| John,
Thanks a lot for the latest version, it's great.
This greatness distinguishes it sharply from some of my statements about FOG.
I must have crossed my eyes when looking at the source, because after my
suggested change, fog does NOT index the soundfile ftable properly.
Add the following lines to ugensa.c, at line 172:
/* p->spdphs must be added AFTER p-kris is calculated */
ovp->formphs = (ovp->formphs + p->spdphs) & PMASK;
This should do it. Sorry for wasting your time.
And apologies to all (any?) users of fog, since this release breaks it
in a different way, worse than before.
Regards,
re
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From: jpff@maths.bath.ac.uk
To: OP101@mercury.anglia.ac.uk
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In-Reply-To: (message from Olivier Pasquet
on Thu, 16 Apr 1998 12:07:34 +0100)
Subject: Re: Tools for the next Csound
References:
Date: Thu, 16 Apr 98 14:02:11 BST
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What statistical/probabilstic operations do you want that you do not
already have?
==John
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To: csound@maths.ex.ac.uk
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From: =cw4t7abs
Subject: Re: visual time/freq/pvoc for a poor NT user?
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>Code Spaz
> Seems like there's a great deal of excellent stuff available at IRCAM
>that
>won't run in MicroSchlock WinAnything.
IRCAM != amer!.kan.
IRCAM != szlavmaTTer.
>not owning
>a mac yet,
reazon would d!katate odrw!ze
>and have been into csound and artistic DSP for a long time in NT
>(and besides, somtimes I've got to have a command prompt).
ftp://ftp.apple.com/devworld/Tool_Chest/Core_Mac_OS_Tools/MPW_etc.
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kompl!mentz ov
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Date: Thu, 16 Apr 1998 06:42:39 -0700
From: Jim Stevenson
Message-Id: <199804161342.GAA28693@eos.arc.nasa.gov>
To: Karl.Greenwood@apel-os.co.uk, csound@maths.ex.ac.uk
Subject: Re: New Frontend Development
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I do hope that all such interesting new tools will be usable with keyboard
as well as mouse.
For those who take the time to learn them, commands are often faster than
drag, drop, and click, and there are far more keys than mouse buttons.
Voice control anyone?
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Date: Thu, 16 Apr 1998 15:57:09 +0200
From: David Cortis Provencio
Organization: D.C.P. Soft & Music
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To: "Greenwood_apel-os, Karl"
Cc: "csound@maths.ex.ac.uk (Return requested) (Receipt notification requested)"
Subject: Re: New Frontend Development
References: <035273535E63A041*/c=gb/admd=cwmail/prmd=apel-os/o=/s=Greenwood/g=Karl/@MHS>
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> I think it's a great idea, but why don't we work with Visual C++ and tr=
y to make a distributed development team like LINUX
> and others???
--
+-------------------------------+
| DD CCC PPP |
| D D C PPP |
| DD CCC P |
| |
|S O F T & M U S I C |
+-------------------------------+-------------------+
|David Cort=E9s Provencio<< mailto:dcproven@ctv.es >> |
| |
+---------------------------------------------------+
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From: luis jure
To: CSound list
Subject: announce: courses in montevideo
Date: Thu, 16 Apr 1998 10:40:17 -0300
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This message is to announce courses in computer music taking place in Mon=
tevideo,
Uruguay.
Since it's of interest only to subscribers to the list residing in the ar=
ea, only a
Spanish version follows.
My apologies to the rest of you, thanks.
* * * * * * * * * * * * * * * * * * * * * * * * * * *=20
(Por favor, reenv=EDe este mensaje a personas de su conocimiento a quiene=
s pueda interesar
el contenido del mismo.)
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
Universidad de la Rep=FAblica
Escuela Universitaria de M=FAsica
Estudio de M=FAsica Electroac=FAstica
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
CURSOS DE M=DASICA POR COMPUTADORA
BRAD GARTON EN MONTEVIDEO
El Estudio de M=FAsica Electroac=FAstica (eMe) de la Escuela Universitari=
a de M=FAsica anuncia
las actividades que desarrollar=E1 Brad Garton en Montevideo, del 24 al 3=
0 de abril.
Brad Garton, compositor, investigador y docente, es actualmente Director =
del Electronic
Music Center de la Universidad de Columbia de Nueva York.=20
El Prof. Garton traer=E1 una importante cantidad de aplicaciones para la
s=EDntesis/procesamiento de sonido y composici=F3n musical, desarrolladas=
en la Columbia
University. Entre ellas RTCmix, versi=F3n en tiempo real de Cmix, poderos=
o lenguaje de
s=EDntesis y procesamiento digital de audio.=20
El software, originalmente implementado en sistemas SGI, ha sido portado =
a Linux, lo cual
lo hace accesible a plataformas dom=E9sticas (PC y Mac).
=3D ACTIVIDADES
- Seminarios
1 - Lunes 27 a Jueves 30
horario: matutino
duraci=F3n: 16 horas
Demostraci=F3n y manejo de software para la s=EDntesis/procesamiento de s=
onido y composici=F3n
musical, incluyendo la versi=F3n en tiempo real de Cmix. En ingl=E9s con =
traducci=F3n a
espa=F1ol.
2 - Lunes 27 a Mi=E9rcoles 29
horario: 19:30 a 21:30
duraci=F3n: 6 horas
Audiciones con comentario y an=E1lisis de obras recientes realizadas en e=
l =E1mbito del EMC
de la Columbia University. En ingl=E9s con traducci=F3n a espa=F1ol.
- Concierto
El Viernes 24 a las 19:30 horas, el Prof. Garton realizar=E1 un concierto=
presentado sus
obras. El concierto ser=E1 con entrada libre en la Sala Carlos Gardel de =
la Escuela
Universitaria de M=FAsica.
_________________________________________________________
Por informes e inscripciones, dirigirse a:
Escuela Universitaria de M=FAsica
Paysand=FA 843
11100, Montevideo - Uruguay
tel: 901 6946
fax: 900 7204
Consultas y mayor informaci=F3n por correo electr=F3nico:
eMe eme@eumus.edu.uy
luis jure luisjure@adinet.com.uy
_________________________________________________________
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Reply-To: Ken Locarnini
From: Ken Locarnini
To: David Cortis Provencio ,
"Greenwood_apel-os, Karl"
Cc: "csound@maths.ex.ac.uk (Return requested) (Receipt notification requested)"
Subject: Re: New Frontend Development
Date: Thu, 16 Apr 1998 07:24:38 -0700
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>> I think it's a great idea, but why don't we work with Visual C++ and try
to make a distributed development team like LINUX
>> and others???
>
I agree. And might I add my 2 cents for Direct Sound support so we can take
advantage of Creatives upcoming Soundblaster live that reportedly will offer
playing of 128 digital audio channels as well as software Surround sound?
Ken
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Date: Thu, 16 Apr 1998 07:44:44 -0700 (MST)
From: Mark T Vigorito
To: "Greenwood_apel-os, Karl"
Cc: "csound@maths.ex.ac.uk"
Subject: Re: New Frontend Development
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On 16 Apr 1998, Greenwood_apel-os, Karl wrote:
> [...]
> I will be developing in Delphi (Win95). If anyone is interested in
> joining in then all help would be more than welcome.
>
I also work with Delphi. I am working on a tool for graphically
manipulating pvoc analysis files based on, and extended from the PV2Pict
code by Roger Klavaness. First step is to add more filehandling
functionality...
I would be glad to work collaboratively on frontend development
incorporating multiple tools for orc/sco generation, analysis file
manipulation, algorithmic composition, etc.
Cheers,
Mark Vigorito
mtv@u.arizona.edu
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Date: Thu, 16 Apr 1998 08:21:30 -0700
To: ambient@hyperreal.com
Subject: SSEYO's Inaugural Internet Koan^oasis featuring Brian Eno
Cc: csound@maths.ex.ac.uk, algo-comp@serial.music.uiowa.edu, noto@tuna.net,
crogers@headspace.com, rcb@media.mit.edu, music-dsp@shoko.calarts.edu,
gw.gpi@ulster.net, hwarwick@macromedia.com, RageOnRecs@aol.com,
jmax@artswire.org, lthrasher@digidesign.com, mbb@media.mit.edu,
Matthew913@aol.com, richard@solarworld.com, nphilip@best.com,
gps@staccatosys.com, taqpah@webone.com.au, pauln@digidesign.com,
pauls@headspace.com, 100522.3536@compuserve.com, Riouxs@aol.com,
emerald@lanminds.com, terre@comatonse.com, dimuzio@gench.com,
Tony Hoffer , fournel@worldnet.fr
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SSEYO's Inaugural Internet Koan^oasis featuring Brian Eno
15th April: In a major new development, SSEYO today announced the
World's 1st Collaborative Virtual Generative Composition, SSEYO
Koan^oasis 198. Pioneering artists, including Brian Eno and Jamuud of
Loop Guru, have contributed to this online generative composition
created by a networked community of Koan artists. Said Eno, "Koan^oasis
is a kind of global music eco system. Each composer contributes a
musical 'life form' with its own character and behavior, and the music
is the rich, ever-changing ecology of interactions between the life
forms.".
Full info and links at http://www.sseyo.com
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Hello list,
I prefer Visual c++ too and would give in the sources of my upcomming
hetrodyne-file-editor.
Greetings,
Malte Steiner
--------------------------------------------------
Notstandskomitee / Das Kombinat
Industrial Electronic Art
http://members.aol.com/block4k7
--------------------------------------------------
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Date: Thu, 16 Apr 1998 18:49:23 +0200
From: khalid
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To: csound@maths.ex.ac.uk
Subject: ICMA in the web?
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Hi all,
Does the ICMA (International Computer Music Ass.)
have a webpage or even site? Thanks for hints,
kd
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Date: Thu, 16 Apr 1998 12:21:42 -0600
To: csound@maths.ex.ac.uk, algo-comp@serial.music.uiowa.edu, noto@tuna.net,
crogers@headspace.com, rcb@media.mit.edu, music-dsp@shoko.calarts.edu,
gw.gpi@ulster.net, hwarwick@macromedia.com, RageOnRecs@aol.com,
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emerald@lanminds.com, terre@comatonse.com, dimuzio@gench.com,
Tony Hoffer , fournel@worldnet.fr
From: =cw4t7abs
Subject: Re: SSEYO's Inaugural Internet Koan^oasis featuring 1 + human
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>Hi all,
> Does the ICMA (International Computer Music Ass.)
>have a webpage or even site? Thanks for hints,
>
>kd
http://home.netscape.com/escapes/search/ntsrchrnd-3.html
>SSEYO's Inaugural Internet Koan^oasis featuring Brian Eno
d!sz author!tar!an tendenss+e 2 ram 1 s!ngular solut!on
down dze problemz or!f!sz = 1 hallmark ov sekuent!al thought.
>15th April: In a major new development, SSEYO today announced the
>World's 1st Collaborative Virtual Generative Composition, SSEYO
>Koan^oasis 198. Pioneering artists, including Brian Eno and Jamuud of
>Loop Guru, have contributed to this online generative composition
>created by a networked community of Koan artists. Said Eno, "Koan^oasis
>is a kind of global music eco system. Each composer contributes a
>musical 'life form' with its own character and behavior, and the music
>is the rich, ever-changing ecology of interactions between the life
>forms.".
ultra zupr cyber key verd fezt.
trad!t!onal methodz ov thought = opt!m!zd 2 eke out
konkluz!onz 4rom expens!v + !nsuff!c!ent data.
