| The arguments to veloc are the lo and hi ranges of teh value, defaulting to
0 and 127.
There is a bug in some versions of 3.47 about defaulting the second argument.
I have fixed teh Windows code, but not teh others of teh sources yet.
As Dave Madole found thsi problem, I suspect the Mills port is OK.
==John
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Subject: Re: =cw4t7abs alias antiorp
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>on Feb 10 Marc wrote:
>Guy Van Belle wrote:
>>
>> Could you please use the language that all of us understand?
>
>This guy has nothing to say. He has a bot that automatically takes
>incoming mail and replies it with (not so) random junk. I saw him
>already on other lists. If you ask me, he should be removed from the
>list.
>
>- I agree, what would it be like if we all invented our own personal language,
>to use on mailing lists?
it would be like we were composing.
what would it be like if language never changed?
i enjoy antiorp's messages.
- No-one would be able to communicate.
>If Antiorp's language is supposed to an attempt at universality, it isn't!
>It's basically English with a few z's and !'s thrown in. I find the whole
>thing very arrogant, and annoying.
>
>Jamie B
***********************************
* Ron Herrema *
* http://pilot.msu.edu/user/herremar/ *
* *
***********************************
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Date: Tue, 10 Feb 1998 07:51:36 -0800
To: csound@maths.ex.ac.uk
Subject: about =cw4t7abs
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>This guy has nothing to say. He has a bot that automatically takes
>incoming mail and replies it with (not so) random junk. I saw him
>already on other lists. If you ask me, he should be removed from the
>list.
IMHO, I think he/she has an interesting, non-standard "out of the square"
sort of thinking and I personally find it a refreshing addition to the
audio/dsp/computer music lists I happen to be on...I think his removal from
this list would say more about those involved in the list rather than
cw4t7abs him/heself...besides, if you check out his/her web programming I
think you might change your opinion about him/her...this person is quite
brilliant...
just my $0.02
thanks
KIM
________________________
<> kim.cascone <>
<>sound.designer -- headspace<>
<>anechoic@sirius.com<>
<>http://www.sirius.com/~anechoic<>
:: "blueCube( )" :: kim.cascone ::
[release date: spring '98, label: Rastermusic]
_____________________________________
"the meta-designer creates context, not content"
-- Gene Youngblood
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Date: Tue, 10 Feb 1998 13:12:10 +0000
From: Richard Dobson
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Organization: Composers Desktop Project
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I can receive over 30 messages a day, from various sources, mostly lists.
I daresay many receive very much more. I cannot possibly keep them all -
relative irrelevance to me, or indecipherability, may be just two reasons
for deleting them. This, as I understand it, goes with the territory.
I see no benefit in postings which complain about postings - it can
degenerate so quickly, and, once started, is so difficult to finish.
Richard Dobson
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From: Richard Dobson
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Following this thread reminds me of one of the many sayings of Dr. Johnson:
'If you write a passage which you consider to be partiularly fine, strike it
out'. :-)
Richard Dobson
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Date: Tue, 10 Feb 1998 11:40:02 -0500 (EST)
From: Larry Troxler
To: anechoic@sirius.com
Cc: csound@maths.ex.ac.uk
Subject: Re: about =cw4t7abs
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Yeah, he must be one KewL dOOd. Maybe he can teach us how to hack!
On Tue, 10 Feb 1998 anechoic@sirius.com wrote:
> >This guy has nothing to say. He has a bot that automatically takes
> >incoming mail and replies it with (not so) random junk. I saw him
> >already on other lists. If you ask me, he should be removed from the
> >list.
> IMHO, I think he/she has an interesting, non-standard "out of the square"
> sort of thinking and I personally find it a refreshing addition to the
> audio/dsp/computer music lists I happen to be on...I think his removal from
> this list would say more about those involved in the list rather than
> cw4t7abs him/heself...besides, if you check out his/her web programming I
> think you might change your opinion about him/her...this person is quite
> brilliant...
