| I've just finished, a short piece using Sean Costello's fantastic FDN
reverb and phase-shifting orcs and Russell Pinkston's DX7 algorithms
called Espace des cloches. I used one of my DX7 patches for the sound
sources.
You can hear the MP3 here:
http://www.parnasse.com/espace.mp3
I'll publish the scores and the orcs as soon as I clean them up a
little...
Thanks to Sean Costello for making such beautiful instruments!
Jeff Harrington
http://www.parnasse.com/jeff.htm
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Subject: [Csnd] audio sftwr
Hi:
Hope you can give me some direction here. I'm looking for audio editing sftwr
for my G3 that won't break the bank, any suggestions on manufacturers of same?
thanks,
Fstn2nds@aol.com
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To: Csound List
In-reply-to: Your message of "Thu, 04 Nov 1999 19:18:35 EST."
Date: Fri, 05 Nov 1999 17:00:24 -0500
From: Paul Barton-Davis
Subject: Re: [Csnd] [CUD] line event problem
[ ... michael's csound object elided ... ]
why is MIDI and Audio part of the interface for your Csound class ?
wouldn't they be better as one or more separate objects ?
i consider it really wrong that MIDI exists at the core of Csound, but i
have to admit that i haven't expunged it altogether from
Quasimodo. however, IMHO, it belongs only in plugins that interface
to/from MIDI and send/receive non-MIDI events from the engine. i don't
think that anything within the engine should even think about MIDI.
BTW Michael - do you use libsigc++ ? if you haven't taken a look at
it, its really worthwhile. est and myself would both lobby for its
inclusion into the next definition of the C++ language itself, if we
honestly thought there was any chance of it coming to pass. its just
totally sublime as a way of connecting objects without violating
object independence.
--p
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Subject: [Csnd] p98p8c08
> Hi:
>
>Hope you can give me some direction here. I'm looking for audio editing sftwr
>for my G3 that won't break the bank, any suggestions on manufacturers of same?
sonicworkx.com
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From: Stefan Kersten
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Subject: [CUD] csound library was: line event problem
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I completely agree with your statements below (except maybe with using
C++ as the implementation language), and even more so, if a common
"module" API would also be taken into consideration, so not only the
csound gurus could easily write additional opcodes etc. But doesn't e.g.
Paul Barton-Davis' Quasimodo implement most of the suggested features
(correct me if I'm wrong here)? Then only porting to other platforms
would have to be done, which is mostly the thread- and hardware-stuff, I
assume. Plus, as the various facilities seem to be split into several
libraries, also APIs for audio/midi device/file access would be commonly
available. Anyhow, I'd be glad to lend a hand for making csound into a
library.
Michael Gogins wrote:
> [...]
> Csound changes from an executable program with a main() function, into a
> static library with various functions: sco and orc file readers, audio
> input, audio output, command input, score line input, midi event input, midi
> event output, console message output. This library is written ENTIRELY in
> lowest-common-denominator runtime-library-only C++. The code is re-entrant
> and multiply instantiable (several instances of Csound can run inside the
> same process or address space, at the same time).
> [...]
> Making these changes not only would enable Csound to become all kinds of
> useful goodies, it would also make Csound itself much easier to maintain and
> develop further, because the "engine" would be identical on all platforms.
> [...]
Paul Barton-Davis wrote:
> just a quick heads up on what's been going on with Quasimodo.
>
> prompted by several people and several things, Quasimodo has now been
> completely split into completely independent pieces:
>
> * libpbd: a C++ library of utility functions and classes
> * libmidi++: a C++ library that uses libsigc++ to provide
> rather nice access to a MIDI device
> * libsoundfile: a C++ rendering of the best ideas from
> Bill Schottstaedt's sndlib
> * libaudiohw: a C++ library abstracting away audio hardware
> * libquasimodo: the core DSP engine of Quasimodo
>
> * opcodes-gpl: Csound opcodes that were released under the GPL
> or permission was granted to me to do so
> * opcodes-non-gpl: Csound opcodes still under the MIT license
>
> * gtk-quasimodo: a GTK user interface to a quasimodo engine
> * server-quasimodo: a TCP/IP server interface to a quasimodo engine
>
> each of these pieces now comes with its own GNU autoconf/automake
> files so that it can be built on any platform supporting the basic
> functionality that that piece requires from the compiler, standard
> libraries, operating system and hardware. Those requirements are:
>
> * libsigc++ ported (true for most mainstream and semi-mainstream
> platforms)
> * C++ compiler that can handle namespaces, exceptions, and
> a few other minor modern features
> * pthreads (POSIX P.1003 standard)
>
> if your system has these, then implementing the required classes to
> port libmidi and libaudiohw should take about 1 hour each.
gruss - regards - stefan.
__________________________________________________________________________
K-Labz [a K-Hornz subdivision] - steve-k@gmx.net - http://w3.to/K-Hornz
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Subject: [Csnd] csound library was: line event problem
I completely agree with your statements below (except maybe with using
C++ as the implementation language), and even more so, if a common
"module" API would also be taken into consideration, so not only the
csound gurus could easily write additional opcodes etc. But doesn't e.g.
Paul Barton-Davis' Quasimodo implement most of the suggested features
(correct me if I'm wrong here)? Then only porting to other platforms
would have to be done, which is mostly the thread- and hardware-stuff, I
assume. Plus, as the various facilities seem to be split into several
libraries, also APIs for audio/midi device/file access would be commonly
available. Anyhow, I'd be glad to lend a hand for making csound into a
library.
Michael Gogins wrote:
> [...]
> Csound changes from an executable program with a main() function, into a
> static library with various functions: sco and orc file readers, audio
> input, audio output, command input, score line input, midi event input, midi
> event output, console message output. This library is written ENTIRELY in
> lowest-common-denominator runtime-library-only C++. The code is re-entrant
> and multiply instantiable (several instances of Csound can run inside the
> same process or address space, at the same time).
> [...]
> Making these changes not only would enable Csound to become all kinds of
> useful goodies, it would also make Csound itself much easier to maintain and
> develop further, because the "engine" would be identical on all platforms.
> [...]
Paul Barton-Davis wrote:
> just a quick heads up on what's been going on with Quasimodo.
>
> prompted by several people and several things, Quasimodo has now been
> completely split into completely independent pieces:
>
> * libpbd: a C++ library of utility functions and classes
> * libmidi++: a C++ library that uses libsigc++ to provide
> rather nice access to a MIDI device
> * libsoundfile: a C++ rendering of the best ideas from
> Bill Schottstaedt's sndlib
> * libaudiohw: a C++ library abstracting away audio hardware
> * libquasimodo: the core DSP engine of Quasimodo
>
> * opcodes-gpl: Csound opcodes that were released under the GPL
> or permission was granted to me to do so
> * opcodes-non-gpl: Csound opcodes still under the MIT license
>
> * gtk-quasimodo: a GTK user interface to a quasimodo engine
> * server-quasimodo: a TCP/IP server interface to a quasimodo engine
>
> each of these pieces now comes with its own GNU autoconf/automake
> files so that it can be built on any platform supporting the basic
> functionality that that piece requires from the compiler, standard
> libraries, operating system and hardware. Those requirements are:
>
> * libsigc++ ported (true for most mainstream and semi-mainstream
> platforms)
> * C++ compiler that can handle namespaces, exceptions, and
> a few other minor modern features
> * pthreads (POSIX P.1003 standard)
>
> if your system has these, then implementing the required classes to
> port libmidi and libaudiohw should take about 1 hour each.
gruss - regards - stefan.
