| I sometimes use csound in shell scripts, that can
examine a file with sndinfo, write a score and
orchestra in accordance with command line flags,
and proceed to do their synthesis. Usually there
is an input file to read from, and a resultant
output file.
Once built these scripts can be stowed away, and
one ends up with a nice collection of filters that
look and act like normal programs.
I would love to use csound in this way as a normal
command line filter, using standard in and out. The
problem is that when using standard in, one can not
determine the length of the input sound file, and so
a score of the proper length can not be generated.
I thought that it would be great if a score could
specify total duration as an absolute offset from
the input soundfile's duration. This way, the note
would stay on until input was exhausted, and then
optionally count out a few extra seconds, as would
be needed in the case of a reverb effect.
Perhaps this could be accomplished with a robust
enough orchestra with existing csound. Any ideas?
The orc would have to sense the end of input, and then
terminate existing invocations of itself.
Thanks,
Toby
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Date: Sun, 5 Sep 1999 10:54:47 -0400 (EDT)
From: Larry Troxler
To: Tobiah
cc: Csound List
Subject: Re: Csound as filter
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More generally, what about a ugen the terminates csound?
I think this would do what you want, and have many more uses as well.
Larry
On Sun, 5 Sep 1999, Tobiah wrote:
> I sometimes use csound in shell scripts, that can
> examine a file with sndinfo, write a score and
> orchestra in accordance with command line flags,
> and proceed to do their synthesis. Usually there
> is an input file to read from, and a resultant
> output file.
>
> Once built these scripts can be stowed away, and
> one ends up with a nice collection of filters that
> look and act like normal programs.
>
> I would love to use csound in this way as a normal
> command line filter, using standard in and out. The
> problem is that when using standard in, one can not
> determine the length of the input sound file, and so
> a score of the proper length can not be generated.
>
> I thought that it would be great if a score could
> specify total duration as an absolute offset from
> the input soundfile's duration. This way, the note
> would stay on until input was exhausted, and then
> optionally count out a few extra seconds, as would
> be needed in the case of a reverb effect.
>
> Perhaps this could be accomplished with a robust
> enough orchestra with existing csound. Any ideas?
> The orc would have to sense the end of input, and then
> terminate existing invocations of itself.
>
> Thanks,
>
> Toby
>
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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Date: Sun, 5 Sep 99 16:30:17 BST
From: jpff@maths.bath.ac.uk
Subject: Re: Some suggestion about little enhancements to existing opcodes
To: csound@maths.ex.ac.uk
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Message written at 5 Sep 1999 13:48:28 +0100
--- Copy of mail to g.maldonado@agora.stm.it ---
1.
I do not believe you comment on poweroftwo as the function powoftwo
will only update the first sample of each block. It would be possible
to write the a-rate function, but is it really useful?
2.
I made the changes to poscil family for negative frequencies to my
sources
3.
wguide1 and wguide2 -- these are your opcodes, and my only concern is
any existing orchestras and the documentation. Apart from that I am
happy to change when i have the code
4.
I have phasor work with doubles internally, and a number of
consequential changes
==John ffitch
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Date: Sun, 05 Sep 1999 14:43:00 -0700
From: patrick pagano
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To: "csound@maths.ex.ac.uk"
Subject: Cps2 opcode and Just Intonation
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Hello Csounders
i have been experimenting with the Cps 2 opcode for about a month or so.