>Full info and links at http://www.poz3rz_!nterakt!f.kom
1 k!nd ov globaL pozer zystem
trad!t!onal s!mbol!k 4mulat!onz r !des!gnd 4 behav!our dzat adaptz
|
______[ ]---- | b 2 n D w ! d T h . a 6 ! t . @ 1 n . 5 e k z ! o n 3 n |
|
__________________
0f0003 | d!v!z!on ov kr!t!kl fen.om.ena|!nternat!onal !nst!tut 4ordr+d!sz!pl!n
1998o.ad. hTTp://www.god-emil.dk/=cw4t7abs || hTTp://www.tezcat.com/~antiorp
__________________
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From: David Boothe
To: 'khalid'
Cc: csound@maths.ex.ac.uk
Subject: RE: ICMA in the web?
Date: Thu, 16 Apr 1998 12:28:43 -0500
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http://music.dartmouth.edu/~icma/
> -----Original Message-----
> From: khalid [SMTP:khalid.dermoumi@uni-essen.de]
> Sent: April 16, 1998 11:49
> To: csound@maths.ex.ac.uk
> Subject: ICMA in the web?
>
> Hi all,
> Does the ICMA (International Computer Music Ass.)
> have a webpage or even site? Thanks for hints,
>
> kd
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To: csound@maths.ex.ac.uk
Subject: Re: New Frontend Development
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>I do hope that all such interesting new tools will be usable with keyboard
>as well as mouse.
>
>For those who take the time to learn them, commands are often faster than
>drag, drop, and click, and there are far more keys than mouse buttons.
>
>Voice control anyone?
>
I'd like to second this--for those of us with repetitive motion injuries
(and other forms of disability), these alternative forms of input are
crucial.
rh
***********************************
* Ron Herrema *
* http://pilot.msu.edu/user/herremar/ *
* *
***********************************
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Date: Thu, 16 Apr 1998 18:54:04 -0400
To: rasmus ekman , jpff@maths.bath.ac.uk
From: Code Spaz
Subject: Re: Csound 3.48
Cc: csound@noether.ex.AC.UK
In-Reply-To: <3535F296.17AC@hexagon.se>
References:
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Could you perhaps cut'n'paste a couple of the surrounding lines for
encouragement that we're adding this in the right place? A 'sanity check'
if you will.... for those of us not already familiar with the code.
Thanks a ton.
At 01:59 PM 4/16/98 +0200, rasmus ekman wrote:
>John,
>
>Thanks a lot for the latest version, it's great.
>This greatness distinguishes it sharply from some of my statements about
FOG.
>I must have crossed my eyes when looking at the source, because after my
>suggested change, fog does NOT index the soundfile ftable properly.
>
>Add the following lines to ugensa.c, at line 172:
> /* p->spdphs must be added AFTER p-kris is calculated */
> ovp->formphs = (ovp->formphs + p->spdphs) & PMASK;
>
>This should do it. Sorry for wasting your time.
>And apologies to all (any?) users of fog, since this release breaks it
>in a different way, worse than before.
>
>
>Regards,
>
> re
>
>
>
thank you for your bandwidth
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Date: Thu, 16 Apr 1998 18:54:04 -0400
To: rasmus ekman , jpff@maths.bath.ac.uk
From: Code Spaz
Subject: Re: Csound 3.48
Cc: csound@maths.ex.ac.uk
In-Reply-To: <3535F296.17AC@hexagon.se>
References:
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Could you perhaps cut'n'paste a couple of the surrounding lines for
encouragement that we're adding this in the right place? A 'sanity check'
if you will.... for those of us not already familiar with the code.
Thanks a ton.
At 01:59 PM 4/16/98 +0200, rasmus ekman wrote:
>John,
>
>Thanks a lot for the latest version, it's great.
>This greatness distinguishes it sharply from some of my statements about
FOG.
>I must have crossed my eyes when looking at the source, because after my
>suggested change, fog does NOT index the soundfile ftable properly.
>
>Add the following lines to ugensa.c, at line 172:
> /* p->spdphs must be added AFTER p-kris is calculated */
> ovp->formphs = (ovp->formphs + p->spdphs) & PMASK;
>
>This should do it. Sorry for wasting your time.
>And apologies to all (any?) users of fog, since this release breaks it
>in a different way, worse than before.
>
>
>Regards,
>
> re
>
>
>
thank you for your bandwidth
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Date: Fri, 17 Apr 1998 04:19:55 -0700
To: csound@maths.ex.ac.uk
From: John Brewington
Subject: erroneous e-mail
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I just subscribed to csound's e-mail list and now I have recieved all sorts
of e-mail adressed to me as 'csound@maths.ex.ac.uk' instead of John
Brewington
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Message-Id: <3536A5F7.7B46@hexagon.se>
Date: Fri, 17 Apr 1998 02:45:06 +0200
From: rasmus ekman
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Win help file updated, for those who care.
http://hem.passagen.se/rasmuse/Csound.htm
re
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Date: Thu, 16 Apr 1998 18:57:43 -0700 (PDT)
From: Wayne Freno
To: rasmus ekman
Cc: Csound list
Subject: Re: winhelp
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On Fri, 17 Apr 1998, rasmus ekman wrote:
> Win help file updated, for those who care.
> http://hem.passagen.se/rasmuse/Csound.htm
>
> re
Thanks rasmus, I find your version of the manual to be the
most helpful of them all.
--
end soundbite
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Date: Thu, 16 Apr 1998 23:52:21 -0500
From: pete moss
Organization: pete moss GmbH
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To: csound
Subject: new opcodes by karpen
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anyone know where the docs for locsig, locsend, space, spsend, spdist
are? i am dying to play with them.
pete
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Date: Thu, 16 Apr 1998 09:04:47 +0200
From: Gabriel Maldonado
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To: Maurizio Giri
Cc: csound@maths.ex.ac.uk
Subject: Re: Csound 3.48
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Maurizio Giri wrote:
maybe wrap family of opcodes can be used also as a floating point
modulus operator: the syntax is:
idest iwrap isig, ilow, ihigh
kdest wrap ksig, klow, khigh
adest wrap asig, klow, khigh
just set sig = x , low = 0 and high =y. Actually the new version
of these opcodes uses the C - library function "fmod"
-
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
> What about a modulus operator? (for computing x mod y?)
>
> Regards
> Maurizio Giri
>
> _____________________________________________
> o Maurizio Giri o
> o ConTempo o
> o Italian Contemporary (and Early) Music o
> o http://www.axnet.it/contempo o
> o-------------------------------------------o
> o ConTempo e-mail: contempo@wmail.axnet.it o
> o Personal e-mail: m.giri@agora.stm.it o
> o o
> o Snail: Via Ostilia, 55 - 00184 Roma Italy o
> o Tel +39.6.70451885 o
> _____________________________________________
>
> http://www.univr.it/germano/eme/compos/girima.htm
-
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Message-Id: <007901bd69d3$2088e3e0$7994d8c1@roger>
From: Roger Klaveness
To: Karl.Greenwood@apel-os.co.uk
MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.stork
Cc: csound
Subject: Re: New Frontend Development
Date: Fri, 17 Apr 1998 09:33:29 +0200
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-----Original Message-----
From: Mark T Vigorito
To: Greenwood_apel-os, Karl
Cc: csound@maths.ex.ac.uk
Date: 16. april 1998 17:01
Subject: Re: New Frontend Development
>On 16 Apr 1998, Greenwood_apel-os, Karl wrote:
>
>> [...]
>> I will be developing in Delphi (Win95). If anyone is interested in
>> joining in then all help would be more than welcome.
>>
>I also work with Delphi. I am working on a tool for graphically
>manipulating pvoc analysis files based on, and extended from the PV2Pict
>code by Roger Klavaness. First step is to add more filehandling
>functionality...
>
>I would be glad to work collaboratively on frontend development
>incorporating multiple tools for orc/sco generation, analysis file
>manipulation, algorithmic composition, etc.
>
>Cheers,
>Mark Vigorito
>mtv@u.arizona.edu
>
I work with Delphi too and would be glad to help with frontend development.
I see that there are a few people who program in Visual C++ also, so it
migth be an idea
to make some kind of plugin architecthure ( DLL or ActiveX ? ), so that all
tools can
be accessed from one program, but that will offcourse complicate things.
By the way I made some bugfixes and improvements on pv2pict myself. It now
can
read an image (jpeg,gif,bmp) and save to a pvoc file and vice-versa. Not
only with clipboard.
And it truncates the pictureheigth if it is wrong ( heigth must be power of
2 plus one for the fft)
It also uses all 24-bit of the image to give higher resolution not only
grayscale (8 bit).
The program can be found at
http://www.apas.no/rogerk/pv2pict.zip
----------------------------------------------------------------------------
----------------
Roger Klaveness
roger@apas.no
----------------------------------------------------------------------------
----------------
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Date: Fri, 17 Apr 1998 11:47:56 +0200
From: rasmus ekman
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To: Code Spaz
Cc: csound@maths.ex.ac.uk
Subject: Re: fog code (take 3)
References: <3.0.3.32.19980416185404.00a3c8c0@pop.ma.ultranet.com>
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Code Spaz wrote:
>
> Could you perhaps cut'n'paste a couple of the surrounding lines for
Here's my present version of newpulse(), ie the last 50+ lines of Ugensa.c.
The new lines (with a more illuminating two-line comment than the one posted)
are 14-17 lines up from the last line (extra empty lines inserted before & after).
Actually this comment+code could be inserted anywhere *after* the if-else block
beginning at
if (*p->kris >= onedsr && form != 0.0) { /* init fnb ris */
Never mind, you won't need to work through the code to snip this.
Sorry for the hassle.
re
static int newpulse(FOGS *p, OVERLAP *ovp, float *amp,
float *fund, float *ptch)
{
float octamp = *amp, oct;
float form = *ptch /sicvt, fogcvt = p->fogcvt; /*added JMC for Fog*/
long rismps, newexp = 0;
if ((ovp->timrem = (long)(*p->kdur * esr)) > p->durtogo) /* ringtime */
return(0);
if ((oct = *p->koct) > 0.0) { /* octaviation */
long ioct = (long)oct, bitpat = ~(-1L << ioct);
if (bitpat & ++p->fofcount)
return(0);
if ((bitpat += 1) & p->fofcount)
octamp *= (1.0f + ioct - oct);
}
if (*fund == 0.0) /* formant phs */
ovp->formphs = 0;
/* else ovp->formphs = (long)((p->fundphs * form / *fund) + p->spdphs) & PMASK; */
else ovp->formphs = (long)(p->fundphs * form / *fund) & PMASK;
ovp->forminc = (long)(*ptch * fogcvt);/*JMC for FOG*/
/*ovp->forminc = *form * sicvt;*/
if (*p->kband != p->prvband) { /* bw: exp dec */
p->prvband = *p->kband;
p->expamp = (float)exp(*p->kband * mpidsr);
newexp = 1;
}
if (*p->kris >= onedsr && form != 0.0) { /* init fnb ris */
ovp->risphs = (unsigned long)(ovp->formphs / (fabs(form)) / *p->kris); /* JPff fix */
ovp->risinc = (long)(sicvt / *p->kris);
rismps = MAXLEN / ovp->risinc;
}
else {
ovp->risphs = MAXLEN;
rismps = 0;
}
/* p->spdphs (soundfile ftable index) must be added to
ovp->formphs (sound ftable reading rate) AFTER ovp-risphs is calculated */
ovp->formphs = (ovp->formphs + p->spdphs) & PMASK;
if (newexp || rismps != p->prvsmps) { /* if new params */
if (p->prvsmps = rismps) /* redo preamp */
p->preamp = (float)pow(p->expamp, -rismps);
else p->preamp = 1.0f;
}
ovp->curamp = octamp * p->preamp; /* set startamp */
ovp->expamp = p->expamp;
if ((ovp->dectim = (long)(*p->kdec * esr)) > 0) /* fnb dec */
ovp->decinc = (long)(sicvt / *p->kdec);
ovp->decphs = PMASK;
return(1);
}
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From: Karl Greenwood
To: csound@maths.ex.ac.uk
Subject: RE: New Frontend Development
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Date: Fri, 17 Apr 1998 02:53:35 PDT
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Hi all,
hope this email account solves mime trouble
such a good reaction so worthwhile pursing..As to C++ would make sense
for portability but I can not work in the stuff (just luv pascal) but
the idea for dll plugins would enable source from other languages to be
used
Starting with design work, will contact peps who are interested to work
things out rather than cause noise on this list
Next time I'm here should have beta ready
cheers kARL
Personal e-mail to:
karl_greenwood@hotmail.com (evenings UK)
karl.greenwood@apel-os.co.uk (daytime UK)
______________________________________________________
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Message-Id: <35372EA0.52585F57@ere.umontreal.ca>
Date: Fri, 17 Apr 1998 06:27:44 -0400
From: Jean Piche
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To: Gabriel Maldonado
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Subject: Re: Csound 3.48
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Gabriel Maldonado wrote:
> idest iwrap isig, ilow, ihigh
> kdest wrap ksig, klow, khigh
> adest wrap asig, klow, khigh
I don't see those anywhere in 3.48...
