| Hello everybody:
I have been having the weirdest problem with my system here and wanted
to know if anybody here can give me an idea of a possible solution...
I run System 8.1 on a Mac G3 desktop (grey box). My system runs OK save
for the fact that for the last few days whenever I create a new folder
anywhere on my startup disk (but not on other disks) the new folder will
come up with no icon at all. This would sound like a typical disk
directory/finder info problem save for the fact that repeated tests with
Norton Utilities, Norton Antivirus, TechTool Pro have shown no problem
at all. I have rebuilt the desktop several times now, some after
revision with Norton Utilities and TechTool Pro, to no avail. I've tried
substituting the non-icon for the folder with new ones in the finder
info windows too, with no results. It's the first time I see something
this bizarre. And the weirdest thing is that except for all this I keep
running normally.
Any ideas? Thanks for your help.
Pablo Silva
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To: csound@maths.ex.ac.uk, f1f0@m9ndfukc.com
Subject: Re: Com positional Appro aches
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IMHO soundz like just another language 2 learn...
arg there is becomming too many languages out hteir to learn already
oppps that there not hteir
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Message-ID: <001501beac9f$0f095540$189a170c@default>
From: Hans Mikelson
To: Csound List
Subject: Re: Approaches to Composition
Date: Tue, 1 Jun 1999 21:24:34 -0500
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Hi,
I thought I would take this opportunity to ramble a bit. I'm still
struggling with composing so my thoughts may not be too helpful except to
some of the beginners.
>What are your compositional
>attitudes, approaches or techniques?
I now try to start with a single concept or idea for the composition.
Perhaps a story. I then start generating sounds in Csound. Sometimes I am
trying to generate a particular sound other times I am just trying to come
up with something interesting. Usually the sounds will influence the
direction of the piece. Sometimes I think that if I found the right niche
or style of music for myself I would be able to create some good music. So
I try to compose in different styles hoping to find my place.
At one time I thought I would be good at writing techno music. I listened
to quite a bit of it trying to listen to the basic parts, drums, bass,
Perhaps I could get good at it someday. Modern european techno music seems
to have acquired a very rigid style. Usually in 4/4 with an 808 Kick on
every quarter note. Breaks preceded by fast drum machine drum rolls, a new
phrase part introduced every 2 measures or so, TB-303 sound on the lead.
I've listened to so much that I'm really starting to dislike drums
altogether as well as the signature 303 sound.
The primary songs I made in the techno style are "Teknology World", "Pyro
Technique" and "Space"
http://www.mp3.com/artists/5/plasma_portal.html
Most of the sounds used in these pieces were created using Csound.
After learning more about electroacoustic music and ambient music I thought
I would try composing some. My first piece I based on some of the fractal
instruments I created. I also used a Perl program to generate scores based
on fractals. I usually create a directory for the orchestras scores and the
samples. I often don't bother to save all of the scores once I have samples
generated from them. I then use Multiquence to assemble the samples into a
song.
This one was "Proto Call"
For a piece I'm currently working on I'm using Excel to generate many of the
scores. I then put the samples for a single set of sounds together using
Multiquence. I put together many sample files generated from many different
score files and save this as a new sample file. I then put together several
of these new sample files using Multiquence.
This one is currently titled "Nebula".
There is always a difference between the sound I start out trying to create
and the sound I end up with. There are many happy accidents along the way
where a sound produced by Csound is unlike what you imagined it would be but
in some ways better than you imagine. In composing I find the same thing.
Most of my compositional ideas are vague. Once are start putting them
together they form a new entity which is not that much like my original
idea. I usually name a piece before I start so I will have some idea of the
direction. Often I will have to rename a piece after it is finished because
the name I chose no longer fits the finished piece.
>What are your plans for the future?
I want to do more vocal based sounds and modified voices. I think many of
the most interesting instruments are those that talk to us. Electric guitar
has a very vocal quality, hammond organ screams, harmonicas wail and talk,
the resonant filter has a very vocal quality to it which I think is part of
what makes it so appealing.
