William Kleinsasser wrote
>From bill@saber.towson.edu Tue Sep 30 13:44:48 1997
Date: Tue, 30 Sep 1997 08:43:18 -0400 (EDT)
From: William Kleinsasser 
To: james
Subject: Re: csound on an O2
In-Reply-To: <10605.199709300910@zeno.maths.exeter.ac.uk>
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Hello,

I am also running csound on an O2 with the digital audio (AES/EBU + ADAT)
card.  I can get MIDI in and out through a standard Macintosh interface
using the MIDI keyboard and sequencer that are part of the sgi media tools
but csound gives me a 422 error still.  I would be *very* interested in
finding a solution to this problem.  Please let me know what you find.  I
also know that Paul Lansky and the Princeton people are running O2s and
probably are running into the same trouble.  Perhaps they have found a
solution.

--Bill Kleinsasser

On Tue, 30 Sep 1997 james@noether.ex.ac.uk wrote:

> owner-csound-outgoing wrote
> >From owner-csound-outgoing Sun Sep 28 17:57:38 1997
> From: owner-csound-outgoing
> Date: Sun, 28 Sep 97 17:57:38 GMT
> Message-Id: <14177.9709281757@maths.exeter.ac.uk>
> To: owner-csound-outgoing
> Subject: BOUNCE Csound: Non-member submission from [croson@arcana.esm.rochester.edu (James Croson)]
> 
> >From croson@arcana.esm.rochester.edu Sun Sep 28 18:57:33 1997 remote from 
> Received: from hermes.ex.ac.uk by maths.exeter.ac.uk; Sun, 28 Sep 97 18:57:33 +0100
> Received: from arcana.esm.rochester.edu [128.151.112.8] by hermes via ESMTP (SAA11055); Sun, 28 Sep 1997 18:57:29 +0100
> Received: (from croson@localhost) by arcana.esm.rochester.edu (950413.SGI.8.6.12/950213.SGI.AUTOCF) id NAA01702 for csound@maths.ex.ac.uk; Sun, 28 Sep 1997 13:55:20 -0400
> Date: Sun, 28 Sep 1997 13:55:20 -0400
> From: croson@arcana.esm.rochester.edu (James Croson)
> Message-Id: <199709281755.NAA01702@arcana.esm.rochester.edu>
> To: csound
> Subject: CSound MIDI on SGI/O2
> 
> We are running Csound on an SGI O2. We have adapted and cabled
> around the new serial port (RS232) to get midi in and out.
> 
> Has anyone succeeded in getting CSound to drive midi on an O2?
> The code sets it up for RS422 (like the Indy).
> 
> Thanks in advance,
> 
> Jim Croson
> Eastman Computer Music Center
> croson@theory.esm.rochester.edu
> 
> 
> -- 
> James Andrews, maths CDO, ext.3977
> 


-- 
James Andrews, maths CDO, ext.3977











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From: Richard Dobson 
Message-Id: <199709301545.QAA21026@talisker.pact.srf.ac.uk>
Subject: Re: Code Warrior
To: Nathan Day 
Date: Tue, 30 Sep 1997 16:45:03 +0100 (BST)
Cc: csound@maths.ex.ac.uk
In-Reply-To:  from "Nathan Day" at Aug 24, 97 11:48:07 pm
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> 
> Has anbody on this list made the transition from Symantec C++
> for Power Mac to Code Warrior, due to
> Symantec's lack of any annoucements of supporting Mac OS 8 and even
> more importantly Raspody and with Apple and Metrowerks working
> together, I'm thinking of changing over to Code
> Warrior does anbody have any opinions on this.
> 
> 
> Nathan Day
> 
> nathand@senet.com.au
> 
> 

Well, yes, sort of. I mainly Program on the PC, but I have recently had
access to a PowerMac and both Symantec and Code Warrior Compilers. I have
found the latter to be the preferable compiling environment (though I still
ask what all the fuss is about regarding MacOS - its little more than a
glorified Atari Falcon! :-) ), but I have kept the THINK library reference
supplied by Symantec as Metrowerks don't include one - which really 
surprises me. They all have a long way to go to catch up with the
level of documentation and tutorial support Microsoft provide. OK, so they
have an unfair advantage there, as invetors of the operating system, but
Metrowerks really should do more to help Mac newcommers find out what
the APIs are!

