above Csound score format, also using software I have
written.
But more often, my software uses fractals, Lindenmayer systems, chaotic
dynamical systems, and so on. These things generate sequences of notes. Each
sequence goes into one node of a tree structure, and some of the nodes also
apply compositional transformations to their children. The end result is a
single Csound score with a set of instruments to realise it.
I also have written simple programs to generate Csound scores by using
fprintf(fileHandle, "i %0.9f %0.9f %0.9f %0.9f %0.9f %0.9f %0.9f %0.9f
%0.9f\n", p1, p2, p3, p4, p5, p6, p7, p8, p9) to write out the note
statements, or the equivalent in other languages.
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Date: Tue, 28 Apr 1998 20:18:10 -0400 (EDT)
From: Burton Alexandre
Subject: Re: Motorola Mathlibmoto
To: Drew Skyfyre
Cc: Contribute
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On Tue, 28 Apr 1998, Drew Skyfyre wrote:
> About Motorola's MathLibMoto that accelerates some C math functions:
> Anyone using it with significant results ?
It sped things up about 10%-15% on a 604e running OS7.6(.1) along with
speeddoubler (the disk access part) (note that this figure is based on a
limited set of tests; i guess some things are not really affected). with
8.1 and/or the G3's i haven't checked yet; i think i heard apple greatly
optimized the areas where these two products used to do their thing.
Alex.
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From: "G.A.S. - PAULO MOTTA"
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Uma abordagem historico-estetica da Musica Eletroacustica
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From: james@maths.ex.ac.uk
Message-Id: <21422.199804290840@zeno.maths.exeter.ac.uk>
Subject: SGI / csound users
To: csound@maths.ex.ac.uk
Date: Wed, 29 Apr 1998 09:40:33 +0100 (BST)
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>We have midi working on our SGI O2, finally,
>partially. We've had to substitute SGI midi
>library calls for the csound ioctl. Everything
>appears to work in version 347 except pitchbend
>and I'm looking for help.
>
>If you can compile and are interested in
>trying to make this go, email me.
>
>Thanks,
>Jim Croson
>TA - Eastman Computer Music Center
>croson@theory.esm.rochester.edu
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Date: Wed, 29 Apr 1998 11:08:36 +0200
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To: Cristian Marcelo Villanueva Solis ,
"G.A.S. - PAULO MOTTA"
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Cristian Marcelo Villanueva Solis wrote:
>
> unsuscribe
G.A.S. - PAULO MOTTA wrote:
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> unsuscribe
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Date: Wed, 29 Apr 1998 10:02:53 +0100
From: Jamie Bullock
Subject: Re: More on floats in Midi
To: Csound List
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-----Original Message-----
From: Eli Brandt
To: Csound mailing list
Date: 29 April 1998 01:12
Subject: Re: More on floats in Midi
>Nathan Day wrote:
>> sounds beat when separated by less than .2 cents, but do you really want
to
>> specify that their pitches are 10537.6317 cents and 10537.6434 cents or
>> that one is 0.0117 cents sharp to the other.
>
>Actually I'd prefer it in hertz, but yes I do; my large-scale
>structure may depend on the phase relationships among oscillators.
>This particular list has probably seen enough discussion of MIDI, so
>I'll hold off on your other points -- the price of bandwidth and the
>proper layering of abstraction. Just be careful what you trade off as
>"obviously of no use", ok? :-)
This is a very good point. Let's not be typically 'short-termist' about
this: if a new protocol is going to be produced, let's make it as flexible
and open-ended as possible. We need to think long term, and not under-design
so that we don't end up redesigning the protocol every 5 years!
Having said that, I'm a composer not a programmer, and don't want to stick
my neck out too far - I couldn't possibly begin to appreciate some of the
technical considerations.
JamieB
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