| Better tools for algorithmic composition within Csound are certainly necessary,
although Csound is more biased towards sound synthesis & timbral research.
I can see different approaches with the current Csound features:
A instrument generates the events with "schedule". For multiple generation you
could hopefully use some goto´s, reinit´s and the like. I´ve not seen yet a
working example though...
A instrument writes a score file for later processing. I see this feature more
flexible but less interactive.
But for certain compositional approaches there are some score generators much
more interesting around there than Csound itself.
Generate MIDI out messages and capture them at the same time (great...is this
possible?) with Midi Loopback or some other MIDI routing tool ... or maybe
capture it from a sequencer , save the resulting MIDI file, and use it again in
Csound ;-)
Peter Neubacker escribió:
> Hi all,
>
> I was thinking about algorithmic composition within csound,
> i.e. not generating a score file that represents the composition
> but having a composer instrument in the orchestra that generates
> the composition completely with csound operators and sends events
> to sound generating instruments in the same orchestra in realtime.
>
> I first thought the schedwhen operator might do that job, but I
> found that you can only generate one event per operator, not an
> arbitrary number of events. (Am I right, or did I miss something?)
>
--
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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Date: Thu, 19 Aug 1999 09:34:49 -0500 (CDT)
From: Kevin Conder
To: pete moss
cc: "csound@maths.ex.ac.uk"
Subject: Re: OT: OSS vs ALSA
In-Reply-To: <37BBA65F.F67CF50C@bigfoot.com>
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On Thu, 19 Aug 1999, pete moss wrote:
> can someone tell me the merits of alsa in relation to oss for linux? i
> have oss working fine, but i am considering doing a switch to alsa.
> will alsa work with progs that need oss?
When all else fails, read the documentation: :-)
http://www.alsa-project.org/~jfulmer/alsa-faq.html
The main advantage of using ALSA over OSS/Free (the default sound
system in most Linux distributions) is full duplex support. There are
other reasons, even the commercial OSS guys admit the ALSA API has better
MIDI support.
The ALSA project FAQ says that it will "maintain backwards
compatibility with most OSS applications". The FAQ mentions a few OSS
program that have problems. Linux CSound has support for ALSA sound
drivers so that shouldn't be an issue.
For Linux CSound:
http://www.bright.net/~dlphilp/linux_csound.html
=================================Kevin Conder, email: kconder@interaccess.com
Web site: http://homepage.interaccess.com/~kconder
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Date: Thu, 19 Aug 1999 11:12:23 -0400
From: Dave Phillips
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Kevin Conder wrote:
> ...even the commercial OSS guys admit the ALSA API has better
> MIDI support.
No offense, Kevin, but I doubt that. ALSA at present supports only
/dev/midi, the raw MIDI interface. /dev/sequencer and /dev/sequencer2
are not supported. IMO, ALSA MIDI support is relatively weak, though
that will change as Frank van de Pol's excellent API is incorporated.
Unforunately, that seems to be taking forever; fortunately, /dev/midi is
enough for Csound.
= Dave Phillips
http://www.bright.net/~dlphilp/index.html
http://sunsite.univie.ac.at/Linux-soundapp/linux_soundapps.html
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Date: Wed, 18 Aug 1999 12:29:35 -0400
From: Thomas Hudson
Organization: Cygnus Solutions
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To: Dave Phillips
CC: "csound@maths.ex.ac.uk"
Subject: Re: OT: OSS vs ALSA
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Dave Phillips wrote:
>
> Kevin Conder wrote:
>
> > ...even the commercial OSS guys admit the ALSA API has better
> > MIDI support.
>
> No offense, Kevin, but I doubt that.
I read the interview w/ one them. They were speaking of Frank van de Pol's
design.
> ALSA at present supports only
> /dev/midi, the raw MIDI interface. /dev/sequencer and /dev/sequencer2
> are not supported. IMO, ALSA MIDI support is relatively weak, though
> that will change as Frank van de Pol's excellent API is incorporated.
I'm currently using his API. Through the docs are not up to date, it is
still more than any of the OSS stuff. You need to make sure you use
--enable-sequencer to get his stuff. But it is there and it works.