__________________________________________________________________________
K-Labz [a K-Hornz subdivision] - steve-k@gmx.net - http://w3.to/K-Hornz
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From: Michael Gogins
To: Csound List , Paul Barton-Davis
Date: Fri, 5 Nov 1999 22:14:18 -0500
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Subject: Re: [Csnd] [CUD] line event problem
Thanks for your response.
Why are MIDI and audio part of my Csound class? Actually, there ARE separate
MIDI and audio objects feeding data into and out of my Csound class, I just
didn't show them. What I showed is simply the lowest-level interface where
the data does somehow have to get into and out of Csound. In some cases the
objects would be quite simple, a single loop to feed audio into or out of a
file, in other cases (DirectX, VST, JavaSound) there would be separate
threads, extra buffering, signals and events, etc. But that would all be at
the operating system level, not the "Csound kernel" level.
You are right that it is debatable whether MIDI should exist at the core of
Csound. It would be better if it did not. That, however, would require a
fundamental redesign of Csound in which regular score events could
optionally have "off" events and associated "control" events, so that an
external MIDI driver could produce score "on" events and score "off" events.
But if there is no fundamental redesign, then why not bring MIDI data in,
the opcodes are already there and it is simpler that way.
I'm not familiar with libsigc++. Where does it live?
-----Original Message-----
From: Paul Barton-Davis [mailto:pbd@Op.Net]
Sent: Friday, November 05, 1999 5:00 PM
To: Csound List
Subject: Re: [Csnd] [CUD] line event problem
[ ... michael's csound object elided ... ]
why is MIDI and Audio part of the interface for your Csound class ?
wouldn't they be better as one or more separate objects ?
i consider it really wrong that MIDI exists at the core of Csound, but i
have to admit that i haven't expunged it altogether from
Quasimodo. however, IMHO, it belongs only in plugins that interface
to/from MIDI and send/receive non-MIDI events from the engine. i don't
think that anything within the engine should even think about MIDI.
BTW Michael - do you use libsigc++ ? if you haven't taken a look at
it, its really worthwhile. est and myself would both lobby for its
inclusion into the next definition of the C++ language itself, if we
honestly thought there was any chance of it coming to pass. its just
totally sublime as a way of connecting objects without violating
object independence.
--p
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From: Michael Gogins
To: Stefan Kersten
Cc: Csound List ,
Csound Linux/Unix List
Subject: [CUD] RE: csound library was: line event problem
Date: Fri, 5 Nov 1999 22:21:03 -0500
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What tends to happen here is things go wild. I've made every effort to keep
my ideas as simple as possible and to change Csound as little as possible.
I'm increasingly convinced that Csound is the best instrument on the planet
at this time; I now know that not only can you do so very many different
kinds of synthesis, but you can even get most of them to sound quite good.
So I don't at all want to break this thing or change its basic workings.
To repeat, the single C++ class is absolutely the simplest interface I could
come up with that would separate the "kernel" from the operating system
calls without altering the workings of Csound. Additional modules are
unnecessary complexity.
If one desires a better language than Csound, by all means, use SAOL, which
is potentially better than Csound. I'm interested in both.
-----Original Message-----
From: steve@cs.tu-berlin.de [mailto:steve@cs.tu-berlin.de]On Behalf Of
Stefan Kersten
Sent: Friday, November 05, 1999 11:35 AM
To: Michael Gogins
Cc: Csound List; Csound Linux/Unix List
Subject: csound library was: line event problem
I completely agree with your statements below (except maybe with using
C++ as the implementation language), and even more so, if a common
"module" API would also be taken into consideration, so not only the
csound gurus could easily write additional opcodes etc. But doesn't e.g.
Paul Barton-Davis' Quasimodo implement most of the suggested features
(correct me if I'm wrong here)? Then only porting to other platforms
would have to be done, which is mostly the thread- and hardware-stuff, I
assume. Plus, as the various facilities seem to be split into several
libraries, also APIs for audio/midi device/file access would be commonly
available. Anyhow, I'd be glad to lend a hand for making csound into a
library.
Michael Gogins wrote:
> [...]
> Csound changes from an executable program with a main() function, into a
> static library with various functions: sco and orc file readers, audio
> input, audio output, command input, score line input, midi event input,
midi
> event output, console message output. This library is written ENTIRELY in
> lowest-common-denominator runtime-library-only C++. The code is re-entrant
> and multiply instantiable (several instances of Csound can run inside the
> same process or address space, at the same time).
> [...]
> Making these changes not only would enable Csound to become all kinds of
> useful goodies, it would also make Csound itself much easier to maintain
and
> develop further, because the "engine" would be identical on all platforms.
> [...]
Paul Barton-Davis wrote:
> just a quick heads up on what's been going on with Quasimodo.
>
> prompted by several people and several things, Quasimodo has now been
> completely split into completely independent pieces:
>
> * libpbd: a C++ library of utility functions and classes
> * libmidi++: a C++ library that uses libsigc++ to provide
> rather nice access to a MIDI device
> * libsoundfile: a C++ rendering of the best ideas from
> Bill Schottstaedt's sndlib
> * libaudiohw: a C++ library abstracting away audio hardware
> * libquasimodo: the core DSP engine of Quasimodo
>
> * opcodes-gpl: Csound opcodes that were released under the GPL
> or permission was granted to me to do so
> * opcodes-non-gpl: Csound opcodes still under the MIT license
>
> * gtk-quasimodo: a GTK user interface to a quasimodo engine
> * server-quasimodo: a TCP/IP server interface to a quasimodo
engine
>
> each of these pieces now comes with its own GNU autoconf/automake
> files so that it can be built on any platform supporting the basic
> functionality that that piece requires from the compiler, standard
> libraries, operating system and hardware. Those requirements are:
>
> * libsigc++ ported (true for most mainstream and
semi-mainstream
> platforms)
> * C++ compiler that can handle namespaces, exceptions, and
> a few other minor modern features
> * pthreads (POSIX P.1003 standard)
>
> if your system has these, then implementing the required classes to
> port libmidi and libaudiohw should take about 1 hour each.
gruss - regards - stefan.
