| It seems that there is but a limited number of Csound compositions
around, at least made available on the web. I'm thinking there are at
three reasons why this is so
1) There are no other composers outside of the 5-6 that already have
posted.
2)Copyright infringement by making orcs and scos publicly avaiable
3)No effort has been made in this direction
Anyway it would be nice to hear more of the music and sounds being
created out there.
On another issue, are there recordings (cd's) that use Csound either as
part of various instruments or perhaps on it's own. I looked around
Frog Peak but didn't notice any cd's mentioning Csound.
Thanks
Stuart
stuartf@dimensional.com
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From: RIKEIMU
To: Jean Piche
Cc: csound@maths.ex.ac.uk
MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.stork
Subject: Re: New to Csound, need help.
Date: Fri, 15 May 1998 20:45:54 -0500
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----------
> From: Jean Piche
> To: Rikeimu@worldnet.att.net
> Cc: csound@maths.ex.ac.uk
> Subject: Re: New to Csound, need help.
> Date: Friday, May 15, 1998 5:35 PM
>
> RIKEIMU wrote:
> >
> > I am new to Csound and I recently downloaded the Csound program file
and
> > the Csound manual file.
> > When I attempted to open the files, I was asked what program I wanted
to
> > use to open the files.
> > Please inform me what program I need in order to open the downloaded
files.
> >
>
>
> 1- what platform are you using (in detail please, Hardware, Operating
system
> etc..) From your second sentence, I suspect you are using a Mac. In which
case,
> if you have not seen this question/dialog box before, you are in for an
> extremely steep learning experience...
> 2- Which files did you download?
> 3- From where did you download these files?
>
> Please do not assume everyone will know what you are talking about. Be as
> specific as you can and help will be easier to give!
>
> --
> ________________________________________________________
> Jean Piche
> Universite de Montreal
> http://mistral.ere.umontreal.ca/~pichej
> http://www.musique.umontreal.ca/electro/CEC/
I am using a PC platform.
I downloaded the file csound_win(1).zip from,
ftp://ftp.maths.bath.ac.uk/pub/dream/newest/.
I downloaded the file Csmanual_48b1_ps(1).zip from,
ftp://ftp.musique.umontreal.ca/pub/.
Thank you,
Richard Abrams
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From: Dustin Barlow
Reply-To: "dbarlow@omnids.com"
To: "'stuartf@dimensional.com'" ,
"csound@noether.ex.ac.uk"
Subject: RE: Compositions and recordings?
Date: Fri, 15 May 1998 16:31:02 -0500
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Most, if not all of my csound compositions use a fairly large set of samples as
well as straight synthesis, so it would be difficult to distribute the whole
"Project" to users around the web to compile on their own machines.
Another "problem" is that most of my csound works are coupled with live intstruments
as well, so how does one make those easily parts available?
Recordings of the work are also to large to distribute, and many audio compression
tools for Internet distribution put a rather large dent in the quality of the original. Of
course, if we all had T1 or better access to the Internet at all times, then distribution of good
quality audio wouldn't be an issue...:-}
Anyway...
I would be happy to collect orc/sco's from everyone and make them available on
my website. I work with dynamic web content everyday, so making a nice search
engine for orc/sco's wouldn't be to difficult...the time to do it could be a problem...
I've collected many of the orc/sco's that members of this list have sent to me and would
be happy to prime the pump with them...pending the author's approval of course...I just
am assuming that if someone post's an orc/sco to this list, they don't really care on
how it's used...correct me if I'm wrong...
Dustin
----Original Message-----
From: Stuart Felenstein [SMTP:stuartf@dimensional.com]
Sent: Friday, May 15, 1998 3:17 PM
To: csound@noether.ex.ac.uk
Subject: Compositions and recordings?
It seems that there is but a limited number of Csound compositions
around, at least made available on the web. I'm thinking there are at
three reasons why this is so
1) There are no other composers outside of the 5-6 that already have
posted.
2)Copyright infringement by making orcs and scos publicly avaiable
3)No effort has been made in this direction
Anyway it would be nice to hear more of the music and sounds being
created out there.
On another issue, are there recordings (cd's) that use Csound either as
part of various instruments or perhaps on it's own. I looked around
Frog Peak but didn't notice any cd's mentioning Csound.
Thanks
Stuart
stuartf@dimensional.com
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Date: Mon, 18 May 1998 08:26:57 -0400
To: Qian Chen , Csound ,
RWD@cableinet.co.uk
From: QATJD
Subject: Re: timbre shift
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Hi. I may be dreaming, and I don't know how it would be actualized, but
couldn't this be done by doing an analysis (pvoc, hetro, lpanal, etc -
probably pvoc) of both files and averaging them sample by sample by
averaging _each frame_ of spectral data with its counterpart in the other
file? Then you would be 'blending' the two spectra at a pvoc level of
resolution. You could then make it a weighted average with the weight
shifting from one file to the other over the 'note' time.
No?
