|
Has anyone noticed problems with pvoc on the Mac? I have tried both the
"Mills" release and my own copy of version 3.46 code that I compiled on
the Mac and not having good results with the resynthesis.
I took the analysis that I did using the Mills release on the Mac and ran
the same orch and score and .pvoc file on my SGI and got good results, so
I'm assuming that if there's a problem it could be with the pvoc ugen code
and not the pvanal code. The resulting resynthesis on the Mac has
extraneous high frequency components and is somewhat garbled.
If anyone else has notice this, I'd be interested in knowing that. If not,
I'll try a few more tests to make sure I'm not imagining things!
Best,
Richard Karpen
=====================================================
email: karpen@u.washington.edu
www: http://weber.u.washington.edu/~karpen
=====================================================
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Date: Sun, 05 Oct 1997 23:11:04 +0000
Subject: Re: pvoc on Mac
From: "M. Ray McFerron"
To: csound@maths.ex.ac.uk
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I haven't had any problems with pvoc on the MILLS version. I'm interested
to know some more specifics on your problems.
M. Ray McFerron
----------
> From: Richard Karpen
> To: csound@maths.exeter.ac.uk
> Subject: pvoc on Mac
> Date: Sun, 05 Oct 1997 17:40:24 -0700 (PDT)
>
>
>Has anyone noticed problems with pvoc on the Mac? I have tried both the
>"Mills" release and my own copy of version 3.46 code that I compiled on
>the Mac and not having good results with the resynthesis.
>
>I took the analysis that I did using the Mills release on the Mac and ran
>the same orch and score and .pvoc file on my SGI and got good results, so
>I'm assuming that if there's a problem it could be with the pvoc ugen code
>and not the pvanal code. The resulting resynthesis on the Mac has
>extraneous high frequency components and is somewhat garbled.
>
>If anyone else has notice this, I'd be interested in knowing that. If not,
>I'll try a few more tests to make sure I'm not imagining things!
>
>Best,
>
>Richard Karpen
>
>
>=====================================================
> email: karpen@u.washington.edu
> www: http://weber.u.washington.edu/~karpen
>=====================================================
>
>
>
>
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To: david.worrall@anu.edu.au
From: Garth Paine
Subject: Sonic Residues - Call for Works
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I thought this may be of interest to you
I hope you havent already recieved a copy - if so please disregard this
copy - I have been having trouble with my email and so have posted again in
the hope that I would cover everyone who may be interested in having the
opertunity to submit pieces.
*********************
CALL FOR WORKS
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SONIC RESIDUES
A DAY OF ELECTRO ACOUSTIC MUSIC AND SOUND ART EVENTS
***********
A web of interactions defined by the score, the space, the time, the
performer. An ever-changing, ever-evolving, temporal event that explains
itself by leaving a residue; a fine mist of vibrations outlining the web.
Sunday, December 21, 1997.
Linden Gallery, St Kilda, Melbourne
Linden Gallery hosts Sonic Residues, an all day event of electro acoustic
music and sound art.
Call for works
Garth Paine, the curator, is calling for works that fall within two categories.
1) Evolutionary Pieces
These pieces will be established within one of the four galleries available
for this event. They should evolve and change over a lengthy period of
time, ie four to eight hours. They may draw on audience or visitor
presence as an interactive response and they may use acoustic performers as
part of the evolutionary process at different points during the day. It
should be understood that these works will become part of a more complex
background environment and should therefore be written with consideration
for the other sonic events that will occur in the gallery, or in close
proximity, throughout the day.
2) Works of Finite Duration
These works are being sought for a number of concerts that will occur at
approximately two hour intervals during the day. They should be not more
than 15 minutes duration, and unless the composer can provide the hardware,
of not more than four tracks.
The overall theme is one of environment and interaction. There will
undoubtedly be a lot of interaction between the pieces occurring within the
space during the day. There are four galleries available but they do not
have sound proofing nor doors available to reduce the cross talk between
the areas.
The four galleries present an interesting challenge for the specialisation
of sound and for interactive possibilities. Interactive performance is
encouraged and could take the form of audience interaction, dance,
movement, singing, text and acoustic instruments.
It is hoped that a four channel dissemination system will be available in
each studio, however playback devices are very limited and composers are
encouraged to consider what resources they may be able to supply themselves
to bring their works to fruition.
No fees can be paid, however an APRA license will be current and those who
register their works can claim a performance royalty.
The deadline for submission outlines is October 23, 1997. All submissions
should include a detailed statement of required equipment with an
indication by the artist of how much of that equipment they themselves
could supply.
Final recordings or scores should be presented no later than November 22.
Scores should be accompanied by a recording of the work.
This is an all day event to which you can buy an all day ticket ($10)or a
single concert ticket ($5). There will be food and drink available on the
lawn outside the Gallery so that people can make a day of it, being able to
wander in and out experiencing the evolution of the sonic space and the
individual concerts.
Concerts are proposed to occur at 12.00 PM, 2.00 PM, 4.00 PM, 6.00 PM,
possibly 8.00 PM.
The gallery will be available for installation on Saturday December 20.
All the equipment will be required to be removed on the evening of Sunday,
December 21.
The event will be widely publicised by posters and in the press.
The objective of this event is to encourage a wider public interest in
electro acoustic music and sound art.
Financial support from the Port Phillip City Council and Linden Gallery is
gratefully acknowledged.
Please contact Garth Paine.
Telephone/FAX - 61 3 95275549
E-mail - garth@creativeaccess.com.au
***************************************************
----------------------------------------------------
PS. I'd love some feedback on a paper I have just writen
"Immersive Virtual Environments - A Social Perspective"
http://creativeaccess.com.au/~garth
Thanks in advance.
