| Hi,
John Boyd wrote:
> Have you or anyone else looked into porting any of this over to Linux?
> Will your midi-realtime program version of csound always just be for
> Win95?
This version is totally platform dependent, so I need to rewrite a good
part of code for porting it to Linux. The main problem are the device
drivers for MIDI and WAVE. Win95 APIs are device independent so it is
possible, at least in theory, to use my version with different MIDI and
WAVE boards in Win95.
Anhother very important factor is the C compiler and debugger. Before
doing this version, I tried to use the GPP compiler under DOS (DJGPP).
The compiler was good but the debugger was too much hard and
time-consuming to control for me.
I don't know Linux and its developing instruments. I work quite well
with MSVC compiler because it has a very good and easy GUI interface and
a very powerful debugger.
> what about the new UG's like "soundin2" and "soundinew"?
"soundin2" (by me) and "soundinew" (by Matt Ingalls) are the same as
"soundin" (audio data reading directly from file without using GEN
function) but they allow continuous pitch shift. "soundinew" is better
because it allows backward reading and supports all file formats. I
think that John Fitch will include one of these UGs in the next version
of "official" Csound. The sources are public domain so you can recompile
Csound with these addictions under LINUX.
My 14bit midi control UGs will be public domain so anyone will be able
to include them in his own platform (not only in win95). The only thing
required for using these UGs is the support of realtime MIDI. Of course
for using these UGs one must own a midi controller (I have the KAWAI
MM-16 midi mixer for this purpose, but I know there are other good
slider-devices such as PEAVY in the market). 14 bit UGs require the use
of a couple of slider, one for coarse and one for fine regulations (or
one slider that support MSB and LSB parameters). These are very good for
finding parametric filter or phisical modeling parameter values, because
these algorythms are very instable so a very small increment could have
a huge response variation.
> If you have any interest in improving the performance (even more), then
> you should definitely look into it. Because of your version release, I
> tried
I'm very interested to LINUX but I have not the time to learn it.
> porting some of my other compositional
> tools that I wrapper around
> Csound to
> Win95 but the speed/performance sucks!
What kind of compositional tools do you use? I'm very interested on
them!
> Win95 just cannot do true multitasking
> like a real Unix OS can. It also leads
> me to believe that your program
> would be even more robust in Linux.
Win95 can do true multitasking with true 32bit applications.
My version of Csound is a 32bit task but it was created in "console"
mode. This is a special text-oriented mode that doesn't follow the
standard Windows programming. It is very fast but allocates almost all
processing resources of the computer when a contiuous loop is present
(such as in Csound). Another factor that considerably reduces processing
speed is computer cache memory. The more cache the more poliphony when
using other applications or large table reading! My computer doesn't
have EDO ram on board. I think that EDO ram also icreases pocessing
speed considerably.
P.S. does it exist a realtime midi version of LINUX csound at present
time? I believed yes until now.
bye :)
--
Gabriel Maldonado
mailto:g.maldonado@agora.stm.it
http://www.agora.stm.it/G.Maldonado/home2.htm
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To: John C
From: Martin Shellard
Subject: Re: GM is evil? You've got to be kidding
Cc: CSound mailing list
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>I am using Csound to produce my own music on a shoestring budget. However,
>I've spent a little time in larger studios, read about it constantly, and
>talk to many people about pro techniques. I believe that if Csound is to
>be of any significant use to studio musicians, it needs to support GM
>format.
>I myself get no thrill from downloading GM files for "I will survive" and
>hearing them cheesily rendered by some lame MIDI card or module.
My problem with GM is not just the cheesey sound of most(all) GM modules,it's
the all pervading attitude that the sounds supported by it are all a
musician needs or wants.The thing that attracted me to Csound was it's
great flexibility
(and low,low introductory price!)If,as an active "studio" musician,I'd
wanted to use GM I could have bought any number of affordable modules.My
point is that
any kind of GM compatibility in Csound is missing the point
completely.Great as it is Csound is not the ideal choice for producing
"normal" music.That's one of it's biggest assets.