I want to create adventures with sounds.
With this wonderful tool, many have
>simply expanded on previous styles or approaches.
I don't see Csound in itself helping that much with composition. I should
probably learn more of the tools geared at aiding in composition. I started
doing some fractal based algorithmic composition back in 1986 or so but then
did not persue it. I think there could be a wide variety of composition
software or performance tools created that would utilize the power of the
computer to aid in composition and improvisation. I realize there are many
programs now that do this although I am not very familiar with them.
Happy Csounding,
Hans Mikelson
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From: Jim Smitherman
To: Csound List
References: <001501beac9f$0f095540$189a170c@default>
Subject: Re: Approaches to Composition
Date: Wed, 2 Jun 1999 10:07:34 -0500
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> I want to create adventures with sounds.
that's a truly beautiful espression. I'll keep it as a watchword.
I've been a Csound dabbler for five years, a keyboardist for forty (o my
god) years, jazz, and 'classical', had a passion for music theory (masters
degree in that subject LSU, '92, go team rah) . . which all is to say, I
come at it from another angle than Hans. Creating adventures with sounds,
is the way I've always approached playing piano, an immediacy of movement
and gesture.
Composition (putting together, compose yourself young MAN! get it toGEther)
is finally the problem, we have this amazing tool for sound making, yet,
putting those sounds together is a really _fine_ problem.
if any sound, and any 'putting together' of sounds, of arbitrary complexity
can be accomplished, then we are faced with Stravinksy's problem of the
infinity of music possiblities (the Poetics, he talks about that . . 'I will
sink my roots' he says somewhere there as a response, in the tones he says,
I will sink my roots .. hmmmmmmm . . . . . . etc. etc. and he speaks only of
the diatonics, I think, only the seven of them(is that correct?? is my mind
leaving me?) or the 12?)
there's the problem laddie, ANYTHING is possible. _anything_. but: it
always was< it simply wasn't always so _easy to prove _. . . .
> With this wonderful tool, many have
> >simply expanded on previous styles or approaches.
many have. I've enjoyed to the nth all the csound files I've found on the
net, listening to over and over again. wonderfull. but, yes, they are
(mainly) explorations of the sound, rather that compositions per se. we can
be DRUNK on the sound, though, and I think that is a problem . . joy of
sound, is not necessarily joy of music itself. a step, to be sure.
The medium also asks for something else, some new thing, something
unimaginable, a new way of putting together. My own way, is to sit, and
play my heart out. Midi and score processing, can enable edit, all that,
touch this, tweak that, fix this . in the end, some illuminating musical
light will arise that will glow with all these incredible techniques these
machines enable. and, it will seem so simple, so obvious. after it's done.
message ends.
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Date: Tue, 1 Jun 1999 23:21:53 -0600
To: csound@maths.ex.ac.uk
Subject: Re: Com positional Appro aches
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>IMHO soundz like just another language 2 learn...
>arg there is becomming too many languages out hteir to learn already
>oppps that there not hteir
1 addtl falsz ztatemnt =3D falsz \+\-\
-
-
-
the striking characteristic of the last century has been the
extraordinary growth of the material means of communication
- steamships, railways, telegraphs, telephones.
this has resulted in the drawing together of the peoples and
multiplied enormously the bonds which unite them. this has
brought about a unity, a uniformity both in the material life and,
in an ever increasing degree, in the minds of the peoples.
factories, wherever situated manufacture the same general type of instrument=
s
fabrics and other objects of general use under similar
technical and industrial processes.
humans wear the same kind of clothes and live in about the
same way wherever they may dwell.
humans schools have much the same courses of study.
humans newspapers,
humans books reflect comment and conditions much the same everywhere
a parisian of to-day is more like the londoner of to-day
than the parisian of a hundred years ago like the frenchman
of his time from the provinces.
to-day the cleavage tends to run more and more not by international
boundaries - but by social and economic classes.