> just my $0.02
> thanks
> KIM
> ________________________
> <> kim.cascone <>
>
> <>sound.designer -- headspace<>
>
> <>anechoic@sirius.com<>
> <>http://www.sirius.com/~anechoic<>
>
> :: "blueCube( )" :: kim.cascone ::
> [release date: spring '98, label: Rastermusic]
> _____________________________________
>
> "the meta-designer creates context, not content"
> -- Gene Youngblood
>
>
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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Subject: Re: =cw4t7abs alias antiorp
From: "M. Ray McFerron"
To: csound@maths.ex.ac.uk
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First of all, I apologize to everyone frustrated and tired of this subject.
This is really a waste of time! I don't care who "antidork" is....I simply
delete his messages! If he/it had something genuine to write, or if he
cared that we understood, he would not respond like a 13-year old. The
internet is full of people who's sole purpose is to waste time....
M. Ray
****************************
M. Ray McFerron
302 E. 26th Ave
North Kansas City, MO 64116
** http://cctr.umkc.edu/~mmcferron **
****************************
----------
>From: herremar@pilot.msu.edu
>To: csound@maths.ex.ac.uk
>Subject: Re: =cw4t7abs alias antiorp
>Date: Tue, Feb 10, 1998, 3:32 PM
>
>>on Feb 10 Marc wrote:
>>Guy Van Belle wrote:
>>>
>>> Could you please use the language that all of us understand?
>>
>>This guy has nothing to say. He has a bot that automatically takes
>>incoming mail and replies it with (not so) random junk. I saw him
>>already on other lists. If you ask me, he should be removed from the
>>list.
>>
>>- I agree, what would it be like if we all invented our own personal
language,
>>to use on mailing lists?
>
>it would be like we were composing.
>what would it be like if language never changed?
> i enjoy antiorp's messages.
>
>- No-one would be able to communicate.
>>If Antiorp's language is supposed to an attempt at universality, it isn't!
>>It's basically English with a few z's and !'s thrown in. I find the whole
>>thing very arrogant, and annoying.
>>
>>Jamie B
>
>
>***********************************
>* Ron Herrema *
>* http://pilot.msu.edu/user/herremar/ *
>*
*
>***********************************
>
>
>
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Date: Tue, 10 Feb 1998 11:21:21 -0600
To: csound@maths.ex.ac.uk
From: =cw4t7abs
Subject: c6o986
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>Yeah, he must be one KewL dOOd. Maybe he can teach us how to hack!
obszervat!on baszd on dze pr!nc!pl ov rac!zm. klear table data.
rekomp!le m9nd konta!nr.
Thursday February 26, Adam Concert Room, Victoria University of Wellington,
7.30pm
All new works, from New Zealand's original experimental music studio!!! The
hottest new pieces by Wellington composers-three-dimensional sound images
forming and transforming in a network of loudspeakers. The concert
features a newly commissioned work for organ and tape by Bronwen Thomson,
USA Fulbright scholar Paul Rudy's Alpha Omega for trumpet, tape and piano
interior, Miriama Young's highly imaginative Like Two Balls of Liquid
Silver Pedalling the Sky and new tape works by John Young, Ondine
Godtschalk, Rebekah Wilson and Simon Rae.
PROGRAMME
Bronwen Thomson Travelling Through Time in My Giant Organic Spaceship for
organ and tape (1998)*
John Young Time, Motion and Memory (1997) for tape Miriama Young Like Two
Balls of Liquid Silver Pedalling the Sky (1997) for baritone saxophone and
tape
Simon Rae Three Fragments (1998) for tape Paul Rudy Alpha Omega (1998) for
trumpet and tape Ondine Godtschalk Silhouette (1997) for tape Rebekah
Wilson a9ff (1997) for tape
a9ff - 8' expounds the delusion of machine\human interface the dialectic
destroyed in eight minutes of deluzian structure - the assemblage _ the
inchoate web - completing an inorganic transformation through tight
gestural movement a barrage of processed machinations and generated tones.
