| Hi List -
Obligatory Relevance: All drones were created using Csound...
October 29th, 1998 8:00pm
Interpretations Series Concert
Merkin Concert Hall
129th West 67th Street
New York City
David First will premiere "A Bet on Transcendence Favors the House" - an
evening's length work for cello, keyboards, pedal steel guitar, percussion,
electric guitar, and computer controlled drones in pure tunings.
Charles Curtis - cello
Bob Hoffnar - pedal steel guitar
Michael Schumacher - keyboard
David Simons - percussion
David First - guitar and electronics programming
Things to do today:
1) Explore and resolve the inherent difficulties encountered whenever human
contrivance meets - and attempts to bond with - the inscrutable laws of
nature.
2) Chase through canonical instructions designed to trigger imitative gestures
modeled after the phenomenon of shape-shifting periodic wave relationships
observed in the physical world.
3) Pit the best of faithful intentions - that of achieving a sustainable state
of perfection - against an overwhelming hierarchical gravity which always
has the last disappointing word.
4) Make change. Try again.
Odds at post time:
27/16
27/20 45/32
9/8
9/5 15/8
3/2
6/5 5/4
1/1
8/5 5/3
4/3
16/15 10/9
16/9
64/45 40/27
32/27
David First has had his music performed in New York at Experimental
Intermedia, the Kitchen, La MaMa, Roulette, Merkin Hall, Exit Art, the
Knitting Factory, Bang on a Can Festival, The Cooler, and CBGB's. He has also
had his music presented at Podewil,the USArts Festival, and at the Institut
Unzeit (Berlin) as well as at the Ijsbreker (Amsterdam), the Heidelberger
Festival for Experimental Music and Literature (Heidelberg), ZwischenTone
Festival (Köln), The Impakt Festival (Utrecht), Het Apollohuis (Eindhoven) at
the Kunstforeningen (Copenhagen), and the Uppsala Konstmuseum (Uppsala).
He has received grants and awards from the National Endowment for the Arts,
the Phaedrus Foundation, Casio Inc., the Yamaha Communications Center and was
a nominee for the Cal Arts/Alpert award in 1994. First has two CD recordings
on O.O. Discs as well as works on the CRI, Aerial, and Homestead labels.
"a fascinating artist with a singular technique"
Alex Ross
New York Times
"a bizarre cross between Hendrix and La Monte Young"
"The music grew and grew in scintillating, illusionary beauty long past the
point at which you thought it could still surpass itself"
Kyle Gann
Village Voice
"The next big thing in guitar gods"
K. Leander Williams
Time Out NY
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From: J P Fitch
To: atomicFLY
cc: csound@maths.ex.ac.uk
Subject: Re: Csound versi0on 3.49
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The \DOS version is stuck because the machine on which I build DOS has
developed a fault so it will not boot Windows/DOS It thinks it is
in DOS mode always and going to Windows just restarts the machine. Reinstall
of Windowes did not cure it either. Until I can boot it there will
be no DOS
=John
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Date: Fri, 23 Oct 1998 13:32:56 -0400
From: Paul Winkler
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To: David Boothe
CC: Csound mailing list
Subject: Re: Reverb question (long reply)
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David Boothe wrote:
> According to Russ Berger, an acoustics designer I trust, if you blow up a
> balloon until it pops, instead of popping it with a pin, you get about 10 dB
> more acoustic output. Looked at from the other direction, this would lower
> your noise floor by 10 dB.
Assuming the inflator makes less than 10 dB of noise. ;)
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From: Hans Mikelson
To: csound@maths.ex.ac.uk
MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.stork
Subject: Re: Csound Magazine
Date: Sat, 24 Oct 1998 10:25:54 -0500
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>Could someone (Hans?) please repost the URL for Csound Magazine? I'd
>appreciate it.
The first issue is not ready for publication. I am looking for contributers
for articles on synthesis, features, real-time and internals.