$ cd /proc/asound
$ ls
0 cards devices oss-devices seq timers
card1 dev meminfo pcm synth version
$ cd seq
$ ls
clients memory oss queues timer
$ cat oss
OSS sequencer emulation version 0.1.5
ALSA client number 63
ALSA receiver port 0
Number of applications: 0
Number of synth devices: 1
synth 0: EMU8000
type 0x1
subtype 0x20
voices 32
ioctl enabled
load_patch enabled
Number of MIDI devices: 5
midi 0: Emu8000 port 0
client 65
port 0
capability write
opened none
midi 1: Emu8000 port 1
client 65
port 1
capability write
opened none
midi 2: Emu8000 port 2
client 65
port 2
capability write
opened none
midi 3: Emu8000 port 3
client 65
port 3
capability write
opened none
midi 4: 0: MPU-401 (UART)
client 64
port 0
capability read/write
opened none
Thomas
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Date: Thu, 19 Aug 1999 09:24:57 -0700 (PDT)
From: "Matt J. Ingalls"
To: color
cc: csound@maths.ex.ac.uk
Subject: Re: 3.55 mac ppc
In-Reply-To: <19990819085039.QLJX1153.smtp2@[62.81.84.15]>
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you may be referring to the real-time "feature" to have the ability to hog
the entire system?
perhaps you should get the most up to date version(3.56):
ftp://mills.edu/ccm/csound.ppc/CsoundPPC3.56.sit.hqx
http://www.concentric.net/~Mingalls/software/csound
i usually put all new features not in the manual in
the README file - heres from the current REAMDE:
====================================
detail on new real-time improvements
====================================
Csound real-time sound output on the macintosh is still
not done the "proper" way, but it turns out if we take
over the system (through a few hacks in the code) we can get
pretty good performance.
To do this, a new parameter has been included in the
"Set Buffers" dialog (-P in the command line) that sets the
number of audio output buffers to every System Event poll
(these system events are mouse and keyboard input, screen updates, etc).
A small number will make sytem events like clicking on the transport
appear "normally" with a loss in real-time performance (i.e. "breakups")
A large number will improve real-time performance with a severe loss in
responsiveness to sytem events.
A value of '0' will produce the best real-time performance with NO
system events handled while there is any instrument playing.
This "poll events" parameter ONLY APPLIES when there are
score events, MIDI events, or MIDI files currently active. Otherwise,
control should be given back to the system - returning the transport
and other interface items to normally responsivity.
Remember, you can optimize your real-time performance by:
(for more info look in the mac manual)
1) turning off all messages (RT MIDI In checkbox automatically
turns off all messages)
2) or you can try using a listing file with the "listing file
disables output window" option enabled from the prefs dialog
box.
3) tweak your buffer sizes
4) i have been using the xtratim/release opcodes a lot for getting
rid
of clicks at the end of RT MIDI events
On Thu, 19 Aug 1999, color wrote:
> la version para macintosh ppc csound 3.55 no se puede interrumpir, solo se
> puede parar con coommand + alt + esc
>
> ¿ alguien sabe como evitarlo ?
> ¿ o si es alguna novedad no documentada ?
>
> **** english ****
>
>
> the version for Macintosh ppc csound 3.55 cannot be interrupted,
> single can be
> stopped with coommand + alt + esc
>
> somebody knows like avoiding it? or if it is some new development
> nondocumented?
>
>
> thanks. guillermo lorenzo
>
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Date: Thu, 19 Aug 1999 10:18:21 -0700 (PDT)
From: Jan Jacob Hofmann
Subject: csound surround module
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The abillity to perform quad sound with some
multichannel card is one thing... But what I was
heading for is 3d spacial audio (height included) as
discribed in the ambisonics homepage, which is more
than distribution of sounds in space just by a quad
mix, based on amplitude (like panning in the stereo-
field): What they discribe convincingly is some
psychoarcoustic shaping of the sound material, so
that amplitude distribution is one part,
freq-dependent response (which seems to mean, that
the distribution of sound is frequency-dependent, in
correlation with the amount of phase shifting
required for precise spatial localisation. It may
even include the head-related transfer-function (hrtf).
All this may give a more precise localisation for
hopefully many listeners (not just the one in the
middle). See ambisonics homepage for reference:<
http://www.york.ac.uk/inst/mustech/3d_audio/ambison.htm>
Now- isn't this possible to do in a c-sound-file? To
generate the surround sound according to a score in
an instrument , which contains this psychoarcoustic
processing as a "module", that is applyed like any
other filter or reverb? output is then 4-channel, but
contains more spacial information than just an
amplitude-based 4-channel-mix.
Has anyone used such thing? Maybe there are really
some scores/orc. arround, that (I thought) I had
heard of. They should be at the ambisonics page, but
they are not anymore. Or maybe I got the whole
ambisonics page wrong?
Who has experience in that?
greetings
Jan Jacob
---Richard Dobson wrote:
>
> The SB live is designed to generate surround audio
from a mono or stereo
> source, which is what the games people want. The
fact that you get a
> quad ~output~ does not necessarily mean you can
give it a quad ~input~.