In fact, I have never seen those anywhere
--
________________________________________________________
Jean Piche
Universite de Montreal
http://mistral.ere.umontreal.ca/~pichej
http://www.musique.umontreal.ca/electro/CEC/
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Date: Fri, 17 Apr 1998 11:57:21 +0100
From: Olivier Pasquet
To: csound@maths.ex.ac.uk
Subject: erroneous e-mail - Reply
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Hello,
The thing is that the csound list emails arrives at "csound@maths.ac.uk"
before they are sent back to your address as BC (blind copies).
Yours.
Olivier.
-----------------
Olivier PASQUET - Faculty of Music - APU
op101@mercury.anglia.ac.uk
http://www.sinclair.anglia.ac.uk/~op101.student.cambridge.anglia
-----------------
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Subject: ICMA and so on
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Hello,
You'll find about 400 Computer Music addresses and contemporary music at
www.sinclair.anglia.ac.uk/~op101.student.cambridge.anglia/servers.htm
when my server will be repaired one day... (I'm very pissed off about it)
Yours.
Olivier.
-----------------
Olivier PASQUET - Faculty of Music - APU
op101@mercury.anglia.ac.uk
http://www.sinclair.anglia.ac.uk/~op101.student.cambridge.anglia
-----------------
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Date: Fri, 17 Apr 98 14:02:11 BST
From: J P Fitch
To: pete moss
Cc: csound@maths.ex.ac.uk
Subject: Re: new opcodes by karpen
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I added then to the Version Notes yesterday.
==John
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Date: Fri, 17 Apr 1998 09:19:22 -0600
From: Stuart
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To: rasmus.ekman@hexagon.se
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Subject: Re: winhelp
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Rasmus,
Two quick questions:
1. I see this file says for Windows 3.1 version. Is it also applicable
for the win 95 version? (this is probably a stupid question)
2. Version 3.48?, is this out yet or is it in preparation for 3.48?
Thank you,
Stuart
stuartf@dimensional.com
rasmus ekman wrote:
> Win help file updated, for those who care.
> http://hem.passagen.se/rasmuse/Csound.htm
>
> re
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Date: Sat, 18 Apr 1998 10:17:07 +0200
From: Gabriel Maldonado
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Hi jpff,
where can I get the makefile for MSVC of current version of standard
csound? It is not included into the gzip archive of the sources.
thanks in advance
--
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
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From: Gabriel Maldonado
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To: Jean Piche
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Subject: Re: Csound 3.48
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Jean Piche wrote:
I believed that these opcodes were already implemented in official
ver.3.47. Maybe jpff will include them in 3.48 or in 3.49 version (these
opcodes are not midi or wave dependent so are very easy to include into
any platform. However in the meanwhile you can get all the sources of my
Csound version at the following URL:
http://www.geocities.com/SiliconValley/Way/7041/csoundrt-src.ZIP ).
> Gabriel Maldonado wrote:
>
> > idest iwrap isig, ilow, ihigh
> > kdest wrap ksig, klow, khigh
> > adest wrap asig, klow, khigh
>
> I don't see those anywhere in 3.48...
> In fact, I have never seen those anywhere
>
> --
> ________________________________________________________
> Jean Piche
> Universite de Montreal
> http://mistral.ere.umontreal.ca/~pichej
> http://www.musique.umontreal.ca/electro/CEC/
--
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
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Date: Sat, 18 Apr 1998 10:17:07 +0200
From: Gabriel Maldonado
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Subject: MSVC makefile
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Hi jpff,
where can I get the makefile for MSVC of current version of standard
csound? It is not included into the gzip archive of the sources.
thanks in advance
--
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
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Date: Sat, 18 Apr 1998 11:48:27 -0400
From: Christopher Neese
Subject: macros
To: Csound
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Thank you John!
The inclusion of macros in version 3.48 is just what the doctor ordered for
my increasingly complex orc files.
I would like to see 1 addition however. In a macro definition, it would be
nice to be able to use a special type of string that gets replaced uniquely
each time the macro is called.
This way, if you call a macro twice in the same instr, they don't share the
same data space for an variable created using the unique-string feature.
This is especially important for k/a-rate variables used in recursion.
This also provides a way to have macros that don't foul the data space of
code outside the macro.
My suggestion is that unique strings be defined as $name$, where name is
like a variable name.
$name$ is replaced by unique# each time a macro is expanded, where # is a
unique index number
This may require variables of the form xunique# to be illegal (reserved) in
normal orchestra syntax.
This is a little more complex than the macroing already implemented, but I
think it shouldn't be too hard to code.
If anyone is interested in this, but is a little confused by what I mean,
e-mail me. It is hard to talk about macros sometimes due to the abstraction
involved. :)
Christopher Neese
An example follows:
;*******************Example orc:
#define EXAMPLE(OUT) #
k$spec$r 0 init 0
k$spec$r 1 init 0
k$spec$r 2 init 0
k$spec$r2 = k$spec$r1
k$spec$r1 = k$spec$r0
k$spec$r0 = int(rnd(1000))
;code using k$spec$r2, k$spec$r1, k$spec$r0 and defining OUT
# ;end of macro
instr 1
k1 init 0
k2 init 0
EXAMPLE(k1)
EXAMPLE(k2)
;etc.
;**********************Parsed orc:
instr 1
k1 init 0
k2 init 0
kunique1r 0 init 0
kunique1r 1 init 0
kunique1r 2 init 0
kunique1r2 = kunique1r1
kunique1r1 = kunique1r0
kunique1r0 = int(rnd(1000))
;code using kunique1r2, kunique1r1, kunique1r0 and defining k1
kunique2r 0 init 0
kunique2r 1 init 0
kunique2r 2 init 0
kunique2r2 = kunique2r1
kunique2r1 = kunique2r0
kunique2r0 = int(rnd(1000))
;code using kunique2r2, kunique2r1, kunique2r0 and defining k2
;etc.
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Date: Sat, 18 Apr 1998 10:09:55 -0700 (PDT)
From: Richard Karpen
To: pete moss
Cc: csound
Subject: Re: new opcodes by karpen
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I will be supplying them in a few days.
On Thu, 16 Apr 1998, pete moss wrote:
> anyone know where the docs for locsig, locsend, space, spsend, spdist
> are? i am dying to play with them.
>
> pete
>
>
>
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From: tolve
Subject: sndinfo
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concerned that subsonic sideband frequencies that result from fm might
damage speakers. tried to check out some files with sndinfo, but base Frq
doesn't show up in the report on ppc running csound 3.48. how do i
ascertain lowest frequency?
tolve
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Date: Sat, 18 Apr 1998 19:57:23 -0400 (EDT)
From: Larry Troxler
To: tolve
Cc: csound@maths.ex.ac.uk
Subject: Protecting speakers wes Re: sndinfo
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On Sat, 18 Apr 1998, tolve wrote:
> concerned that subsonic sideband frequencies that result from fm might
> damage speakers. tried to check out some files with sndinfo, but base Frq
> doesn't show up in the report on ppc running csound 3.48. how do i
> ascertain lowest frequency?
Hi, although I don't have a specific answer to this question, the general
question of avoiding speaker/headphone/ear damage is one that has always
been on my mind, and surprisingly I haven't seen this obvious
high-priority topic discussed much.
First, regarding subsonic frequencies; is it really true that these are
bad for speakers? Aren't they blocked by the amplifier? If not, what is
the mechanism by whitch they are damaging?
Diverging to the more general topic of avoiding speaker damage, I think it
would be interesting to hear what techniques people on the list tend to
use. I'm speaking of the harzards involved when generating sound-files, as
computer-music composer do, and not general techniques for avoiding
damage from known-good sound sources.
Currently, I use the "first listen with cheap headphones" technique.
Along these lines, I've always thought it would be neat to have some way
do detect mismatches sound formats (like littl/big endian mixups) at the
back end, for example in the sound driver itself. I suppose things like
this, and simlar problems like amplitude overflow, are the things I most
worry about.
Looking forward to comments.
Larry
-- Larry Troxler --
lt@westnet.com -- Patterson, NY USA --
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Date: Sat, 18 Apr 1998 20:03:57 -0400
From: Jean Piche
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To: cecilia@ginette.musique.umontreal.ca, csound
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A Reasonably Important Bug Fix Release (2.0.2)
A Good Idea to Get It...
ftp://ftp.musique.umontreal.ca/pub/cecilia
--
________________________________________________________
Jean Piche
Universite de Montreal
http://mistral.ere.umontreal.ca/~pichej
http://www.musique.umontreal.ca/electro/CEC/
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Date: Sat, 18 Apr 1998 20:18:00 -0400
From: Jean Piche
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To: Larry Troxler , csound
Subject: Re: Protecting speakers wes Re: sndinfo
References:
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Larry Troxler wrote:
>
> On Sat, 18 Apr 1998, tolve wrote:
> > concerned that subsonic sideband frequencies that result from fm might
> > damage speakers. tried to check out some files with sndinfo, but base Frq
> > doesn't show up in the report on ppc running csound 3.48. how do i
> > ascertain lowest frequency?
sndinfo will not give you this information. To get it, you would have to do a
fairly detailed analysis of the sound itself either with an lpc or an fft.
> Hi, although I don't have a specific answer to this question, the general
> question of avoiding speaker/headphone/ear damage is one that has always
> been on my mind, and surprisingly I haven't seen this obvious
> high-priority topic discussed much.
>
> First, regarding subsonic frequencies; is it really true that these are
> bad for speakers? Aren't they blocked by the amplifier? If not, what is
> the mechanism by whitch they are damaging?
Good quality modern power amps typically accept signals down to DC. Sub-audio
frequencies are no more damaging to speakers than other frequencies if they are
within the dynamic range of the electroacoustic chain. Where there might be
damage however is with strong DC-shifted sounds (a typical side-effect of
delayed feedback loops) where the onset of the sound crushes the speaker cone
outward (or inwards) by a sudden and large displacement.
>
> Diverging to the more general topic of avoiding speaker damage, I think it
> would be interesting to hear what techniques people on the list tend to
> use. I'm speaking of the harzards involved when generating sound-files, as
> computer-music composer do, and not general techniques for avoiding
> damage from known-good sound sources.