Last night i decided to check the pitches with a sabine tuner and a freq
generator and too my dismay found that the 8.00 or 1/1 which i had hoped
would be 256hz (with some help from Bill alves) was in fact a eq temp C
. Can any one out there give me an idea what is wrong??
here is the instrument
sr = 44100
kr = 4410
ksmps = 10
nchnls = 2
garvbsig init 0
gaol init 0
gaor init 0
instr 1
kpan line 0,p3*.7,1
ipanl = sqrt(p5) ; Pan left
ipanr = sqrt(1-p5) ; Pan right
ifreq cps2pch p4,-1 ; refer to multiplier table #1
ifreq = 512*ifreq/261.6;;;;;;;;;;;;;;;;;;;;;;THIS SHOULD MAKE
8.00 256hz??
k1 linen 700,.1,p3,.1
aamp linseg 0, .002, 1, p3-.004, 1, .002, 0 ; Declick envelope
ifreq cps2pch p4,-1 ; refer to multiplier table #1
krtl =sqrt(2)/2*cos(kpan)-sin(kpan)
krtr =sqrt(2)/2*cos(kpan)+sin(kpan)
asound oscili k1,ifreq,2
aout = asound*aamp
aol=(asound*aamp)*krtl
aor=(asound*aamp)*krtr
gaol=gaol+aout
gaor=gaor+aor
garvbsig=garvbsig+aout
outs aout*ipanl, aout*ipanr ; Output stereo
endin
;;;;here is a segment of the score
;table # start size gen fn 1/1 17/16
9/8 7/6
f 1 0 16 -2 1.000000 1.062500 1.125000
1.16666
; 9/7 1323/1024 4/3 7/5
3/2 49/32 14/9 12/7 7/4
1.2857142857 1.2919921 1.333333 1.4 1.500000 1.53125
1.5555555 1.7142857 1.75
; 27/14 63/32
1.9285714 1.96875
f 2 0 8192 10 1
t 0 120
i3 0 300 8.00 .5
i3 100 200 8.08 .5
i3 200 100 8.12 .5
i1 8 0.25 9.08 .5
i1 8.25 0.25 9.08 0
i1 8.5 0.25 9.12 0.5
i1 8.75 0.25 9.08 0.5
i1 9 0.25 9.08 0.5
i1 9.25 0.25 9.08 0
any help would be greatly appreciated
thanks
pat
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From: Josep M Comajuncosas
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Hi guys,
I=B4m just getting into realtime Csound redering with my new P3 450 MHz
... I wonder if anyone has a csd file to decode C+ audio signals. Would
it be very expensive to use Csound for such a task ? ... it=B4s only audi=
o
input, ring modulation and realtime audio input I trhink.
Does anyone have a working example of realtime audio input&output?
hopefully it should work with a SB128 under Win98.
Thanks!
--
Josep M Comajuncosas
C/ Circumval.lacio 75 08790 Gelida - Penedes
Catalunya - SPAIN tel. 93 7792243
e-mail: gelida@intercom.es
ET Informatica de Sistemes
e-mail: jcomajuncosas@campus.uoc.es
http://members.tripod.com/csound/
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Message-ID: <000501bef7dc$6b4c9780$3d99170c@default>
From: Hans Mikelson
To: Csound
Subject: FM Tom-Toms Orc/Sco
Date: Sun, 5 Sep 1999 15:22:45 -0500
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Hi,
Continuing the drum thread a bit, here are some FM toms.
