| I would appreciate a list of 4 chanel cards with some specs.
Will they operate under dos or linux?
Do any have fm synth chips?
Thanks.
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Subject: Re: C Tutorial, Comp Mus & Math Books
Date: Sun, 29 Mar 98 23:13:19 +0530
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From: Drew Skyfyre
To: tolve , Contribute
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Tolve ,All :
Thanks a bunch for the beginner pointers.Been a big help.
And I learned a lot about the whole 32-bit/64-bit thing too...
-Drew
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From: tolve
Subject: global stereo balancing
Date: Sun, 29 Mar 1998 12:56:04 -0500
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maybe something missing in my understanding of globals. Toot 9 p105 and 106
in manual. together, instr 9 and instr 99 allow me to control balance of
dry sound but not of wet (wet sound looks equally loud in both channels).
correct?
if that really is the case, could someone please suggest best way to create
a single ibalance variable that would control balance of wet to dry -global
crossfade? (also recalling that there are mathematically different types of
crossfades).
garvbsig init 0
instr9
idur = p3
iamp = p4
iskiptime = p5
iattack = p6
irelease = p7
ibalance = p8
irvbgain = p9
kamp linen iamp, iattack, idur, irelease
asig soundin "soundin.aiff", iskiptime
arampsig = kamp * asig
outs arampsig * ibalance, arampsig * (1 - ibalance)
garvbsig = garvbsig + arampsig * irvbgain
endin
instr99 ; global reverb
irvbtime = p4
asig reverb garvbsig, irvbtime
outs asig, asig
garvbsig = 0
endin
tolve
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To: cecilia@ginette.musique.umontreal.ca,
Burton Alexandre ,
Piche Jean
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From: tolve
Subject: csound manual
Cc: csound@maths.ex.ac.uk
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kindly excuse the cross posting...
in the tk_interface of cecilia i see a reference to Gen 31. is this covered
in an ultra new version of the csound manual (url?) or specific to cecilia?
tolve
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From: Toby
Organization: Other than 12-tone
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To: tolve , Csound Mailing List
Subject: Re: global stereo balancing
References:
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tolve wrote:
>
> maybe something missing in my understanding of globals. Toot 9 p105 and 106
> in manual. together, instr 9 and instr 99 allow me to control balance of
> dry sound but not of wet (wet sound looks equally loud in both channels).
>
You could use two global signal variables to pass the signal to the
reverb instrument. You apply the balance to these two signals from
the generating instrument in the same way that it is being done for
it's 'dry' output. This way, multiple instances of multiple instruments
may have their own 'wet' balance which would match (or not match) their
dry component.
I often take this a step further, and use no 'out' statement in any
instrument other than the global reverb instrument. This has the
advantage
that all mixes of wet and dry can be handled by a single variable in the
global instrument, but has the disadvantage of losing individual
control.
This is a good thing when all of the instruments are working together
in order to produce homegeneous events that comprise a single sound
entity.
Toby
-There otta be a law-
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Date: Sun, 29 Mar 1998 14:33:20 -0500
From: Jean Piche
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To: tolve
Cc: cecilia@ginette.musique.umontreal.ca,
Burton Alexandre , csound@maths.ex.ac.uk
Subject: Re: csound manual
References:
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>
> in the tk_interface of cecilia i see a reference to Gen 31. is this covered
> in an ultra new version of the csound manual (url?) or specific to cecilia?
... well yes. It is the value of the -gen flag for the cgraph interface object.
It means the function plotted by this cgraph object will be stored in function
table #31.
--
________________________________________________________
Jean Piche
Universite de Montreal
http://mistral.ere.umontreal.ca/~pichej
http://www.musique.umontreal.ca/electro/CEC/
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Date: Sun, 29 Mar 1998 11:18:17 -0700
From: Mike Berry
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Subject: Re: global stereo balancing
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tolve wrote:
>
> if that really is the case, could someone please suggest best way to create
> a single ibalance variable that would control balance of wet to dry -global
> crossfade? (also recalling that there are mathematically different types of
> crossfades).