________________
0f0003 | m2ch1n3nkunzt | d!v!z!on ov kr!t!kl fenomena |
hTTp://www.god-emil.dk/=cw4t7abs || hTTp://www.tezcat.com/~antiorp
__________________
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From: tolve
Subject: Off Topic: censorship
Date: Tue, 10 Feb 1998 11:58:00 -0500
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please excuse my designation of an ongoing thread with a new subject
containing the words "off topic." my experience is that discussions of this
particular issue tend to drag on. this is for those among us with filters
already set to remove "off topic" discussions.
i acknowledge that rules (gasp) are necessary with respect to relevance of
content on the csound list. beyond that, i feel that a general policy that
entertains censorship, however well intentioned, is unnecessary,
conceivably counterproductive, and more melodramatically: dangerous to
civil liberties we are all entitled to.
the simple rule (oops here's another) requiring the name (or pseudonym) of
the subscriber already (yes?) allows individual members to filter out or
simply delete messages at their discretion.
and as a gesture of good faith, you are all free to scream and curse at me
if you like. (wink)
tolve
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Date: Tue, 10 Feb 1998 19:45:53 +0100
From: khalid
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To: Larry Troxler
Cc: csound@maths.ex.ac.uk
Subject: Re: about =cw4t7abs; Linux egcs compile
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Larry Troxler wrote:
>
> Yeah, he must be one KewL dOOd. Maybe he can teach us how to hack!
:-D
...not to mention sensitivity, artistic- and anti this-and-that,
beatnik blah-blah, poetry, (etc.), ...
I can hear it now:
"csound@noether.ex.ac.uk - no.1 sensitive mailing list on the web!"
kd
PS1: as to not completely waste another mail - have you Linux users
tried compiling csound with egcs? I compiled it with "-06 -mpentium"
and got a good performance increase. It runs for 2 weeks now and
very stable (version 3.46). Visit egcs at "www.cygnus.com/egcs".
You may also set -fno-exceptions to get smaller binaries - egcs
(pronounced "eggs") defaults to include exception-handling.
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To: csound@maths.ex.ac.uk
Subject: random functions
Sender: owner-csound-outgoing@maths.ex.ac.uk
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I am trying to design an oscillator whose pitch deviates randomly and
smoothly by a small amount and at a random rate. The solution I've come up
with so far looks like this:
instr 1
a3 randh 2, 1, .5
a2 randi 200, abs(a3), 1
a1 oscili 20000, 300+a2, 1
outs a1,a1
endin
The questions I have are these:
1) Is there a better overall approach to this problem?
2) Why is it that increasing the value of the second parameter (cps) in the
a3 line seems to decrease the randomness? Doesn't randh have a uniform
distribution?
Any help will be appreciated. I'm fairly new to Csound.
RH
***********************************
* Ron Herrema *
* http://pilot.msu.edu/user/herremar/ *
* *
***********************************
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Subject: random*line/tablemix
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From: Peter Heeren
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Hallo!
I want to disign an orc., in which the beginning, ending and frequenzy
of all "tones" are determinated by a "random-field" like this:
freq
+
+
+
+
+
+
+
+
+ +
200 + + +
+ +
+ +
100 + + random-field
+ +
50 + *
++++++++++++++++++++++++++++++++++
time
That means: At the beginnig of the music, the frequenzys of tones are in
the area between 0 and 50 Hertz, and in the end between 0 and 250.
For me as a beginner there a two possibilities with good and bad
aspekts:
1)Gen 21
2)rand or noise-opcodes
1)
orc:
****
ktime randh .05, 8
kph phasor ktime
kenv line 1, p3, 100
kta table kph*ftlen(p4), 2
asig oscil (kta*kenv*800), (kta*kenv*20), 1
out asig
endin
****
sco:
f1 0 1024 10 1
f2 0 128 21 5
i1 0 10 2
e
****
The Problem for me is, that the freqenzy of the tone - given from the
table and line-opcode -
increase with line, *also in the duration of the tone!*: The tone gets a
unwanted glissando.