Bye,
Hans Mikelson
; ORC
sr = 44100 ; Sample rate
kr = 4410 ; Kontrol rate
ksmps = 10 ; Samples/Kontrol period
nchnls = 2 ; Normal stereo
;---------------------------------------------------------
; FM Tom-Tom
; Coded by Hans Mikelson 9/5/99
;---------------------------------------------------------
instr 15
idur = p3 ; Duration
iamp = p4 ; Amplitude
ifqc = cpspch(p5) ; Convert pitch to frequency
irez = p6 ; Resonance or Q
ifco = p7 ; Cut off frequency
ihit = p8 ; Noise duration
ihamp = p9 ; Noise amplitude
ipanl = sqrt(p10) ; Pan left
ipanr = sqrt(1-p10) ; Pan right
afqc1 linseg 1+iamp/30000, ihit*.5*idur, 1, .1, 1 ; Pitch bend
afqc = afqc1*afqc1 ; Pitch bend squared
adclck linseg 0, .002, 1, idur-.004, 1, .002, 0 ; Declick envelope
aamp1 expseg .01, .001, 1, idur-.001, .04 ; Tone envelope
aamp2 expseg .01, .001, 1, idur*ihit-.001, .01 ; Noise envelope
arnd1 rand ihamp ; Genrate noise
arnd rezzy arnd1, ifco, irez, 1 ; High pass mode
asig oscil 1, afqc*ifqc*(1+arnd*aamp2), 1 ; Frequency modulation with
noise
aout = asig*iamp*aamp1*adclck ; Apply amp envelope and
declick
outs aout*ipanl, aout*ipanr ; Output the sound
endin
; SCORE
f1 0 65536 10 1
; .125, .250, .375, .500, .625, .750, .875, 1.000
; Sta Dur Amp Pitch Q Fqc HitDur HitAmp Pan
i15 0.125 .13 23000 6.09 30 1200 .18 70 .2
i15 0.250 .15 25000 6.09 20 300 .22 40 .5
i15 0.500 .15 25000 6.09 20 600 .22 70 .4
i15 0.750 .25 29000 7.02 30 900 .11 95 .8
i15 0.00 1 0 6.09 20 500 .7 100 .5
s
; Sta Dur Amp Pitch Q Fqc HitDur HitAmp Pan
i15 0.125 .13 23000 6.09 30 1200 .18 30 .2
i15 0.250 .15 25000 6.09 20 300 .22 40 .5
i15 0.500 .12 21000 6.09 20 600 .22 30 .4
i15 0.750 .25 29000 6.07 30 900 .11 95 .8
i15 0.00 1 0 6.09 20 500 .7 100 .5
s
; Sta Dur Amp Pitch Q Fqc HitDur HitAmp Pan
i15 0.125 .13 23000 6.10 10 1200 .18 20 .2
i15 0.250 .15 25000 6.09 60 2300 .72 10 .5
i15 0.375 .17 23000 6.10 10 1400 .25 20 .8
i15 0.500 .15 25000 6.09 60 2600 .72 10 .4
i15 0.750 .25 29000 7.02 30 900 .11 95 .8
i15 0.00 1 0 6.09 20 500 .7 100 .5
s
; Sta Dur Amp Pitch Q Fqc HitDur HitAmp Pan
i15 0.000 .18 20000 7.01 20 400 .23 40 .9
i15 0.125 .13 23000 6.09 30 1200 .18 70 .2
i15 0.250 .15 25000 6.09 20 300 .22 40 .5
i15 0.375 .17 23000 6.10 10 1400 .25 40 .8
i15 0.500 .15 25000 6.09 20 600 .22 70 .4
i15 0.625 .12 20000 6.10 10 1000 .25 50 .5
i15 0.750 .25 29000 6.07 30 900 .11 95 .8
i15 0.00 1 0 6.09 20 500 .7 100 .5
s
; Sta Dur Amp Pitch Q Fqc HitDur HitAmp Pan
i15 0.125 .13 23000 6.09 30 1200 .18 70 .2
i15 0.250 .19 25000 6.09 20 300 .22 40 .0
i15 0.375 .13 23000 6.10 30 1400 .35 20 .8
i15 0.500 .19 25000 6.09 40 3600 .32 20 .4
i15 0.625 .12 20000 6.10 10 1000 .25 50 .99
i15 0.750 .19 29000 6.07 30 900 .11 95 .8
i15 0.875 .11 20000 7.02 10 1000 .25 30 .4
i15 0.00 1 0 6.09 20 500 .7 100 .5
s
; Sta Dur Amp Pitch Q Fqc HitDur HitAmp Pan
i15 0.000 .18 20000 7.02 20 400 .23 40 .9
i15 0.125 .13 23000 6.09 30 1200 .18 30 .2
i15 0.250 .19 25000 6.09 20 300 .22 40 .1
i15 0.375 .13 23000 6.10 10 1400 .25 40 .8
i15 0.500 .19 25000 6.07 20 600 .22 30 .4
i15 0.750 .25 29000 6.10 30 900 .11 95 .8
i15 0.00 1 0 6.09 20 500 .7 100 .5
s
; Sta Dur Amp Pitch Q Fqc HitDur HitAmp Pan
i15 0.125 .13 23000 6.09 30 1200 .18 70 .2
i15 0.250 .19 25000 6.09 20 300 .22 40 .5
i15 0.375 .13 23000 6.10 30 1400 .35 20 .8
i15 0.500 .19 25000 6.09 40 3600 .32 20 .1
i15 0.625 .12 20000 6.10 10 1000 .25 50 .5