>><<>><<>><<>><<>><<>><<>><<>><<>><<>><<
Garth Paine
Composer, Sound Designer,
Museums, Dance, Film, Theatre
Interactive Immersive Environments
61 3 95259844 (W)
Fax 61 3 95275549
http://www.creativeaccess.com.au/~garth
<<>><<>><<>><<>><<>><<>><<>><<>><<>><<>>
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To: david.worrall@anu.edu.au
From: Garth Paine
Subject: Sonic Residues - Call for Works
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wendt <@yale.edu:wendt@sjsuvm1.bitnet>, westerka@sfu.ca,
WhoSylvia@aol.com, whyter@iprolink.co.nz, wyatts@crt.com,
z.sofoulis@uws.edu.au, zbcholon@cyf-kr.edu.pl, zina@world.net,
zrjelveh@midway.uchicago.edu
I thought this may be of interest to you
I hope you havent already recieved a copy - if so please disregard this
copy - I have been having trouble with my email and so have posted again in
the hope that I would cover everyone who may be interested in having the
opertunity to submit pieces.
*********************
CALL FOR WORKS
---------------------------------------------------
***************************************************
---------------------------------------------------
SONIC RESIDUES
A DAY OF ELECTRO ACOUSTIC MUSIC AND SOUND ART EVENTS
***********
A web of interactions defined by the score, the space, the time, the
performer. An ever-changing, ever-evolving, temporal event that explains
itself by leaving a residue; a fine mist of vibrations outlining the web.
Sunday, December 21, 1997.
Linden Gallery, St Kilda, Melbourne
Linden Gallery hosts Sonic Residues, an all day event of electro acoustic
music and sound art.
Call for works
Garth Paine, the curator, is calling for works that fall within two categories.
1) Evolutionary Pieces
These pieces will be established within one of the four galleries available
for this event. They should evolve and change over a lengthy period of
time, ie four to eight hours. They may draw on audience or visitor
presence as an interactive response and they may use acoustic performers as
part of the evolutionary process at different points during the day. It
should be understood that these works will become part of a more complex
background environment and should therefore be written with consideration
for the other sonic events that will occur in the gallery, or in close
proximity, throughout the day.
2) Works of Finite Duration
These works are being sought for a number of concerts that will occur at
approximately two hour intervals during the day. They should be not more
than 15 minutes duration, and unless the composer can provide the hardware,
of not more than four tracks.
The overall theme is one of environment and interaction. There will
undoubtedly be a lot of interaction between the pieces occurring within the
space during the day. There are four galleries available but they do not
have sound proofing nor doors available to reduce the cross talk between
the areas.
The four galleries present an interesting challenge for the specialisation
of sound and for interactive possibilities. Interactive performance is
encouraged and could take the form of audience interaction, dance,
movement, singing, text and acoustic instruments.
It is hoped that a four channel dissemination system will be available in
each studio, however playback devices are very limited and composers are
encouraged to consider what resources they may be able to supply themselves
to bring their works to fruition.
No fees can be paid, however an APRA license will be current and those who
register their works can claim a performance royalty.
The deadline for submission outlines is October 23, 1997. All submissions
should include a detailed statement of required equipment with an
indication by the artist of how much of that equipment they themselves
could supply.
Final recordings or scores should be presented no later than November 22.
Scores should be accompanied by a recording of the work.
This is an all day event to which you can buy an all day ticket ($10)or a
single concert ticket ($5). There will be food and drink available on the
lawn outside the Gallery so that people can make a day of it, being able to
wander in and out experiencing the evolution of the sonic space and the
individual concerts.
Concerts are proposed to occur at 12.00 PM, 2.00 PM, 4.00 PM, 6.00 PM,
possibly 8.00 PM.
The gallery will be available for installation on Saturday December 20.
All the equipment will be required to be removed on the evening of Sunday,
December 21.
The event will be widely publicised by posters and in the press.
The objective of this event is to encourage a wider public interest in
electro acoustic music and sound art.
Financial support from the Port Phillip City Council and Linden Gallery is
gratefully acknowledged.
Please contact Garth Paine.
Telephone/FAX - 61 3 95275549
E-mail - garth@creativeaccess.com.au
***************************************************
----------------------------------------------------
PS. I'd love some feedback on a paper I have just writen
"Immersive Virtual Environments - A Social Perspective"
http://creativeaccess.com.au/~garth
Thanks in advance.
>><<>><<>><<>><<>><<>><<>><<>><<>><<>><<
Garth Paine
Composer, Sound Designer,
Museums, Dance, Film, Theatre
Interactive Immersive Environments
61 3 95259844 (W)
Fax 61 3 95275549
http://www.creativeaccess.com.au/~garth
<<>><<>><<>><<>><<>><<>><<>><<>><<>><<>>
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Date: Mon, 6 Oct 97 11:13:33 BST
From: jpff@maths.bath.ac.uk
Subject: Re: Re; Csound Utils
To: csound@maths.ex.ac.uk
Sender: owner-csound-outgoing@maths.ex.ac.uk
Precedence: bulk
Message written at 5 Oct 1997 17:21:17 +0100
--- Copy of mail to ada@skyenet.net ---
In-reply-to: <199710030122.UAA22564@skye-op2.skyenet.net> (ada@skyenet.net)
References: <199710030122.UAA22564@skye-op2.skyenet.net>
If you use the hetro (or the hetro utility from Csound) it will only
produce a binary file. That is why I wrote the hetro_export and
hetro_import programs. The first will decode the binary into a
comma-separated file which can be edited, or read into a spreadsheet.
The second does the inverse. They are not incorporated as utilities,
and are DOS programs (needing DOS4GW which is in the ZIP file with
them).
==John ff
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