unsere geschichte ist eine geschichte der kaempfen zwischen die klassen
must adopt a language which is as neutral as the metric system
a language which will conciliate or be indifferent to all parties
all opinions all creeds.
unity =3D indifference
when unity exists one does not know it
testing the test
texts shaping language
the theory of relevance devotes a
great deal of attention to considerations of economy
logical form - meaning and the phonetic form - sound.
second attempts to locate how considerations of economy
enter into mode by which linguistic expressions are generated
pharyngeal fricative
unaspirated || voiceless
akt v!!
rem!sz!on melt
|=7F|
|=7F|9|=7F|
[p-un_kT-pr_o-T=96k_oL] =D8 f =D8 =D8 =D8 3 |=7F|
herausgegeben v=F8m !nternat!onalen
!nst!tut f:ur ordnung |+| d!sz!pl!n
: / / m9ndfukc.com
e
|
| +----------
| |
\\----------------+ |
|
e
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Subject: Re: Com positional Appro aches
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>IMHO soundz like just another language 2 learn...
>arg there is becomming too many languages out hteir to learn already
>oppps that there not hteir
1 addtl falsz ztatemnt = falsz \+\-\
-
-
-
the striking characteristic of the last century has been the
extraordinary growth of the material means of communication
- steamships, railways, telegraphs, telephones.
this has resulted in the drawing together of the peoples and
multiplied enormously the bonds which unite them. this has
brought about a unity, a uniformity both in the material life and,
in an ever increasing degree, in the minds of the peoples.
factories, wherever situated manufacture the same general type of instruments
fabrics and other objects of general use under similar
technical and industrial processes.
humans wear the same kind of clothes and live in about the
same way wherever they may dwell.
humans schools have much the same courses of study.
humans newspapers,
humans books reflect comment and conditions much the same everywhere
a parisian of to-day is more like the londoner of to-day
than the parisian of a hundred years ago like the frenchman
of his time from the provinces.
to-day the cleavage tends to run more and more not by international
boundaries - but by social and economic classes.
unsere geschichte ist eine geschichte der kaempfen zwischen die klassen
must adopt a language which is as neutral as the metric system
a language which will conciliate or be indifferent to all parties
all opinions all creeds.
unity = indifference
when unity exists one does not know it
testing the test
texts shaping language
the theory of relevance devotes a
great deal of attention to considerations of economy
logical form - meaning and the phonetic form - sound.
second attempts to locate how considerations of economy
enter into mode by which linguistic expressions are generated
pharyngeal fricative
unaspirated || voiceless
akt v!!
rem!sz!on melt
||
||9||
[p-un_kT-pr_o-Tk_oL] f 3 ||
herausgegeben vm !nternat!onalen
!nst!tut f:ur ordnung |+| d!sz!pl!n
: / / m9ndfukc.com
e
|
| +----------
| |
\\----------------+ |
|
e
dupswapdrop: the music-dsp mailing list and website
http://shoko.calarts.edu/~glmrboy/musicdsp/music-dsp.html
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From: Paul Barton-Davis
To: csound-unix-dev@ilogic.com.au, csound@maths.ex.ac.uk
Subject: [CUD] [quasimodo] v0.1.5 released
Sender: owner-csound-unix-dev@ilogic.com.au
Precedence: bulk
The usual place:
http://www.op.net/~pbd/quasimodo/
Note that there are new modules and new XPM's in this version, so you
might want to pick up all 3 .tar.gz files.
--p
--------------------------------------------------------------------------
Here's the news:
Changes in Version 0.1.5
* multiple "cabinet" windows - as many as you like ...
Work is needed to smooth out the paradigm for this.
* code structure for multiple MIDI APIs. Currently just
OSS_RawMidi is implemented. This is a compile time option.
* support for users without a MIDI interface (we create
a Null_MidiPort instead, which acts like /dev/null).
Not tested (!).