In itself, digital distortion does not damage speakers. It is a belief based on
the harshness and unplesantness of the sound it produces. If the signal that
gets to the amp and speakers is within range, no damage is done. Damaging your
hearing is another matter... In other words, when in doubt, keep the level down!
>
> Currently, I use the "first listen with cheap headphones" technique.
>
> Along these lines, I've always thought it would be neat to have some way
> do detect mismatches sound formats (like littl/big endian mixups) at the
> back end, for example in the sound driver itself. I suppose things like
> this, and simlar problems like amplitude overflow, are the things I most
> worry about.
It would be nice to have a quick way to prevent overflow. Some users here aree
fans of floating opint computations with scaling at the end. That tends to work
well but involves an extra step. Predicting overflow howerver would probably be
more time-consuming than computing the soundfile itself...
--
________________________________________________________
Jean Piche
Universite de Montreal
http://mistral.ere.umontreal.ca/~pichej
http://www.musique.umontreal.ca/electro/CEC/
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Date: Sun, 19 Apr 1998 02:47:27 +0200 (MET DST)
From: Christian Pietsch
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To: csound@maths.ex.ac.uk
Subject: Csound manual in PS, DIN A4
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Dear Csound community,
here comes a question from a Csound novice: How can I print the Csound
manual? Of course, there's a lot of manuals around, eg at
ftp://ftp.maths.bath.ac.uk/pub/dream/platforms/pc/manuals/
but both one-file manuals I could find (Word 4 and PostScript) seem to be
formatted for letter paper. The problem is that my printer eats A4 paper
only. What can I do?
Any help will be greatly appreciated --
Chris
__ Christian Pietsch
__ Computational Linguistics, University of the Saarland
__ http://rzaix340.rz.uni-leipzig.de/~neffned/
__ http://www.coli.uni-sb.de/~pietsch/
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Date: 19 Apr 98 21:41:22 +0930
Subject: Re: Protecting speakers wes Re: sndinfo
From: Nathan Day
To: Larry Troxler , csound
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Is it possible for extreme digital clipping (eg. of low freq.) to
cause a similar effects as clipping cause by impedence missmatch and
therefore effect the mechanical cooling mechanism of the loud
speakers.
Nathan Day
nathand@senet.com.au
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From: Josep M Comajuncosas
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This is a question a friend of mine sent to me the other day... he=B4s
trying to implement a bandlimited pulse generator (like buzz) in C but
allowing smooth transitions of the parameter controling the upper
frequency, without hearing pops when the harmonics appear...
Maybe anyone os you have a good idea...?
Tnx
Josep M Comajuncosas
The message is (please answer with a C.C. to the list... it could be
interesting)
I am coding a real time buzz generator (a.k.a. band limited impulse
train), that integrates the buzz signal to generate the
classical analog synth waveforms: sawtooth, square and triangular.
The thing is that when continuously modulating the fundamental
frequency, for example in a vibrato, the number of harmonics,
which has to be an integer, variates too. Then, when the Nth harmonic
appears, a clear click is heard. This is an unwanted
artifact that I have to eliminate. Which is the best solution?
I have tried the following thing without success: I calculate N-1
harmonics with the buzz formula, then I determine a weight
factor between 0 and 1 for the Nth harmonic, depending on how close it
is to the band limit. Then I add it manually:
out =3D out + weight*cos(N*2*PI*Freq*t)/N
This should work, shouldn't it? I'll try to check my code, but, is it a
good idea to do that? I can send my C++ source code if
you are interested in it.
Any help will be welcome. Does this artifact appear with CSound too?
Please answer to lcrespo@ergos.es.
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From: Richard Dobson
Organization: Composers Desktop project
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To: tolve
Cc: csound@maths.ex.ac.uk
Subject: Re: sndinfo
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I can't answer for the ppc as such, but sndinfo elsewhere simply reports
essential information form the file header - srate, duration, nchans, etc.
The acoustic character of the file can only be ascertained by analysis and
listening. It is possible for the header to include information about the
'base frequency', which is for the benefit of samplers, and identifies the
key to which to assign the data for non-transposed playback. This info is
entered directly by the user, given the appropriate software, and does not
arise from any automatic analysis of the data. Indeed, even when Base Freq is
set in the header, there is no guarantee that it accurately reflects the data
at all!
Richard Dobson
tolve wrote:
> concerned that subsonic sideband frequencies that result from fm might
> damage speakers. tried to check out some files with sndinfo, but base Frq
> doesn't show up in the report on ppc running csound 3.48. how do i
> ascertain lowest frequency?
>
> tolve
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From: Richard Dobson
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To: Larry Troxler
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Modern HiFi amplifiers are Direct Coupled, and can easily send a DC signal (or
a VLF one) to a speaker. The speaker coil cannot usually handle the high
current level for very long - especially if the speaker cone is pushed anywhere
close to its limit.
Problems can also arise at the other end of the spectrum - it is possible with
digital synthesis to generate VHF signals at high amplitude. Again, amplifiers
will pass this happily to the speakers (some amplifiers have an HF response
ascending above 30KHz) - the tweeters are, again not usually able to withstand
sustained attack in this way, and the low-mid drivers will not be too happy
either, if the crossover circuitry is less than ideal. Some amplifiers will
cut-out automatically, when they detect a high current drain, to protect both
the speakers and the output transistors, but not all amplifiers have this
facility, of course . It is a well-known technique for damaging speakers to
overdrive a low-powered amplifier so that it goes into hard clipping. A rough
rule-of-thumb is that the power rating of the amplifier should be about twice
that of the speakers - just don't turn the volume up full!
Whenever I generate a sound which I am not fully confident about (eg when
developing a new program), I always view the file first - I do not relish
putting full-amplitude DC or clipping either into my speakers, or (perhaps even
more unpleasant!) into my headphones. Alternatively, I turn the volume right
down, just in case.
I can't see drivers attempting to detect data errors such as swapped bytes -
that really isn't their job, and quite how one might do it isn't at all
obvious, at least to me. It is so easy to view a file and tell instantly if
there is a problem.
Richard Dobson
Larry Troxler wrote:
> On Sat, 18 Apr 1998, tolve wrote:
> > concerned that subsonic sideband frequencies that result from fm might
> > damage speakers. tried to check out some files with sndinfo, but base Frq
> > doesn't show up in the report on ppc running csound 3.48. how do i
> > ascertain lowest frequency?
>
> Hi, although I don't have a specific answer to this question, the general
> question of avoiding speaker/headphone/ear damage is one that has always
> been on my mind, and surprisingly I haven't seen this obvious
> high-priority topic discussed much.
>
> First, regarding subsonic frequencies; is it really true that these are
> bad for speakers? Aren't they blocked by the amplifier? If not, what is
> the mechanism by whitch they are damaging?
>
> Diverging to the more general topic of avoiding speaker damage, I think it
> would be interesting to hear what techniques people on the list tend to
> use. I'm speaking of the harzards involved when generating sound-files, as
> computer-music composer do, and not general techniques for avoiding
> damage from known-good sound sources.
>
> Currently, I use the "first listen with cheap headphones" technique.
>
> Along these lines, I've always thought it would be neat to have some way
> do detect mismatches sound formats (like littl/big endian mixups) at the
> back end, for example in the sound driver itself. I suppose things like
> this, and simlar problems like amplitude overflow, are the things I most
> worry about.
>
> Looking forward to comments.
>
> Larry
>
> -- Larry Troxler --
> lt@westnet.com -- Patterson, NY USA --
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From: jpff@maths.bath.ac.uk
Subject: Version 3.48 additional notes
To: csound@maths.ex.ac.uk
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Message written at 18 Apr 1998 14:59:16 +0100
I forgot to mention the new GEN (gen28) which reads x.y pairs from a
file. Documentation will be added as soon as I can arrange it.
This gen will undergo some internal rewriting soon, but that will
not affect the action.
In case no one noticed, I added the documentation for locsig and space
to the full notes on the servers.
==John ffitch
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From: rasmus ekman
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To: Christopher Neese
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Subject: Re: macros
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Christopher Neese wrote:
>
Why couldn't you use this:
;*******************Example orc:
#define EXAMPLE(OUT#N) #
kunique$N.r0 init 0
kunique$N.r1 init 0
kunique$N.r2 init 0
kunique$N.r2 = kunique$N.r1
kunique$N.r1 = kunique$N.r0
kunique$N.r0 = int(rnd(1000))
;code using kunique$N.r2, kunique$N.r1, kunique$N.r0 and defining OUT
# ;end of macro
instr 1
k1 init 0
k2 init 0
$EXAMPLE(k1#1)
$EXAMPLE(k2#2)
;etc.
re
> ;**********************Parsed orc:
>
> instr 1
>
> k1 init 0
> k2 init 0
>
> kunique1r 0 init 0
> kunique1r 1 init 0
> kunique1r 2 init 0
> kunique1r2 = kunique1r1
> kunique1r1 = kunique1r0
> kunique1r0 = int(rnd(1000))
> ;code using kunique1r2, kunique1r1, kunique1r0 and defining k1
>
> kunique2r 0 init 0
> kunique2r 1 init 0
> kunique2r 2 init 0
> kunique2r2 = kunique2r1
> kunique2r1 = kunique2r0
> kunique2r0 = int(rnd(1000))
> ;code using kunique2r2, kunique2r1, kunique2r0 and defining k2
>
> ;etc.
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From: Hans Mikelson
To: Josep M Comajuncosas , csound@maths.ex.ac.uk
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Subject: Re: Buzz & C code
Date: Sun, 19 Apr 1998 11:19:54 -0500
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Hi,
Try calculating the number of partials based on the highest frequency
expected by the sound source. Don't use anymore partials than this for the
lifetime of the sound. This may work if the vibrato is within a narrow
range.
For portamento try adding a declick envelope as each new harmonic is
introduced or removed.
kdclick linseg 0, .002, 1, p3-.004, 1, .002, 0
Even though the manual states that there may be audible clicks when sweeping
frequency with buzz I haven't really noticed them.
Regards,
Hans Mikelson
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Date: Sun, 19 Apr 1998 13:58:13 -0400
To: Richard Dobson
From: tolve
Subject: Re: sndinfo
Cc: csound@maths.ex.ac.uk
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thanks richard,
i was confused by the appearance of base frequency in sndinfo documentation
in the manual. you have cleared that up.
tolve
>I can't answer for the ppc as such, but sndinfo elsewhere simply reports
>essential information form the file header - srate, duration, nchans, etc.
>The acoustic character of the file can only be ascertained by analysis and
>listening. It is possible for the header to include information about the
>'base frequency', which is for the benefit of samplers, and identifies the
>key to which to assign the data for non-transposed playback. This info is
>entered directly by the user, given the appropriate software, and does not
>arise from any automatic analysis of the data. Indeed, even when Base Freq is
>set in the header, there is no guarantee that it accurately reflects the data
>at all!
>
>Richard Dobson
>
>tolve wrote:
>
>> concerned that subsonic sideband frequencies that result from fm might
>> damage speakers. tried to check out some files with sndinfo, but base Frq
>> doesn't show up in the report on ppc running csound 3.48. how do i
>> ascertain lowest frequency?
>>
>> tolve
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Date: Wed, 19 Apr 2000 15:10:45 -0400
From: Dave Phillips
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Linux Audio Development Mailing list ,
linart@li.org
Subject: [ANN] Csound 3.48 for Linux
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Greetings:
Csound 3.48 for Linux is now available at the MusTec server at BGSU.