Q
At 08:43 AM 5/9/98 -0700, Qian Chen wrote:
>Hi, Csounders,
>
>I have a question about timbre: is it possible to change one timbre
>into another one during playing? I do not like mix the two timbres
>and modify the amplitude of them. What I really want is to have the
>middle timbre of the two timbre and let the middle timbre between the
>two.
>
>I think there will be 3 conditions:
> sampled sound 1-> middle timbre sampled sound -> sampled sound 2
> sound generated by Csound -> sampled sound
> sampled sound -> sound generated by Csound
>
>Any comment is warmly welcomed.
>
>Thanks & Happy Csounding!!! :)
>
>
>
>
>==
>Qian Chen
>
>_________________________________________________________
>DO YOU YAHOO!?
>Get your free @yahoo.com address at http://mail.yahoo.com
>
>
>
>
thank you for your bandwidth
From: jpff@maths.bath.ac.uk
To: Rikeimu@worldnet.att.net
CC: csound@maths.ex.ac.uk
In-reply-to: <19980515222319.AAA20729@oemcomputer> (message from RIKEIMU on
Fri, 15 May 1998 18:24:07 -0500)
Subject: Re: New to Csound, need help.
BCC: jpff@maths.bath.ac.uk
References: <19980515222319.AAA20729@oemcomputer>
Date: Mon, 18 May 98 13:55:57 BST
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Source-Info: From (or Sender) name not authenticated.
>>>>> "RIKEIMU" == RIKEIMU writes:
RIKEIMU> I am new to Csound and I recently downloaded the Csound program file and
RIKEIMU> the Csound manual file.
RIKEIMU> When I attempted to open the files, I was asked what program I wanted to
RIKEIMU> use to open the files.
RIKEIMU> Please inform me what program I need in order to open the downloaded files.
Anything you like. Personally I always use emacs, but then I use
emacs for most things!
==John ff
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From: Hans Mikelson
To: "csound@noether.ex.ac.uk"
Subject: Composing
Date: Fri, 15 May 1998 21:11:24 -0500
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Hello,
I think I'm beginning to move from the realm of sound experiments to the
realm of sound composition so I suppose that it wouldn't hurt for me to
learn something about composing. There is a good web site with composing
information at:
http://www-personal.umich.edu/~fields/gems/0.htm
I thought the section on dramatic shape of a composition was good since with
Csound you are often working with collections of sound rather than just
musical notes.
Can anyone reccomend some other sites?
Bye,
Hans Mikelson
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From: jpff@maths.bath.ac.uk
To: Rikeimu@worldnet.att.net
Cc: csound@maths.ex.ac.uk
In-Reply-To: <19980515222319.AAA20729@oemcomputer> (message from RIKEIMU on
Fri, 15 May 1998 18:24:07 -0500)
Subject: Re: New to Csound, need help.
References: <19980515222319.AAA20729@oemcomputer>
Date: Mon, 18 May 98 13:55:57 BST
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>>>>> "RIKEIMU" == RIKEIMU writes:
RIKEIMU> I am new to Csound and I recently downloaded the Csound program file and
RIKEIMU> the Csound manual file.
RIKEIMU> When I attempted to open the files, I was asked what program I wanted to
RIKEIMU> use to open the files.
RIKEIMU> Please inform me what program I need in order to open the downloaded files.
Anything you like. Personally I always use emacs, but then I use
emacs for most things!
==John ff
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From: jpff@maths.bath.ac.uk
To: vind@generation.net
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In-Reply-To: <199805162108.RAA23151@bigbang.Generation.NET> (message from
David Vincelli on Sat, 16 May 1998 17:06:35 +0000)
Subject: Re: ENVEXT.EXE ?
References: <199805162108.RAA23151@bigbang.Generation.NET>
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Ho hum... it shoul;d be in csound_new.zip but does not seem to be! I
will look and see what I messed this time.
==John ff
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From: Riccardo Coen
To: csound@maths.ex.ac.uk
Subject: HRTF and doppler
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Regards to the list and its minds (at which I stare in amazement for over
two years now),
Does anybody know of a good way of adding a doppler effect post hrtf on
an audio signal? (does anybody knows of a good formula to represent the
doppler effect?)
thx,
/R
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Date: Mon, 18 May 1998 09:42:46 -0400
Original-To:
From: Steven Curtin
Subject: Re: realtime audio problems
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>Is there something I'm missing here, like some preferences that need to be
>reset or tweaked? I feel like a weenie whenever I do things the
old-fashioned
>way and just generate a soundfile.
I found I needed to specify much larger sound buffers than the defaults.
This is in the options section. This will affect how long it takes Csound
to respond to a MIDI note but you may not care about that (I don't).
Remember that at some point you will overload the ability of the computer
to do real time. Csound isn't very graceful about this- trim back some
voices or use a lower sample rate for quick auditions, then generate a file
during your lunch hour for the big production.