* new "envelope" opcode, supports arbitrary multi-stage
envelopes. Supporting panel element allows envelopes to be
drawn by hand (with spline/line seg/freestyle options);
phases set graphically, any duration up to 1 hour (!). The
most common usage (I imagine): you draw a curve, click where
you want the release point to be, and go ...
* new Makefile system; compilation happens in a parallel
tree to quasimodo/src, not within it. This makes
multi-platform compiles from the same code possible.
This new tree may go through a few iterations, so be
patient. If you're porting Quasimodo, let me know what
you think. Also, the .tar.gz distribution features
a versioned directory for quasimodo.
* full support for unlimited polyphony (new "polyphonic" opcode
makes this explicit, although not strictly necessary). instruments
must do additive voice mixing (i.e.
aoutput = aoutput + asig
NOT
aoutput = asig
Some work on output scaling is needed (currently, multiple
voices produce louder volume; I'm sure if this correct).
* use C++ inheritance to derive opcode function argument
from a DspInstruction.
* no more "boolean" opcode argument type
* "about" screen isn't a pixmap anymore - saves lots of
memory.
* opcodes split into clear GPL and non-GPL categories and
directories.
* more bug fixes than you could shake a stick at.
* Thanks to Nicola Bernardini, we have a CVS repository.
Currently, just Stephane and myself have write access.
Anonymous read access coming soon.
--p
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Date: Wed, 2 Jun 1999 01:21:09 -0400
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From: Paul Barton-Davis
To: csound-unix-dev@ilogic.com.au, csound@maths.ex.ac.uk
Subject: [quasimodo] v0.1.5 released
Sender: owner-csound-outgoing@maths.ex.ac.uk
Precedence: bulk
The usual place:
http://www.op.net/~pbd/quasimodo/
Note that there are new modules and new XPM's in this version, so you
might want to pick up all 3 .tar.gz files.
--p
--------------------------------------------------------------------------
Here's the news:
Changes in Version 0.1.5
* multiple "cabinet" windows - as many as you like ...
Work is needed to smooth out the paradigm for this.
* code structure for multiple MIDI APIs. Currently just
OSS_RawMidi is implemented. This is a compile time option.
* support for users without a MIDI interface (we create
a Null_MidiPort instead, which acts like /dev/null).
Not tested (!).
* new "envelope" opcode, supports arbitrary multi-stage
envelopes. Supporting panel element allows envelopes to be
drawn by hand (with spline/line seg/freestyle options);
phases set graphically, any duration up to 1 hour (!). The
most common usage (I imagine): you draw a curve, click where
you want the release point to be, and go ...
* new Makefile system; compilation happens in a parallel
tree to quasimodo/src, not within it. This makes
multi-platform compiles from the same code possible.
This new tree may go through a few iterations, so be
patient. If you're porting Quasimodo, let me know what
you think. Also, the .tar.gz distribution features
a versioned directory for quasimodo.
* full support for unlimited polyphony (new "polyphonic" opcode
makes this explicit, although not strictly necessary). instruments
must do additive voice mixing (i.e.
aoutput = aoutput + asig
NOT
aoutput = asig
Some work on output scaling is needed (currently, multiple
voices produce louder volume; I'm sure if this correct).
* use C++ inheritance to derive opcode function argument
from a DspInstruction.
* no more "boolean" opcode argument type
* "about" screen isn't a pixmap anymore - saves lots of
memory.
* opcodes split into clear GPL and non-GPL categories and
directories.
* more bug fixes than you could shake a stick at.
* Thanks to Nicola Bernardini, we have a CVS repository.
Currently, just Stephane and myself have write access.
Anonymous read access coming soon.
--p
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Message-ID: <3754DC4A.5C15@tin.it>
Date: Wed, 02 Jun 1999 09:24:58 +0200
From: SME
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Subject: Re: Approaches to Composition
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Hello Michael, hello all Csounders,
as a composer and a computer music professor since 25 years, I can tell
there's no unique answer.
The fact is, Csound is mainly a tool, not a compositional software
(provided that such a thing can exist!).