i15 0.750 .19 29000 6.07 30 900 .11 95 .8
i15 0.875 .11 20000 7.02 10 1000 .25 30 .4
i15 0.00 1 0 6.09 20 500 .7 100 .5
s
; Sta Dur Amp Pitch Q Fqc HitDur HitAmp Pan
i15 0.000 .18 20000 7.02 20 400 .23 40 .9
i15 0.125 .13 23000 6.09 40 3200 .68 10 .2
i15 0.250 .19 25000 6.09 20 300 .22 40 .5
i15 0.375 .13 23000 6.10 40 3400 .65 10 .8
i15 0.500 .26 25000 6.07 20 600 .08 90 .4
i15 0.752 .43 25000 6.09 30 900 .08 85 .0
i15 0.745 .45 25000 6.07 30 900 .08 85 .99
i15 0.00 1 0 6.09 20 500 .7 100 .5
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From: Matt Southall
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To: Hans Mikelson
CC: Csound
Subject: Re: Crickets [ot]
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HM> Summer is coming to an end but if you miss the sound of crickets you can
HM> recreate it with the following Csound orc/sco.
As a bit of an aside, when I was a PhD student, my supervisor's work
was building robotic models of cricket phonotaxis (part of their
mating behaviour). We simulated the cricket mating calls using Csound.
Off topic.. but I thought I'd share that with you all :)
Matt
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Date: Sun, 05 Sep 1999 22:51:16 +0200
From: Jens Groh
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CC: jpff@maths.bath.ac.uk, g.maldonado@agora.stm.it, peter@selene.cube.net
Subject: new "nlalp" opcode
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Hello Csounders!
Let me introduce this new opcode:
nlalp
---------
aresult nlalp ainput, klfact, knfact [, istor]
Passive non-linear allpass filter.
INITIALIZATION
istor - initial disposition of internal data space. Since filtering
incorporates a feedback loop of previous output, the initial
status of the storage space used is significant. A zero
value
will clear the space; a non-zero value will allow previous
information to remain. The default value is 0.
PERFORMANCE
klfact - linear part of the allpass filter coefficient.
knfact - nonlinear part of the allpass filter coefficient. If zero,
the
filter will be a normal, yet adjustable allpass.
DESCRIPTION
This opcode performs a "passive", non-linear allpass filter after John
Pierce
& Scott Van Duyne (US Patent 5,703,313). "Passive" means that it is
energy-
conserving, which makes it useful in physical modeling instruments, like
waveguide meshes.
You find this description including an example at:
http://www.harmonik.de/femc/download/new_jgops.txt
and the source code at:
http://www.harmonik.de/femc/download/new_jgops.cod
Another example for its use is this gong-like instrument:
http://www.harmonik.de/femc/download/gong.csd
Jens Groh
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Date: Sun, 05 Sep 1999 22:51:16 +0200
From: Jens Groh
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Subject: new "nlalp" opcode
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Hello Csounders!
Let me introduce this new opcode:
nlalp
---------
aresult nlalp ainput, klfact, knfact [, istor]
Passive non-linear allpass filter.
INITIALIZATION
istor - initial disposition of internal data space. Since filtering
incorporates a feedback loop of previous output, the initial
status of the storage space used is significant. A zero
value
will clear the space; a non-zero value will allow previous
information to remain. The default value is 0.