__________________________________________________________________________
K-Labz [a K-Hornz subdivision] - steve-k@gmx.net - http://w3.to/K-Hornz
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From: Michael Gogins
To: Stefan Kersten
Cc: Csound List ,
Csound Linux/Unix List
Date: Fri, 5 Nov 1999 22:21:03 -0500
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Subject: Re: [Csnd] csound library was: line event problem
What tends to happen here is things go wild. I've made every effort to keep
my ideas as simple as possible and to change Csound as little as possible.
I'm increasingly convinced that Csound is the best instrument on the planet
at this time; I now know that not only can you do so very many different
kinds of synthesis, but you can even get most of them to sound quite good.
So I don't at all want to break this thing or change its basic workings.
To repeat, the single C++ class is absolutely the simplest interface I could
come up with that would separate the "kernel" from the operating system
calls without altering the workings of Csound. Additional modules are
unnecessary complexity.
If one desires a better language than Csound, by all means, use SAOL, which
is potentially better than Csound. I'm interested in both.
-----Original Message-----
From: steve@cs.tu-berlin.de [mailto:steve@cs.tu-berlin.de]On Behalf Of
Stefan Kersten
Sent: Friday, November 05, 1999 11:35 AM
To: Michael Gogins
Cc: Csound List; Csound Linux/Unix List
Subject: csound library was: line event problem
I completely agree with your statements below (except maybe with using
C++ as the implementation language), and even more so, if a common
"module" API would also be taken into consideration, so not only the
csound gurus could easily write additional opcodes etc. But doesn't e.g.
Paul Barton-Davis' Quasimodo implement most of the suggested features
(correct me if I'm wrong here)? Then only porting to other platforms
would have to be done, which is mostly the thread- and hardware-stuff, I
assume. Plus, as the various facilities seem to be split into several
libraries, also APIs for audio/midi device/file access would be commonly
available. Anyhow, I'd be glad to lend a hand for making csound into a
library.
Michael Gogins wrote:
> [...]
> Csound changes from an executable program with a main() function, into a
> static library with various functions: sco and orc file readers, audio
> input, audio output, command input, score line input, midi event input,
midi
> event output, console message output. This library is written ENTIRELY in
> lowest-common-denominator runtime-library-only C++. The code is re-entrant
> and multiply instantiable (several instances of Csound can run inside the
> same process or address space, at the same time).
> [...]
> Making these changes not only would enable Csound to become all kinds of
> useful goodies, it would also make Csound itself much easier to maintain
and
> develop further, because the "engine" would be identical on all platforms.
> [...]
Paul Barton-Davis wrote:
> just a quick heads up on what's been going on with Quasimodo.
>
> prompted by several people and several things, Quasimodo has now been
> completely split into completely independent pieces:
>
> * libpbd: a C++ library of utility functions and classes
> * libmidi++: a C++ library that uses libsigc++ to provide
> rather nice access to a MIDI device
> * libsoundfile: a C++ rendering of the best ideas from
> Bill Schottstaedt's sndlib
> * libaudiohw: a C++ library abstracting away audio hardware
> * libquasimodo: the core DSP engine of Quasimodo
>
> * opcodes-gpl: Csound opcodes that were released under the GPL
> or permission was granted to me to do so
> * opcodes-non-gpl: Csound opcodes still under the MIT license
>
> * gtk-quasimodo: a GTK user interface to a quasimodo engine
> * server-quasimodo: a TCP/IP server interface to a quasimodo
engine
>
> each of these pieces now comes with its own GNU autoconf/automake
> files so that it can be built on any platform supporting the basic
> functionality that that piece requires from the compiler, standard
> libraries, operating system and hardware. Those requirements are:
>
> * libsigc++ ported (true for most mainstream and
semi-mainstream
> platforms)
> * C++ compiler that can handle namespaces, exceptions, and
> a few other minor modern features
> * pthreads (POSIX P.1003 standard)
>
> if your system has these, then implementing the required classes to
> port libmidi and libaudiohw should take about 1 hour each.
gruss - regards - stefan.
__________________________________________________________________________
K-Labz [a K-Hornz subdivision] - steve-k@gmx.net - http://w3.to/K-Hornz
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To: csound@maths.ex.ac.uk
From: Arne Hanna
Subject: [Csnd] score gen manual
The Markov/Automata score generation manual is now on line
.
Cheers
Arne
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To: Michael Gogins
cc: Csound List
In-reply-to: Your message of "Fri, 05 Nov 1999 22:14:18 EST."
Date: Sat, 06 Nov 1999 00:28:44 -0500
From: Paul Barton-Davis
Subject: Re: [Csnd] [CUD] line event problem
>Why are MIDI and audio part of my Csound class? Actually, there ARE separate
>MIDI and audio objects feeding data into and out of my Csound class, I just
>didn't show them. What I showed is simply the lowest-level interface where
>the data does somehow have to get into and out of Csound.
your API shows the Csound object opening and closing MIDI and
devices. this is the part that seems wrong to me. or perhaps i'm
misinterpreting the function names ?
>You are right that it is debatable whether MIDI should exist at the core of
>Csound. It would be better if it did not. That, however, would require a
>fundamental redesign of Csound in which regular score events could
>optionally have "off" events and associated "control" events, so that an
>external MIDI driver could produce score "on" events and score "off" events.
>But if there is no fundamental redesign, then why not bring MIDI data in,
>the opcodes are already there and it is simpler that way.
right, the opcodes are already there. i just think that the MIDI data
should stop right at the opcodes. but you're right: as long as Csound
scores are based on the idea that note duration is known ahead of
time, MIDI has to exist in its own world, penetrating deep into the
core.
>I'm not familiar with libsigc++. Where does it live?
http://www.ece.ucdavis.edu/~kenelson/libsigc++/
this is the new C++ "signal" system at the heart of the next version
of Gtk--
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To: Csound List ,
Csound Linux/Unix List
Subject: Re: [CUD] RE: csound library was: line event problem
In-reply-to: Your message of "Fri, 05 Nov 1999 22:21:03 EST."
Date: Sat, 06 Nov 1999 00:36:34 -0500
From: Paul Barton-Davis
Sender: owner-csound-unix-dev@ilogic.com.au
Precedence: bulk
>I'm increasingly convinced that Csound is the best instrument on the planet
>at this time; I now know that not only can you do so very many different
>kinds of synthesis, but you can even get most of them to sound quite good.
>So I don't at all want to break this thing or change its basic workings.
I agree with your first statement totally.
I just happen to think that the brilliance of Csound lies about 99% in
its opcodes, and 1% in the engine. Conversely, 99% of the design
problems with Csound are in the engine, and only 1% in the opcodes.
Its for this reason that I tried to keep almost complete source-level
compatibility with Csound's opcode interface in Quasimodo (*), but felt
comfortable jettisoning the engine. I think that there is very little
lost by doing this, and very much to be gained. But then, you all know
this by now :)
--p
(*) actually, after the long discussion over on linux-audio-dev about
our potential new plugin API, the fact that Csound cannot be sample
accurate without setting ksmps to 1 troubles me a great deal. it might
be enough to move even further than i have moved from source-level
opcode compatibility. right now, a very simple perl script will
convert just about any new opcode's C source code and header file into
a quasimodo script. if i go down the sample accurate path, let alone
decide to support whatever the new API looks like, i don't know what
will happen.