One other thing I found in the PC version- you must specify a sample rate
in the orc that the sound card can support, otherwise you will get an
"incompatible sample rate" error. Subdivisions of 44100 (22050, 11025)
are usually safe.
regards,
Steve C
--------------------------------------------------------------
Steven Curtin
http://www.emf.org/people_curtin.html
Lucent Technologies - Bell Labs Innovations
rm. 3C-208, 200 Laurel Ave S
Middletown, NJ 07748-4801 U S A
ph: (732)957-2996 fax: (732)957-6878
--------------------------------------------------------------
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From: Toby
Organization: Other than 12-tone
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To: Csound Mailing List
Subject: Re: oblique posts [in a topic far, far, away...]
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There is another way of putting this that
my dad told me when I was a kid. Sorry if
you are already familiar with it.
It seems that Achilles was having a discussion
with a tortise regarding their relative speeds.
The tortise proposed that if given a small head
start, he could win a foot race between them.
Achilles disagreed, but the tortise went on to
explain:
"When the race has begun I will be a short distance
ahead of you. After a period of time, you will
have traveled along the course to the point at which
I started. Some amount of time must elapse however
for this to occur, and during that time I will have
advanced some distance (however small) myself and will
therefore still be ahead of you. In this case it
can be seen that the circumstances are now the same
as when we started, and so the events will repeat
themselves. I will always remain some small distance
in the lead, and so must finish the course before you."
Achilles created a Csound piece in his frustration.
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Date: Mon, 18 May 1998 07:14:49 -0700
From: Toby
Organization: Other than 12-tone
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To: Csound Mailing List
Subject: Re: linux sound editors
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Csound and Cmix *are* the command driven sound
editors. Cmix is more like a graphic editor,
because it can operate on the sound in place.
It can even perform commands interactively. I
understand that the real-time sound output is
comming along.
I have read a description of linux-snd which
leads me to believe that it can be controlled
through lisp. I don't know the details:
http://ccrma-www.stanford.edu/CCRMA/Software/snd/snd.html
Toby
-There otta be a law-
Jim Stevenson wrote:
>
> Does anyone know of linux sound editors that are command driven?
>
> Thanks.
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From: Jon Christopher Nelson
Date: Mon, 18 May 98 09:23:03 -0600
To: David Vincelli
Subject: Re: ENVEXT.EXE ?
Cc: csound@maths.ex.ac.uk
References: <199805162108.RAA23151@bigbang.Generation.NET>
<355EA4D1.4CBD@hem.passagen.se>
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Rasmus wrote:
>You could have read the file with kread2 opcode if it had still
been >around (where did it go?), but that would be kind of silly,
since >the opcode rms can do the same task with no intermediate
step.
>Of course, for realtime, perhaps kread would have been faster?
You could also easily write the result of an rms opcode into a
function table with tablew if you want to store it as a function for
more optimized use in real-time.
regards,
Jon
Jon Christopher Nelson, Director
CEMI (Center for Experimental Music and Intermedia)
University of North Texas College of Music
P.O. Box 13887
Denton, TX 76203
USA
ph. (940) 369-7531
fax (940) 565-2002
jnelson@sndart.cemi.unt.edu
http://www.music.unt.edu/comp/jnelson.htm
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Subject: Re: HRTF and doppler
To: Csound mailing list
Date: Mon, 18 May 1998 11:19:31 -0400 (EDT)
From: Eli Brandt
In-Reply-To: from "Riccardo Coen" at May 18, 98 02:33:34 pm
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Riccardo Coen wrote:
> Does anybody know of a good way of adding a doppler effect post hrtf on
> an audio signal?
There's an example under "deltapi":
http://www.esm.rochester.edu/www/onlinedocs/Csound/CsOrcMod.html#deltap
> (does anybody knows of a good formula to represent the doppler effect?)
If your delay line would have to be cumbersomely long, it may be
okay to approximate the effect by just pitch-shifting the sound source:
http://www.astro.virginia.edu/~eww6n/physics/DopplerShift.html
--
Eli Brandt | eli+@cs.cmu.edu | http://www.cs.cmu.edu/~eli/
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From: Mike Berry
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Subject: Re: HRTF and doppler
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I think that you are going to have to add the doppler before the hrtf. Once
you have hrtf'ed something, it is in a sense in a different file format, since
it has already been correlated to a head. Thus adding something later is like
adding a sound after it reaches your ears.
As for doppler equations, you can just solve for the relative velocities of
the the emitter and listener. Then use the speed of sound in whatever medium
you are listening to convert the velocity to a ratio. This is the amount of
pitch shift you hear.
speed of sound + velocity
---------------------------- = ratio of pitch shift
speed of sound
You hear the pitch shift change as the relative velocity changes (like when
the object passes you and it shifts from a positive to negative velocity).
--
Mike Berry
mikeb@nmol.com
http://www.nmol.com/users/mikeb
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From: Stuart Felenstein
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Subject: Error message Perf-pass
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Can anyone tell me what
"perf-pass statements illegal in header blks"
means?