PERFORMANCE
klfact - linear part of the allpass filter coefficient.
knfact - nonlinear part of the allpass filter coefficient. If zero,
the
filter will be a normal, yet adjustable allpass.
DESCRIPTION
This opcode performs a "passive", non-linear allpass filter after John
Pierce
& Scott Van Duyne (US Patent 5,703,313). "Passive" means that it is
energy-
conserving, which makes it useful in physical modeling instruments, like
waveguide meshes.
You find this description including an example at:
http://www.harmonik.de/femc/download/new_jgops.txt
and the source code at:
http://www.harmonik.de/femc/download/new_jgops.cod
Another example for its use is this gong-like instrument:
http://www.harmonik.de/femc/download/gong.csd
Jens Groh
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From: Dave Perry
To: Ben Alkov , Bill Gray ,
Brian Whitman , Woodpecker ,
Visorc Mailing List ,
Csound Mailing List , Atlas
Subject: [ANNOUNCE] Visual Orchestra build 24 released
Date: Sun, 5 Sep 1999 23:37:55 +0200
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Dear Csounder's
The latest build of Visual Orchestra has just been released and is
available for download from . This version
is a significant upgrade on the previous, find a full list of new features
and fixes on the same page.
Best wishes,
David Perry
D.W.Perry@fibre.a2000.nl
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Date: Sun, 05 Sep 1999 21:43:25 +0000
From: Tobiah
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CC: Csound
Subject: Re: Crickets [ot]
References: <000901bef6eb$9bccf2c0$5a99170c@default> <8892.990905@psychology.nottingham.ac.uk>
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I hereby decree, (by no authority of my own) that
a post which includes the word 'csound' in some
meaningful part of the body, should for our purposes
be judged to be 'on topic'.
> As a bit of an aside, when I was a PhD student, my supervisor's work
> was building robotic models of cricket phonotaxis (part of their
> mating behaviour). We simulated the cricket mating calls using Csound.
> Off topic.. but I thought I'd share that with you all :)
>
> Matt
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From: rasmus ekman
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To: Csound List
Subject: Re: Auto-switch off Csound when input ends
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Suggested plot:
Use negative p3 (indefinite instrument), set to minimum
play time. Take rms of output signal (to let reverb fade out),
or take rms of input and start a counter when this is zero.
After minimum ring time (-p3 in orc), if rms is zero,
call turnoff. (For multiple instr's you can set a global
variable which all read, and call turnoff when true.)
Would that do, or is the situation more complex?
re
Tobiah wrote:
>
> The orc would have to sense the end of input, and then
> terminate existing invocations of itself.
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Date: Sun, 5 Sep 1999 20:09:45 +0100
To: Larry Troxler , csound@maths.ex.ac.uk,
J P Fitch
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From: tolve
Subject: Re: ugen test-level status in doc?
think somewhere along the way i was misinterpreted: never meant to suggest
absolutely anyone should be able to add information to a database regarding
known bugs -only multiple contributors given such access. all others simply
view.
also, as mentioned, though i'm willing to set up structure of such a
database, it would be quite a bit of work for others to maintain the
information.
do believe that at least a simple known bugs list would be useful.
certainly it is not that bizarre a concept in this world. but how about
this least possible work solution for a start:
mr ffitch declares international csound bug week at his convenience. all
users are invited to blitz the list with bugs they have encountered with
"international csound bug week" in the heading.
*all such bugs must have been in some way confirmed on this list and should
not currently be listed as solved in the most recent official ffitch
communiques*
(posts of new bugs could and should of course continue to be posted but
without the international csound bug week moniker in the subject heading)
users would be free to set up a filter to sort international csound bug
week posts for reference.
viola!
this process could be repeated any time the manual is being updated.
tolve
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To: Larry Troxler , csound@maths.ex.ac.uk,
J P Fitch
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From: tolve
Subject: Re: ugen test-level status in doc?