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To: Csound List ,
Csound Linux/Unix List
In-reply-to: Your message of "Fri, 05 Nov 1999 22:21:03 EST."
Date: Sat, 06 Nov 1999 00:36:34 -0500
From: Paul Barton-Davis
Subject: Re: [Csnd] [CUD] RE: csound library was: line event problem
>I'm increasingly convinced that Csound is the best instrument on the planet
>at this time; I now know that not only can you do so very many different
>kinds of synthesis, but you can even get most of them to sound quite good.
>So I don't at all want to break this thing or change its basic workings.
I agree with your first statement totally.
I just happen to think that the brilliance of Csound lies about 99% in
its opcodes, and 1% in the engine. Conversely, 99% of the design
problems with Csound are in the engine, and only 1% in the opcodes.
Its for this reason that I tried to keep almost complete source-level
compatibility with Csound's opcode interface in Quasimodo (*), but felt
comfortable jettisoning the engine. I think that there is very little
lost by doing this, and very much to be gained. But then, you all know
this by now :)
--p
(*) actually, after the long discussion over on linux-audio-dev about
our potential new plugin API, the fact that Csound cannot be sample
accurate without setting ksmps to 1 troubles me a great deal. it might
be enough to move even further than i have moved from source-level
opcode compatibility. right now, a very simple perl script will
convert just about any new opcode's C source code and header file into
a quasimodo script. if i go down the sample accurate path, let alone
decide to support whatever the new API looks like, i don't know what
will happen.
--
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Date: Sat, 06 Nov 1999 01:51:43 -0800
From: "Stephen J. Parise"
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Subject: Re: [Csnd] audio sftwr
'Peak' is a favorite of mine ($99 US I think).
'Sound Hack' (very cheap, slow freeware version is available) but no
waveform editing, just DSP : http://shoko.calarts.edu/~tre/SndHckDoc/
'Sound Edit' cheap but waveform display is not good, at least the last
time I used it (four years ago)
Fstn2nds@aol.com wrote:
>
> Hi:
>
> Hope you can give me some direction here. I'm looking for audio editing sftwr
> for my G3 that won't break the bank, any suggestions on manufacturers of same?
--
Stephen
Stephen J. Parise
composer, sound editor, sound designer, and consultant
step808@earthlink.net
http://home.earthlink.net/~step808/
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To: csound@lists.bath.AC.UK
Cc: music-dsp@shoko.calarts.edu
Subject: Re: [Csnd] audio sftwr
> 'Peak' is a favorite of mine ($99 US I think).
konzum>g!glb!tz.
plz repeat aftr [repet!z!on = teachez humanz]
peak zucz
http://www.sonicworx.com
o. + apropoz peak \ b!az mutemed!a korporat fasc!zt kr!m!nalz
From: Steve Berkley
Subject: Silent Contribution
This is a "silent contribution". Are you going to "honor that?".
Sound familiar? "Silent Contribution"?
Plan on a "visit" from someone shortly. What does that mean? Plan on a
visit. It's not a threat, as I could never threaten you. It's simply in a
language that I'm comfortable with.
I do think you should start planning for a visit, though. What does that
mean? Plan on a visit. It's not a threat, as I could never threaten you.
It's simply in a language that I'm comfortable with.
I know who you are. I'm looking at your kode. It looks phamyliar.
Coming to AES?
Good Night! (breath deeply, while you're at it)
Silent Contribution
P.S. You are so kool! Beavis and Butthead were never so facist!
>hallo.
>
>there will be a series of 2-3 articles written on the topic
>of fascism + internet to be published in print as well as on line.
>
>the daw mac reaction to select events of past week
>will be covered.
>
>if you wish to make a silent contribution please
>state this is in your email.
>
>contributions may be in the language one is most comfortable with.
>
>bzzp.
>
>
>
>i2 0 42
>i1 0 1 9000 440 2 51 ; kar!erz
>i1 + . . . . .
>i1 + . . . . .
>i1 +
>i1 +
>i1 +
>i1 + - f3.mazk!n3nkunzt.m9ndfukc macht fre!.
>i1 + . d u b ! z t e s . d u b ! z t e s .
>i1 +
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> 'Peak' is a favorite of mine ($99 US I think).
konzum>g!glb!tz.
plz repeat aftr [repet!z!on = teachez humanz]
peak zucz
http://www.sonicworx.com
o. + apropoz peak \ b!az mutemed!a korporat fasc!zt kr!m!nalz
From: Steve Berkley
Subject: Silent Contribution
This is a "silent contribution". Are you going to "honor that?".
Sound familiar? "Silent Contribution"?
Plan on a "visit" from someone shortly. What does that mean? Plan on a
visit. It's not a threat, as I could never threaten you. It's simply in a
language that I'm comfortable with.
I do think you should start planning for a visit, though. What does that
mean? Plan on a visit. It's not a threat, as I could never threaten you.
It's simply in a language that I'm comfortable with.
I know who you are. I'm looking at your kode. It looks phamyliar.
Coming to AES?
Good Night! (breath deeply, while you're at it)
Silent Contribution
P.S. You are so kool! Beavis and Butthead were never so facist!
>hallo.
>
>there will be a series of 2-3 articles written on the topic
>of fascism + internet to be published in print as well as on line.
>
>the daw mac reaction to select events of past week
>will be covered.
>
>if you wish to make a silent contribution please
>state this is in your email.
>
>contributions may be in the language one is most comfortable with.
>
>bzzp.
>
>
>
>i2 0 42
>i1 0 1 9000 440 2 51 ; kar!erz
>i1 + . . . . .
>i1 + . . . . .
>i1 +
>i1 +
>i1 +
>i1 + - f3.mazk!n3nkunzt.m9ndfukc macht fre!.
>i1 + . d u b ! z t e s . d u b ! z t e s .
>i1 +
dupswapdrop -- the music-dsp mailing list and website: subscription info,
FAQ, source code archive, list archive, book reviews, dsp links
http://shoko.calarts.edu/musicdsp/
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To: csound@maths.ex.ac.uk, tre@shoko.calarts.edu, icma@umich.edu,
max <@cunyvm.cuny.edu:max@mcgill.bitnet>, music-research@comlab.ox.ac.uk,
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e.edwards@qut.edu.au, e.gidney@unsw.edu.au, eagle@acs.ucalgary.ca,
earl@well.sf.ca.us, earthfirst@igc.apc.org, easylife@glas.apc.org,
ebert@cis.ohio-state.edu, ecafe@netcom.com
From: Vittorio Vella
Subject: [Csnd] Third International Contemporary Music Contest - Terzo Concorso Internazionale di Musica Contemporanea
Crediamo di fare cosa gradita dandovi informazioni sul Terzo Concorso di
Musica Contemporanea "Citta' di Udine".