>
Try the following
garvbsig init 0
gwetdry init 0
instr 1
gwetdry = p4
endin
instr9
idur = p3
iamp = p4
iskiptime = p5
iattack = p6
irelease = p7
ibalance = p8
irvbgain = p9
kamp linen iamp, iattack, idur, irelease
asig soundin "soundin.aiff", iskiptime
arampsig = kamp * asig
outs arampsig * ibalance * gwetdry, arampsig * (1 - ibalance) * gwetdry
garvbsig = garvbsig + arampsig * irvbgain
endin
instr99 ; global reverb
irvbtime = p4
asig reverb garvbsig, irvbtime
outs asig * (1 - gwetdry), asig * (1 - gwetdry)
garvbsig = 0
endin
In the score, start a new i-card each time you want to change the wet/dry mix.
i1 0 100 0.5 ;half wet, half dry
i1 100 100 0.0 ;all wet
i1 200 100 1.0 ;all dry
There is no need with a control of this type to worry about sqr or sine
curves for proper balance, since unlike ibalance, it does not control a stereo position.
--
Mike Berry
mikeb@nmol.com
http://www.nmol.com/users/mikeb
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From: Hans Mikelson
To: csound@maths.ex.ac.uk
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Subject: Re: C Tutorial, Comp Mus & Math Books
Date: Sun, 29 Mar 1998 09:45:01 -0600
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>>is difficult to avoid C as this will yeild the most compact and efficient
Hi,
Perl is one cool language. Although probably not suitable for signal
processing it would be ideal for generating scores and orchestras
automatically and probably much more. I've done a small amount of Java
programming and my initial reaction is "what a stupid language." Maybe I'll
like it better later. C++ is very slick if used properly. Lisp is an
interesting language. Lisp has traditionally been used for artificial
intelligence applications. I do not consider it a natural for signal
processing. It might be useful for algorithmic composition or something. I
think Logo has some MIDI capabilities in some versions. CLIPS is rule
system that might be useful in artificial intelligence systems. I think it
was developed at NASA.
Bye,
Hans Mikelson
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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: global stereo balancing
Date: Sun, 29 Mar 1998 19:39:26 -0600
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Hi,
The following is extracted from a larger piece:
Good Luck,
Hans Mikelson
;---------------------------------------------------------------------------
; Mixer
;---------------------------------------------------------------------------
instr 100
idur init p3
iamp init p4
inch init p5
ipan init p6
ifader init p7
ioutch init p8
asig1 zar inch ; Read input channel 1
kfader oscil 1, 1/idur, ifader
kpanner oscil 1, 1/idur, ipan
kgl1 = kfader*sqrt(kpanner) ; Left gain
kgr1 = kfader*sqrt(1-kpanner) ; Right gain
kdclick linseg 0, .002, iamp, idur-.002, iamp, .002, 0 ; Declick
asigl = asig1*kgl1 ; Scale and sum
asigr = asig1*kgr1
outs kdclick*asigl, kdclick*asigr ; Output stereo pair
zaw kdclick*kfader*asig1, ioutch ; Output postfader
endin
;---------------------------------------------------------------------------
-------
; Large Room Reverb
;---------------------------------------------------------------------------
-------
instr 105
idur = p3
iamp = p4
iinch1 = p5
igain1 = p6
iinch2 = p7
igain2 = p8
iinch3 = p9
igain3 = p10
aout91 init 0
adel01 init 0
adel11 init 0
adel51 init 0
adel52 init 0
adel91 init 0
adel92 init 0
adel93 init 0
kdclick linseg 0, .002, iamp, idur-.004, iamp, .002, 0
ain1 zar iinch1
ain2 zar iinch2
ain3 zar iinch3
asig0 = igain1*ain1+igain2*ain2+igain3*ain3
aflt01 butterlp asig0, 4000 ; Pre-Filter
aflt02 butterbp .8*aout91, 1000, 500 ; Feed-Back Filter
asum01 = aflt01+.5*aflt02 ; Initial Mix
; All-Pass 1
asub01 = adel01-.3*asum01
adel01 delay asum01+.3*asub01,.008
; All-Pass 2
asub11 = adel11-.3*asub01
adel11 delay asub01+.3*asub11,.012
; Delay 1
adel21 delay asub11, .004
; Out 1
aout31 = 1.5*adel21
; Delay 2
adel41 delay adel21, .017
; Single Nested All-Pass
asum51 = adel52-.25*adel51
aout51 = asum51-.5*adel41