Binaries (with and without X support) and source packages are available
here:
ftp://mustec.bgsu.edu/pub/linux/Csound-3.48.Linux.bin.tgz
ftp://mustec.bgsu.edu/pub/linux/Csound-3.48.Linux.src.tgz
The MIDI input problem has been fixed, thanks to David Ratajzcak, Larry
Troxler, and Nicola Bernardini, and the FOG UG incorporates Rasmus
Ekman's latest code fix. A patch for glibc systems is included in the
source distribution, courtesy of Laszlo Vecsey. Thanks to all who
assisted in this release !
The Linux soundapps page has also been recently updated, with some items
of interest to Linux Csounders, so check it out...
== Dave Phillips
http://www.bright.net/~dlphilp/index.html
http://www.bright.net/~dlphilp/linux_soundapps.html
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Date: Sun, 19 Apr 1998 16:17:18 -0400
From: Christopher Neese
Subject: RE: macros
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To: rasmus ekman
Cc: Csound
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This is an interesting solution, and it works really well.
I'm not sure it is as fool-proof as what I had in mind, but perhaps it is
more powerful.
It has several advantages:
1. Any variable name you want to be unique you just end with a $N. So you
can have as many names as you want.
2. If you want macros to share variables, you can feed them the same N.
Thus you can have macro pairs. (like READ and WRITE)
The system has these problems:
1. Advanced macros can only take 5 arguments. (can anyone justify this
number?) N reduces this number to 4.
2. N should always be replaced by a number for safety. If you have asiga$N
in one macro, and asig$N in another macro, they expand to the same thing if
n is 1 in the first case and a1 in the second case. (a numbering scheme
like a1, a2, a3, etc. isn't so far fetched after all.)
3. Similar to 2., the text before $N shouldn't end in a number. . If you
have asig1$N in one macro, and asig$N in another macro, they expand to the
same thing if n is 1 in the first case and 11 in the second case.
4. You need to make sure you don't accidentally repeat N. (not totally
fool-proof)
Disadvantage number 1 is really the most annoying, but there is something to
be said for fool-proofing. Most of us are fools if we have been working late
enough. :)
If $N were considered special parameter in advanced macros (one that was
optional, and if omitted would be replaced by some LARGE UNIQUE integer),
then your system would be very fool-proof and more powerful than mine. I'd
like to see that 5-parameter thing raised to something like 20 at least.
After all, look at how many parameters some of our opcodes take!
Pretty much, I want my macros to have unique variable names 99.5% of the
time. That way I can use whatever variable name I want in the orc without
worrying about messing up the macroed code. After all, I'm looking at a
macro as code that doen't get messed with very often. I want to use macros
for things I do a lot, but don't' justify their own opcode written in C.
Christopher Neese
-----Original Message-----
From: rasmus ekman [mailto:rasmuse@hem.passagen.se]
Sent: Sunday, April 19, 1998 11:24 AM
To: Christopher Neese
Cc: Csound
Subject: Re: macros
Christopher Neese wrote:
>
Why couldn't you use this:
;*******************Example orc:
#define EXAMPLE(OUT#N) #
kunique$N.r0 init 0
kunique$N.r1 init 0
kunique$N.r2 init 0
kunique$N.r2 = kunique$N.r1
kunique$N.r1 = kunique$N.r0
kunique$N.r0 = int(rnd(1000))
;code using kunique$N.r2, kunique$N.r1, kunique$N.r0 and defining
OUT
# ;end of macro
instr 1
k1 init 0
k2 init 0
$EXAMPLE(k1#1)
$EXAMPLE(k2#2)
;etc.
re
> ;**********************Parsed orc:
>
> instr 1
>
> k1 init 0
> k2 init 0
>
> kunique1r 0 init 0
> kunique1r 1 init 0
> kunique1r 2 init 0
> kunique1r2 = kunique1r1
> kunique1r1 = kunique1r0
> kunique1r0 = int(rnd(1000))
> ;code using kunique1r2, kunique1r1, kunique1r0 and defining k1
>
> kunique2r 0 init 0
> kunique2r 1 init 0
> kunique2r 2 init 0
> kunique2r2 = kunique2r1
> kunique2r1 = kunique2r0
> kunique2r0 = int(rnd(1000))
> ;code using kunique2r2, kunique2r1, kunique2r0 and defining k2
>
> ;etc.
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Sun, 19 Apr 1998 22:56:36 +0200
Date: Sun, 19 Apr 1998 22:56:32 +0200 (MET DST)
From: Nicola Bernardini
To: Csound mailing list
Subject: Re: macros
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On Sun, 19 Apr 1998, rasmus ekman wrote:
> Christopher Neese wrote:
> >
>
>
> Why couldn't you use this:
>
> ;*******************Example orc:
>
> #define EXAMPLE(OUT#N) #
> kunique$N.r0 init 0
> kunique$N.r1 init 0
> kunique$N.r2 init 0
...
[snip]
why could'nt we use the cpp pre-processor? It's already there,
it works well, and it could be spawned by csound itself before
parsing... (furthermore, it's available on all platforms, source code
is available so it could reasonably be modified to add csound-specific
features if necessary, etc. etc. etc.). I did'nt dare say this before,
but since we're evidently going in that direction...
Nicola
------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
Re graphics: A picture is worth 10K words -- but only those to describe
the picture. Hardly any sets of 10K words can be adequately described
with pictures.
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Date: Sun, 19 Apr 1998 23:30:12 +0200
From: rasmus ekman
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Nicola Bernardini wrote:
>
||:
> why couldn't we use the cpp pre-processor? It's already there,
> it works well, and it could be spawned by csound itself before
> parsing... (furthermore, it's available on all platforms, source code
> is available so it could reasonably be modified to add csound-specific
> features if necessary, etc. etc. etc.). I did'nt dare say this before,
> but since we're evidently going in that direction...
:|| (repeat till fade or fulfilled)
- re
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jpff@maths.bath.ac.uk wrote:
>
> I forgot to mention the new GEN (gen28) which reads x.y pairs from a
> file. Documentation will be added as soon as I can arrange it.
>
> In case no one noticed, I added the documentation for locsig and space
> to the full notes on the servers.
> ==John ffitch
We noted and updated, maintaining a modest but still grateful silence.
GEN28 was, er, "documentable" if not separately documented
(inside space note).
re
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Date: Mon, 20 Apr 1998 12:27:41 +0200 (MET DST)
From: Nicola Bernardini
To: Csound mailing list
Subject: Re: macros
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On Sun, 19 Apr 1998, rasmus ekman wrote:
> Nicola Bernardini wrote:
> >
>
> ||:
>
> > why couldn't we use the cpp pre-processor? It's already there,
[snip]
>
> :|| (repeat till fade or fulfilled)
sorry I'm a bit thick I don't get the joke...:-)
Nicola
------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
Re graphics: A picture is worth 10K words -- but only those to describe
the picture. Hardly any sets of 10K words can be adequately described
with pictures.
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Date: Mon, 20 Apr 1998 13:38:52 +0200
From: rasmus ekman
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Subject: Re: macros (pt IIb)
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Nicola Bernardini wrote:
>
> On Sun, 19 Apr 1998, rasmus ekman wrote:
>
> > Nicola Bernardini wrote:
> > >
> >
> > ||:
> >
> > > why couldn't we use the cpp pre-processor? It's already there,
> [snip]
> >
> > :|| (repeat till fade or fulfilled)
>
> sorry I'm a bit thick I don't get the joke...:-)
just agreeing with your every word (even the "didn't dare say
so before..." bit is true about me too), looping and signing it
as my own work.
In the words of an internationally acclaimed critic (pending a
Pulitzer):
"A text/sound rap/poetry found object which in its repetitive
recontextualisation flaunts the traditional boundaries between
content/medium, author/audience, populist movement, and plain
waste of bandwidth.
Profoundly minimalistically modern - and hip too."
Glad we could collaborate on this piece,
see if John appreciates it too.
re
> Nicola Bernardini wrote:
> >
>
> ||:
>
> > why couldn't we use the cpp pre-processor? It's already there,
> > it works well, and it could be spawned by csound itself before
> > parsing... (furthermore, it's available on all platforms, source code
> > is available so it could reasonably be modified to add csound-specific
> > features if necessary, etc. etc. etc.). I did'nt dare say this before,
> > but since we're evidently going in that direction...
>
> :|| (repeat till fade or fulfilled)
>
> - re
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Date: Mon, 20 Apr 1998 14:06:10 +0200 (MET DST)
From: Nicola Bernardini
To: rasmus ekman
Cc: Csound list
Subject: Re: macros (pt IIb)
In-Reply-To: <199804201136.NAA17130@mb05.swip.net>
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On Mon, 20 Apr 1998, rasmus ekman wrote:
[snip]
> just agreeing with your every word (even the "didn't dare say
> so before..." bit is true about me too), looping and signing it
> as my own work.
[snip]
> Glad we could collaborate on this piece,
> see if John appreciates it too.
>
thanks for the explanation and the appreciation. As you all know,
at least under systems that support the popen()/pclose() system call, this is
really trivial to implement (and in other systems, there are fake
implementations of popen()/pclose() that could be used - I think gawk
has this kind of calls already done). I am ready to do it if the developers
team thinks it is appropriate.
Nicola
------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
Re graphics: A picture is worth 10K words -- but only those to describe
the picture. Hardly any sets of 10K words can be adequately described
with pictures.
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From: Matti Koskinen
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hi
could someone be so kind and send me a working orc/sco, so i could
try the realtime midi features? i tried an ancient (<3.44) orc which
worked ok when used with a midi-file, but now looks like cpsmidi opcode
crashes both linux 3.48 and winsound 3.48. i have an old posting of
an orc, but no crashes, no sound :-(
thanks
--
-matti
mjkoskin@sci.fi
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From: David Boothe
To: Larry Troxler , "'tlv@tuna.net'"
Cc: csound@maths.ex.ac.uk
Subject: RE: Protecting speakers [Long]
Date: Mon, 20 Apr 1998 14:30:52 -0500
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I agree with all that Richard says, especially about viewing your sound
file before playback. While I am not an audio circuit designer, a few
other points should be noted.
A speaker attempting to reproduce a high, yet still safe, level signal
below its frequency response, can distort the audible signal. This
reveals itself as a type of intermodulation. In a power amplifier, as
the subsonic information gobbles up the current available from the power
supply, the desired audible range can be reduced and/or distorted. This
usually does not happen with better designed amplifiers or at lower
levels.
As for DC, many professional and some of the better consumer amplifiers
have switchable DC blocking capacitors. In well-designed circuits, the
audible degradation from these capacitors is minimal, though they do
tend to roll off the very lowest frequencies. Some amps have these
capacitors permanently in the path. This may be why Larry thought the
amp would automatically block VLF.
Another solution for DC, which I have used occasionally, is to insert a
high quality transformer into the signal path. This can be part of
another piece of equipment or as a 1:1 transformer in a stand-alone,
passive unit. However, good transformers are expensive, and cheap ones
sound bad.
Perhaps the most useful quick-fix, especially in the situation Tolve
originally asked about, would be to use a Butterworth filter (butterhp),
or series of them in the instrument design. The manual says that
butterhp is a second order high pass filter. In general terms, this
means it will roll-off asig at 12 dB per octave below kfreq. To get
steeper slopes, add additional copies of the same filter in series for
an additional, approximate, 6 dB/octave of rolloff per copy. Steeper
slopes will allow (require, in fact) you to move kfreq lower, but
probably at the cost of increased side effects in the passband. So
experimentation is in order. Note that kfreq is defined as the -3 dB
point in the curve. That is why steeper slopes will cause more rolloff
at the lower end of the passband, requiring you to move kreq lower to
preserve the rest of your signal.
Of course, all the above remedies will have some audible effect, but,
carefully done, not as much as blown speakers. :-)
Hope this helps.