Se in futuro NON desiderate ricevere informazioni, vi preghiamo di
comunicarcelo.
Grazie
(A causa dell'utilizzo di diverse mailing list e' possibile che il
messaggio venga spedito piu' di una volta. Ci scusiamo per l'inconveniente)
We are glad to inform you about the Third International Contemporary Music
Contest "Citta' di Udine". If you don't want to receive such informations
in the future, please send back a short message.
Thank you
(We apologize if you receive this announcement more than once.)
(La versione in italiano del Bando di Concorso e riportata dopo quella in
inglese)
**************************************
Third International Contemporary Music Contest "Citta' di Udine"
1.
The City Council of Udine, together with TauKay Music Publishing House,
within its musical activities, announces the Third International
Contemporary Music Contest.
2.
The contest is divided into two sections:
- instrumental compositions for chamber instrumental group.
- electro-acoustic, analogical, and digital music.
3.
Only unpublished musical compositions will be admitted into the contest.
The pieces may have been already performed. Composers may be of any
citizenship.
4.
Musical scores for the chamber instrumental group section must be no longer
than eight minutes.
they are required to use the following instruments:
*string quartet
*piano
*flute
*clarinet
*percussions chosen between: vibrafono, glockenspiele, set of tom-toms
(max.5), suspended cymbals, tam tam, temple-blocks, little instruments
usually used like triangle, wood-blocks, maracas ecc..) (one player)
These instruments may be used in any combination.
It is possible to use magnetic tape (DAT ot compact disc) together with the
chamber instrumental group.
The Composition for the electro-acoustic, analogical, and digital music
section. must be no longer than ten minutes. (DAT or compact disc)
5.
The City Council of Udine, together with TauKay Music Publishing House,
will organize a public performance to be held in Udine during autumn 2000.
A compact disc will be recorded.
The TauKay Music Publishing House will publish the selected compositions
and has committed itself to broadcast and publicize them by means of
specialized magazines and operators.Those composers who are committed to
another publishing house are requested to send in a copyright waiver
(under-signed by both them and their publishers) which authorizes the
publication of their compositions.
6.
All works must be submitted - no later than April, 30th 2000 - to:
"Comune di Udine - U.O. Coordinamento Segreteria Attivit=E0 Teatrali -
viale Ungheria 15 - 33100 Udine ITALIA"
The postmark will bear witness to the date.
The jury's decision will be made public on June, 30th 2000.
7.
The jury has the right to discard those works that do not satisfy the above
mentioned requirements.
8.
If a work presents new graphic characters or symbols , the author is
requested to provide an explanatory table.
The scores must be sent in six copies attached to the application and
together with the receipt for 35 USD payment (26 euro) made by a
international postal order to:
Comune di Udine Servizio tesoreria
Conto corrente postale n. 14372338
The following wording must appear on the postal order as the description:
"Tassa di iscrizione per il III=B0 Concorso di Musica Contemporanea Citt=E0 =
di
Udine 2000"
If a work is selected to be performed, the author must send the single score=
s
for each and every instrument.
The scores will not be returned, specific agreement excepted.
The following additional documentation is requested from the author:
* First and family name, address, telephone number, place and date of
birth, citizenship.
* a recent picture
* A statement certifying that the submitted composition is unpublished and
has not been awarded any prizes in any musical contest.
* A statement agreeing to permit the composition to be broadcast or telecast
and archived without compensation.
* A statement permitting publication by TauKay Music
Publishing House, or a copyright waiver under-signed by the author and his
or her publisher as in paragraph #5.
* Curriculum vitae and curriculum studiorum.
9.
The jury's decisions are final and cannot be appealed.
10.
The submission of the application and the piece implies the full acceptance
of the above mentioned regulations.
The non-compliance of the above stated regulations implies the loss of any
rights originating from the jury's decisions.
The Court of Justice of Udine is the place of jurisdiction.
=46urther information is available from:
Settore Attivit=E0 Culturali ed Educative del Comune di Udine - viale
Ungheria 15 33100 Udine ITALIA - tel. ++39/0432/271703 - ++39/0432/271750
and TauKay Music Publishing House
http://www.nauta.it/taukay/
taukay@mail.nauta.it
Communication according to the Italian Law 675/96: personal data related to
your address will be used by Edizioni Musicali TauKay to send you news
about its activity, with full respect of what set forth by Law 675 of
31.12.1996 as to personal data. These are strictly confidential; at any
time you'll be able to have them modified, updated or deleted free of
charge, by writing to the above mentioned address.
***************************************************************
III=B0 CONCORSO INTERNAZIONALE DI MUSICA CONTEMPORANEA "CITTA' DI UDINE"
Art.1
Il Comune di Udine, in collaborazione con la Casa "Edizioni Musicali
TauKay" di Udine, nell'ambito delle proprie attivita' in campo
musicale, bandisce il
III=B0 CONCORSO INTERNAZIONALE DI MUSICA CONTEMPORANEA
Art. 2
La rassegna e' divisa in due sezioni:
- Composizioni per gruppo strumentale da camera.
- Musica elettroacustica analogica e digitale.
Art. 3
Saranno ammesse alla rassegna composizioni inedite composte da musicisti di
qualsiasi nazionalita'. I brani possono essere gi=E0 stati eseguiti.
Art. 4
Le partiture della sezione per gruppo stumentale da camera non dovranno
avere durata superiore a otto minuti.
- Organico strumentale:
quartetto d'archi,
pianoforte,
flauto,
clarinetto,
percussioni scelte tra le seguenti: vibrafono, glockenspiele, set di
tom-toms (max.5), piatti sospesi, tam tam, temple-blocks, piccoli strumenti
di uso normale come triangoli, wood-blocks, maracas ecc... (un esecutore)
E' possibile utilizzare gli strumenti indicati in organico in varie
combinazioni.
E' possibile usare una banda sonora fornita su DAT o compact disc per
l'esecuzione con il gruppo strumentale da camera.
Le Composizioni di Musica elettroacustica analogica e digitale non dovranno
avere durata superiore a dieci minuti e dovranno essere fornite su DAT o
compact disc.
Art. 5
Il Comune di Udine, tramite i competenti Uffici, in collaborazione con le
Edizioni Musicali TauKay, organizzera' una esecuzione pubblica che si
terra' a Udine nell'autunno del 2000 e realizzera' un compact disc.
Le opere scelte saranno edite dalle Edizioni Musicali TauKay di Udine che
si impegnano inoltre a divulgare, attraverso emittenti radiofoniche e
gruppi specializzati nel settore, i materiali pervenuti che saranno
reputati meritori.