Thanks
Stuart
stuartf@dimensional.com
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Subject: Need Progrming assist (microtonal software)
Date: Mon, 18 May 98 23:29:55 -0000
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From: Drew Skyfyre
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Hello Everyone,
Microtonal theorist/writer/composer J. Monzo who hangs out on the
Alternative Tuning list
needs programming assistance with program he's working
on.Unfortunately,though I would love to help,my programming knowledge is
rudimentary.
So I thought I'd see if anyone here can help out.I'm extremely intrigued
by Monzo's idea and the sooner he can get it out,the better. It will be a
great way to work with microtones.
Monetary compensation is unfortunately not possible.Please get in touch
with Joseph if you can help.
Read below for details.
Subject: microtonal software
Sent: 5/17/98 20:35
Received: 5/18/98 09:06
From: Joseph L Monzo, monz@juno.com
To: steele@bom2.vsnl.net.in
Drew,
I was intrigued by your question in TD 1417.
Along with my book, I've been working (very
slowly) on microtonal software. I need help.
You interested?
I started writing it in Microsoft Visual Basic.
Mainly, it uses my lattice diagrams on the computer
screen, to compose music in step-time.
The only compensation I can pay is a contract
stipulating a percentage of future profits (which
is why I'm still working on it myself).
If you can't help but you know a programmer who
can, pass along the info.
Joseph L. Monzo
monz@juno.com
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Date: Mon, 18 May 1998 14:51:53 -0500
To: csound@maths.ex.ac.uk
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From: tolve
Subject: Re: Composing
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oh dear, now i have gone and ruffled some feathers. sorry. just to be
clear, i like books. and teachers too. and salt grains. each to be
evaluated on its own merits.
and think math and programming and music study are all valuable for
composing within csound.
just especially fond of artistic freedom.
tolve
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Date: Mon, 18 May 1998 17:37:04 -0400
From: Brandon Nelson
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Subject: note slides?
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I would like to create an MIDI instrument that is effectively monophonic, but
when it receives a new note that overlaps a note that is already playing, it
will slide to the new frequency. Does anyone have an idea how I can approach
this? I saw something around Christmastime about ihold making an instrument
monophonic, but if there is no overlap of MIDI events, I want the previous
note to release normally.
Brandon
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Date: Mon, 18 May 1998 23:48:18 +0100
From: Richard Dobson
Organization: Composers Desktop project
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To: QATJD
Cc: Qian Chen , Csound
Subject: Re: timbre shift
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Oh yes, it is not only possible, it has been done, but by Trevor Wishart, for CDP
(end of commercial plug), using pvoc analysis files. So prolific has he been that I
have never had cause to look at the pvoc support opcodes in Csound, but it seems
that the new opcodes by Richard Karpen should do quite a lot of what you want. The
averaging you describe might need a new opcode, however.
Richard Dobson
QATJD wrote:
> Hi. I may be dreaming, and I don't know how it would be actualized, but
> couldn't this be done by doing an analysis (pvoc, hetro, lpanal, etc -
> probably pvoc) of both files and averaging them sample by sample by
> averaging _each frame_ of spectral data with its counterpart in the other
> file? Then you would be 'blending' the two spectra at a pvoc level of
> resolution. You could then make it a weighted average with the weight
> shifting from one file to the other over the 'note' time.
> No?
> Q
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Date: Mon, 18 May 1998 17:46:06 -0700
From: Toby
Organization: Other than 12-tone
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To: stuartf@dimensional.com
Cc: csound@maths.ex.ac.uk
Subject: Re: Error message Perf-pass
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You may only have k and x rate operators
within an instrument definition. You did this:
sr = 44100
kr = 4410
ksmps = 10
nchnls = 1
gamyvar = 0 ; Offending line in 'header block'
instr 1
...
...
...
Where the '=' operator runs at the rate
of the variable that it is being used against.
In this case it is running at a-rate. Use:
gamyvar init 0
Instead.
Toby
-There otta be a law-
Stuart Felenstein wrote:
>
> Can anyone tell me what
>
> "perf-pass statements illegal in header blks"
>
> means?
>
> Thanks
> Stuart
> stuartf@dimensional.com
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From: Hans Mikelson
To: Csound , Riccardo Coen
Subject: Re: HRTF and doppler
Date: Mon, 18 May 1998 20:20:14 -0500
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Hi there,
Here is a part of my gardverb orchestra which does some doppler effects.
The iex & iey are the location of the ear, isx & isy is the x, y location of
the source and iwx & iwy are the x, y location of two walls of a rectangular
room (the other two walls are at 0,0). Instrument 18 allows for a rotation
of the source (ie. a rotating speaker or a pesky misquito) Hmmm looks like i
forgot to make any comments. I'll do it now and hopefully I won't screw up
anything. OK thats the comments. I didn't add them to 18.
Thoughts on 3D sound:
I had these all written down on a scrap of paper somewhere but now its gone.
I'll try to remember.
1. Reverb - do the reverb before you adjust the amplitude. That way distant
sounds will have more reverb.
2. Volume - Sound waves are quieter the further away they come from.
Supposedly 1/r^2 but 1/(r+1) seems better to me. That way the sound does
not go to infinity when it gets close and does not fade to nothing so soon.