To solve the problem it is possible to change the orchestra header
statements, for example:
sr = 44100
kr = 1
ksmps = 44100
Then you can take one stage a sec., but no possibility for a diffrent
time-envelope.
2)
Same problem: the tone has a unwanted gliss.
Can anybody solve the problem?
Can anybody give me an example in which tablemix and tablew is used?
Thanks
Peter
P.S.: The term "tone" is not defined, I know.
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Date: Mon, 09 Feb 1998 20:08:54
To: David Schuyeteneer ,
csound mailing list
From: Hans Mikelson
Subject: Re: discouraged
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At 07:13 PM 2/8/98 +0100, David Schuyeteneer wrote:
>I listened to it over and over again and slowly became discouraged : I
>couldn't figure out
>HOW the hell the contributors build those **magnificent** sounds
I have not heard the sounds so I cannot really comment on them although I
did listen to some of the real audio examples from other CD's on the same
label on a web site. Anyway they seem to use samples with a lot of
processing. The following is an idea from a Keyboard magazine article
which might give you something like what you are after or at least
something unusual.
It requires a fairly good sound editor (I use Cool Edit but Csound could be
used as well) and a fair amount of hard disk space (~100-200 MB should be
good)
1. Start with a sample of a complex sound. The original author recommended
using rude noises created with your hand against your mouth. Any complex
sound will do, like spoken phrases, animal noises etc. It's OK to use a
cheap microphone too.
2. Start processing the sound. Try pitch shifting. The first time perhaps
it won't sound too great. That's OK, pitch shift it again. Do it ten
times...twenty. Don't be shy. Try going back and forth between a variety
of effects. Reverb, delay, pitch-shift, flange, wave shaping etc. Chop up
the sample. Rearrange it. Apply effects to only parts of the sample. If
it doesn't sound good don't worry just keep processing it.
3. Listen to the sample after each process. 90% of it will sound like
crap...but 10% will sound OK. When you get something that sounds OK save
it. Then keep processing.
4. When you get 10-20 of these OK sounds select the best 1-2 and save them.
Then start over. You can generate a large library of complex ambient
sounds this way. Perhaps only 1 in 100 sound good and only 1 in 1000 will
be real gems. The more you work at it the better you will get.
5. Finally you can apply some amplitude or filter envelopes to fade them in
and out and string them into longer pieces.
Good Luck,
Hans Mikelson
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Date: Tue, 10 Feb 1998 22:32:52
To: csound@maths.ex.ac.uk
From: Hans Mikelson
Subject: Re: about =cw4t7abs
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Hi,
I'd cut =cw4t7abs some slack. Some people probably think I'm a tad strange
too. I can usually figure out most of the message. It gives you a chance
to use your brain.
Bye,
Hans Mikelson
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Subject: Re: discouraged
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So I let that quote "Music is the appreciation of sound" percolate in the back
of my brain for a while. It sounded so nice, so pretty, so accepting. But
eventually it bothered me for this reason: it confuses the object "music" with
the implicit subjects that "receive" the music. I appreciate the sound of waves
drawing up and sliding down the shingle. I appreciate the sound of a well-tuned
motorcycle engine purring like a big fat cat. But there is no music in "the
appreciation" of these sounds. Music is the "stuff", not the "appreciation of
stuff". And it's artificial, human-concocted stuff. It's a bag of tricks, not
the appreciation of a bag of tricks. It's very hard to talk about music without
giving most people the old feeling that "we murder to dissect". Elvis Costello
was quoted saying something like "talking about music is like dancing about
architecture". It can be done, but most people don't have the patience to
learn the technical lingo. Why should they? Let the academics spin the
elegantly structured ideas and analyses. I just want to write some decent music
- and I think you know what I mean.
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From: Michael Pelz-Sherman
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Oh what the hey, I'll jump in on this one...
I think there is an important distinction to be made between music and "ear candy". The latter might
bring "instant gratification", but in the long run, one grows tired of the empty calories and
longs for something that "sticks to the ribs". For my money, there's no substitute for a great melody
line, played with feeling, or intricate, complex rhythms that dance on the edge of notateability.
