| Richard Dobson wrote:
> I have not yet had a chance to try Nyquist, though I am very interested
> in it. The question seems to me to come down to the 'tool v task' issue.
> If the task is primarily to construct sounds, then Csound/MusicN will
> do the job very nicely. If the goal is algorithmic composition, (including
> sound manipulation, presumably), for which Csound offers no direct support
> (hence the development of score-generation tools), then Nyquist would seem
> to be the more natural choice.
>
> Richard Dobson
And while we are at it, can anybody compare Nyquist to CLM (which is
also Lisp-based)?
Bernd Eggink
--
Bernd Eggink
Regionales Rechenzentrum der Universitaet Hamburg
eggink@rrz.uni-hamburg.de
http://www.rrz.uni-hamburg.de/eggink/BEggink.html
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Date: Wed, 15 Oct 1997 11:42:07 -0500
To: csound@maths.ex.ac.uk
From: douglas irving repetto
Subject: Re: Nyquist
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>
>> Just wondering if anyone has any comments on the Nyquist blitz in the
>> current issue of Computer Music Journal. Dannenberg makes many explicit
>> comparisons between Nyquist and the Music N languages. I downloaded the
>> Nyquist manual and run-time--as a non-programmer, I wonder whether the
>> gains from Nyquist (integrated score, "intelligent environment," table-less
>> sound creation, etc.) compensate for the need to learn Lisp as well as
>> Nyquist.
>>
>> Joel Stern
>> 103675.1167@compuserve.com
>>
>>
>
>I have not yet had a chance to try Nyquist, though I am very interested
>in it. The question seems to me to come down to the 'tool v task' issue.
>If the task is primarily to construct sounds, then Csound/MusicN will
>do the job very nicely. If the goal is algorithmic composition, (including
>sound manipulation, presumably), for which Csound offers no direct support
>(hence the development of score-generation tools), then Nyquist would seem
>to be the more natural choice.
>
>Richard Dobson
i've been using james mccartney's SuperCollider program for a few weeks
now. it is a Csound/MusicN indebted program, but, like Nyquist, it tackles
the 'tool v task' issue. there is no clear distinction between
notes/controls/events/sounds/etc. i find this especially useful in
performance situations, where i want timbre to be directly related to
history (i.e. feedback) or to be algorithmically controlled. SC is
designed as a realtime environment, and seems to be quite optimised - it
can do a lot of processing in realtime on my powermac 8500/120. it can
also "perform" pre-constructed score files. its language is more C-ish than
MusicN-ish, although it retains the unitgenerator flavor of MusicN. SC is
currently only available for powermacs, although i hear there are ports in
the works to irix and the BeOS.
i think it's worth checking out if you're looking for a less orch/score
tied environment. there's an ftp site with a demo and sample code at:
ftp://ftp.create.ucsb.edu/pub/SuperCollider/
take care,
douglas
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Date: Wed, 15 Oct 1997 15:41:05 -0200 (EDT)
From: Hugo Bastos de Paula
To: CSound Mailing List
Subject: Old articom from the computer music journal
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Subject: 1981 Article from CMJ
I am doing a research in Timbre and I am specially interested in
getting in touch with an article from CMJ vol 5, no 2 pp 10-19. The title
of the article is:
"Timbre and the Perceptual effects of Three Types of Data
Reduction"
from Chabornneau, G.
I looked up in the CMJ home page but I could get it. I wonder if
someone has it and could, please, send me a copy by e-mail.
Thanks in advance,
[]'s
Hugo Bastos de Paula
Calling from Belo Horizonte, MG - Brasil
hugo@dcc.ufmg.br
http://www.dcc.ufmg.br/~hugo
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From: Tobias Kunze
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In-Reply-To: Bernd Eggink
"Re: Nyquist" (Oct 15, 2:00pm)
References: <199710151103.MAA02164@talisker.pact.srf.ac.uk>
<34452EFB.C649ED90@rrz.uni-hamburg.de>
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Subject: Re: Nyquist
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| And while we are at it, can anybody compare Nyquist to CLM
| (which is also Lisp-based)?
CLM follows the Music n UG paradigma. It is very powerful and
about twice as fast as csound and uses LISP as its orchestra
definition language. Hence, you can use the whole power of LISP
to drive instruments once they have been compiled and loaded into
the running LISP image. The downside of this approach is that
it does not support a compositional approach that strives for a
tighter integration, if not fusion, of score and orchestra:
CLM assumes there is a strict difference between designing an
instrument and "composing" with it (ie, using it). Designing an
instrument is a bit less tedious as it is in csound, though, since
it is formulated in a high level programming language as opposed
to csounds "assembler" and composing with it is greatly faciliated
by using CM or your own LISP-based composition toolbox.
Nyquist takes a very elegant approach at fusing signal processing
and composition but was *way* slower when i last looked at it. I
can't really comment on the usefulness, though, as I havent' written
a piece using it.
--
______________________________________________________________________
Tobias Kunze t@kunze.stanford.edu
CCRMA, Stanford University http://www.stanford.edu/~tkunze
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Date: Wed, 15 Oct 1997 20:07:26 -0400
From: Joel Stern <103675.1167@compuserve.com>
Subject: Re: shepard tones
To: Csound List
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>I've been playing around doing something like a Shepherd tone scale using
>multiple band pass filters to create the illusion of a constantly rising
>filter. It occurred to me that someone has probably already done this?
I'm not sure about this, but I think that's what Carl Stone has done in
Section Three of Nyala (em:t 1196).
|