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think somewhere along the way i was misinterpreted: never meant to suggest
absolutely anyone should be able to add information to a database regarding
known bugs -only multiple contributors given such access. all others simply
view.
also, as mentioned, though i'm willing to set up structure of such a
database, it would be quite a bit of work for others to maintain the
information.
do believe that at least a simple known bugs list would be useful.
certainly it is not that bizarre a concept in this world. but how about
this least possible work solution for a start:
mr ffitch declares international csound bug week at his convenience. all
users are invited to blitz the list with bugs they have encountered with
"international csound bug week" in the heading.
*all such bugs must have been in some way confirmed on this list and should
not currently be listed as solved in the most recent official ffitch
communiques*
(posts of new bugs could and should of course continue to be posted but
without the international csound bug week moniker in the subject heading)
users would be free to set up a filter to sort international csound bug
week posts for reference.
viola!
this process could be repeated any time the manual is being updated.
tolve
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Date: Sun, 5 Sep 1999 20:17:49 +0100
To: Larry Troxler , csound@maths.ex.ac.uk,
J P Fitch
MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.omphalos
From: tolve
Subject: Re: ugen test-level status in doc?
better make that "international csound known bugs week"
tolve
tolve wrote
>think somewhere along the way i was misinterpreted: never meant to suggest
>absolutely anyone should be able to add information to a database
>regarding known bugs -only multiple contributors given such access. all
>others simply view.
>
>also, as mentioned, though i'm willing to set up structure of such a
>database, it would be quite a bit of work for others to maintain the
>information.
>
>do believe that at least a simple known bugs list would be useful.
>certainly it is not that bizarre a concept in this world. but how about
>this least possible work solution for a start:
>
>mr ffitch declares international csound bug week at his convenience. all
>users are invited to blitz the list with bugs they have encountered with
>"international csound bug week" in the heading.
>
>*all such bugs must have been in some way confirmed on this list and
>should not currently be listed as solved in the most recent official
>ffitch communiques*
>
>(posts of new bugs could and should of course continue to be posted but
>without the international csound bug week moniker in the subject heading)
>
>users would be free to set up a filter to sort international csound bug
>week posts for reference.
>
>viola!
>
>this process could be repeated any time the manual is being updated.
>
>tolve
>
>
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To: Larry Troxler , csound@maths.ex.ac.uk,
J P Fitch
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From: tolve
Subject: Re: ugen test-level status in doc?
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better make that "international csound known bugs week"
tolve
tolve wrote
>think somewhere along the way i was misinterpreted: never meant to suggest
>absolutely anyone should be able to add information to a database
>regarding known bugs -only multiple contributors given such access. all
>others simply view.
>
>also, as mentioned, though i'm willing to set up structure of such a
>database, it would be quite a bit of work for others to maintain the
>information.
>
>do believe that at least a simple known bugs list would be useful.
>certainly it is not that bizarre a concept in this world. but how about
>this least possible work solution for a start:
>
>mr ffitch declares international csound bug week at his convenience. all
>users are invited to blitz the list with bugs they have encountered with
>"international csound bug week" in the heading.
>
>*all such bugs must have been in some way confirmed on this list and
>should not currently be listed as solved in the most recent official
>ffitch communiques*
>
>(posts of new bugs could and should of course continue to be posted but
>without the international csound bug week moniker in the subject heading)
>
>users would be free to set up a filter to sort international csound bug
>week posts for reference.
>
>viola!
>
>this process could be repeated any time the manual is being updated.
>
>tolve
>
>
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From: Paul Winkler
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Thanks for the suggestion, Peter. That should work.
The only issue is whether one might wish to have so much data coming in
that one pipe will start to be too slow...
I need to do some testing of my ideas to find out if that will be a
problem, before I get too far into it.
Thanks,
PW
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From: Paul Winkler
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Subject: Re: Csound as filter
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Tobiah wrote:
>
> I sometimes use csound in shell scripts
(snip)...