Striking that perfect balance between change and continuity, the proper relationship between
time and materials, etc. Coaxing these out of a machine is damn hard work, and computational methods are
severely handicapped in this area.
Tools like CSound offer so much signal processing power that one is tempted to focus on timbre to the
exclusion of all else. The problem with CSound, and with most electronic music, is that it lacks
the dynamic interaction between composer, performer, instrument, and audience that gives traditional music
its expressive power. IMO, the really hard, truly interesting problems of computer music are not in
how to produce beautiful sounds, but how to imbue the computer with the musical "common sense" that
made the careers of Mozart, Beethoven and Stravinsky possible.
- mps
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From: Micheal Allen Thompson
To: Michael Pelz-Sherman
Cc: csound@maths.ex.ac.uk, mbpcpa@sprynet.com, RWD@cableinet.co.uk
Subject: Re: discouraged
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these are interesting comments. However, I dont agree at all with this
idea of
what music is or isnt.... melody? rhythms? performer? instruments? there
are some of us who dont think about music in these musical(for lack of a
better word) terms and
dont want to either. I guess its just personal opinion.
Personaly I look
at my "Musical" training as a complete waste of time, money and energy. I
find working in the electroacoustic world more satisfying then my work in
"Note" music. I dont think one can compare Mozart style music to Jonty
Harrison style music and say one is better or is ear candy. Its up to the
listener to make the choice of what they like or dont like. I find that
writing music that is idiomatic of the instrument is most important and
Jonty Harrison is one of those composers that does it very, very well. I
could name other composers who work in this style who are good as well. I
tend
to think of the computer as an instrument like the piano for some poeple.
I do tape music and love the freedom of expression that this form of music
gives me as a composer. this freedom is not only in the unfolding of time
but also the
abitiy to create my own "instruments" that are not dependent on
traditional performance limitations or timbre and most of all limited by
the use of a live performer(not that I dont like live perfomrers but they
are hard to find around here). I guess I kind of resent the "Traditional"
compositional training I have been forced to endure in the University by
being forced to write "Real Music"(I had no idea that music could not be
real until a lesson in my last year at undergrad university) that I have
no interest in. This is really off the subject at hand and has nothing
to do with csound but, In my opinion Tape
music in the U.S.A. and elsewhere is generaly discriminated against and
music including
visual or "eye candy"(to play the other side of the coin) put as a higher
priority purly due to the use of a live person or visual aspect and not
because its a better piece.. This is also evident in international and
national live events by
comparing the equality
of the
performance spaces(including equipment) to that of the "eye candy"
concerts (again, Im just playing the other side of the ear candy idea).
I feel that there
needs to be a happy medium of all types of compostions
using the computer and personal opinion put aside for the good of the art
form.
Ok, is there a IRIX 6.3 binary of Csound3.47? I cant seem to find one.
Michael
On Tue, 10 Feb
1998, Michael Pelz-Sherman wrote:
> Oh what the hey, I'll jump in on this one...
>
> I think there is an important distinction to be made between music and "ear candy". The latter might
> bring "instant gratification", but in the long run, one grows tired of the empty calories and
> longs for something that "sticks to the ribs". For my money, there's no substitute for a great melody
> line, played with feeling, or intricate, complex rhythms that dance on the edge of notateability.
> Striking that perfect balance between change and continuity, the proper relationship between
> time and materials, etc. Coaxing these out of a machine is damn hard work, and computational methods are
> severely handicapped in this area.
>
> Tools like CSound offer so much signal processing power that one is tempted to focus on timbre to the
> exclusion of all else. The problem with CSound, and with most electronic music, is that it lacks
> the dynamic interaction between composer, performer, instrument, and audience that gives traditional music
> its expressive power. IMO, the really hard, truly interesting problems of computer music are not in
> how to produce beautiful sounds, but how to imbue the computer with the musical "common sense" that
> made the careers of Mozart, Beethoven and Stravinsky possible.
>
> - mps
>
|