adel51 delay adel41+.5*aout51, .025
adel52 delay adel51+.25*asum51, .062
; Delay 3
adel61 delay aout51,.031
; Out 2
aout71 = .8*adel61
; Delay 4
adel81 delay adel61, .003
; Double Nested All-Pass
asum91 = adel92-.25*adel91
asum92 = adel93-.25*asum91
aout91 = asum92-.5*adel81
adel91 delay adel81+.5*aout91, .120
adel92 delay adel91+.25*asum91, .076
adel93 delay asum91+.25*asum92, .030
aout = .8*aout91+aout71+aout31
outs aout*kdclick, -aout*kdclick
endin
;---------------------------------------------------------------------------
; Clear audio & control channels
;---------------------------------------------------------------------------
instr 110
zacl 0, 30 ; Clear audio channels 0 to 30
zkcl 0, 30 ; Clear control channels 0 to 30
endin
; Mixer Tables
; 3=FadeIn, 5=FadeOut, 6=Const1, 7=Const.5
f3 0 1024 -7 0 1024 1 ; UpSaw/FadeIn/PanRL
f4 0 1024 -7 0 512 1 512 0 ; Tri/Pan RLR/Fade In&Out
f5 0 1024 -7 1 1024 0 ; DnSaw/FadeOut/PanLR
f6 0 1024 -7 1 1024 1 ; Const1/PanL
f7 0 1024 -7 .5 1024 .5 ; Const.5/PanC
f8 0 1024 -7 0 1024 0 ; Const0/PanR
f9 0 1024 -7 0 256 1 768 1 ; Voice Amp
f10 0 1024 -7 .5 256 .2 768 .8 ; Voice Pan CRL
f11 0 1024 -7 .5 256 .8 768 .2 ; Voice Pan CLR
; Mixer 3=FadeIn, 5=FadeOut, 6=Const1, 7=Const.5, 8=Const0
; Sta Dur Amp Ch Pan Fader OutCh
i100 0 10 .7 8 7 6 25
; Large Room Reverb
; Sta Dur Amp InCh1 Gain1 InCh2 Gain2 InCh3 Gain3
i105 0 10 0.2 22 1 23 1 25 1
;---------------------------------------------------------------------------
; Clear ZAK
;---------------------------------------------------------------------------
; Clear Channels
i110 0 10
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Date: 30 Mar 98 20:27:23 +0930
Subject: Re: csound 3.47 for PPC?
From: Nathan Day
To: Michael Gogins , madole@mills.edu,
csound@maths.ex.ac.uk, tolve
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On the death of Unix, Apple's new Rhapsody OS is based on the Mach 3
Micro-kernel like Linux, and the rumours are that Apple's 'Mac OS' is going
to quickly mutate into a consumer orientated version of Rhapsody, easy of
use being put before Power user functionality, Rhapsody being aimed as an
OS for servers, developers and power users.
I've been reading a book on developing for Rhapsody and it looks like a
very exciting development platform, especially for hobby programmers with
its quick development time. Its multi threading kernel, use of built in
dynamic binding, you have to programme in either Java or Objective-C (which
is dynamic binding unlike C++), though C++ can be used when not overriding
the built in openstep class library, now called yellow box, and use of a
graphic interface to set the message sending links between you runtime
objects, it seems to have a lot of potential for 'experimental music'
software.
Other cool features:
-the mach kernel splits processes into tasks and threads with a single
task, owning one or more threads
-distributed objects which allows different objects belonging to the same
application to run on different computers within a network
-services which allows an applications to offer transparent access to its
objects to other applications, an example in the book is an application
called CHaRTSMITH which allows other application to use CHaRTSMITH's
charting abilities within themself, like Apples Open Doc, but much easier
to implement.
Nathan Day
nathand@senet.com.au
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From: Pedro Batista
To: csound@maths.ex.ac.uk
Message-Id: <0891257890/2118367274/1*@mailpac.pt>
Subject: need help with digest mode
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Sorry to waste list b/w with this personal matter...
I remember reading a reply from mr John Fitch, some time ago, stating there
WAS a digest mode but people had to be added manually to this list, by mr
John himself.
Well, mr John Fitch, if youre listening and its not too much of a hassle,
could you please add me to it?
Thanks
pedro batista
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