I would love to see some examples of this technique.
> I would love to use csound in this way as a normal
> command line filter, using standard in and out. The
> problem is that when using standard in, one can not
> determine the length of the input sound file, and so
> a score of the proper length can not be generated.
I am by no means a shell-script expert, so there may well be better
solutions, but: What about storing the length of input in an
environment variable?
let's use the hypothetical scripts "flanger" and "echo".
You might call them like this:
flanger -i input.wav | echo -o output.wav
Here's what happens:
1. "flanger" sees that it has the "-i input.wav" arguments and decides
that it must call sndinfo, parse the result to find lenght of input.wav.
2. Length in sec. is stored in environment as $WAVLENGTH
3. echo sees that it does not have a "-i" argument and thus assumes its
input is from stdin. So it looks to $WAVLENGTH for the duration to use.
It also modifies $WAVLENGTH if it will be changing the length. This is
so subsequent filters in the pipe get the new length correct.
To make these scripts general-purpose filters, all scripts should test
for the existence of $WAVLENGTH and only call sndinfo if it does not
exist. You would then want the last called script to destroy $WAVLENGTH,
or else it will still be floating around the next time you run these
scripts. But how would the last script know it's the last one? By
checking to see whether it has a -o argument. If yes, then its output is
being written to a file and we can safely remove $WAVLENGTH. If no, we
should assume output is to a pipe or stdout.
One disadvantage: I don't know how this could be made to work with
redirection symbols > and < . Or backquotes.
---------------- paul winkler ------------------
slinkP arts: music, sound, illustration, design, etc.
zarmzarm@hotmail.com --or-- slinkp AT ulster DOT net
http://www.ulster.net/~abigoo/
======================================================
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Date: Mon, 06 Sep 1999 00:13:00 -0400
From: Paul Winkler
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To: Hans Mikelson
CC: Csound
Subject: Re: FM Tom-Toms Orc/Sco
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That's a pretty cool drum!
I've discovered it can even do good kick drums of several flavors, with
some parameter tweaking like so...
i15 0 .15 32000 5.05 100 1000 .3 100 .5
i15 0.125 .15 32000 5.05 100 100 .3 20
i15 0.250 .15 32000 5.05 100 100 .8 20
i15 0.5 .15 32000 5.08 100 100 .4 20
i15 0.625 .15 32000 5.08 6000 700 .5 100
Hans Mikelson wrote:
>
> Hi,
>
> Continuing the drum thread a bit, here are some FM toms.
>
> Bye,
> Hans Mikelson
>
> ; ORC
> sr = 44100 ; Sample rate
> kr = 4410 ; Kontrol rate
> ksmps = 10 ; Samples/Kontrol period
> nchnls = 2 ; Normal stereo
>
> ;---------------------------------------------------------
> ; FM Tom-Tom
> ; Coded by Hans Mikelson 9/5/99
> ;---------------------------------------------------------
> instr 15
>
> idur = p3 ; Duration
> iamp = p4 ; Amplitude
> ifqc = cpspch(p5) ; Convert pitch to frequency
> irez = p6 ; Resonance or Q
> ifco = p7 ; Cut off frequency
> ihit = p8 ; Noise duration
> ihamp = p9 ; Noise amplitude
> ipanl = sqrt(p10) ; Pan left
> ipanr = sqrt(1-p10) ; Pan right
>
> afqc1 linseg 1+iamp/30000, ihit*.5*idur, 1, .1, 1 ; Pitch bend
> afqc = afqc1*afqc1 ; Pitch bend squared
> adclck linseg 0, .002, 1, idur-.004, 1, .002, 0 ; Declick envelope
> aamp1 expseg .01, .001, 1, idur-.001, .04 ; Tone envelope
> aamp2 expseg .01, .001, 1, idur*ihit-.001, .01 ; Noise envelope
>
> arnd1 rand ihamp ; Genrate noise
> arnd rezzy arnd1, ifco, irez, 1 ; High pass mode
> asig oscil 1, afqc*ifqc*(1+arnd*aamp2), 1 ; Frequency modulation with
> noise
>
> aout = asig*iamp*aamp1*adclck ; Apply amp envelope and
> declick
>
> outs aout*ipanl, aout*ipanr ; Output the sound
>
> endin
---------------- paul winkler ------------------
slinkP arts: music, sound, illustration, design, etc.