3. Doppler - Delay lines work well for simulating the pitch shift due to
doppler effects.
4. Air absorption - air absorbs the high frequencies more than the low
frequencies. Use a low pass filter on distant sounds.
5. HRTF - Sound bouncing off the ears gives a clue to where it is coming
from. Apply the HRTF.
6. Early reflections - Echos from the nearby walls give a clue to the size
of the place.
That's all I can remember. Please correct any of my mistakes!
Good luck,
Hans Mikelson
;---------------------------------------------------------------------------
-------
; 2D Echos
;---------------------------------------------------------------------------
-------
instr 17
idur = p3 ; Duration
iamp = p4 ; Amplitude
iex = p5 ; Ear X coordinate
iey = p6 ; Ear Y coordinate
isx = p7 ; Source X coordinate
isy = p8 ; Source Y coordinate
iwx = p9 ; Wall X coordinate
iwy = p10 ; Wall Y coordinate
iinch = p11 ; Input Channel
ioutch1 = p12 ; Output Channel 1
ioutch2 = p13 ; Output Channel 2
ipi = 3.14159265 ; Pi
inv4pi = 1/4/3.14159265 ; 1 over 4*pi
kamp linseg 0, .002, iamp, idur-.004, iamp, .002, 0 ; Declick evelope
ain zar iinch ; Read from an audio channel
iemsx = iex-isx ; Delta X
iemsy = iey-isy ; Delta Y
iepsx = iex+isx ; Echo from wall X0
iepsy = iey+isy ; Echo from wall Y=0
iw2x = 2*iwx-iex-isx ; Echo from wall Wx
iw2y = 2*iwy-iey-isy ; Echo from wall Wy
iang0 = atan(iemsx/iemsy) ; Angle of direct sound
idist0 = sqrt(iemsx*iemsx+iemsy*iemsy); Distance to sound
iang1 = atan(iemsx/iepsy) ; Angle from wall Y=0
idist1 = sqrt(iemsx*iemsx+iepsy*iepsy); Distance from wall Y=0
iang2 = atan(iemsy/iepsx) ; Angle from wall X=0
idist2 = sqrt(iemsy*iemsy+iepsx*iepsx); Distance from wall X=0
iang3 = atan(iemsx/iw2y) ; Angle from wall Wx
idist3 = sqrt(iemsx*iemsx+iw2y*iw2y) ; Distance from wall Wx
iang4 = atan(iemsy/iw2x) ; Angle from wall Wy
idist4 = sqrt(iemsy*iemsy+iw2x*iw2x) ; Distance from wall Wy
adel0 delay ain/(1+idist0/2), idist0/333 ; Speed of sound in meters/sec
adel1 delay ain/(1+idist1/4), idist1/333 ; The further away a sound is
adel2 delay ain/(1+idist2/4), idist2/333 ; the quieter it is. But not
adel3 delay ain/(1+idist3/4), idist3/333 ; too quiet!
adel4 delay ain/(1+idist4/4), idist4/333
;al1, ar1 hrtfer adel1, kang1, 0, "hrtfcomp" ; Apply optional head related
transfer
;al2, ar2 hrtfer adel2, kang2, 0, "hrtfcomp" ; function if you want it to
really
;al3, ar3 hrtfer adel3, kang3, 0, "hrtfcomp" ; render slowly and be full
of clicks.
;al4, ar4 hrtfer adel4, kang4, 0, "hrtfcomp"
al0 = adel0*sqrt( (iang0+ipi)*inv4pi) ; Compute left and right
speaker
ar0 = adel0*sqrt(1-(iang0+ipi)*inv4pi) ; volume from the angles.