I have a temporary site for testing purposes with some incomplete articles
at:
http://www.werewolf.net/~hljmm/Ezine/
Bye,
Hans Mikelson
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Date: Fri, 23 Oct 1998 00:56:52 -0700 (PDT)
From: Koen Dejonghe
Subject: How to build 3.49 on UNIX
To: csound@maths.ex.ac.uk
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Dear all,
I'm trying to build rel. 3.49 on a Sun platform. I downloaded the
Csound.tar.gz from the 'newest' directory. I do not know how to
continue from there. The tar file does not contain a Makefile, the
README and Notes files do not contain installation instructions.
There is a file called makefile.gcc but apparently it's been
configured for a pc platform.
Anyone ?
Thank you.
=
Koen Dejonghe
QAD Service Line
Origin International Competences & Alliances
http://www.origin-it.com
+32 2 712 3668
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com
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From: Hans Mikelson
To: Csound
Subject: Re: Create Halloween Sound Effects with Spatializer Orc/Sco
Date: Sat, 24 Oct 1998 10:45:17 -0500
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Hi,
The following adjustments to the spatial audio orc may be useful:
>adoppl vdelay ain/(1+kdistl*kdistl), kdistl/ics, imax ; Volume
decreases
>adoppr vdelay ain/(1+kdistr*kdistr), kdistr/ics, imax ; Volume
decreases
This makes the volume fade in and out more rapidly with distance.
> outs (ahrtfl-asctcdr*.2)*kamp, (ahrtfr-asctcdl*.2)*kamp
This reduces the flanging/comb filtering effect when the source is very
close. Or one could leave out the cross talk cancellation part completely.
Bye,
Hans Mikelson
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Date: Mon, 26 Oct 1998 18:33:27 +0100 (MET)
From: Petrus Enbom
To: csound@maths.ex.ac.uk
Subject: Re: Reverb question
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Hi!
There is an Impulse Soundfile Resource Center at:
http://wwwvms.utexas.edu/~fredrics/isrc.html
maintained by composer Howard Fredrics.
It contains just a few soundfiles. Most of them recorded in Sweden during
his stay here, a few years back.
-Petrus Enbom
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Date: Sat, 24 Oct 1998 11:06:55 +0100
From: Richard dobson
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Subject: Re: Reverb Question -- Accounting for the Audience..
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As both a listener and a player, I can confirm that the presence and
size of an audience makes a huge difference. It presumably depends
largely on the propotion of volume ( and surface area..) the audience
occupies in relation to the total. For a large cathedral, probably the
differences would be minor. An excessively reverberant and bright empty
church can become very pleasant indeed with a full house, and a pleasant
empty hall can become uncomfortably dry with an audience added.
I do wonder about the use of impulse responses for this very reason
(excepting the obviously unothodox ones, such as drain pipes, etc!). The
decay time will be lowered, the hf absorption will increase, and
probably the echo density will decrease, while lf dispersion, if
significant, may even increase. The density changes are the ones I would
expect to be the most difficult to apply to an impulse response; I
suppose the others could be achieved by filtering and enveloping.
Perhaps that would be good enough in most cases.
The recording technique must also be a factor. Professional engineers
are adept at reducing excessive reverberation from a recording venue
(directional microphones, spot placement, even acoustic baffles, if it's
not a public concert), whereas for a true record of the impulse response
you would want at least omni-directional microphones to be used, if not
a full ambisonic Soundfield system.
Richard Dobson
Fred Floberg wrote:
>
> John mentioned the particularly good sound of the cathedral at Smolensk
> when listening to a recorded performance of a choir there. If a person
> is trying to create an impulse response file in order to faithfully
> reproduce the qualities of a certain space, based on hearing a
> performance there, then shouldn't the presence of the audience be taken
> into account?
>
> It would seem that the presence of several hundred people would modify the
> acoustic properties of the space quite a bit. That being the case, an
> impulse response file created in an empty hall might give unexpected
> (and possibly disappointing) results compared to what had been heard
> in a recording of a performance in that same hall.
>
> Can this be accounted for after the fact in an impulse response recording?