-dB
> -----Original Message-----
> From: Richard Dobson [SMTP:RWD@cableinet.co.uk]
> Sent: April 19, 1998 10:12
> To: Larry Troxler
> Cc: csound@maths.ex.ac.uk
> Subject: Re: Protecting speakers wes Re: sndinfo
>
> Modern HiFi amplifiers are Direct Coupled, and can easily send a DC
> signal (or
> a VLF one) to a speaker. The speaker coil cannot usually handle the
> high
> current level for very long - especially if the speaker cone is pushed
> anywhere
> close to its limit.
>
> Whenever I generate a sound which I am not fully confident about (eg
> when
> developing a new program), I always view the file first - I do not
> relish
> putting full-amplitude DC or clipping either into my speakers, or
> (perhaps even
> more unpleasant!) into my headphones. Alternatively, I turn the volume
> right
> down, just in case.
>
> Richard Dobson
>
> > On Sat, 18 Apr 1998, tolve wrote:
> > > concerned that subsonic sideband frequencies that result from fm
> might
> > > damage speakers. tried to check out some files with sndinfo, but
> base Frq
> > > doesn't show up in the report on ppc running csound 3.48. how do i
> > > ascertain lowest frequency?
> >
>
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To: David Boothe
From: tolve
Subject: RE: Protecting speakers [Long]
Cc: csound@maths.ex.ac.uk
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figured if analysis did indicate a subsonic problem filtering would be the
key. well then, butterworth it is. seems that analysis of files can take
time though so perhaps routine filtering of fm sounds will be the answer.
was dreaming of a fast way just to ascertain lowest (pitch below 15 Hz)
frequency. sigh.
thanks very much for your response dave!
tolve
>Perhaps the most useful quick-fix, especially in the situation Tolve
>originally asked about, would be to use a Butterworth filter (butterhp),
>or series of them in the instrument design.
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Date: Mon, 20 Apr 1998 17:49:05 -0400
From: Jean Piche
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To: tolve , csound
Subject: Re: Protecting speakers [Long]
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tolve,
If you are dealing with DC-shift, analysis is really not necessary to ascertain
its presence. Any graphical sound editor will show that the signal is actually
drifting up (or down) from NULL.
Also be aware that while the butterworth filter solution works well in most
cases (Cecilia has a DC remover module), it will not work in all cases (in my
experience). We are considering building an opcode to do just that. MixViews has
a *very* efficient DC-remover.
> figured if analysis did indicate a subsonic problem filtering would be the
> key. well then, butterworth it is. seems that analysis of files can take
> time though so perhaps routine filtering of fm sounds will be the answer.
> was dreaming of a fast way just to ascertain lowest (pitch below 15 Hz)
> frequency. sigh.
>
> thanks very much for your response dave!
>
> tolve
>
> >Perhaps the most useful quick-fix, especially in the situation Tolve
> >originally asked about, would be to use a Butterworth filter (butterhp),
> >or series of them in the instrument design.
--
________________________________________________________
Jean Piche
Universite de Montreal
http://mistral.ere.umontreal.ca/~pichej
http://www.musique.umontreal.ca/electro/CEC/
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Date: Mon, 20 Apr 1998 21:51:48 +0000
From: Larry Troxler
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To: Jean Piche
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Subject: Re: Protecting speakers
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Jean Piche wrote:
>
> tolve,
>
> If you are dealing with DC-shift, analysis is really not necessary to ascertain
> its presence. Any graphical sound editor will show that the signal is actually
> drifting up (or down) from NULL.
>
Of course, the drawback of this approach is that it takes a bit of time
(as do most of the other suggestions, like turning town the volume
initially, etc.) Here I am thinking of the cases where you generate a
second of sound, listen to it, tweak a parameter, compute and and listen
again, etc. Of cours in most cases like this, once you do it once, you
are safe; but this is not always true, when non-linearities, typos, etc
are involved.
I guess that there are no easy answers for this.
Larry
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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From: David Boothe
To: 'Jean Piche' , tolve
Cc: "'csound@maths.ex.ac.uk'"
Subject: RE: Protecting speakers [Long]
Date: Mon, 20 Apr 1998 18:55:26 -0500
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Sorry for not making myself clear. My intention was to recommend the
Butterworth filter for removal or attenuation of subsonic frequencies.
It is true that DC does not always act like an AC signal with a
frequency of 0 Hz. FYI, for the Windows platform, Cool Edit 96
(http://www.syntrillium.com), can remove DC offsets. I don't believe
that program is available for Mac, however.
-dB
> -----Original Message-----
> From: Jean Piche [SMTP:pichej@ERE.UMontreal.CA]
> Sent: April 20, 1998 16:49
> To: tolve; csound
> Subject: Re: Protecting speakers [Long]
>
> tolve,
>
> Also be aware that while the butterworth filter solution works well in
> most
> cases (Cecilia has a DC remover module), it will not work in all cases
> (in my
> experience). We are considering building an opcode to do just that.
> MixViews has
> a *very* efficient DC-remover.
>
> ________________________________________________________
> Jean Piche
> Universite de Montreal
> http://mistral.ere.umontreal.ca/~pichej
> http://www.musique.umontreal.ca/electro/CEC/
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To: csound@maths.ex.ac.uk
From: Daniel Nass
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Can anyone offer a simple explanation of what 'spectral data types' are,
what they do, and how are they useful?
Many thanks from a newbie,
Daniel Nass
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Date: Tue, 21 Apr 98 12:23:21 BST
From: jpff@maths.bath.ac.uk
Subject: Re: bugs
To: csound@maths.ex.ac.uk
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Message written at 21 Apr 1998 08:52:12 +0100
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(wicked-mentality@usa.net)
References: <19980418030505.10922.qmail@www08.netaddress.usa.net>
Yes, there was a bug in cross2 which shows when the struct is used for
a second note. I have fixed my sources. If this is a serious trouble
I will rebuild for any/all platforms
==John ffitch
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From: jpff@maths.bath.ac.uk
Subject: Re: MSVC makefile
To: csound@maths.ex.ac.uk
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Message written at 20 Apr 1998 22:13:29 +0100
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on Sat, 18 Apr 1998 10:17:07 +0200)
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I put the makefile for MSVC in the src zip over the weekend, and moved
it to the server at about 11am Monday. I also fixed a nagging bug in
the graphics in the Windows code, so I repaced csound_win.zip as well.
I am sorry for the delay in replying, but a machine in our lab at the
U caught fire on Thursday/Friday night and apart from the smell of hot
plastic we lost /usr/local/ on which the mailer resided (as well as
latex, perl, netscape, mosaic, ...). I can now read mail at the
university but I cannot reply directly. I can send mail from home,
and then carry it to the U. This is introducing a long delay in
replies. And I have a lare number of answers to give.
==John
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From: jpff@maths.bath.ac.uk
Subject: Re: macros
To: csound@maths.ex.ac.uk
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Message written at 20 Apr 1998 22:47:13 +0100
--- Copy of mail to nicb@axnet.it ---
In-reply-to:
(message from Nicola Bernardini on Sun, 19 Apr 1998 22:56:32 +0200
(MET DST))
References:
>>>>> "Nicola" == Nicola Bernardini writes:
Nicola> why could'nt we use the cpp pre-processor? It's already there,
Nicola> it works well, and it could be spawned by csound itself before
Nicola> parsing... (furthermore, it's available on all platforms, source code
Nicola> is available so it could reasonably be modified to add csound-specific
Nicola> features if necessary, etc. etc. etc.). I did'nt dare say this before,
Nicola> but since we're evidently going in that direction...
I considered using CPP, and indeed I started doing it like that 18
months ago. There is however a problem. CPP does not exist on all
machines. One of the features of Csound which I find attractive is
that it can be run by any musician with one any of a number of machine
types, and it is complete. To follow that model we would need to
distribute a binary of CPP. I failed to find a public domain one. I
looked at mining the preprocessor from my company's C compiler, and
that is frightening. CPP is actually excessively complex, and if we
used it people could assume that it really was CPP as defined in the
ANSI C document (although it is or was ambiguous).
For this reason I rather reluctantly wrote teh system of macros I
did. I cheated all over. By using # to separate arguments for
example I do not need to tokenise, at teh loss of nested calls.
If any of you want to write a portable, non encumbered, CPP then I
would be pleased to use it. I can of course use CPP any way as I have
some version of it on any machine I use seriously (ie not MAC...)
So if you want to do it, do it.
==John
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Date: Tue, 21 Apr 98 12:22:12 BST
From: jpff@maths.bath.ac.uk
Subject: Re: macros
To: rasmuse@hem.passagen.se, csound@maths.ex.ac.uk
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Message written at 20 Apr 1998 22:37:53 +0100
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(message from Christopher Neese on Sun, 19 Apr 1998 16:17:18 -0400)
References: <000401bd6bd0$26bafc40$8be5a284@rn2713.resnet.oberlin.edu>
>>>>> "CN" == Christopher Neese writes:
CN> This is an interesting solution, and it works really well.
CN> I'm not sure it is as fool-proof as what I had in mind, but perhaps it is
CN> more powerful.
......
CN> The system has these problems:
CN> 1. Advanced macros can only take 5 arguments. (can anyone justify this
CN> number?) N reduces this number to 4.
The number 5 was chosen by me as a small number which seemed enough.
My current implementation has a fixed table (of which I am not proud)
and I did not want to make it too long. I will one day (soon?)
convert that to a variable number. It is only code after all.
I think that teh use of macros is an interesting one. If one needs to
do something really complex then a true programming language seems
best to me (I use C these days, and LISP before it became so
un-lisp-like). I wanted a macro sysem which filled the semantic gap
between real languages and the event list and simple text. The macros
in Extended Csound seemed to me too weak, not havinf any arguments. I
am sure that the chance of my geting it right is rather low, but we
can iterate or modify.
More on macros soon.
==John
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Date: Mon, 20 Apr 1998 19:29:26 -0600
To: csound@maths.ex.ac.uk
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From: =cw4t7abs
Subject: RE: Protecting speakers [short]
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>Sorry for not making myself clear. My intention was to recommend the
>Butterworth filter for removal or attenuation of subsonic frequencies.
>It is true that DC does not always act like an AC signal with a
>frequency of 0 Hz. FYI, for the Windows platform, Cool Edit 96
>(http://www.syntrillium.com), can remove DC offsets. I don't believe
>that program is available for Mac, however.
true.
mac haz
soundhak
+ son!kworkx
+ sounDeffektz
+ etc
Protecting speakers = !n.l!ne.fusz 2amp $1
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Date: Tue, 21 Apr 1998 16:42:52 +0200 (MET DST)
From: Nicola Bernardini
To: jpff@maths.bath.ac.uk
cc: csound@noether.ex.AC.UK
Subject: Re: macros
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On Tue, 21 Apr 1998 jpff@maths.bath.ac.uk wrote:
[snip]
> I considered using CPP, and indeed I started doing it like that 18
> months ago. There is however a problem. CPP does not exist on all
> machines. One of the features of Csound which I find attractive is
> that it can be run by any musician with one any of a number of machine
> types, and it is complete. To follow that model we would need to
> distribute a binary of CPP. I failed to find a public domain one. I
> looked at mining the preprocessor from my company's C compiler, and
> that is frightening. CPP is actually excessively complex, and if we
> used it people could assume that it really was CPP as defined in the
> ANSI C document (although it is or was ambiguous).
>
> For this reason I rather reluctantly wrote teh system of macros I
> did. I cheated all over. By using # to separate arguments for
> example I do not need to tokenise, at teh loss of nested calls.
>
> If any of you want to write a portable, non encumbered, CPP then I
> would be pleased to use it. I can of course use CPP any way as I have
> some version of it on any machine I use seriously (ie not MAC...)