Qualora i compositori fossero contrattualmente vincolati con altra Casa
Editrice, dovranno presentare una dichiarazione sottoscritta dal
Compositore e dalla propria Casa Editrice che consenta ed autorizzi
l'edizione dell'opera selezionata.
Art. 6
I lavori dovranno essere spediti al Comune di Udine - U.O. Coordinamento
Segreteria Attivit=E0 Teatrali - viale Ungheria 15 - 33100 UDINE, entro e
non oltre il 30 aprile 2000. Fara' fede la data del timbro postale di
partenza. Le decisioni della giuria saranno rese pubbliche entro il 30
giugno 2000
ART. 7
La giuria si riserva la facolta' di non utilizzare i materiali pervenuti
qualora non si riscontrassero tra i concorrenti i requisiti necessari.
ART. 8
In caso di lavori che presentino caratteri grafici o simboli inediti, gli
autori dovranno fornire tabelle esplicative per un corretto intendimento
dei segni.
- Le partiture dovranno essere inviate in sei copie assieme alla domanda di
iscrizione allegata e alla ricevuta del versamento di L.50.000 (26 euro)
effettuato a mezzo vaglia postale intestato a:
Comune di Udine Servizio tesoreria
Conto corrente postale n. 14372338
-Sulla causale del versamento dovr=E0 essere riportata la seguente dicitura:
"Tassa di iscrizione per il III=B0 Concorso di Musica Contemporanea Citt=E0 =
di
Udine 2000"
-Nel caso che le partiture vengano selezionate per l'esecuzione, al
compositore verra' chiesto l'invio anche delle parti staccate per i singoli
strumenti.
-Le partiture inviate non verranno restituite, salvo specifici accordi
diversi.
Viene richiesta anche la seguente documentazione:
-Nome, cognome, indirizzo, numero telefonico, luogo e data di nascita,
cittadinanza.
-Una fotografia recente del Compositore.
-Dichiarazione dell' autore attestante che la composizione presentata e'
inedita e non e' stata mai premiata in altri concorsi.
-Dichiarazione di consenso e gratuita' alla eventuale ripresa audio e video
dello spettacolo per uso d'archivio.
-Dichiarazione di accettazione a che la Casa Editrice TauKay di Udine
prenda in edizione le opere pi=F9 meritorie, oppure dichiarazione
dell'autore e Casa Editrice come previsto dall'art.5
-Curriculum artistico e di studi.
Art. 9
Le decisioni della Giuria sono inappellabili.
Art. 10
La domanda di partecipazione e la presentazione delle opere alla
rassegna comporta da parte dell'autore l'accettazione delle norme
sopraindicate.
La mancata osservanza delle norme sopraindicate comporta la decadenza di
qualsiasi diritto conseguente le scelte della Giuria.
Per ogni eventuale controversia e' competente il foro di Udine.
Per ulteriori informazioni rivolgersi al Settore Attivit=E0 Culturali ed
Educative del Comune di Udine - viale Ungheria 15 - 33100 Udine - tel.
0432/271703 - 0432/271750 e presso il sito delle Edizioni Musicali TauKay -
http://www.nauta.it/taukay/
e-mail - taukay@mail.nauta.it
Comunicazione ai sensi della Legge 675/96: i dati personali relativi al suo
indirizzo saranno utilizzati dalle Edizioni Musicali TauKay per inviarle
notizie inerenti la sua attivit=E0, nel pieno rispetto di quanto disposto
dalla Legge 675 del 31.12.1996 in materia di dati personali. Questi sono
strettamente riservati; in qualsiasi momento lei potr=E0 farli modificare,
aggiornare o cancellare gratuitamente scrivendo all'indirizzo indicato.
*****************************************************
Edizioni Musicali TauKay
TauKay Music Publishing House
via Fiume 13 - 33100 Udine - Italy
tel. +39-432-506677
fax +39-432-25021
taukay@mailbox.nauta.it
WEB site http://www.nauta.it/taukay/
Responsabile editoriale/Editor: Vittorio Vella
*****************************************************
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To: csound@maths.ex.ac.uk
Cc: amr@farben.latrobe.edu.au, BITNET@cunyvm.cuny.edu,
cecdiscuss@clyde.concordia.ca, das@si.hhs.nl, e.a.edmonds@lut.ac.uk,
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ebert@cis.ohio-state.edu, ecafe@netcom.com, eirikli@notam.uio.no,
ejrnl@uacsc2.albany.edu,
ejurschi <@well.sf.ca.us:ejurschi@ekent.com.compuserve.mhs.sos.co.uk>,
eldenius@musik.gu.se, Emfnet@aol.com, icma@umich.edu,
mooreaj@sun1.bham.ac.uk, mto-editor@boethius.music.ucsb.edu,
music-research@comlab.ox.ac.uk, notmus-l@ubvm.cc.buffalo.edu,
taukay@mailbox.nauta.it
Subject: [Csnd] Third International Contemporary Music Contest - Terzo Concorso Internazionale di Musica Contemporanea
Crediamo di fare cosa gradita dandovi informazioni sul Terzo Concorso di
Musica Contemporanea "Citta' di Udine".
Se in futuro NON desiderate ricevere informazioni, vi preghiamo di
comunicarcelo.
Grazie
(A causa dell'utilizzo di diverse mailing list e' possibile che il
messaggio venga spedito piu' di una volta. Ci scusiamo per l'inconveniente)
We are glad to inform you about the Third International Contemporary Music
Contest "Citta' di Udine". If you don't want to receive such informations
in the future, please send back a short message.
Thank you
(We apologize if you receive this announcement more than once.)
(La versione in italiano del Bando di Concorso e riportata dopo quella in
inglese)
**************************************
Third International Contemporary Music Contest "Citta' di Udine"
1.
The City Council of Udine, together with TauKay Music Publishing House,
within its musical activities, announces the Third International
Contemporary Music Contest.
2.
The contest is divided into two sections:
- instrumental compositions for chamber instrumental group.
- electro-acoustic, analogical, and digital music.
3.
Only unpublished musical compositions will be admitted into the contest.
The pieces may have been already performed. Composers may be of any
citizenship.
4.
Musical scores for the chamber instrumental group section must be no longer
than eight minutes.
they are required to use the following instruments:
*string quartet
*piano
*flute
*clarinet
*percussions chosen between: vibrafono, glockenspiele, set of tom-toms
(max.5), suspended cymbals, tam tam, temple-blocks, little instruments
usually used like triangle, wood-blocks, maracas ecc..) (one player)
These instruments may be used in any combination.
It is possible to use magnetic tape (DAT ot compact disc) together with the
chamber instrumental group.
The Composition for the electro-acoustic, analogical, and digital music
section. must be no longer than ten minutes. (DAT or compact disc)
5.
The City Council of Udine, together with TauKay Music Publishing House,
will organize a public performance to be held in Udine during autumn 2000.
A compact disc will be recorded.