_________________________
Martin Shellard
Music Department
Goldsmiths college
University of London
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From: Mike Berry
To: csound list
Subject: Re: GM is evil? You've got to be kidding
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I said it before and I will again. It is my intention and hope
that anyone will be able to write an orchestra with complete GM
compatibility. Even down to patch changes and such. This must *not*
impede other uses of MIDI controlled csound in any way, which I do not
believe it has to. Then someone can write a standard GM orchestra, and
everyone who wants to use it can, and everyone who thinks GM is a
capitalistic plague can totally ignore it.
Mike Berry
mikeb@mills.edu
http://www.mills.edu/PEOPLE/gr.pages/mikeb.public.html/mikeb.homepage.html
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From: Ken Locarnini
To: Mike Berry
Cc: CSound Mailing List
Subject: Re: GM is evil? You've got to be kidding
Date: Tue, 18 Mar 1997 08:55:28 -0800
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If you mean as far as setting up "patches" and allowing program changes I
totally agree. Also because of faster processors and Gabriels Realtime
CSound etc. hooking into the whole midi thing would be the way to go. As
it is now, all the orcs are set up differently and translating to midi is a
chore at least for me. This way we could excange sounds or patches much
easier. If we could agree, those who are interested, on setting up some
kind of standard midi values, note, velocity, controllers etc., for each
orc that would be a great thing, extended CSound?? Michael Gogins Silence
is interesting in
that F tables are loaded independently so that one could use midi instead
of a score. Far more musical as far as production in my opinion. Perhaps
then we could compose music instead of putting together 10 minutes of
trippy sound effects? Perhaps I'm ignorant?
----------
> From: Mike Berry
> To: csound list
> Subject: Re: GM is evil? You've got to be kidding
> Date: Tuesday, March 18, 1997 8:28 AM
>
> I said it before and I will again. It is my intention and hope
> that anyone will be able to write an orchestra with complete GM
> compatibility. Even down to patch changes and such. This must *not*
> impede other uses of MIDI controlled csound in any way, which I do not
> believe it has to. Then someone can write a standard GM orchestra, and
> everyone who wants to use it can, and everyone who thinks GM is a
> capitalistic plague can totally ignore it.
>
> Mike Berry
> mikeb@mills.edu
>
http://www.mills.edu/PEOPLE/gr.pages/mikeb.public.html/mikeb.homepage.html
>
>
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Subject: Re: GM is evil? You've got to be kidding
Date: Tue, 18 Mar 97 10:07:28 -0000
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>If Csound is ever to be
>more than an academic curiosity, intended to study sound theory, but rather
>to be a useful production tool, GM, or perhaps some other format which is
>more powerful, and widely accepted as a studio standard, is the future.
Csound IS currently a useful production tool...I am using it constantly
tp produce music that IS being published / performed around the world. I
think that the point of Csound is being lost here. The Csound environment
and Csound users that I know never intended to use it to make pop music.
In other words, it's strength is not in re-creating kick drums and
realistic sounding bass guitars, etc... It's strength is in creating
sounds that we have never heard and new ways of organizing those sounds.
To use it in one of those big studios to produce "normal music" is not
only missing the point, but by far the hard way to do it. I am pretty
fluent in Csound but if I wanted to make pop music I would use a
sequencer...its easier.
I feel that I should mention here that I even see a problem using GM to
make pop music. I would not want to make music with the same sounds as
everybody else out there owning the same GM module, even if the sounds
were great! This makes the music very generic and uninteresting. A
specific piece of music has its own specific character and when
choosing/recording your parts this should be considered. Usually I find
that I am not able to get the sound that the music calls for in a factory
patch or GM module. This sort of concern for what the music needs should
override any concern for convenience on the part of the artist. After
all, the audience only hears the music; how it was created is (or should
be) totally unimportant. *This is my opinion of course.*
GM IS good for one thing...PORTABILITY. If I am making something like a
computer game or demo for some product and want to do the soundtrack
using midi then GM is an excellent choice. In this situation, however, I
realize that the sound is not the most important aspect of my project and
because of that I am willing to make sacrifices in quality in order to
gain the ability to take this thing anywhere and get the same results.
