| Using several devices, whether in and out or just out, raises the question of
unequal sample rates due to slight quartz freq differences between soundcards
: how was this taken into account ?
Steve Kersten wrote:
>...
> They enable OSS/linux users with two soundcards to choose one card for
> audio input and the other for output.
>...
> One more fine thing I'd try to implement is four (and maybe more)
> channel real-time output using two (ore more) OSS supported devices.
--
Greetings,
Michel
.........................................................................
Michel Jullian Directeur General email mj@exbang.com
Exbang Industries S.A.
Mas Chauvain route de Villeneuve tel +33(0) 499 529 878
Maurin 34970 Lattes France fax +33(0) 499 529 879
.........................................................................
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Congratulations for your magazine.
Concerning your article about using Csound with a midi sequencer, there is
something blatantly wrong with your setup : like any synthesizer Csound should
be MIDI-connected in series with your sequencer, not in parallel. This way you
can re-record or edit any fragment of your sequence in real time (e.g play the
bit you're editing in loop until you get it right).
If you find this series setup augments latency unbearably (which I don't think
it will), use your parallel setup for recording your first take in real time
and then use the series setup for mouse editing.
Hans Mikelson wrote:
>...
> Real-time: Using Midi Sequencers with Csound by Hans Mikelson
>...
--
Greetings,
Michel
.........................................................................
Michel Jullian Directeur General email mj@exbang.com
Exbang Industries S.A.
Mas Chauvain route de Villeneuve tel +33(0) 499 529 878
Maurin 34970 Lattes France fax +33(0) 499 529 879
.........................................................................
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Using several devices, whether in and out or just out, raises the question of
unequal sample rates due to slight quartz freq differences between soundcards
: how was this taken into account ?
Steve Kersten wrote:
>...
> They enable OSS/linux users with two soundcards to choose one card for
> audio input and the other for output.
>...
> One more fine thing I'd try to implement is four (and maybe more)
> channel real-time output using two (ore more) OSS supported devices.
--
Greetings,
Michel
.........................................................................
Michel Jullian Directeur General email mj@exbang.com
Exbang Industries S.A.
Mas Chauvain route de Villeneuve tel +33(0) 499 529 878
Maurin 34970 Lattes France fax +33(0) 499 529 879
.........................................................................
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Congratulations for your magazine.
Concerning your article about using Csound with a midi sequencer, there is
something blatantly wrong with your setup : like any synthesizer Csound should
be MIDI-connected in series with your sequencer, not in parallel. This way you
can re-record or edit any fragment of your sequence in real time (e.g play the
bit you're editing in loop until you get it right).
If you find this series setup augments latency unbearably (which I don't think
it will), use your parallel setup for recording your first take in real time
and then use the series setup for mouse editing.
Hans Mikelson wrote:
>...
> Real-time: Using Midi Sequencers with Csound by Hans Mikelson
>...
--
Greetings,
Michel
.........................................................................
Michel Jullian Directeur General email mj@exbang.com
Exbang Industries S.A.
Mas Chauvain route de Villeneuve tel +33(0) 499 529 878
Maurin 34970 Lattes France fax +33(0) 499 529 879
.........................................................................
dupswapdrop: the music-dsp mailing list and website
http://shoko.calarts.edu/~glmrboy/musicdsp/music-dsp.html
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Date: Sun, 04 Jul 1999 10:02:59 -0400
To: Sean Costello
From: Marc 3 Poirier
Subject: Re: Csound suggestion
Cc: csound@maths.ex.ac.uk
In-Reply-To: <3779413B.50D7C8A8@seanet.com>
References: <002301bebc2c$596189e0$de1d883e@default>
<002301bebc2c$596189e0$de1d883e@default>
<3.0.6.32.19990629165314.007a0c60@virtu.sar.usf.edu>
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I tried this & it didn't quite work. This was my SCO file:
f 0 0
f 0 60
f 0 120
f 0 180
i1 0 10
I should've gotten progress messages every minute for 3 minutes, but after
an hour & a half, I hadn't gotten any & Csound finally finished writing the
note. The resulting note, which should have been 10 seconds long, was 3
minutes long with the last 2:50 being silence. Did I do this wrong or
something?
Thanks,
Marc Poirier
At 02:57 PM 6/29/99 -0700, Sean Costello wrote:
>Marc 3 Poirier wrote:
>>
>> Would it be possible to add a feature to Csound that gave
percent-done
>> message for each note created? That would be such a wonderful little bonus
>> feature. I tend to create very computationally complex instruments that
>> often take hours to be written into a sound file & it would be so helpful
>> sometimes to have some clue as to how long a particular note will be going
>> for.