>
> Any card which provides a single quad WAVE device
can be used by Csound
> to play a quad file.
>
> The free Multi-Channel Toolkit (Win32 console)
available from the CDP
> website includes a program 'playsfx' which will
report the number of
> channels supported by each WAVE device on the
system. Where N channels
> are supported by a device, playsfx can play an
N-channel file.
>
> More to the point, if a device supports a quad
file, you can play the
> file using Media Player - you don't need any
third-party application.
>
> Unfortunately, some cards (where the driver-writers
were lazy) will
> acccept a quad file even when they shouldn't - it
may come out at half
> speed, or worse.
>
> Richard Dobson
>
>
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com
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From: Ross Bencina
To: csound@maths.ex.ac.uk
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Subject: Re: csound surround module
Date: Fri, 20 Aug 1999 03:09:53 +0930
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Jan writes:
>The abillity to perform quad sound with some
>multichannel card is one thing... But what I was
>heading for is 3d spacial audio (height included) as
>discribed in the ambisonics homepage, which is more
>than distribution of sounds in space just by a quad
>mix, based on amplitude (like panning in the stereo-
>field):
Ambisonics uses 4 channels (WXYZ) to _encode_ a periphonic (3d) soundfield.
The Z component encodes the height information. To decode ambisonics you
need at least 8 speakers to effectively reproduce height information + a
suitable decoder (this can be done with an 8 buss desk). The frequency
dependent component of ambisonics is used only in the decoder to improve
localisation, _not_ to synthesize height information without extra speakers
to reproduce the height information.
So your options for csound are:
1. Create a four channel B-Format (WXYZ) file and decode it with separate
software / hardware.
2. Perform 1., then write a separate csound orc to decode bformat into
however many speakers/sound card outputs you have.
3, Perform 1&2 at once (as in my previously posted example).
I believe that it is theoretically possible to convert an ambisonic signal
to binaural using HRTFs for headphone playback, but I'm not sure. I guess it
might be possible to synthesize/embed the height info in a quad decode -
best to ask on the sursound list.
Ross.
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Date: Thu, 19 Aug 1999 13:48:43 -0500 (CDT)
From: Kevin Conder
To: Dave Phillips
cc: "csound@maths.ex.ac.uk"
Subject: Re: OT: OSS vs ALSA
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On Thu, 19 Aug 1999, Dave Phillips wrote:
> Kevin Conder wrote:
>
> > ...even the commercial OSS guys admit the ALSA API has better
> > MIDI support.
>
> No offense, Kevin, but I doubt that. ALSA at present supports only
> /dev/midi, the raw MIDI interface. /dev/sequencer and /dev/sequencer2
> are not supported. IMO, ALSA MIDI support is relatively weak, though
> that will change as Frank van de Pol's excellent API is incorporated.
> Unforunately, that seems to be taking forever; fortunately, /dev/midi is
> enough for Csound.
Wow! The same Dave Phillips that maintains the Linux Sound Apps
page. I'd like to say thank you for maintaining that page. It's one of
my favorite bookmarks.
The interview that I was referring to is at:
http://www2.crosswinds.net/~linuxmusic/software3.html
Here is a relevant quote from this interview:
"We will be enhancing our MIDI architecture in OSS v4.0 in 2000/2001. So
I will give ALSA due credit for coming up with a better MIDI
architecture."
I'll take your word about the /dev/sequencer issues. So maybe
our misunderstanding is over the differences between the words "support"
and "architecture". Life's too short to argue about semantics, right?
Keep up the good work with the Linux Sound Apps page.
=================================Kevin Conder, email: kconder@interaccess.com
Web site: http://homepage.interaccess.com/~kconder
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To: csound@maths.ex.ac.uk
Date: Thu, 19 Aug 1999 13:33:19 -0700
Subject: cleaning recordings
Message-ID: <19990819.133322.3950.0.kurtnelson2@juno.com>
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From: Kurt S Nelson
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Dear Csounders:
I am attempting to clean some noisey soundfiles using the dam opcode.
The signal (a piano piece off a CD) is not much above the noise floor of
the original recording. Hhaving not worked with compression or expansion
much in the past, I am having a hard time selecting values for the
threshold and compression ratios that result in a sound much better than
the original. Can anyone suggest any other opcodes or techniques for
audio cleaning (maybe the term "de-essing" applies here)?
This is a project I am doing to practice for cleaning some old speeches
on reel-to-reel tapes, and to educate myself in general. Any suggestions
would be greatly appreciated.