This is totally different then making "high quality music...for music's
sake."
Mike Frengel
mfrengel@apple.com
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Date: Tue, 18 Mar 1997 11:28:12 -0800 (PST)
From: Gary Singh
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To: Mike Frengel <@ukacrl.sjsu.edu:mfrengel@apple.com>
Cc: John C ,
CSound mailing list
Subject: Re: GM is evil? You've got to be kidding
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> >If Csound is ever to be
> >more than an academic curiosity, intended to study sound theory, but rather
> >to be a useful production tool, GM, or perhaps some other format which is
> >more powerful, and widely accepted as a studio standard, is the future.
No one seems to be mentioning that MIDI is exactly what finalized the
devision between the "Academic Curiosities" and the pop world in the
FIRST PLACE. Lest we forget...
--Gary
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From: Guto Caminhoto
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To: Ken Locarnini
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Subject: Re: GM is evil? You've got to be kidding
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On 18 Mar 97 at 8:55, Ken Locarnini wrote:
> Perhaps then we could compose music instead
> of putting together 10 minutes of
> trippy sound effects? Perhaps I'm ignorant?
>
I cant' see why somebody couldnt compose music with
Csound as it is. Perhaps I'm ignorant ?
bye
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Date: Tue, 18 Mar 1997 14:16:47 -0600
From: Dustin Barlow
Organization: Omni Digital Systems
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Subject: GM...who really cares?
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Greetings to all,
I am really lost as to the point of the GM discussion. If you
want to use GM stuff, do it, if you don't, don't ... Why does
it need to be any more difficult than that. I don't care
that someone wants to add GM capability to CSound as long as
it doesn't effect the "normal" operation of CSound.
None of us have the capability or influence to wipe GM from the planet
anyway so isn't the debate on whether not GM is a valid compositional
platform a mute one?
I have been apart of this list for many years, and we have covered
this topic more times than I can count, and nothing ever happens
anyway. I guess my point is, can we move on to more relevant
topics. Those who despise GM will just have to deal with the
fact that the "commercial" world requires ease of use over
functionality,
otherwise every studio in the world would be using CSound on
a daily basis because there is nothing on the market that even
comes close to the power represented in CSound. The only reason
few, if any production studios don't use CSound in their daily
affairs is because there aren't any turn key CSound products on
the market...at least not yet... Once there is, CSound will be able
to take on whatever role is necessary, be it a simple GM module, or
a high tech modeling synth. It will happen, it is just a question
of when.
I think is very exciting to see CSound become more of a main
stream item as apposed to just remaining a high end, tech head only
synthesis platform that few ever spend the time to learn and even
fewer actually use in their everyday compositional lives...Not all
of us have access to real-time capability CSound boxes anyway so
I would assume that all would welcome a turn-key CSound unit that
would run with a consumer level computer system you bought at Best Buy.
If I am totally wrong about this, please feel free to correct me..
-----------------------------------------------------------------
Omni Digital Systems
-----------------------------------------------------------------
Dustin Barlow Web Page Design - Database Design
dbarlow@omnids.net C++ Windows Programming - Multimedia Apps
http://www.omnids.com Windows NT ISAPI Development - UNIX
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From: Cristobal Mendoza
To: Csound ML
Subject: New Guy
Date: Tue, 18 Mar 1997 17:45:27 -0400
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Yes, I'm a new guy. Hello. I love soft synths, but I haven't been able to
get to Csound mainly because there doesn't seem to be a stable version for
the WIntel 95 platform. What version should I get? wcsound? Csound for DOS?
Also, the manuals don't help because I don't know the basics of Csound. I
know how to use Virtual Waves because I know what it can do and I
understand it, but Csound is entirely unknown to me. Apparently it
generates the sound and the melody together, right? If there is a
walkthrough available on the web (one that doesn't jump in directly to the
orchestra commands), point me to it please. If anyone has the time, please
e-mail me privately.