>
>You could put statements into your score file like:
>
>f 0 1
>f 0 2
>f 0 3
>f 0 4
>...
>
>This will print out the progress of the file at a given point - in the above
>example, every second.
>
>Sean Costello
>
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Date: Sun, 04 Jul 1999 17:51:08 +0200
From: Josep M Comajuncosas
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Hi all,
I=B4ve been having some problems while trying to MIDIfy one of my
instruments. I require to extend the note by irel seconds, and I should
then use xtratim. But how do I define the overall volume envelope? with
linsegr or linenr it seems that the note will be extended even more,
according to the release time of that envelope generator. I couldn=B4t
find any reference to the "irind" flag which in theory should allow
linenr and linsegr work on extended notes without extending them by
themselves...or something like that.
Any idea?
Thnaks in advance!
Josep M
--
Josep M Comajuncosas
C/ Circumval.lacio 75 08790 Gelida - Penedes
Catalunya - SPAIN
home phone : 93 7792243 / 00 34 3 7792243
Csound page at http://members.tripod.com/csound/
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Date: Sun, 04 Jul 1999 17:52:51 +0200
From: Josep M Comajuncosas
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Great Hans! I am really impressed by your hard work. I enjoyed reading
the synthesis article. I=B4ll try to
improve my previous CA generator taking some ideas of it. Lots of
interesting stuff in this release.
Congratulations, please keep on working in it! I think I=B4ll have my
clarinet model ready soon. I=B4ll make an article for your magazine then.
Hans Mikelson wrote:
> Greetings,
>
> The summer issue of Csound Magazine is now complete and available at:
>
> http://www.werewolf.net/~hljmm/Ezine/
--
Josep M Comajuncosas
C/ Circumval.lacio 75 08790 Gelida - Penedes
Catalunya - SPAIN
home phone : 93 7792243 / 00 34 3 7792243
Csound page at http://members.tripod.com/csound/
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From: Steve Kersten
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Michel Jullian wrote:
> Using several devices, whether in and out or just out, raises the question of
> unequal sample rates due to slight quartz freq differences between soundcards
> : how was this taken into account ?
Not at all. But I believe that's not a driver related problem and
applies to any application using more than one sound device at a time.
The solution would be the use of a multi-i/o-card (e.g. Event Gina,
Emagic Audiowerk, ...), but (manufacturer's) support for such devices is
poor under Linux; at least as far as I know.
Regards, Steve.
--
[ steve-k@gmx.net ]
------------------------------------------------
[ http://w3.to/K-Hornz ]
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Michel Jullian wrote:
> Using several devices, whether in and out or just out, raises the question of
> unequal sample rates due to slight quartz freq differences between soundcards
> : how was this taken into account ?
Not at all. But I believe that's not a driver related problem and
applies to any application using more than one sound device at a time.
The solution would be the use of a multi-i/o-card (e.g. Event Gina,
Emagic Audiowerk, ...), but (manufacturer's) support for such devices is
poor under Linux; at least as far as I know.
Regards, Steve.
--
[ steve-k@gmx.net ]
------------------------------------------------
[ http://w3.to/K-Hornz ]
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Date: Sun, 4 Jul 99 17:53:57 BST
From: jpff@maths.bath.ac.uk
Subject: Re: List digest
To: csound@maths.ex.ac.uk
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Message written at 3 Jul 1999 17:12:47 +0100
--- Copy of mail to mpoirier@virtu.sar.usf.edu ---
there is an unoficial digest form of csound, run my me. It runs daily
at 13:20 UK time. It does have two disadvantages
1) Some messages get repeated if they are sent to me and teh list
2) If you join it and unsubscribe from teh csoudn list, you cannot
post messages as part of teh anti-spam regime. I can forward messages
to teh group of course in that case.
==John ffitch
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Date: Sun, 4 Jul 99 17:53:30 BST
From: jpff@maths.bath.ac.uk
Subject: Re: wgpluck bug (?)
To: csound@maths.ex.ac.uk
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Message written at 3 Jul 1999 17:06:40 +0100
--- Copy of mail to lt@westnet.com ---
>>>>> "Larry" == Larry Troxler writes:
Larry> Looks like in wgpluck (pluck.c), the exitation signal is simply added to
Larry> the output, without being introduced into the waveguide, as what appears
Larry> to be done correctly in wgpluck2 (repluck.c).