I think I remember there was once a very small and simple cpp on
comp.sources.unix or alt.sources or something like that. I found some
trace of it in article 1337 of alt.sources - but I only found the index
and still have'nt found the article itself. Besides, I think we should
be careful because even if I think that popen()/pclose() is POSIX, this
does not mean it is implemented all over. So, here's another idea:
if your macro system could act as a simple subset of cpp, then it would
be easy to produce alternative code for people with cpp and popen()/pclose()
just by ifdeffing one or the other (as for the graphics libraries). So
this would solve the problem altogether. True, the people with cpp would
have more possibilities, but then again, people with nice graphic interfaces
look at nicer graphics, don't they?
>
> So if you want to do it, do it.
thanks for replying jpff, I know your machines are having problems so
thank you very much for taking the time... I'll see if I can come up
with a solution of some sort and then I'll propose it.
Nicola
------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
Re graphics: A picture is worth 10K words -- but only those to describe
the picture. Hardly any sets of 10K words can be adequately described
with pictures.
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From: Sergey
To: csound@maths.ex.ac.uk
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Subject: questions, questions...
Date: Tue, 21 Apr 1998 18:29:24 +0400
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Hi,
1)I'm afraid these are some of traditional beginners questions.
But what to do? Someone who join to the Csound list has the same collection
of quiestions. Doubt this fact makes happy the veterans. It seems, the
available FAQ can not contain all the answers. Mail archives? If it really
exists, and anybody
will be so kind to inform me there..., I promise to read it each time
before sending
next quiestion to the List or somebody.
2) Suppose I define an amplitude (max) for some instrument. How can I get
an amplitude
of accord (n voices) to reduce master level? It's great to have some
utility for keeping sum total amplitude of any voices and instruments in
defined boundaries.
3) I guess there are 3 main programs for PC platform: Csound for DOS
(csound_new.zip), Winsound (csound_win.zip) and the Gabriel Maldonado's
version of Csound (csoundrt19.zip). What program is "The Head" or "Number
One", and what program is the
Csnd348.hlp about? Especially I want to know what program is the point
"Realtime support" about.
May be the reason of my confusion is a desire to mastery the csounding as
soon as possible,
because Csound is cool! Many thanks its creators!
Excuse me for long letter and for my English (hope, it was).
Regards,
Sergey Batov
email: batov@glasnet.ru
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Tue, 21 Apr 1998 16:42:54 +0200
Date: Tue, 21 Apr 1998 16:42:52 +0200 (MET DST)
From: Nicola Bernardini
To: jpff@maths.bath.ac.uk
Cc: csound@maths.ex.ac.uk
Subject: Re: macros
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On Tue, 21 Apr 1998 jpff@maths.bath.ac.uk wrote:
[snip]
> I considered using CPP, and indeed I started doing it like that 18
> months ago. There is however a problem. CPP does not exist on all
> machines. One of the features of Csound which I find attractive is
> that it can be run by any musician with one any of a number of machine
> types, and it is complete. To follow that model we would need to
> distribute a binary of CPP. I failed to find a public domain one. I
> looked at mining the preprocessor from my company's C compiler, and
> that is frightening. CPP is actually excessively complex, and if we
> used it people could assume that it really was CPP as defined in the
> ANSI C document (although it is or was ambiguous).
>
> For this reason I rather reluctantly wrote teh system of macros I
> did. I cheated all over. By using # to separate arguments for
> example I do not need to tokenise, at teh loss of nested calls.
>
> If any of you want to write a portable, non encumbered, CPP then I
> would be pleased to use it. I can of course use CPP any way as I have
> some version of it on any machine I use seriously (ie not MAC...)
I think I remember there was once a very small and simple cpp on
comp.sources.unix or alt.sources or something like that. I found some
trace of it in article 1337 of alt.sources - but I only found the index
and still have'nt found the article itself. Besides, I think we should
be careful because even if I think that popen()/pclose() is POSIX, this
does not mean it is implemented all over. So, here's another idea:
if your macro system could act as a simple subset of cpp, then it would
be easy to produce alternative code for people with cpp and popen()/pclose()
just by ifdeffing one or the other (as for the graphics libraries). So
this would solve the problem altogether. True, the people with cpp would
have more possibilities, but then again, people with nice graphic interfaces
look at nicer graphics, don't they?
>
> So if you want to do it, do it.
thanks for replying jpff, I know your machines are having problems so
thank you very much for taking the time... I'll see if I can come up
with a solution of some sort and then I'll propose it.
Nicola
------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
Re graphics: A picture is worth 10K words -- but only those to describe
the picture. Hardly any sets of 10K words can be adequately described
with pictures.
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Date: Tue, 21 Apr 1998 16:42:52 +0200 (MET DST)
From: Nicola Bernardini
To: jpff@maths.bath.ac.uk
Cc: csound@maths.ex.ac.uk
Subject: Re: macros
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On Tue, 21 Apr 1998 jpff@maths.bath.ac.uk wrote:
[snip]
> I considered using CPP, and indeed I started doing it like that 18
> months ago. There is however a problem. CPP does not exist on all
> machines. One of the features of Csound which I find attractive is
> that it can be run by any musician with one any of a number of machine
> types, and it is complete. To follow that model we would need to
> distribute a binary of CPP. I failed to find a public domain one. I
> looked at mining the preprocessor from my company's C compiler, and
> that is frightening. CPP is actually excessively complex, and if we
> used it people could assume that it really was CPP as defined in the
> ANSI C document (although it is or was ambiguous).
>
> For this reason I rather reluctantly wrote teh system of macros I
> did. I cheated all over. By using # to separate arguments for
> example I do not need to tokenise, at teh loss of nested calls.
>
> If any of you want to write a portable, non encumbered, CPP then I
> would be pleased to use it. I can of course use CPP any way as I have
> some version of it on any machine I use seriously (ie not MAC...)
I think I remember there was once a very small and simple cpp on
comp.sources.unix or alt.sources or something like that. I found some
trace of it in article 1337 of alt.sources - but I only found the index
and still have'nt found the article itself. Besides, I think we should
be careful because even if I think that popen()/pclose() is POSIX, this
does not mean it is implemented all over. So, here's another idea:
if your macro system could act as a simple subset of cpp, then it would
be easy to produce alternative code for people with cpp and popen()/pclose()
just by ifdeffing one or the other (as for the graphics libraries). So
this would solve the problem altogether. True, the people with cpp would
have more possibilities, but then again, people with nice graphic interfaces
look at nicer graphics, don't they?
>
> So if you want to do it, do it.
thanks for replying jpff, I know your machines are having problems so
thank you very much for taking the time... I'll see if I can come up
with a solution of some sort and then I'll propose it.
Nicola
------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
Re graphics: A picture is worth 10K words -- but only those to describe
the picture. Hardly any sets of 10K words can be adequately described
with pictures.
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Date: Tue, 21 Apr 1998 17:22:29 +0200 (MET DST)
From: Nicola Bernardini
To: Csound mailing list
Subject: macros - found a small cpp pre-processor (PD - of course)
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I found a small (six files) cpp pre-processor in a small c compiler package
called zcc (the file is zcc096.zip - you can find it with archie all over
the place). Zcc was conceived by Ken Yap for ms-dos but the pre-processor
compiled without a problem on linux. I started testing it and by tonight
I will have tested all the ANSI cpp syntax and then I'll make a report
on what works and what does'nt. In the README file of zcc another pd cpp
written by Dennis Ritchie himself (!) is mentioned. I am trying to get
hold of that too to check it.
I'll be back soon
Nicola
------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
Re graphics: A picture is worth 10K words -- but only those to describe
the picture. Hardly any sets of 10K words can be adequately described
with pictures.
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Date: Wed, 22 Apr 1998 00:34:03 +0200
From: rasmus ekman
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Sergey wrote:
>
> 3) I guess there are 3 main programs for PC platform: Csound for DOS
> (csound_new.zip), Winsound (csound_win.zip) and the Gabriel Maldonado's
> version of Csound (csoundrt19.zip). What program is "The Head" or "Number
> One", and what program is the
> Csnd348.hlp about? Especially I want to know what program is the point
> "Realtime support" about.
"Csound" is the name for a primitive programming language which
controls a mound of sophisticated audio generation and processing
tools (coded in C under the hood).
Csound-the-language is implemented and maintained for a number of
platforms, but there are of course differences between any two
implementations. Most programs which implement Csound are called
something like "Csound-blabla" (much like Andy Warhol's fifty cats,
all of which were called "Sam").
There are at least four publicly distributed recent versions for
the PC platforms (MS-DOS/Windows). So, they are all Csound, but you
obviously can't step into the same program twice.
The Bath/Montreal version seems to be the one which most people look to
to update their code or enhance their audio programming experience etc.
But there are separate local versions for most platforms with active
Csound users.
Bath Csound exists in two PC versions: command line for MS-DOS, and one
with a GUI for Windows 95 (called Winsound).
The other local PC versions (Maldonado's and Michael Gogin's, both for
Windows 95) each have some useful extensions. You will have to look to
their authors to get support and documentation of new features
(note that most of Maldonado's work is finding its way into the Bath
version, don't know about Gogin's stuff).
Csnd348.hlp contains the original documentation of Csound 3.0, as
distributed from MIT in 1992, plus all subsequent Bath/Montreal update
notices. These were written by the several people who have contributed
code to Csound, so the style is not consistent throughout.
The "Realtime support" note states that "there is no realtime support
for DOS. Winsound however /.../ can use the Windows sound subsystem."
I have not attempted to amend the present undocumentation on how to
actually achieve realtime output from Winsound, but may try in the future.
(Basically you should make the output buffer big, like 20000+, or it
crashes rather gracelessly.)
Lately (like yesterday) I have also added the extra opcodes available
in Gabriel Maldonado's version. They are clearly (i hope) marked as
NOT part of the Bath version. I have not yet included the extra command
line flags for his version though, so this is by no means complete.
Maldonado's version may be slightly better for realtime work, and
it has some extra options for MIDI.
Cheers,
re
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Date: Wed, 22 Apr 1998 08:31:07 +0000
From: BUYO-BUYO-IGOR
Reply-To: igor@db3.so-net.ne.jp
Organization: SaRiGaMa's Oil Vending Orchestra
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couple of weeks ago
somebody mentioned about the digest-version of this list
held by that persons pwn effort..
would like to take advantage of suscribing to that list
would you tell me how to?
--
------------------8<-----------------------
BUYO-BUYO-IGOR
E-Mail=gianthead@bigfoot.com
http://listen.to/igor
SaRiGaMa's Oil Vending Orchestra
Japanese HomePage=http://come.to/sarigama
International HomePage=http://www.bigfoot.com/~sarigama
Our "Oil" provided for free=http://www.mars.dti.ne.jp/~buyobuyo/oil.html
"Orchestra on the Net"=http://www.mars.dti.ne.jp/~buyobuyo/songs/
one.html
Jammin' on May24
Plans=http://www.mars.dti.ne.jp/~buyobuyo/sarisari/forsari.html
Also on Jun28
Plans=http://www.mars.dti.ne.jp/~buyobuyo/gamagama/forgama.html
"World Wide Deb" Jam (=non SaRiGaMa) on Apr26
What?=http://www.mars.dti.ne.jp/~buyobuyo/bands/wwd.html
"Electric Light Heads" Jam (=non SaRiGaMa) on Jul26
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Message-ID: <353DA355.7812F982@agora.stm.it>
Date: Wed, 22 Apr 1998 09:59:17 +0200
From: Gabriel Maldonado
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Thanks for the information. If you agree, I will try to implement my
realtime features in standard Csound sources. My intention is to merge
the two versions in one. The only problem should be the command line
flags. I can implement a flag associated to a special character (for
example "-*") which is reserved for custom platform features, merging it
to another character that represent the feature to be enabled (for
example, to enable midi out device n.1 one can use " -*Q1" or to enable
the midi in device number 3 one can use "-*K3" flag).