al1 = adel1*sqrt( (iang1+ipi)*inv4pi)
ar1 = adel1*sqrt(1-(iang1+ipi)*inv4pi)
al2 = adel2*sqrt( (iang2+ipi)*inv4pi)
ar2 = adel2*sqrt(1-(iang2+ipi)*inv4pi)
al3 = adel3*sqrt( (iang3+ipi)*inv4pi)
ar3 = adel3*sqrt(1-(iang3+ipi)*inv4pi)
al4 = adel4*sqrt( (iang4+ipi)*inv4pi)
ar4 = adel4*sqrt(1-(iang4+ipi)*inv4pi)
aoutl = (al0+al1+al2+al3+al4)*kamp ; Sum and declick
aoutr = (ar0+ar1+ar2+ar3+ar4)*kamp
outs aoutl, aoutr ; Output results
zaw aoutl, ioutch1 ; Output to audio
channels
zaw aoutr, ioutch2
endin
;---------------------------------------------------------------------------
-------
; 2D Echos Rotating
;---------------------------------------------------------------------------
-------
instr 18
idur = p3
iamp = p4
kex init p5
key init p6
isx init p7
isy init p8
iwx init p9
iwy init p10
iinch = p11
ioutch1 = p12
ioutch2 = p13
ipi = 3.14159265
inv4pi = 1/4/3.14159265
imaxdel = sqrt(iwx*iwx+iwy*iwy)*2
kamp linseg 0, .002, iamp, idur-.004, iamp, .002, 0
kramp linseg .3, .2, 1, p3/2-.2, .3, .2, 1, p3/2-.2, .5
ks1 oscil 5, kramp, 1
kc1 oscil 5, kramp, 1, .25
ksx = kc1+isx
ksy = ks1+isy
ain zar iinch
kemsx = kex-ksx
kemsy = key-ksy
kepsx = kex+ksx
kepsy = key+ksy
kw2x = 2*iwx-kex-ksx
kw2y = 2*iwy-key-ksy
kang0 = atan(kemsx/kemsy)
kdist0 = sqrt(kemsx*kemsx+kemsy*kemsy)
kang1 = atan(kemsx/kepsy)
kdist1 = sqrt(kemsx*kemsx+kepsy*kepsy)
kang2 = atan(kemsy/kepsx)
kdist2 = sqrt(kemsy*kemsy+kepsx*kepsx)
kang3 = atan(kemsx/kw2y)
kdist3 = sqrt(kemsx*kemsx+kw2y*kw2y)
kang4 = atan(kemsy/kw2x)
kdist4 = sqrt(kemsy*kemsy+kw2x*kw2x)
adeli0 vdelay ain, kdist0/.333, imaxdel
adeli1 vdelay ain, kdist1/.333, imaxdel
adeli2 vdelay ain, kdist2/.333, imaxdel
adeli3 vdelay ain, kdist3/.333, imaxdel
adeli4 vdelay ain, kdist4/.333, imaxdel
adel0 = adeli0/(1+kdist0/4)
adel1 = adeli1/(1+kdist1/4)
adel2 = adeli2/(1+kdist2/4)
adel3 = adeli3/(1+kdist3/4)
adel4 = adeli4/(1+kdist4/4)
;al1, ar1 hrtfer adel1, kang1, 0, "hrtfcomp"
;al2, ar2 hrtfer adel2, kang2, 0, "hrtfcomp"
;al3, ar3 hrtfer adel3, kang3, 0, "hrtfcomp"
;al4, ar4 hrtfer adel4, kang4, 0, "hrtfcomp"
al0 = adel0*sqrt( (kang0+ipi)*inv4pi)
ar0 = adel0*sqrt(1-(kang0+ipi)*inv4pi)
al1 = adel1*sqrt( (kang1+ipi)*inv4pi)
ar1 = adel1*sqrt(1-(kang1+ipi)*inv4pi)
al2 = adel2*sqrt( (kang2+ipi)*inv4pi)
ar2 = adel2*sqrt(1-(kang2+ipi)*inv4pi)
al3 = adel3*sqrt( (kang3+ipi)*inv4pi)
ar3 = adel3*sqrt(1-(kang3+ipi)*inv4pi)
al4 = adel4*sqrt( (kang4+ipi)*inv4pi)
ar4 = adel4*sqrt(1-(kang4+ipi)*inv4pi)
aoutl = (al0+al1+al2+al3+al4)*kamp
aoutr = (ar0+ar1+ar2+ar3+ar4)*kamp
outs aoutl, aoutr
zaw (adeli0+adeli1+adeli2), ioutch1
zaw (adeli0+adeli3+adeli4), ioutch2
endin
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From: Paul Winkler
To: csound@maths.ex.ac.uk
Subject: HTML list archive, again
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Date: Mon, 18 May 1998 19:15:07 PDT
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I'm pleased to report that James (last name?) has the old list archive
www site up again at http://www.maths.ex.ac.uk/~james/csound_list/ . It
currently has messages from now back to April 18. James confirmed to me
that something is not right with the archive software he has-- it won't
let him update. I would help with this but I don't think I have any way
to do it either. So updates will likely be infrequent, but anyway it's
nice to have the recent threads up on the web right now.
Also, I want to say sorry for getting confused about who was responsible
for that archive. I don't know where I got the idea that it was someone
named Dave Topper (sp?). Now I'm wondering who Dave T. is?
As for older messages, I am going to go ahead and divide the past year's
worth of messages into several separate archives and zip up each one.
They'll probably end up on either the montreal or bath ftp sites
(there's no real reason to clutter up both, is there?). I figure I'll
just go with .zip files since nearly everyone has some way to decompress
that... I'll skip other compressed formats, unless there are objections?
I won't get around to this for another week, probably.
regards,
PW
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From: Paul Winkler
To: csound@maths.ex.ac.uk
Subject: Re: realtime audio problems
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Date: Mon, 18 May 1998 19:23:39 PDT
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Times change, eh? We're a pretty lucky bunch, I think. I don't think
realtime output was intended at all when csound was initially
designed...
"During your lunch hour?? These kids today! Boy, I remember when Csound
took FIVE hours on a NeXT pizza-box to render my composition!"