Sincerely, Kurt Nelson
___________________________________________________________________
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Date: Thu, 19 Aug 1999 17:05:21 -0400 (EDT)
From: Dew Drops
To: Kurt S Nelson
cc: csound@maths.ex.ac.uk
Subject: Re: cleaning recordings
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One simple technique is to use an eq noch filter right at the frequency of
the hiss (like Dolby). If you play with what freq. and how wide a band
you grab, you can usually get rid of hiss without taking too much of the
music. It won't help with pops or other random noises, but I image it
would be good for olde speeches.
What are the speeches of ? Anything interesting ?
dd
_____________________________________________________________________________
I consider myself an artist, and I do what I love to do. And I don't have
to live in squalor, because people pay programmers good sums of money.
- Linus Torvalds
Drew Volpe volpe@fas.harvard.edu
_____________________________________________________________________________
On Thu, 19 Aug 1999, Kurt S Nelson wrote:
> Dear Csounders:
>
> I am attempting to clean some noisey soundfiles using the dam opcode.
> The signal (a piano piece off a CD) is not much above the noise floor of
> the original recording. Hhaving not worked with compression or expansion
> much in the past, I am having a hard time selecting values for the
> threshold and compression ratios that result in a sound much better than
> the original. Can anyone suggest any other opcodes or techniques for
> audio cleaning (maybe the term "de-essing" applies here)?
>
> This is a project I am doing to practice for cleaning some old speeches
> on reel-to-reel tapes, and to educate myself in general. Any suggestions
> would be greatly appreciated.
>
> Sincerely, Kurt Nelson
>
> ___________________________________________________________________
> Get the Internet just the way you want it.
> Free software, free e-mail, and free Internet access for a month!
> Try Juno Web: http://dl.www.juno.com/dynoget/tagj.
>
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From: David Boothe
To: 'Kurt S Nelson' , csound@maths.ex.ac.uk
Subject: RE: cleaning recordings
Date: Thu, 19 Aug 1999 16:29:57 -0500
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Clean up and restoration of old or poor recordings is a large topic. Many
papers have been written and patents applied for in this area.
I don't think dam will do what you want. Even though you can probably use
Csound to do this, it might require a lot of coding to get useful results.
If you want to pursue it, start with a simple low pass filter to remove the
hiss, and see where that gets you. Two or more dynamically controlled
filters are another possibilty.
You did not say what platform you are on. If Windows, try using the Noise
Reduction function of Cool Edit. (http://www.syntrillium.com) It really
works quite well.
If you have a lot more of this to do, you look might into some of the
specialized software packages such as the ones from Cedar (don't have a
URL), DC ART 32 by Tracer Technologies (http://www.enhancedaudio.com), or
any of several plug-ins of various formats. They are not cheap, but worth it
if you intend to do a lot of work in this area.
Hope this helps.
-David.
-----Original Message-----
From: Kurt S Nelson [mailto:kurtnelson2@juno.com]
Sent: Thursday, August 19, 1999 3:33 PM
To: csound@maths.ex.ac.uk
Subject: cleaning recordings
Dear Csounders:
I am attempting to clean some noisey soundfiles using the dam opcode.
The signal (a piano piece off a CD) is not much above the noise floor of
the original recording. Hhaving not worked with compression or expansion
much in the past, I am having a hard time selecting values for the
threshold and compression ratios that result in a sound much better than
the original. Can anyone suggest any other opcodes or techniques for
audio cleaning (maybe the term "de-essing" applies here)?
This is a project I am doing to practice for cleaning some old speeches
on reel-to-reel tapes, and to educate myself in general. Any suggestions
would be greatly appreciated.
Sincerely, Kurt Nelson
___________________________________________________________________
Get the Internet just the way you want it.
Free software, free e-mail, and free Internet access for a month!
Try Juno Web: http://dl.www.juno.com/dynoget/tagj.
------_=_NextPart_001_01BEEA8A.012D0D4E
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charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
RE: cleaning recordings
Clean up and restoration of old or poor recordings is a large topic. Many papers have been written and patents applied for in this area.
I don't think dam will do what you want. Even though you can probably use Csound to do this, it might require a lot of coding to get useful results. If you want to pursue it, start with a simple low pass filter to remove the hiss, and see where that gets you. Two or more dynamically controlled filters are another possibilty.
You did not say what platform you are on. If Windows, try using the Noise Reduction function of Cool Edit. (http://www.syntrillium.com) It really works quite well.
If you have a lot more of this to do, you look might into some of the specialized software packages such as the ones from Cedar (don't have a URL), DC ART 32 by Tracer Technologies (http://www.enhancedaudio.com), or any of several plug-ins of various formats. They are not cheap, but worth it if you intend to do a lot of work in this area.