The TauKay Music Publishing House will publish the selected compositions
and has committed itself to broadcast and publicize them by means of
specialized magazines and operators.Those composers who are committed to
another publishing house are requested to send in a copyright waiver
(under-signed by both them and their publishers) which authorizes the
publication of their compositions.
6.
All works must be submitted - no later than April, 30th 2000 - to:
"Comune di Udine - U.O. Coordinamento Segreteria Attivit Teatrali -
viale Ungheria 15 - 33100 Udine ITALIA"
The postmark will bear witness to the date.
The jury's decision will be made public on June, 30th 2000.
7.
The jury has the right to discard those works that do not satisfy the above
mentioned requirements.
8.
If a work presents new graphic characters or symbols , the author is
requested to provide an explanatory table.
The scores must be sent in six copies attached to the application and
together with the receipt for 35 USD payment (26 euro) made by a
international postal order to:
Comune di Udine Servizio tesoreria
Conto corrente postale n. 14372338
The following wording must appear on the postal order as the description:
"Tassa di iscrizione per il III Concorso di Musica Contemporanea Citt di
Udine 2000"
If a work is selected to be performed, the author must send the single scores
for each and every instrument.
The scores will not be returned, specific agreement excepted.
The following additional documentation is requested from the author:
* First and family name, address, telephone number, place and date of
birth, citizenship.
* a recent picture
* A statement certifying that the submitted composition is unpublished and
has not been awarded any prizes in any musical contest.
* A statement agreeing to permit the composition to be broadcast or telecast
and archived without compensation.
* A statement permitting publication by TauKay Music
Publishing House, or a copyright waiver under-signed by the author and his
or her publisher as in paragraph #5.
* Curriculum vitae and curriculum studiorum.
9.
The jury's decisions are final and cannot be appealed.
10.
The submission of the application and the piece implies the full acceptance
of the above mentioned regulations.
The non-compliance of the above stated regulations implies the loss of any
rights originating from the jury's decisions.
The Court of Justice of Udine is the place of jurisdiction.
Further information is available from:
Settore Attivit Culturali ed Educative del Comune di Udine - viale
Ungheria 15 33100 Udine ITALIA - tel. ++39/0432/271703 - ++39/0432/271750
and TauKay Music Publishing House
http://www.nauta.it/taukay/
taukay@mail.nauta.it
Communication according to the Italian Law 675/96: personal data related to
your address will be used by Edizioni Musicali TauKay to send you news
about its activity, with full respect of what set forth by Law 675 of
31.12.1996 as to personal data. These are strictly confidential; at any
time you'll be able to have them modified, updated or deleted free of
charge, by writing to the above mentioned address.
***************************************************************
III CONCORSO INTERNAZIONALE DI MUSICA CONTEMPORANEA "CITTA' DI UDINE"
Art.1
Il Comune di Udine, in collaborazione con la Casa "Edizioni Musicali
TauKay" di Udine, nell'ambito delle proprie attivita' in campo
musicale, bandisce il
III CONCORSO INTERNAZIONALE DI MUSICA CONTEMPORANEA
Art. 2
La rassegna e' divisa in due sezioni:
- Composizioni per gruppo strumentale da camera.
- Musica elettroacustica analogica e digitale.
Art. 3
Saranno ammesse alla rassegna composizioni inedite composte da musicisti di
qualsiasi nazionalita'. I brani possono essere gi stati eseguiti.
Art. 4
Le partiture della sezione per gruppo stumentale da camera non dovranno
avere durata superiore a otto minuti.
- Organico strumentale:
quartetto d'archi,
pianoforte,
flauto,
clarinetto,
percussioni scelte tra le seguenti: vibrafono, glockenspiele, set di
tom-toms (max.5), piatti sospesi, tam tam, temple-blocks, piccoli strumenti
di uso normale come triangoli, wood-blocks, maracas ecc... (un esecutore)
E' possibile utilizzare gli strumenti indicati in organico in varie
combinazioni.
E' possibile usare una banda sonora fornita su DAT o compact disc per
l'esecuzione con il gruppo strumentale da camera.
Le Composizioni di Musica elettroacustica analogica e digitale non dovranno
avere durata superiore a dieci minuti e dovranno essere fornite su DAT o
compact disc.
Art. 5
Il Comune di Udine, tramite i competenti Uffici, in collaborazione con le
Edizioni Musicali TauKay, organizzera' una esecuzione pubblica che si
terra' a Udine nell'autunno del 2000 e realizzera' un compact disc.
Le opere scelte saranno edite dalle Edizioni Musicali TauKay di Udine che
si impegnano inoltre a divulgare, attraverso emittenti radiofoniche e
gruppi specializzati nel settore, i materiali pervenuti che saranno
reputati meritori.
Qualora i compositori fossero contrattualmente vincolati con altra Casa
Editrice, dovranno presentare una dichiarazione sottoscritta dal
Compositore e dalla propria Casa Editrice che consenta ed autorizzi
l'edizione dell'opera selezionata.
Art. 6
I lavori dovranno essere spediti al Comune di Udine - U.O. Coordinamento
Segreteria Attivit Teatrali - viale Ungheria 15 - 33100 UDINE, entro e
non oltre il 30 aprile 2000. Fara' fede la data del timbro postale di
partenza. Le decisioni della giuria saranno rese pubbliche entro il 30
giugno 2000
ART. 7
La giuria si riserva la facolta' di non utilizzare i materiali pervenuti
qualora non si riscontrassero tra i concorrenti i requisiti necessari.
ART. 8
In caso di lavori che presentino caratteri grafici o simboli inediti, gli
autori dovranno fornire tabelle esplicative per un corretto intendimento
dei segni.
- Le partiture dovranno essere inviate in sei copie assieme alla domanda di
iscrizione allegata e alla ricevuta del versamento di L.50.000 (26 euro)
effettuato a mezzo vaglia postale intestato a:
Comune di Udine Servizio tesoreria
Conto corrente postale n. 14372338
-Sulla causale del versamento dovr essere riportata la seguente dicitura:
"Tassa di iscrizione per il III Concorso di Musica Contemporanea Citt di
Udine 2000"
-Nel caso che le partiture vengano selezionate per l'esecuzione, al
compositore verra' chiesto l'invio anche delle parti staccate per i singoli
strumenti.
-Le partiture inviate non verranno restituite, salvo specifici accordi
diversi.
Viene richiesta anche la seguente documentazione:
-Nome, cognome, indirizzo, numero telefonico, luogo e data di nascita,
cittadinanza.
-Una fotografia recente del Compositore.
-Dichiarazione dell' autore attestante che la composizione presentata e'
inedita e non e' stata mai premiata in altri concorsi.
-Dichiarazione di consenso e gratuita' alla eventuale ripresa audio e video
dello spettacolo per uso d'archivio.
-Dichiarazione di accettazione a che la Casa Editrice TauKay di Udine
prenda in edizione le opere pi meritorie, oppure dichiarazione
dell'autore e Casa Editrice come previsto dall'art.5
-Curriculum artistico e di studi.