"Well, _I_ remember when it took all NIGHT to render a Music IV piece on
the campus mainframe when no-one else was using it, and I had to make
sure not to lose or damage any of my punchcards beforehand, and then the
next day I had to drive over to bell labs with the digital tape and get
them to convert it to analog reels which I could listen to..."
etc. etc.
>To: csound@maths.ex.ac.uk
>Date: Mon, 18 May 1998 09:42:46 -0400
>From: Steven Curtin
>Subject: Re: realtime audio problems
>
(snip)
>Remember that at some point you will overload the ability of the
computer
>to do real time. Csound isn't very graceful about this- trim back some
>voices or use a lower sample rate for quick auditions, then generate a
file
>during your lunch hour for the big production.
(snip)
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From: Michael Gogins
To: csound@maths.ex.ac.uk, =cw4t7abs
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Subject: Re: Creamware (!Really)
Date: Mon, 18 May 1998 22:49:57 -0400
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>>This is a very intriguing development about which I have definite
comments.
>>
>>In the first place, I firmly believe that the future of music lies
strictly
>>in software, the only hardware being the computer itself, the control
>>interface, the digital to analog converter, the amplifier, and the
>>loudspeakers.
>
>uLtra l!m!td.
>-
>dze future ov muz!k l!ez !n s!lensz
>This is a very intriguing development
I agree, actually. My software is called Silence.
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From: Michael Gogins
To: stuartf@dimensional.com, csound@maths.ex.ac.uk
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Subject: Re: Compositions and recordings?
Date: Mon, 18 May 1998 23:05:18 -0400
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There are a large number of recordings made using Csound. Usually, these are
on compilations of computer music or electroacoustic music. Usually, Csound
is but one of the instruments used in the pieces. Usually, only some of the
pieces on any given disc use Csound. Frequently, Csound is used but not
credited - the piece is for "computer" or "tape." Hence, there are not any
"pure Csound" recordings that I know of.
>On another issue, are there recordings (cd's) that use Csound either as
>part of various instruments or perhaps on it's own. I looked around
>Frog Peak but didn't notice any cd's mentioning Csound.
>
>Thanks
>Stuart
>stuartf@dimensional.com
>
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From: Michael Gogins
To: Hans Mikelson , csound@maths.ex.ac.uk
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Subject: Re: Composing
Date: Mon, 18 May 1998 23:22:55 -0400
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Check out Larry Solomon's music theory and composition site.
I think a good course in music history, with plenty of critical listening
over a variety of styles, would be an excellent beginning to studying
composition. I used to write fiction and poetry, and I often felt that the
best writers were those who were most widely read, not those who had taken
the most creative writing workshops. Music, however, has a more definite
technique in some styles, it is a more technical field in some senses and in
those styles.
I'm just saying it's good to know when sonata-variation form started, what
it sounded like compared to the earlier forms, and when it mutated into
something else and what that sounds like. That way, you don't get hung up
thinking you HAVE to obey thus and so a set of rules. The rules change from
time to time, for good reason. At any given time, nobody much knows what
they really are, critics and analysts figure that out later after composers
quit playing with them.
Nevertheless, a sense of functional tonal harmony, the rudiments of voice
leading, how to generate a bridge to get from one section of a piece to
another with or without a jar, as desired, and the basic principles of
orchestration (more basic than instrument ranges: how to arrange choirs of
instruments without muddying the sound) are pretty basic and have persisted
for centuries.
More advice: listen to your own pieces very often, until you can't stand
them. The particular thing that you can't stand - don't do that again. The
particular thing that you can stand, that grabs you, that compels
attention - cut it free of the detritus and let it work by itself, or
against a better background, or make a variation of it in another context.
Yet more advice: generate scraps of this and that. Cut and paste, mix and
match. In other words, freely generate acoustical and musical material, and
then in a more objective and disciplined mode, organize that material.
Make sketches of what you hear, if you can notate it, or just draw what it
sounds like if you can't - then try to put together orcs and scos, or
sections of soundfiles, that realize that sketch. Very hard!
-----Original Message-----
From: Hans Mikelson
To: csound@noether.ex.ac.uk
Date: Friday, May 15, 1998 10:16 PM
Subject: Composing
>Hello,
>
>I think I'm beginning to move from the realm of sound experiments to the
>realm of sound composition so I suppose that it wouldn't hurt for me to
>learn something about composing. There is a good web site with composing
>information at:
>
>http://www-personal.umich.edu/~fields/gems/0.htm
>
>
>I thought the section on dramatic shape of a composition was good since
with
>Csound you are often working with collections of sound rather than just
>musical notes.
>
>Can anyone reccomend some other sites?
>
>Bye,
>Hans Mikelson
>
>
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From: Hawkeye Parker
To: csound@maths.ex.ac.uk
Subject: ?Scot: where can I get it for PC?
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******I've tried to post this to the mailing list one time already, but
it didn't seem to work (not in the recent archive); this is the first
post i've ever made, so I'm not at all sure that i'm doing it correctly.
