| This is (mostly) on topic, I hope:
I'd like to know what types of machines (and supporting software) people
are using for servers. We're using an Intel NeXT setup right now, but we
need to buy a larger,faster setup to handle all the materials currently
being developed, especially audio. We have access to the University's Real
Audio setup, but we're also considering what we might want.
Any thoughts/comments/observations would be appreciated.
bob pritchard bob@unixg.ubc.ca
School of Music Multimedia Resource Centre, University of British Columbia
Vancouver, B.C. Canada V6T 1Z2 (604) 822-3113 Fax (604) 822-4884
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Subject: Organised Sound: CALL FOR PAPERS
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Organised Sound
An International Journal of Music and Technology
CALL FOR PAPERS
Volume 2, Number 3
Issue thematic title: Analysis and Synthesis
Date of Publication: December 1997
Publishers: Cambridge University Press
Articles to be considered for publication in the named issue are now invited.
Analysis and Synthesis
The Editors of Organised Sound are seeking papers relating to
musical/multimedia applications of technology. Articles for submission can
fall into four categories: Tutorial articles - focusing upon aspects of
either music, technology or techniques that are intended for reference and
tutorial purposes; Student papers - short articles highlighting the work of
young researchers and composers; Themed articles - related to any aspect of
an issue's theme, or general articles about compositional approaches and/or
technical matters arising from the application of technology to music.
Articles relating to the theme of a particular issue normally represent
about 40% of its content. Organised Sound also accepts music-only
submissions for publication on its annual CD.
We are seeking themed submissions for Vol.2 No.3 relating to any aspect
of analysis and/or synthesis. Articles on synthesis or re-synthesis
techniques, the analysis of musical works, the synthesis of
compositional techniques, sound/acoustic analysis and representation
and the results of synthesising different media will be amongst the
areas considered for publication.
TIMETABLE for SUBMISSIONS
Articles and other material for the editors' consideration should be
submitted by 21/9/97. If submitted in hard copy, three copies should be
posted to:
The Editors,
Organised Sound,
Department of Music,
University of York,
Heslington,
YORK YO1 5DD
EMail submissions should be mailed to:
os@cage.york.ac.uk
Notes for Contributors can be obtained from the Editors or from the
Organised Sound Web site:
http://www.cup.cam.ac.uk/Journals/JNLSCAT/oso/oso.html
Co-Editors: Ross Kirk, Leigh Landy, Tony Myatt, Richard Orton.
Corresponding Editors:
Lelio Camilleri, Daniel Oppenheim, Miller Puckette, Barry Truax,
David Worrall.
International Advisory Board:
Francois Bayle, Marc Battier, Peter Castine, Alcedo Coenen,
Francis Dhomont,Simon Emmerson, Rajmil Fischman, Takayuki Rai,
Jean-Claude Risset, Francis Rumsey, John Rimmer, Conrado Silva,
Christiane Ten-Hoopen, Daniel Teruggi, Jukka Tiensuu,
Trevor Wishart, Scott Wyatt, Iannis Xenakis.
General Aims of Organised Sound
This journal is intended for student, amateur and professional musicians,
musicologists, engineers and members of the public interested in the
application of computers to music. It features papers relating to any
musical activity using computers, and any engineering activity that has
a demonstrable musical aim. Other audio arts, such as multi-media works
or sound sculptures are included. It also provides a focus for engineers
who are involved in the development of musical tools. Each issue will
comprise approximately 60% of its article content to a named theme.
The editors have formulated the following broad aims:
- To provide a platform for musical and related technological discussion
- To further the dialogue between engineers and musicians.
- To provide tutorial texts for students of computer music.
- To disseminate musical material through the production of a compact
disk related to articles contained in the journal (one per annum).
- To encourage musical uses of multi-media.
- To encourage (young) specialists in the field to publish and share
the results of their work.
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To: csound@maths.ex.ac.uk
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From: Hans Mikelson
Subject: Re: airplane flange
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> The difference between the direct and ground-bounce paths is:
> sqrt(x^2 + (y+y_ear)^2) - sqrt(x^2 + (y-y_ear)^2)
> but this is numerically unstable. Squaring and juggling and squaring
> and juggling resulted in a marker-fume headache and yet another unstable
> form. Has anybody got a stable way to calculate or approximate this?
> (Approximate for x comparable to y, that is -- the extremes are easy
> enough.)
>
For an ear at (0, Ye) and a plane at (Xp, Yp) and
angle-of-incidence=angle-of-reflection I get:
Direct-distance = sqrt(Xp^2 + (Yp-Ye)^2)
Plane-to-ground = sqrt((YpXp/(Yp+Ye))^2 + Yp^2)
Ground-to-ear = sqrt((YeXp/(Yp+Ye))^2 + Ye^2)
P
/|
/ |
/ |
/ | Yp
/ |
E / |
Ye |\ / |
| \/ |
X1 X2
Note that Ye/X1 = Yp/X2 since angles are equal. Xe=X1+X2
Solve for X1 & X2 in terms of Ye, Yp & Xe. Then use the distance formula.
| | | \ | / Hans P. Mikelson
| __ | __/ | \ | hljmm@discover-net.net
|__ |__ |__ |__ \_ |__ http://discover-net.net/~hljmm/
|