It IS confusing, I have tried to get a hold of Csound but it seems like too
much of a cult thing. It also seems (from what I can infer) that Csound is
friendlier to UNIX and Power Mac than to the PC. Help me out here, I really
want to see what it can do.
Thanks
Dosvidanya
END
v.0.99
ZMA
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To: csound@maths.ex.ac.uk
From: Richard Wentk
Subject: MIDI is evil? You've got to be kidding!
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At 11:28 18/03/97 -0800, you wrote:
>No one seems to be mentioning that MIDI is exactly what finalized the
>devision between the "Academic Curiosities" and the pop world in the
>FIRST PLACE. Lest we forget...
>
Well, a lot of that division is self-inflicted as far as the academic
community is concerned.
Csound is supposed to be flexible. But consider how easy it is to use a
MIDI sequencer to put a score together instead of typing it in line by line.
You get:
control over individual events
block moves of events
block transposition of events
block modifications of events
more continuous control channels than most people will ever need
(and these can either be edited graphically, or typed in by hand if you
prefer)
fine control of tempo changes
'logical' editing functions, which let you change specific classes of
events in specific ways
and so on.
All you have to do is to define instruments that respond to these different
streams of information. Definitions of tonality and/or pitch are entirely
down to you. If you treat the MIDI events in the abstract, the same way you
would treat p-fields, then you get ease of use *and* flexibility.
Yes, there are limitations, but they are relatively trivial compared to the
time saved. And in practice there won't be that many situations where
you'll find they are a problem. Some for sure - but most, or even many? No.
Now, of course you can create software to write a score file, but how much
flexibility does that really give you in comparison? All you're really
doing is exploring different parameter positioning algorithms. Whether you
use neural nets, stochastic techniques, genetic algorthms, chaotic systems,
or whatever, this does not, on the whole, seem to make for interesting
music. (Although as an intellectual exercise, akin to solving chess
problems, it may have its attractions.)
The irony is that for all of Csound's supposed flexibility, its limitations
- the lack of dynamic wavetables, a-rate conditionals, a-rate loops,
instrument 'chunking' and nesting, the fiendishly obsessive score structure
- make it a hugely clumsy and slow way to make interesting sounds.
People attack GM's cheesiness, but the sounds that most people seem to get
out of Csound are cheesier still. (There are one or two exceptions to this,
but not many.) In theory you can do anything you like with it. In practice,
unless you have limitless amounts of time to experiment, or own an SGI, or
are only after some squeaky sound effects, it's a rather blunt and
unresponsive implement. Good for teaching, maybe. But not so good for
genuinely original music. (If not, how come so much of the music made with
it sounds so similar?)
And GM? Well, yes, it would be silly to include GM ugens when it's so easy
to create a GM orc set and pass that round the net. It would be much more
interesting to concentrate on Csound's shortcomings and bring it kicking
and screaming out of the constraining mainframe-minded 60s mindset it
inhabits now into something closer to the present.
Really, adding new ugens is only papering over the cracks. (Although I have
to admit that Richard Karpen's new pvoc ugens are a *lot* of fun.) IMO a
look at how to overcome the limitations in the control structures and the
table system would be a very fruitful path to follow at this point.
R.
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To: csound@maths.ex.ac.uk
From: Joe Mithiran
Subject: Re: Welcome to csound
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Hello. I am a new user of Csound and am new to this list. I run on a
PowerCenter 120 40/850 Power Macintosh clone (runs a PPC 604 CPU@120 MgHz
for comparison). I have installed Csound but find it crashes requiring a
restart very frequently. While some of these were due to not setting up
orchestra or score files properly or in their required locations it also
happens when I try to change the settings in the Sampled Sound Directory.
Any clues?
I am a musician and amateur composer and am experimenting with various
software packages, MIDI sequencing an hard disk recording at the moment.
I'm normally into fairly conventional music styles.
Part of my interest in Csound is on behalf of my mum who has been a
professional musician and music teacher all her life and has just recently
decided to do some composing with her interest being in electronic music
(even if she is isn't very computer literate - yet).
Have'nt managed to do anything amazing with Csound yet as I've hardly
managed to get it to work.