>
> Fred
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Date: Mon, 26 Oct 98 17:41:33 GMT
From: J P Fitch
To: csound@maths.ex.ac.uk
Subject: Re: How to build 3.49 on UNIX
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I thoufh that Makefile.sol was included in the tar file. I will check
I am building 3.49 as i type and will place in platforms/unix/Sun as soon
as it is finished (assuming all goes well....)
=John
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Date: Mon, 26 Oct 98 17:54:30 GMT
From: J P Fitch
To: csound@maths.ex.ac.uk
Subject: Solaris and Irix5 Vsound 3.49
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are now both on ftp.maths.bath.ac.uk/pub/dream/platforms/unix/{Sgi,Sun}
There are some minor source changes to ghe Sun one to compile, and
these binarie smay have some minor changes to do with what I did this
weekend.
=John
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Date: Mon, 26 Oct 1998 16:28:49 -0600 (CST)
From: Micheal Allen Thompson
To: Koen Dejonghe
cc: csound@maths.ex.ac.uk
Subject: Re: How to build 3.49 on UNIX
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make sure you get the unix version of the sources... comes with a
makefile that all you need to change is system spec stuff...
gmake works on SGI... SGI Make complains..... dont know about sun.
On Fri,
23 Oct
1998, Koen Dejonghe wrote:
> Dear all,
>
> I'm trying to build rel. 3.49 on a Sun platform. I downloaded the
> Csound.tar.gz from the 'newest' directory. I do not know how to
> continue from there. The tar file does not contain a Makefile, the
> README and Notes files do not contain installation instructions.
> There is a file called makefile.gcc but apparently it's been
> configured for a pc platform.
>
> Anyone ?
>
> Thank you.
>
>
>
> =
> Koen Dejonghe
> QAD Service Line
> Origin International Competences & Alliances
> http://www.origin-it.com
> +32 2 712 3668
>
>
> _________________________________________________________
> DO YOU YAHOO!?
> Get your free @yahoo.com address at http://mail.yahoo.com
>
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
* Windows 95: n. 32 bit extensions and a graphical shell for a 16 bit
patch to an 8 bit operating system originally coded for a 4 bit
microprocessor, written by a 2 bit company, that can't stand 1 bit of
competition.
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From: David Boothe
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Subject: l and m?
Date: Mon, 26 Oct 1998 18:04:29 -0600
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In the mini-release notes of 9 June 98 jpff mentioned an 'l' (lower case L)
statement and an 'm' statement as tools for repeated sections. In 3.49, I
find no mention of them in the release notes, nor do they appear to do
anything. Admittedly they seem to overlap functionality with the 'r'
statement.
Have these 2 statements been implemented in 3.49?
Thanks in advance.
-David.
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Message-ID: <36351270.4640325D@ccrma.stanford.edu>
Date: Mon, 26 Oct 1998 19:23:12 -0500
From: Tobias Kunze
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To: Hans Mikelson , Csound list
Subject: Re: Interpolation schemes and SB Live!
References: <01bdfe95$48c08280$53e167ce@default>
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> I think the main problem is when creating digital waveguide filters. The
> vdelay and deltapi opcodes use linear interpolation. This becomes a problem
> at high frequencies. 44.1K/5K = 8 samples which is not sufficient for
> accurate tuning. An improved version should be written which use sinc
> interpolation which is commonly found in fractional digital waveguide
> filters. If someone has deep understanding of such things please write us a
> fractional waveguide filter opcode.
While i don't have deep understanding of the topic, you may be interested
in the sinc interpolation code I wrote a couple years ago. It's an app
that implements the digital analogon to analog tape "scrubbing", forward
and backwards. While the computation is heftier than simple linear
interpolation or even cubic interpolation, it has the great advantage
that computing costs increase only linerarly with quality. In fact, on
many modern machines it tends to be faster even than cubic interpolation.
I think SGI implemented the algorithm now in their new digital media conversion library, for exactly that reason.
Check out
http://ccrma-www.stanford.edu/~tkunze/sw/index.html#scrub
Comes with sources, of course.
-Tobias
______________________________________________________________________
Tobias Kunze tkunze@ccrma.stanford.edu
CCRMA, Stanford University http://www-ccrma.stanford.edu/~tkunze |