It was a surprise to me to discover the audio signal input in wgpluck
and i could not work out what the code did with it. The code for this
opcode is really ina form of C++, which I (personally0 find hard to
read.
Larry> History on these two opcodes, anyone? Why are there two different ones?
Larry> Is "wgpluck" considered obsolete/buggy and left in for compatibility?
Larry> Should I submit a patch to fix this bug?
Actually teh two opcodes were developed totally independently.
wgpluck was written by Mike cassey at MIT. i was responsibel for
wgpluck2, which was really an experiment it whether i could understand
waveguides. the excitation signal idea came to be one evening when
dreaming about bowed strings, and Richard B. encouraged me to
implement it, as something similar is used in his PhD thesis work.
There are problems in wgpluck2 as I use a mixture of oversampling and
teh like, and so ther are somne intonation problems. I understood
that wgpluck did not have those problems, but I never worked out how
to use it.
Larry> Incidently, it is only by accident that I discovered this, since it is
Larry> not clear from the doc for wgpluck that the "aexcite" param can be zero
Larry> (why isn't it optional then), if you just want an ideal pluck
Larry> excitation. It isn't very clear the way it's doc'd, I thought at first
Larry> that aexcite was a "pluck" signal that would be applied to the waveguide
Larry> at the pluck point. (How can I submit a patch to the manual?)
Sounds liek a good idea. The documentation, ai seem to remember, was
hacked together by me reading teh code 9see above) and if someone has
understood it that seems altogether a good idea.
==John ffitch
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From: pete moss
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To: Marc 3 Poirier , csound@maths.ex.ac.uk
Subject: Re: Csound suggestion
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<002301bebc2c$596189e0$de1d883e@default>
<3.0.6.32.19990629165314.007a0c60@virtu.sar.usf.edu> <3.0.6.32.19990704100259.007ad100@virtu.sar.usf.edu>
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what the f0 messages are doing is correct. the times indicated in the
f0 lines are file time, not real time. thus, your 10 second sound will
be extended with silence to 3 minutes. if your i statement was
i1 0 180 ;or longer
then it would not have silence added to the end.
as for why it takes you 1.5 hours to render this, either you are using a
very slow computer or have a very complex sound, or both.
if you want this to work the way was suggested, try this
i1 0 10
f0 3
f0 6 ;; these times must be less than the length of the piece or it
f0 9 ;; will be padded with silence at the end
:P
Marc 3 Poirier wrote:
>
> I tried this & it didn't quite work. This was my SCO file:
>
> f 0 0
> f 0 60
> f 0 120
> f 0 180
>
> i1 0 10
>
> I should've gotten progress messages every minute for 3 minutes, but after
> an hour & a half, I hadn't gotten any & Csound finally finished writing the
> note. The resulting note, which should have been 10 seconds long, was 3
> minutes long with the last 2:50 being silence. Did I do this wrong or
> something?
>
> Thanks,
> Marc Poirier
>
> At 02:57 PM 6/29/99 -0700, Sean Costello wrote:
> >Marc 3 Poirier wrote:
> >>
> >> Would it be possible to add a feature to Csound that gave
> percent-done
> >> message for each note created? That would be such a wonderful little bonus
> >> feature. I tend to create very computationally complex instruments that
> >> often take hours to be written into a sound file & it would be so helpful
> >> sometimes to have some clue as to how long a particular note will be going
> >> for.
> >
> >You could put statements into your score file like:
> >
> >f 0 1
> >f 0 2
> >f 0 3
> >f 0 4
> >...
> >
> >This will print out the progress of the file at a given point - in the above
> >example, every second.
> >
> >Sean Costello
> >
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Date: Sun, 04 Jul 1999 23:39:16 +0100
From: KH
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To: "csound@maths.ex.ac.uk"
Subject: Re: Csound Magazine Summer 1999
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Bravo
Great Issue Hans, thanks. By the way ,is it possible to download it so
to read it
Offline??
KH
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From: "Job M. van Zuijlen"
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To: Csound List
Subject: Re: AIF VS WAV
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Thanks for everyone who corrected me. I knew there was some Windows
multimedia format that could not be used on the Mac, but .wav isn't the
one (it used to be .avi video files, but that may have changed as well
;-)
Job van Zuijlen
"Job M. van Zuijlen" wrote:
>
> I thought (Mac users please correct me) that .wav files cannot be read
> on the Mac. |