Joe Mithiran Save the B-Trees, use a small signature.
joek@ar.com.au
joe@ion.apana.org.au
joe.mithiran@clubmac.org.au
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From: David Madole
Message-Id: <199703182321.PAA17301@ella.mills.edu>
Subject: Mr. Tweaky Source on FTP site
To: csound-list
Date: Tue, 18 Mar 1997 15:21:19 -0800 (PST)
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Hi Folks (especially Mac programmer folks),
I put the Mr. Tweaky source on the Mills ftp site if you feel compelled
to have it for some reason or other. Includes CW10 project and
Resorcerer resource file. All it does is import and export ASCII
formatted versions of the analysis files (PV, CV, LPC, HETRO). It is
pretty Mac oriented. Really of not much interest unless you are a
Power Mac user/developer.
Maybe somebody will write the graphical interface I never got around
to (uhmmmm.... Real Soon Now).
If you make any bug fixes/improvements, please bounce them back to me.
It is in pub/ccm/csound.ppc/MrTweakySrc.sea.hqx at ella.mills.edu.
Dave
Dave Madole
Technical Director, Center for Contemporary Music
Listserv Administrator
Mills College
Oakland, CA 94613
510-430-2336
madole@mills.edu
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From: Tobias Kunze
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Date: Tue, 18 Mar 1997 15:43:33 -0800
In-Reply-To: Richard Wentk "MIDI is evil? You've got to be kidding!" (Mar 18, 9:56pm)
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To: csound@maths.ex.ac.uk, Richard Wentk
Subject: csound improvements (was: MIDI is evil? ...)
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| IMO a look at how to overcome the limitations in the
| control structures and the table system would be a very
| fruitful path to follow at this point.
I think you are calling for a completely new synthesis
language. While csound may be "ok" as a Music V-style
instrument description language on a basic level (ie, < 20
different unit generators), its expressiveness as a
"programming" language is damn close to zero. Not that
everybody's going to need it all the time, but when you do, you
are screwed: the if-kgoto thing is ridiculous, tigoto and
friends would in my opinion not even pass as a kludge and the
software has to be tricked to implement even the simplest
musical concepts, such as adding execution time to an instrument
to allow for reverb. The "language" itself is a catastrophe:
you can't mix cases or pick meaningful variable names, are stuck
with table and instrument numbers instead of names and thus
can't embed code, can't print diagnostics or debug, and so
forth. All that makes writing, debugging, or maintaining csound
code a sheer pain. Yes, we all agree there exist certain style
issues with the source code. But, even worse, csound is
implemented poorly. It wastes enormous storage and thus, due to
cache misses, execution time simply because unit generators do
not side-effect vectors, even if it would make perfect sense.
In general, CLM's synthesis code, for instance, although
generated from LISP, performs twice as fast or better and I've
heard (not personally tested) similar reports from CMIX.
If you want to tackle all these issues (and they are, in my
opinion, serious showstoppers for its usefulness as a
compositional tool in the syntesis domain, as opposed to an
engineering/hardware prototyping tool or a compositional tool in
some areas of sound processing) you are probably better off
designing a new synthesis language.
--
______________________________________________________________________
Tobias Kunze t@kunze.stanford.edu
CCRMA, Stanford University http://www.stanford.edu/~tkunze
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From: Michael Gogins
To: Csound list
Subject: General MIDI
Date: Tue, 18 Mar 1997 21:02:11 -0500
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I think the debate on General MIDI really is at least two debates. I won't
recap them, but here are my opinions:
General MIDI is useful as a generic orchestra that can be counted on to
render scores more or less the same on different platforms. This is true
for some people and does not injure those for whom it is not true.
Therefore, creating either a General MIDI opcode, or a General MIDI
sample-player orchestra, would benefit Csound. I favor a sample-player
orchestra.
The General MIDI concept could be extended to provide a standard layout for
many, though of course not all, Csound instrument definitions. This would
enable scores and orchestras to be exchanged between musicians and studios.