Richard Dobson












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From: Richard Dobson 
Message-Id: <199709301601.RAA21305@talisker.pact.srf.ac.uk>
Subject: Re: possible compiler bug in VC++5
To: Marc Resibois 
Date: Tue, 30 Sep 1997 17:01:44 +0100 (BST)
Cc: csound@maths.ex.ac.uk
In-Reply-To: <33FC68FF.41C67EA6@ping.be> from "Marc Resibois" at Aug 21, 97 06:12:47 pm
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> 
> In practice, you should never trush a
> 
> if (aDouble==anotherDouble) {
> }
> 
> as rounding effect might always come and play tricks to you.
> 
> Much better is the 
> 
> if (fabs(aDouble)-fabs(anotherDouble)<1e-10) {
> }
> 
> Cheers,
> 
> Marc.
> 

Yes, I agree, and where rounding error is an issue I use a special
comparison function (in VC++, using DBL_EPSILON) as the threshold); but
the compiler bug arose doing the comparison with constant zero
	
const double DZERO = 0.0;
...
if(aDouble==DZERO)

and with similar expressions. I should not have to use fabs() or suchlike in
these situations. Apart from the fact it looks less than elegant, fabs() is
quite a thirsty function, I would not want to use it frequently in a 
processing-intensive routine, and I suspect that fabs() might throw up
rounding problems of its own. I have never tested such library functions
in extreme situations - perhaps I should do!

Richard Dobson.













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From: Richard Dobson 
Message-Id: <199709301535.QAA20911@talisker.pact.srf.ac.uk>
Subject: Re: Dumb Question #2
To: Robert Tichacek 
Date: Tue, 30 Sep 1997 16:35:14 +0100 (BST)
Cc: csound@maths.ex.ac.uk
In-Reply-To:  from "Robert Tichacek" at Aug 24, 97 10:05:06 pm
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A late reply to this question:

> A situation - I have a long sustained note, and want to add an occasional
> pitch bend to it at various times (think electric guitar being whammied
> from time to time). Now I know that I can accomplish this using a suitably
> long  or the like, but is there any way that I can accomplish this
> in the score rather than the orc. file?
> Also, while on the subject of sustained notes, exactly how does one create
> a tied note in the standard score, and what purpose does this serve? With
> the absence of bar lines and standard note lengths one of the major reasons
> for having tied notes in written notation would seem to be lacking.
> 

This can now be done fairly easily in the newer versions of Csound. I have
contributed a chapter to the forthcoming MIT book on the subject of
legato instruments (due out in December, I hear), and in the process found
some bugs in Csound which are now corrected.

The quickie short answer is:

Use the negative p3 instruction in the score to indicate a tied note.
Think of this as a SLUR - ie you can change attributes of a single note
without provoking a new attack. Thus, you must write at least two notes to
make a slur. You can use successive negative p3s to create a long slurred
phrase. Use the '+' codes in the score to write exactly end-to-
end notes. Use 'tival' in the orchestra to find out if the current note is
tied or not.

The tricky part is managing the context in the orchestra - to know what the
parameters for the PREVIOUS note were. The score commands 'ppX' and 'npX'
 help you to do this.

Re score notation: yes, a tie across the barline is a notational obligation,
but it can still be useful for a score to reflect a barline structure if you
are doing a direct transcription. The real issue though is slurs - performance
changes within a single note - pitchbend, portamento, expression, and so on.
This is one area where keyboards and MIDI remain woefully inadequate. 
You can really SING with Csound!

For the full monty on this, get the book!

Richard Dobson











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From: David Madole 
Subject: Re: Code Warrior
To: Richard Dobson 
Date: Tue, 30 Sep 1997 09:59:42 -0700 (PDT)
Cc: nathand@senet.com.au, csound@maths.ex.ac.uk
Reply-To: madole@mills.edu
In-Reply-To: <199709301545.QAA21026@talisker.pact.srf.ac.uk> from "Richard Dobson" at Sep 30, 97 04:45:03 pm
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> 
> > 
> > Has anbody on this list made the transition from Symantec C++
> > for Power Mac to Code Warrior, due to
> > Symantec's lack of any annoucements of supporting Mac OS 8 and even
> > more importantly Raspody and with Apple and Metrowerks working
> > together, I'm thinking of changing over to Code
> > Warrior does anbody have any opinions on this.
> > 

Only amazement that you haven't switched over yet.

The Mills CsoundPPC is done with CodeWarrior.  I've been using it since
DR 3.5 (1994??), after a short (very) stint with Symantec.  It is far
and away the best development environment I've ever used, documentation
is copious, support (especially netborne) is excellent, etc.  And their
ANSI lib source is included.

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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Date: Tue, 30 Sep 1997 20:42:20 -0400 (EDT)
From: Michael Hamel 
To: csound@maths.ex.ac.uk
Subject: the black box
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Hello. For my senior project here at WPI, I am working with some other
students to design a Csound synthesizer. It will be a stand alone rack
unit running Csound in real time. New instuments will be downloaded into
the device through a PC. Now...my original plan was to design some
hardware and port the Csound code to the hardware. However...after
spending several hours noodling through the source code, I realized that
the correct way to do this will be to re-write Csound while keeping the
signal processing routines intact. In order to do this, I need to have a
thorough understanding of how the code works. If there are any code
experts out there that are willing to help, I'll probably be asking
several questions over the next 2 months. What I am trying to do right now
is figure out how Csound actually generates a sound and where the opcodes
are envoked in the code. Any help would be appreciated.

Thanks,
Mike