Art. 9
Le decisioni della Giuria sono inappellabili.
Art. 10
La domanda di partecipazione e la presentazione delle opere alla
rassegna comporta da parte dell'autore l'accettazione delle norme
sopraindicate.
La mancata osservanza delle norme sopraindicate comporta la decadenza di
qualsiasi diritto conseguente le scelte della Giuria.
Per ogni eventuale controversia e' competente il foro di Udine.
Per ulteriori informazioni rivolgersi al Settore Attivit Culturali ed
Educative del Comune di Udine - viale Ungheria 15 - 33100 Udine - tel.
0432/271703 - 0432/271750 e presso il sito delle Edizioni Musicali TauKay -
http://www.nauta.it/taukay/
e-mail - taukay@mail.nauta.it
Comunicazione ai sensi della Legge 675/96: i dati personali relativi al suo
indirizzo saranno utilizzati dalle Edizioni Musicali TauKay per inviarle
notizie inerenti la sua attivit, nel pieno rispetto di quanto disposto
dalla Legge 675 del 31.12.1996 in materia di dati personali. Questi sono
strettamente riservati; in qualsiasi momento lei potr farli modificare,
aggiornare o cancellare gratuitamente scrivendo all'indirizzo indicato.
*****************************************************
Edizioni Musicali TauKay
TauKay Music Publishing House
via Fiume 13 - 33100 Udine - Italy
tel. +39-432-506677
fax +39-432-25021
taukay@mailbox.nauta.it
WEB site http://www.nauta.it/taukay/
Responsabile editoriale/Editor: Vittorio Vella
*****************************************************
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To: csound@maths.ex.ac.uk
Subject: [Csnd] [a] [ot] [it] [lu] [nl] [ru] [li]
[\ informing model citizens every where +1
of the grammatical era's end and the beginning of flamboyance
especially in anti.korporat.konglomerat + ganz zuper
fashion spektaklez kode kontainers
- b!lab!al kl!k
______
_______________________________________________
n a t o.0+55 . r e f e r e n c e . p a r t . 01 : |?| - please view in _the origin of the family - 55 point
_______________________+++++++-- n a t o.0+55++
_~25 video filters = applicable to live video data + film \ image data
http://www.m9ndfukc.org/korporat/nato.0+55+3d.html zer!al rspnz kmpt!z!on.banana +?
-
- u n d . n a t o.0+55. ganz. kztenlsz. n!chtz +? garanz!a
-
- \/\ http://www.m9ndfukc.org/kode/nato.0+55.sit.bin
- \/\ http://www.m9ndfukc.org/data/nato.0+55.SS||SS pEn.5r55|opEn.sOurcE
unterstutzen sie eine umweltgerechte entsorgung
nato.0+55 vi garantisce una produzione perfetta nella lavorazione e nel guzto
grazie all`impiego di una accurata scelta di materie prime [ultra] nonche ai
suoi oltre 50 anni di ezperienza nella fabbricazione di bombe zquizito.
qualora il bombe non dovesse darvi piena soddisfazione vi preghiamo di rispedircelo.
noi ve lo sostituiremo.
a l t z o . wir werden sie ihnen kostenlos erzetzen.
-
SSEkretar!at.0+55
f3.MASCHIN3NKUNST
@www.m9ndfukc.org
17.hzV.tRL.478
e
|
| +----------
| | <
\\----------------+ | n2t
| >
e
Christopher Murtagh
>do not reply to the MAX listserv any more.
>If I get another message from you, I shall remove
>your current subscriptions
o. - =w!nk
_>> anderen webseiten.
http://www.mcgill.ca/ kriztallnacht +
http://www.music.mcgill.ca/max/listpolicy.html/ kriztallnacht +
http://www.m9ndfukc.org/mcgill-lizt_ounr/ kriztallnacht +
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-
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Date: Sat, 06 Nov 1999 13:41:35 +0100
From: Stefan Kersten
Organization: K-Hornz
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Subject: [CUD] Re: [Csnd] csound library was: line event problem
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Michael Gogins wrote:
> I'm increasingly convinced that Csound is the best instrument on the planet
> at this time;
At least one of the best ;)
> To repeat, the single C++ class is absolutely the simplest interface I could
> come up with that would separate the "kernel" from the operating system
> calls without altering the workings of Csound. Additional modules are
> unnecessary complexity.
What I meant here is just a header file with all (potentially
easy-to-use) functions and data structures declared you need to create a
new opcode. This would not complexify but greatly simplify things.
> If one desires a better language than Csound, by all means, use SAOL, which
> is potentially better than Csound.
I think the question is not wether to improve csound as a language, as
it has evolved over the time and seems to have proven to be a quite
flexible synthesis engine, but to improve its flexibility and usability
in its combination with other software and applications. Here you could
make csound into a C++ class as you suggested earlier, or oyu could
leave the current structure mostly untouched and build up some higher
level functions from the existing ones in order to control a csound
library - which would then lack the separation of os dependent and
independent code a.o. of course. The question also arises if such a
thing is desirable at all, since e.g. John ffitch has maintained the
sources for years and seems to be quite into them ...
gruss - regards - stefan.
PS: SAOL might have a design better than csound's, but it surely has its
drawbacks, too; if you want the state of the art, use super collider :)
__________________________________________________________________________
K-Labz [a K-Hornz subdivision] - steve-k@gmx.net - http://w3.to/K-Hornz
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Subject: Re: [Csnd] csound library was: line event problem
Michael Gogins wrote:
> I'm increasingly convinced that Csound is the best instrument on the planet
> at this time;
At least one of the best ;)
> To repeat, the single C++ class is absolutely the simplest interface I could
> come up with that would separate the "kernel" from the operating system
> calls without altering the workings of Csound. Additional modules are
> unnecessary complexity.
What I meant here is just a header file with all (potentially
easy-to-use) functions and data structures declared you need to create a
new opcode. This would not complexify but greatly simplify things.
> If one desires a better language than Csound, by all means, use SAOL, which
> is potentially better than Csound.
I think the question is not wether to improve csound as a language, as
it has evolved over the time and seems to have proven to be a quite
flexible synthesis engine, but to improve its flexibility and usability
in its combination with other software and applications. Here you could
make csound into a C++ class as you suggested earlier, or oyu could
leave the current structure mostly untouched and build up some higher
level functions from the existing ones in order to control a csound
library - which would then lack the separation of os dependent and
independent code a.o. of course. The question also arises if such a
thing is desirable at all, since e.g. John ffitch has maintained the
sources for years and seems to be quite into them ...
gruss - regards - stefan.
PS: SAOL might have a design better than csound's, but it surely has its
drawbacks, too; if you want the state of the art, use super collider :)
__________________________________________________________________________
K-Labz [a K-Hornz subdivision] - steve-k@gmx.net - http://w3.to/K-Hornz
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