This also helps some and does not injure those it does not help, so it too
would benefit Csound. I believe the best format would be straightforward
translation of MIDI semantics onto Csound note statements, along the lines
of Perry Cook's SKINI langauge. p1 is channel, p2 is start, p3 is duration,
p4 is pitch, p5 is loudness. p6 and successive fields could be mapped to
MIDI control messages, perhaps.
As computers grow in real-time signal processing power,then Csound, with or
without Extended Csound or hardware DSP, is able to do in software what
dedicated synthesizers do in hardware and firmware. At that point, which is
now, it starts to make sense to provide studio-oriented, user-friendly
front ends for Csound, at a cost of software engineering time, rather than
new synths and rack units at a cost of both software and hardware
engineering time, not to mention hardware cost. The musician need not even
know that good old command line Csound is producing the snazzy sound.
It is true that the Csound languages are fairly lame, but, if you take the
time, and understand the principles of software synthesis, there is nothing
at all wrong with the sound you can get. I have used Cmix, Csound, modular
synthesizers, and current digital synthesizers and sample players. Csound
sounds as good or better than all of its competition, is cheaper than any,
and runs on everything. I could afford much more expensive things, but I
use it because it is the most powerful musical instrument, all things
considered, that I can get my hands on.
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To: csound@maths.ex.ac.uk
From: tolve
Subject: Re: New Guy
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i too in vitro but here goes...
you wrote:
>...Also, the manuals don't help
well not enough anyway.
>because I don't know the basics of Csound. I
>know how to use Virtual Waves because I know what it can do and I
>understand it, but Csound is entirely unknown to me. Apparently it
>generates the sound and the melody together, right? If there is a
>walkthrough available on the web (one that doesn't jump in directly to the
>orchestra commands), point me to it please. If anyone has the time, please
>e-mail me privately.
nah. let's try shouting from the rooftops. there just might be a thousand
lurkers out there who really want to know. first, how did you get here in
the first place without:
http://www.keyboardmag.com
Jan '97 issue carried tutorial and assorted info. I will take a stab at
presenting some at bottom here.
>It IS confusing, I have tried to get a hold of Csound but it seems like too
>much of a cult thing. It also seems (from what I can infer) that Csound is
>friendlier to UNIX and Power Mac than to the PC. Help me out here, I really
>want to see what it can do.
http://www.leeds.ac.uk/music/Man/c_front.html
And don't forget to download:
Amsterdam Catalogue of CSound Computer Instruments.
ok, so burn some incense as you open up this window wide so no text wraps
around. don't want to start new lines where they shouldn't be started. now
I just cooked this up tonight and it is only meant to supplement, or rather
present a slightly different view of, the information you will acquire via
the above.
first, a sample orc file. note that everything on the same line as a
semicolon, that follows the semicolon, is ignored by the program. that is
to say, it is only for explanation purposes. not even sure if this will
line up properly from my ppc to you. let me know. anyway, you should be
able to realign it with the help of again, the above websites, and that
semicolon rule. if anyone else out there spots anything dead wrong, or
would like to further elucidate, please speak loudly and slowly.
and now for the orc:
;following four lines are header information
sr=48000 ;sample rate
kr=4800 ;control rate
ksmps=10 ;control samples per period (divide sr by kr)
nchnls=1 ;number of channels (in this case mono)
;definition statement
instr 1 ;instrument 1
;result part of statement:
; action argument
; opcode amplitude attack total duration decay
k1 linen 20000, 5, p3, 5
;Above, duration p3 refers to value in 3rd field (or parameter) of
;instrument (i) statement in score.
;result
; action argument
;audio signal oscillator envelope pitch waveform
asig oscil k1, cpspch(p5), p4
;Above, envelope k1 refers to output of the opcode linen as defined
;in its argument.
;cpspch converts the pitch value found in the fifth parameter of the
;i statement in score to hertz.
;Finally, waveform p4 refers to the 4th parameter of f in score file.
out asig
;above output is audio signal
endin
;that's it!
..............................................