Could someone *please* respond to this for me on May 19, just as a test,
even if you can't answer my question?
thankyou, thankyou, thankyou**********
Hello good csound people:
I'm obviously very newbie and missing some obvious point. The csound
manual describes "Scot" as:
...a language for describing scores in a fashion that parallels
traditional music notation. Scot is
also the name of a program which translates scores written in this
language into standard numeric
score format so that the score can be performed by Csound. The result of
this translation is placed
in a file called score. A score file written in Scot (named file.sc,
say) can be sent through the
translator by the command
scot file.sc
I thought I downloaded all the necessaries, but don't find any
'scot.exe' anywhere. I've been back and forth to various ftp sites, but
can't find it there. What I really want is anyway to make the writing
of a score file more like writing in 'traditional music notation.'
Thanks so much in advance. Csound is amazing!
Hawkeye Parker
hawkeye_pa@hotmail.com
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From: s.zambon@rdn.it
To: csound@maths.ex.ac.uk
Date: Tue, 19 May 1998 09:06:37 +0000
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Subject: Re: illegal opcode
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>I was referring to the manual from MIT which is the one by Barry.
>It is that manual which lives on my shelf.
> Yes it was there, but as the spectral opcodes do the same task
>better, it was removed.
>==John ffitch
I ask for a little indulgence if it is wrong, but from
the manual - help format for windows - I understand:
- octdown converts a, or k, signals to d signals
- noctdft converts d signals to w signals
- spectral opcodes use the w signals
- octdown + noctdft are the only opcodes which produce
w-signals and the spectral opcodes are the only which
can use them (are specaddm, specfilt, specptrk, ecc. the
spectral opcodes?).
Such the spectral opcodes seem inserviceables without
octdown and noctdft.
I have ignored something?
(I am interested in particular to specptrk, for check
the base frequency of the samples).
Thanks
Silvano Zambon
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From: Hawkeye Parker
To: csound@maths.ex.ac.uk
Subject: RE: ?Scot: where can I get it for PC?: THANK YOU
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Date: Tue, 19 May 1998 03:57:53 PDT
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Thanks one and all: I'm happily confident of my mailing list presence
and my Scot problems are solved.
Truly, many hearty thanks.
Hawkeye
******I've tried to post this to the mailing list one time already, but
it didn't seem to work (not in the recent archive); this is the first
post i've ever made, so I'm not at all sure that i'm doing it correctly.
Could someone *please* respond to this for me on May 19, just as a test,
even if you can't answer my question?
thankyou, thankyou, thankyou**********
Hello good csound people:
I'm obviously very newbie and missing some obvious point. The csound
manual describes "Scot" as:
...a language for describing scores in a fashion that parallels
traditional music notation. Scot is
also the name of a program which translates scores written in this
language into standard numeric
score format so that the score can be performed by Csound. The result of
this translation is placed
in a file called score. A score file written in Scot (named file.sc,
say) can be sent through the
translator by the command
scot file.sc
I thought I downloaded all the necessaries, but don't find any
'scot.exe' anywhere. I've been back and forth to various ftp sites, but
can't find it there. What I really want is anyway to make the writing
of a score file more like writing in 'traditional music notation.'
Thanks so much in advance. Csound is amazing!
Hawkeye Parker
hawkeye_pa@hotmail.com
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Date: Tue, 19 May 1998 06:52:44 -0400 (EDT)
From: Piche Jean
Subject: Re: HTML list archive, again
To: Paul Winkler
Cc: csound@maths.ex.ac.uk
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>
> As for older messages, I am going to go ahead and divide the past year's
> worth of messages into several separate archives and zip up each one.
> They'll probably end up on either the montreal or bath ftp sites
> (there's no real reason to clutter up both, is there?). I figure I'll
> just go with .zip files since nearly everyone has some way to decompress
> that... I'll skip other compressed formats, unless there are objections?
>
Paul,
Perhaps, I have missed something here, but jpff already does that and you
can find the archive at both bath and montreal... I am not certain how
far back it goes though...
best
_____________________________________________________________________________
Jean Piche
Musique - UdM
pichej@ERE.Umontreal.ca
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From: jpff@maths.bath.ac.uk
Subject: Re: Compositions and recordings?
To: csound@maths.ex.ac.uk
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Message written at 18 May 1998 22:25:56 +0100
--- Copy of mail to stuartf@dimensional.com ---
In-reply-to: <355CA2B5.5637@dimensional.com> (message from Stuart Felenstein
on Fri, 15 May 1998 14:16:53 -0600)
References: <355CA2B5.5637@dimensional.com>
I am just finishing a CD of music from the University of Bath School
of Mathematical Scienes; it has 14 tracks, all but 4 written with
Csound. The CD will be available soon -- it is called "Singing in the
Bath".
I think there is a copyright problem, and some people care about it
more than others. On the otherhand I have a number of CDs which use
Csound in the creation. I have seen compositions by certainly more
than 6 people using Csound -- but I suppose there is no catalog. At
ICMC'96 in Hong Kong we did a count of the number of pieces in the
concerts which said they were written with Csound, and there were a
lot. Or are you thinking of commercial CDs?
==John ffitch
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