I am conviced there's no main difference between thinking a piece for
instruments and a piece for electroacoustics.
I mean, the first idea of a new piece always begins in the brain (or
heart, the one you like better), and only when it takes a "physical"
form I can see a difference. To me, music is "what", media are "how".
Clearly, the "how" can modify the "what", but the original idea is left
unchanged, even if it can take different forms.
Coming to Csound, as I like the maximum of control over the score, I
make little use of the "automatic generation" features of the language.
I prefer to write my own score-generation program(s) (usually in Visual
Basic).
The most important thing, to me, is that with a set of tools like Csound
and related software (soundfiles editor, general purpose programming
languages and so on) we can really have a close contact with the sound.
Michael Rhoades wrote:
>
> Hello All,
> We have a great programming language (getting better all the time)
> which gives nearly unlimited technical ability in the composition of music.
> We have the machines capable of rendering these programs to sound files. The
> question then becomes, what to compose. What are your compositional
> attitudes, approaches or techniques? What direction has inspiration sent
> you?
> What are your plans for the future? With this wonderful tool, many have
> simply expanded on previous styles or approaches. One has to wonder what
> truly new direction we will take. It's up to us to decide, we are presently
> the future of music.
> I am curious to see your comments.
>
> Michael Rhoades
--
***********************************
* Scuola di Musica elettronica *
* Conservatorio "S.Cecilia", Roma *
* prof. Riccardo Bianchini *
* *
* http://space.tin.it/musica/ilipc*
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Date: Wed, 02 Jun 1999 09:14:34 +0200
From: SME
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I did not try with Winsound, but with Gavriel Maldonado's DirectCsound
the Visual Basic SHELL command works quite well. In fact I use it in my
WCShell program, with this code:
result = Shell(Arg$, 1)
where Arg$ may be, e.g.
"csound.exe -oanything.wav -W mtorc.orc myscore.sco"
A question: which version of Visual Basic are you using? (I use v.5.0,
and it's pretty stable)
Bye.
Hans Tillaart wrote:
> Hi,
> I am making a program in VB (emulating DX7) where i use a SHELL- command
> to call Winsound or Csound . Never had difficulties with previous csound
> versions exept in the new version 3.54 .
> When i call Winsound it gives only the message : press ok. In Csound
> (dos) its gives
> back the error: failed to find DB file.
> Even wen i use CSOUNDER it gives these messages, but not always??!
> Now and then it works well!?? (not with my own program!)
> Can anybody help?
> Thanks in advance.
>
> Geetings Hans
--
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* Scuola di Musica elettronica *
* Conservatorio "S.Cecilia", Roma *
* prof. Riccardo Bianchini *
* *
* http://space.tin.it/musica/ilipc*
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From: ras kizo
To: csound@maths.ex.ac.uk
Subject: wcshell crashes
Date: Wed, 02 Jun 1999 01:19:07 PDT
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Hello !
I've been using wcshell for a few weeks and find it very useful. It gives a
more friendly access to Csound. However, very often Wcshell crashes when i
try to compile orcs and scos i write. Is there a bug ? Do i miss something ?
I use Wcshell with the new directsound !
Raskizo.
______________________________________________________
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1 + 0 == 1
:^P
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From: SME
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Hello!
I'd need to know something more about these crashes:
1) which version of WCShell you are using;
2) which operating system you are using;
3) which error message WCShell delivers; or it crashes without any error
messages?
Bye
ras kizo wrote:
>
> Hello !
>
> I've been using wcshell for a few weeks and find it very useful. It gives a
> more friendly access to Csound. However, very often Wcshell crashes when i
> try to compile orcs and scos i write. Is there a bug ? Do i miss something ?
> I use Wcshell with the new directsound !
>
> Raskizo.
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
--
***********************************
* Scuola di Musica elettronica *
* Conservatorio "S.Cecilia", Roma *
* prof. Riccardo Bianchini *
* *
* http://space.tin.it/musica/ilipc*
***********************************
|