;OK now here's a sample score file, without which your instrument will
remain forever silent:
;function table statement
;activate GEN wait size of wavetable (resolution) GEN % of volume
f1 0 8192 10 1
;calls up instr 1 in orc wait duration (seconds) (p4) refers to f1
above pitch
i1 0 10 1
6
e
;all done!
>Thanks
>
>Dosvidanya
>
>END
>
>v.0.99
>ZMA
and at this point, that is practically the extent of my knowledge: and
already csound endows me with total control of envelopes with unlimited
stages and additive synthesis, and use of enharmonics. of course, as others
on this list are painfully aware, i'm still working on the envelope thing...
good luck. and don't forget to teach me whatever you learn!
yours,
tolve
Creative Dir: Audio
TAOHaus: theater artists' omnibus
Bowling Green Station
PO Box 1062
New York, NY 10274-1062
tlv@tuna.net
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From: tolve
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i too in vitro but here goes...
you wrote:
>...Also, the manuals don't help
well not enough anyway.
>because I don't know the basics of Csound. I
>know how to use Virtual Waves because I know what it can do and I
>understand it, but Csound is entirely unknown to me. Apparently it
>generates the sound and the melody together, right? If there is a
>walkthrough available on the web (one that doesn't jump in directly to the
>orchestra commands), point me to it please. If anyone has the time, please
>e-mail me privately.
nah. let's try shouting from the rooftops. there just might be a thousand
lurkers out there who really want to know. first, how did you get here in
the first place without:
http://www.keyboardmag.com
Jan '97 issue carried tutorial and assorted info. I will take a stab at
presenting some at bottom here.
>It IS confusing, I have tried to get a hold of Csound but it seems like too
>much of a cult thing. It also seems (from what I can infer) that Csound is
>friendlier to UNIX and Power Mac than to the PC. Help me out here, I really
>want to see what it can do.
http://www.leeds.ac.uk/music/Man/c_front.html
And don't forget to download:
Amsterdam Catalogue of CSound Computer Instruments.
ok, so burn some incense as you open up this window wide so no text wraps
around. don't want to start new lines where they shouldn't be started. now
I just cooked this up tonight and it is only meant to supplement, or rather
present a slightly different view of, the information you will acquire via
the above.
first, a sample orc file. note that everything on the same line as a
semicolon, that follows the semicolon, is ignored by the program. that is
to say, it is only for explanation purposes. not even sure if this will
line up properly from my ppc to you. let me know. anyway, you should be
able to realign it with the help of again, the above websites, and that
semicolon rule. if anyone else out there spots anything dead wrong, or
would like to further elucidate, please speak loudly and slowly.
and now for the orc:
;following four lines are header information
sr=48000 ;sample rate
kr=4800 ;control rate
ksmps=10 ;control samples per period (divide sr by kr)
nchnls=1 ;number of channels (in this case mono)
;definition statement
instr 1 ;instrument 1
;result part of statement:
; action argument
; opcode amplitude attack total duration decay
k1 linen 20000, 5, p3, 5
;Above, duration p3 refers to value in 3rd field (or parameter) of
;instrument (i) statement in score.
;result
; action argument
;audio signal oscillator envelope pitch waveform
asig oscil k1, cpspch(p5), p4
;Above, envelope k1 refers to output of the opcode linen as defined
;in its argument.
;cpspch converts the pitch value found in the fifth parameter of the
;i statement in score to hertz.
;Finally, waveform p4 refers to the 4th parameter of f in score file.
out asig
;above output is audio signal
endin
;that's it!
..............................................
;OK now here's a sample score file, without which your instrument will
remain forever silent:
;function table statement
;activate GEN wait size of wavetable (resolution) GEN % of volume
f1 0 8192 10 1
;calls up instr 1 in orc wait duration (seconds) (p4) refers to f1
above pitch
i1 0 10 1
6
e
;all done!