zarmzarm@hotmail.com --or-- slinkp AT ulster DOT net
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Date: Mon, 06 Sep 1999 00:32:58 -0400
From: Paul Winkler
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Subject: b statement confusion
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Hi,
Has anyone used the "b" (clock reset) score statement for anything?
If so, do you understand it? :)
I just played with it and either it does the opposite of what the manual
suggests, or my brain is screwed on backwards.
>From the manual (version 3.53)
B STATEMENT
b p1
DESCRIPTION
This statement resets the clock.
P FIELDS
p1 Specifies how the clock is to be set.
SPECIAL CONSIDERATIONS
If p1 is positive, the clock is reset forward by the number of beats
specibied by p1. If p1 is negative, the clock is reset
backward by the number of beats specified by p1. If p1 = 0, the clock is
returned to its original position.
--
(end of manual extract)
So, to my way of thinking: If I use b -1, I have just set the clock back
by 1 beat. So if an event leaves the clock at 20, then b -1 will cause
the clock to be set to 19; subsequent events will be heard after a delay
of 1 beat while the clock counts from 19 to 20 again. Conversely, if I
use b 1, the clock will be set forward by 1 beat and any events before
"now plus 1" (in this case 21) will be skipped.
This is exactly the opposite of what seems to happen in practice.
Positive values result in pauses; negative values result in skipped
beats.
And I suppose I should point out I am currently using unofficial linux
csound version 3.53.0.1b...
Here's a score that demonstrates the confusion. (This score is for Hans
Mikelson's just-posted FM tomtom orc)
f1 0 65536 10 1
s
m kicks ; give this section a name for use by n statements
i15 0 .15 32000 5.05 100 1000 .3 100 .5
i15 0.125 .15 32000 5.05 100 100 .3 20
i15 0.250 .15 32000 5.05 100 100 .8 20
i15 0.5 .15 32000 5.08 100 100 .4 20
i15 0.625 .15 32000 5.08 6000 700 .5 100
f 0 1
s
n kicks ; second time
n kicks ; third time
b .5 ; results in a pause of .5 before next repeat!
n kicks
b -.5 ; results in skipping first .5 beats of next repeat!
n kicks
n kicks
---------------- paul winkler ------------------
slinkP arts: music, sound, illustration, design, etc.
zarmzarm@hotmail.com --or-- slinkp AT ulster DOT net
http://www.ulster.net/~abigoo/
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From: Peter Neubacker
Date: Mon, 6 Sep 99 08:44:34 +0200
To: csound@maths.ex.ac.uk
Subject: Re: Cps2 opcode and Just Intonation
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> i have been experimenting with the Cps 2 opcode...
As I understand it, the cpsxpch opcode would match
your demands, as you give it a base frequency ibase.
So, cpsxpch 8.02, -1, 2, 1.0
would give you frequencies relative to 1 Hz.
Peter
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Date: Mon, 6 Sep 99 08:56:21 +0200
To: csound@maths.ex.ac.uk
Subject: Re: Csound as filter
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> I thought that it would be great if a score could
> specify total duration as an absolute offset from
> the input soundfile's duration.
You can change duration of a note from within the
instrument, simply by setting
p3 = isomething + ioffset
Would that do the job?
Peter
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Ohlfs> I thought that it would
be great if a score could
> specify total duration as an absolute offset from
> the input soundfile's duration.
You can change duration of a note from within the
instrument, simply by setting
p3 = isomething + ioffset
Would that do the job?
Peter
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