What do you think of that? I'm waiting for your answer and for
suggestions from you and the csound community.
--
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
jpff@maths.bath.ac.uk wrote:
> Message written at 20 Apr 1998 22:13:29 +0100
> CC: csound@noether.ex.AC.UK
>
> In-reply-to: <35386183.644F2119@agora.stm.it> (message from Gabriel
> Maldonado
> on Sat, 18 Apr 1998 10:17:07 +0200)
> References: <35386183.644F2119@agora.stm.it>
>
> I put the makefile for MSVC in the src zip over the weekend, and moved
>
> it to the server at about 11am Monday. I also fixed a nagging bug in
> the graphics in the Windows code, so I repaced csound_win.zip as well.
>
> I am sorry for the delay in replying, but a machine in our lab at the
> U caught fire on Thursday/Friday night and apart from the smell of hot
>
> plastic we lost /usr/local/ on which the mailer resided (as well as
> latex, perl, netscape, mosaic, ...). I can now read mail at the
> university but I cannot reply directly. I can send mail from home,
> and then carry it to the U. This is introducing a long delay in
> replies. And I have a lare number of answers to give.
>
> ==John
> X-UIDL: c2aa00acad4e65726eab009dfb172ea1
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Date: Wed, 22 Apr 1998 09:59:17 +0200
From: Gabriel Maldonado
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Thanks for the information. If you agree, I will try to implement my
realtime features in standard Csound sources. My intention is to merge
the two versions in one. The only problem should be the command line
flags. I can implement a flag associated to a special character (for
example "-*") which is reserved for custom platform features, merging it
to another character that represent the feature to be enabled (for
example, to enable midi out device n.1 one can use " -*Q1" or to enable
the midi in device number 3 one can use "-*K3" flag).
What do you think of that? I'm waiting for your answer and for
suggestions from you and the csound community.
--
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
jpff@maths.bath.ac.uk wrote:
> Message written at 20 Apr 1998 22:13:29 +0100
> CC: csound@noether.ex.AC.UK
>
> In-reply-to: <35386183.644F2119@agora.stm.it> (message from Gabriel
> Maldonado
> on Sat, 18 Apr 1998 10:17:07 +0200)
> References: <35386183.644F2119@agora.stm.it>
>
> I put the makefile for MSVC in the src zip over the weekend, and moved
>
> it to the server at about 11am Monday. I also fixed a nagging bug in
> the graphics in the Windows code, so I repaced csound_win.zip as well.
>
> I am sorry for the delay in replying, but a machine in our lab at the
> U caught fire on Thursday/Friday night and apart from the smell of hot
>
> plastic we lost /usr/local/ on which the mailer resided (as well as
> latex, perl, netscape, mosaic, ...). I can now read mail at the
> university but I cannot reply directly. I can send mail from home,
> and then carry it to the U. This is introducing a long delay in
> replies. And I have a lare number of answers to give.
>
> ==John
> X-UIDL: c2aa00acad4e65726eab009dfb172ea1
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Date: Wed, 22 Apr 1998 23:43:14 +0200 (MET DST)
From: Nicola Bernardini
To: Csound mailing list
Subject: Re: MSVC makefile
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On Wed, 22 Apr 1998, Gabriel Maldonado wrote:
> Thanks for the information. If you agree, I will try to implement my
> realtime features in standard Csound sources. My intention is to merge
> the two versions in one. The only problem should be the command line
> flags. I can implement a flag associated to a special character (for
> example "-*") which is reserved for custom platform features, merging it
> to another character that represent the feature to be enabled (for
> example, to enable midi out device n.1 one can use " -*Q1" or to enable
> the midi in device number 3 one can use "-*K3" flag).
>
> What do you think of that? I'm waiting for your answer and for
> suggestions from you and the csound community.
A potential problem that I can see is that on platforms that have shells
that work correctly (i.e. unix) the special characters get interpreted
so they never actually get to the program itself (for example, '-*' gets
expanded to a minus plus all possible characters so to all files present
in the current directory beginning with '-', which is probably not what was
intended). Maybe a regular character would be better.
Nicola
------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
Re graphics: A picture is worth 10K words -- but only those to describe
the picture. Hardly any sets of 10K words can be adequately described
with pictures.
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Date: Wed, 22 Apr 1998 23:30:08 +0100
From: mike
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Subject: Creamware
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Hi,
I had a look at the creamware card coming out in october.
6 dsp chips (analog devices sharc) which should pack a good sonic punch.
It looks quite interesting and typical (hopefully) of a trend towards
versions of the kyma system. Something that concerns me is the lack of
anything other than midi to drive these new synths. realtime csound
stylee without floating point pfields is like fine paint with a trowel
on the end of a stick.
On a positive point i have been messing with keykit that seems to be
excellent. It excels at realtime midi sequencing / processing, is
portable and probably could be extended (source is provided) to support
many floating point fields.
Anyone else on the list had a look at it.
Mike chapman
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Date: Wed, 22 Apr 1998 16:51:11 -0600
From: Mike Berry
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Subject: Re: Creamware
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mike wrote:
>
> versions of the kyma system. Something that concerns me is the lack of
> anything other than midi to drive these new synths. realtime csound
> stylee without floating point pfields is like fine paint with a trowel
> on the end of a stick.
I am planning to add Open Sound Control (OSC) support to GrainWave. It is a
packet-based IP protocol for sound control data. It easily support floats,
and just about any other data structure. I would be happy to provide csound
opcodes for OSC once I have the stuff worked out (within a couple of months, I
would guess). I could also provide the PPC-specific network socket code. If
someone else can write the specific code for the other platforms, then we
could step csound into a more useful real-time control realm. I know that
CNMAT (who developed OSC) has code for UNIX machines (if I can get at it, I
don't know).
Basically, the idea is that you could address csound directly via Internet
Protocol, which is supported by all machines, and for which most people have
hardware and software. Then you don't have the same specialized hardware
dependence that MIDI has. Of course, no one makes an OSC keyboard yet, so
this would (at least at first) be purely for software-csound communication.
--
Mike Berry
mikeb@nmol.com
http://www.nmol.com/users/mikeb
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From: Michael Gogins
To: Mike Berry , csound@maths.ex.ac.uk
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Subject: Re: Creamware
Date: Wed, 22 Apr 1998 19:25:18 -0400
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I think an Internet protocol for musical messages is an excellent idea.
Simplify things, however, and just make it MIDI exactly except that all
fields are floats or, better yet, doubles. Then it would be easy to feed
MIDI into and out of this protocol, and it would still be easy to use for
finer control.
Another possibility would be to "tunnel" MIDI data through the new protocol,
but I prefer the first idea, above.
Higher value status codes (above 256) could be used for new semantics, a
streamlined and simpler scheme for music messages.
There could be user-defined message types as well.
The protocol should address how to make and break connections, broadcast and
multicast, and other similar issues likely to be relevant in studios and
performance.
-----Original Message-----
From: Mike Berry
To: csound@noether.ex.ac.uk
Date: Wednesday, April 22, 1998 6:50 PM
Subject: Re: Creamware
>mike wrote:
>>
>> versions of the kyma system. Something that concerns me is the lack of
>> anything other than midi to drive these new synths. realtime csound
>> stylee without floating point pfields is like fine paint with a trowel
>> on the end of a stick.
>
> I am planning to add Open Sound Control (OSC) support to GrainWave. It is
a
>packet-based IP protocol for sound control data. It easily support floats,
>and just about any other data structure. I would be happy to provide
csound
>opcodes for OSC once I have the stuff worked out (within a couple of
months, I
>would guess). I could also provide the PPC-specific network socket code.
If
>someone else can write the specific code for the other platforms, then we
>could step csound into a more useful real-time control realm. I know that
>CNMAT (who developed OSC) has code for UNIX machines (if I can get at it, I
>don't know).
> Basically, the idea is that you could address csound directly via Internet
>Protocol, which is supported by all machines, and for which most people
have
>hardware and software. Then you don't have the same specialized hardware
>dependence that MIDI has. Of course, no one makes an OSC keyboard yet, so
>this would (at least at first) be purely for software-csound communication.
>--
>Mike Berry
>mikeb@nmol.com
>http://www.nmol.com/users/mikeb
>
>
>
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Date: Wed, 22 Apr 1998 23:17:03 +0000
From: Larry Troxler
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To: Michael Gogins
Cc: Mike Berry , csound@maths.ex.ac.uk
Subject: Re: Creamware
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Michael Gogins wrote:
>
> I think an Internet protocol for musical messages is an excellent idea.
>
> Simplify things, however, and just make it MIDI exactly except that all
> fields are floats or, better yet, doubles. Then it would be easy to feed
> MIDI into and out of this protocol, and it would still be easy to use for
> finer control.
>
Guys, I admit to just stumbling across this, and not following the
entire thread. Having said that, I would urge you do do some research
before inventing yet another "alternative to MIDI" protocol. For
starters, look up ZIPI, and also what Perry Cook has
proposed/implemented with his Physical modelling toolkit. I admit to not
having a lot of knowledge about either of these, but these are just some
similar concepts I have happened to come accross without really looking
for them.
I guess my point is, that is pointless to start musing about "better" or
"alternative" music messaging protocols, without at first seeing what's
already been proposed or in the works. Granted, you may have already
taken this step and after discussion with the relevant authors, found
irreconcilable differences in your philosophies. In that case, I
apologize in advance.
But I really think the music world does not need four or five different
successors to MIDI!
Larry
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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Date: Wed, 22 Apr 1998 20:39:00 -0400 (EDT)
From: Burton Alexandre
Reply-To: Burton Alexandre
Subject: network protocol (was Re: Creamware)
To: csound@maths.ex.ac.uk
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David Zicarelli created a protocol that allow Max (3.5+) patches to share
data via standard TCP connections (it's based on the chat paradigm where an
arbitrary number of people can log on a server and share an arbitrary
number of "controllers", either to all (broadcast) or to a specific
individual). It's relatively light, and even on a 28k ppp/modem link you can
pump a reasonable amout of data through.
The protocol can encapsulate any type of data Max can handle, except MSP
streams. It has has very few limits (or "intelligence") built-in, but you
are responsible for making good use of what you're sending & receiving.
It's a standard socket connection, so it's easy to implement in most
development env's. The server is a bit more work than the client, but
there are at least two implementations i'm aware of (David's and mine...).
Right now work is done on timestamping and buffering the data, so that
people with different latencies (which is almost inevitable when routing
out of your LAN; the internet is not isochronous...) can still communicate
and keep some coherence over their data's enveloppes. There is also hope
for MSP streaming, but the bandwidth/latency problem is even more delicate
(although i beleive Miller Puckette's Pd has netsend and netreceive
objects that can handle audio and video streams as well as numbers and
lists; i don't know what sort (if any) of buffering scheme is used to
maintain a level of audio quality).
(The only problem i see with adding such features to csound is the fact
that csound remains a somewhat "static orc & score compile" affair. Since
very little is dynamic, it would be hard to make the login, pings&buffer
adjust sequence, and sharing of realtime data with others a practical
thing within a "session". If anyone has ideas how this could be added to
csound in an elegant way, i'd be very interested to hear about it. (I have
hacked Cecilia so you can log, send & receive data through that protocol
and then interface with csound with pipe events, but i have
not found any "usefull" use for it yet...)).
Alex Burton.
Michael Gogins |