>Thanks
>
>Dosvidanya
>
>END
>
>v.0.99
>ZMA
and at this point, that is practically the extent of my knowledge: and
already csound endows me with total control of envelopes with unlimited
stages and additive synthesis, and use of enharmonics. of course, as others
on this list are painfully aware, i'm still working on the envelope thing...
good luck. and don't forget to teach me whatever you learn!
yours,
tolve
Creative Dir: Audio
TAOHaus: theater artists' omnibus
Bowling Green Station
PO Box 1062
New York, NY 10274-1062
tlv@tuna.net
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Date: Tue, 18 Mar 1997 21:01:09 -0800 (PST)
From: John Francis Beahan
X-Sender: jfbeahan@am.UCSC.EDU
To: Michael Gogins
Cc: Csound list
Subject: Re: General MIDI
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On Tue, 18 Mar 1997, Michael Gogins wrote:
> I think the debate on General MIDI really is at least two debates. I won't
> recap them, but here are my opinions:
>
> General MIDI is useful as a generic orchestra that can be counted on to
> render scores more or less the same on different platforms. This is true
> for some people and does not injure those for whom it is not true.
> Therefore, creating either a General MIDI opcode, or a General MIDI
> sample-player orchestra, would benefit Csound. I favor a sample-player
> orchestra.
GO FOR IT!!!!
As for me I try an avoid MIDI like the plague.
Thanx, John Beahan
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Date: Wed, 19 Mar 97 10:25:59 +0100
From: Fabio Bertolotti
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To: csound@maths.ex.ac.uk
Subject: Csound language
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Tobias Kunze wrote:
> I think you are calling for a completely new synthesis
> language. While csound may be "ok" as a Music V-style
> instrument description language on a basic level (ie, < 20
> different unit generators), its expressiveness as a
> "programming" language is damn close to zero.
...
> The "language" itself is a catastrophe:
> you can't mix cases or pick meaningful variable names, are stuck
> with table and instrument numbers instead of names and thus
> can't embed code, can't print diagnostics or debug, and so
> forth.
I was wondering whether it would be possible to alleviate
some of the shortcomings of the Csound language by
building instruments in a more friendly and ``higher level''
programming language, then using a ``translator'' of some sort
to change the given orchestra into csound format. Thus, the
.orc file would be a ``low-level'' intermediate stage, much like
the object files created by C compilers.
(Indeed, as a first embryonic step, it is not too hard to imagine a
``sed'' script to change long upper-and-lower-case variable names
into Csound compatible names using a one-to-one association).
This approach would eliminate the limitations with the variable name
syntax, and possibly allow more modern flow-control conditionals.
My question is: Is the Csound language sufficiently
``complete'' to support most modern logical constructions (even
if implemented in some sort of ugly way), or would such a
``higher level'' language be simply a cosmetic improvement?
- Fabio Bertolotti
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To: csound@maths.ex.ac.uk
From: "John W. Thompson"
Subject: CSound Neophyte ... HELP!
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CSound people,
I have stumbled upon CSound and this mailing list. I have downloaded
CSound (don't know if it's the current version, CSounder, and Patchwork
(current??).
I haven't started using or understanding anything yet. I wish to
generate and process totally original and GOOD .wav files to export to my
sampler. I've heard vocoding, granular, FM & additive synthesis mentioned.
What are the limits of this CSound and how do I exploit them fully? How can
one acheive realtime use of CSound?
Please foreward FTP, WEB or other types of references (addons to CSound
or CSound applications). I am interested in obtaining CURRENT versions of
everything.
If anyone wishes to send me files please do so. I use Eudora Light.
Thank you very much,
John Thompson
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From: omni
To: csound@maths.ex.ac.uk
Subject: Scrnmuse
Date: Wed, 19 Mar 97 12:36:02
Comment: Turkce karekter filtresinden gecirildi.
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Hello,
I'm very new in this list.Yesterday I tried to compile a sample.gif picture
with the Scrnmuse utility.It produced the ads.,orc. files without error.But
when I tried to compile them with csound (with the improved version for
enhancing 'adsyn' capability), I've got an error message telling about unknown
ocpoce. Although I'm new to csound, I couldn't find any reason. I'm running a
120Mhz Pentium with 16MB memory.
Could someone give me an advise please?
Bye,
Sinan Boekesoy
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