"Stefan GrovÈ"  wrote:

>Sorry, I have no answers.
>
>But I would like to know what exactly is an impulse-response and and how
>do you go about determining it?
>

The impuls-response of a system  (a concerthall,a cello or other resonator)
is the resulting audio-signal when it is exposed to a audiopulse (alarm
gunshot for instance). The impulseresponse has all information about the
resonating system and can be used to simulate the system under excitation
with normal audio-signals.

You can record the impulseresponse by firing a alarmgun on the stage of a
chosen concerthall.

With the recorded impulseresponse of a concerthall (preferable in stereo)
we can reverb audiosignals as if they are listened to in that concerthall,
it is the ultimate reverb (though it is very time-consuming to calculate it
!)


Regards,

Hans Timmermans                          e-mail: hans.timmermans@kmt.hku.nl
Utrecht School of the Arts              phone: (+31) 35 6836464
dep: Music Technology                    fax: (+31) 35 6836480
senior lecturer computer music

PO-BOX 2471
1200 CL HILVERSUM
the NETHERLANDS













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Date: Mon, 8 Jun 1998 10:44:21 -0500 (CDT)
From: Micheal Allen Thompson 
To: Graeme Gerrard 
Cc: csound mailing list 
Subject: Re: Multichannel outs
In-Reply-To: <199806080121.LAA20528@oznet15.ozemail.com.au>
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I have a version of csound that generates 8 channel files. It runs on
SGI IRIX...

http://people.unt.edu/~mat0001/index.html follow the links to the
download page.

Michael
On Mon, 8 Jun 1998, Graeme Gerrard wrote:

> I am interested in generating multichannel output files with Csound (i.e. 
> > quad).
> Is there a way of doing this with Csound?
> 
> I am thinking of 2 approaches; either have Csound create and write to
> multiple 1 channel files e.g. filename01.aif, filename02.aif ...etc.
> or a single multichannel file eg. with 16 or even 32 channels.
> I know I can achieve the same thing with multiple pass compilations and a
> lot of fiddling around, but I would prefer to just generate my samples and
> distribute them over the channels in a single compilation.
> What about:
> 
> amultiout chan, samp 
> 
> ---------------
> Graeme Gerrard
> Resonant Multimedia
> ph. 6 13 9525 7869
> "Somebody's been putting something in my food to make me paranoid." - PKD
> 
> 
> 












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Date: Mon, 08 Jun 1998 20:41:11 +0200
From: David Schuyeteneer 
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To: Drew Skyfyre , 
    Csound List 
Subject: Re: Applications of 3-D sound
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> This one's for those of you who've expressed interest in or are working
> with 3-D sound.
> I'm curious to know what you use it for.

Can't you imagine what it is useful for ??  
I'll do it for you (i have *too* much imagination ;-))..
Imagine a pale layer of meadowsounds beneath you while 
abstract cylindrical shaped textures float and fly above you
performing a vulometric choreographic ballad in the sky. 
You slowly start flying upwards and joining the turbulent 
dance of the textures. 

That's 3D-sound at its best.  

David.











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Date: Mon, 08 Jun 1998 15:40:21 -0400
From: Carlton Wilkinson 
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To: David Schuyeteneer , 
    Csound list 
Subject: Re: Applications of 3-D sound and hasta luego
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David Schuyeteneer wrote:

> > This one's for those of you who've expressed interest in or are working
> > with 3-D sound.

> Imagine a pale layer of meadowsounds beneath you while
> abstract cylindrical shaped textures float and fly above you
> performing a vulometric choreographic ballad in the sky.
> You slowly start flying upwards and joining the turbulent
> dance of the textures.
>
> That's 3D-sound at its best.
>
> David.

And Godzilla's feet resonating on the floor and low walls while his cry
screams in the air over your head--is 3-D sound at is worst. I do think its
the future of concert electronics, but its hard to separate it at this stage
from the misplaced money and hype of Pink Floyd and Hollywood.
And for those of you who care (maybe most subscribers would prefer this next
thread continue privately--that's fine) I'm disturbed by the persistent
trend in digital music toward the most expensive presentation, an evolving
aesthetic curve on the algorithm better technology¾tter art. The IRCAM
syndrome, where only the chosen may enter. I realize I'm preaching mostly to
the converted (Csound . . . . FREEEEEEEE). Do any Csounders turn to
professional mastering studios for their CDs? For instance? How many people
get the sounds all arranged and then take them to a professional studio for
mixing (pre-master)? How necessary is that to you? (Are any of those people
actually on this list?)
And for this alone, I love the junk-technology improvisation groups that are
the current wave in NYC. And I love the Csound community. It has a romantic
nobility.
I am becoming famous for tangents. Have no fear however. In another day or
two I will be off the list for a long while, while I sort out the new
technical demands of my studio. May you continue in peace and joy.
BTW, I enjoy you guys. And I have profited greatly from our interaction.
--
Carlton Joseph Wilkinson
http://excaliber.net/alex/wilkwrks.htm












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From: Paul Winkler 
To: csound@maths.ex.ac.uk
Subject: Re: V 3.482 for glibc under Linux
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Nice job on the new version, guys. I just got 3.482 to compile under 
glibc (on a redhat 5.0 system). Dynamically linked too! No problems yet.

Regards,

PW

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