Hope this helps.
-David.
-----Original Message-----
From: Kurt S Nelson [mailto:kurtnelson2@juno.com]
Sent: Thursday, August 19, 1999 3:33 PM
To: csound@maths.ex.ac.uk
Subject: cleaning recordings
Dear Csounders:
I am attempting to clean some noisey soundfiles using the dam opcode.
The signal (a piano piece off a CD) is not much above the noise floor of
the original recording. Hhaving not worked with compression or expansion
much in the past, I am having a hard time selecting values for the
threshold and compression ratios that result in a sound much better than
the original. Can anyone suggest any other opcodes or techniques for
audio cleaning (maybe the term "de-essing" applies here)?
This is a project I am doing to practice for cleaning some old speeches
on reel-to-reel tapes, and to educate myself in general. Any suggestions
would be greatly appreciated.
Sincerely, Kurt Nelson
___________________________________________________________________
Get the Internet just the way you want it.
Free software, free e-mail, and free Internet access for a month!
Try Juno Web: http://dl.www.juno.com/dynoget/tagj.
------_=_NextPart_001_01BEEA8A.012D0D4E--
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To: peter@orpheus.selene.cube.net, csound@maths.ex.ac.uk
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Reply-To: umbpux@tin.it
Subject: Re: Algorithmic composition with csound
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>
> Hi all,
>
> I was thinking about algorithmic composition within csound,
> i.e. not generating a score file that represents the composition
> but having a composer instrument in the orchestra that generates
> the composition completely with csound operators and sends events
> to sound generating instruments in the same orchestra in realtime.
>
> I first thought the schedwhen operator might do that job, but I
> found that you can only generate one event per operator, not an
> arbitrary number of events. (Am I right, or did I miss something?)
>
> Anyway, I found a solution that seems very simple and elegant
> to me. Here is the header from my sample algocomp.csd:
Why don't use a pipe and "-L pipename" (or "--lineeventdev=pipename" )
flag and drive Csound with an external program. I find it is much easier
to
write complex programs in C, C++, PERL, Python, basic, ... than in the
Csound orc language.
Umberto
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From: Hans Mikelson
To: csound@maths.ex.ac.uk
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Subject: Re: csound surround module
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Hi,
I made some attempts at spatial audio a while ago. I think it is in
mikelson.zip in the directory space available from:
ftp://ftp.maths.bath.ac.uk/pub/dream/documentation/orchestras+scores/
The file is pretty big but there may be some other useful items in it. It
implements 2D spatial audio not 3D, height is not included in my orc but you
may be able to add some cues using pareq to boost a peak corresponding to
the pinna notch (~10 kHz) Then notch out according to the graphs available
from:
http://www-engr.sjsu.edu/~knapp/HCIROD3D/3D_home.htm
Bye,
Hans Mikelson
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From: Hans Mikelson
To: csound@maths.ex.ac.uk
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Subject: Re: Algorithmic composition with csound
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Hi,
I have been using keykit for alg-comp lately. It is midi based but will
work with midified Csound orc's. Keykit is very nice.
Bye,
Hans Mikelson
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Date: Thu, 19 Aug 1999 23:53:56 -0700 (PDT)
From: "Matt J. Ingalls"
To: Jan Jacob Hofmann
cc: csound@maths.ex.ac.uk
Subject: Re: csound surround module
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i just want to clarify a few things about ambisonics (and why its so cool)
- only 4 channels of data for full periphonic surround - and you can have
ANY number of playback speakers in any location (obviously the more you
have and the more equally spaced the better).
- it uses no psychoacoustic filtering like HRTF - it doesnt need to
because it is trying to recreate the actual sound field in 3D space at a
particular point (the center of the speaker array) - its not using some
kind of "evil trickery" to fool your brain
- and as opposed to HRTF, localization within the sound field stays in the
same place when you turn your head!
- ambisonics (and B-Format[WXYZ] that it is normally stored in) is
elegant and simple in principle, which has the bonus of being
computationally efficient - rotating sounds and other spatial
manipulations are done much easier in ambisonics than HRTF.
- full 3D ambisonics (B-fromat) takes up smaller space (4chnls) than dolby
5.1(6chnls) - dolby 5.1 isnt reall "3D" anyway - no hieght -
- if you ever get a chance to hear it, there is no comparison to dolby.
with ambisonics, the speakers become "invisible" and you really are
immersed in a "virtual" sonic environment.
-
- matt
On Thu, 19 Aug 1999, Jan Jacob Hofmann wrote:
> The abillity to perform quad sound with some
> multichannel card is one thing... But what I was
> heading for is 3d spacial audio (height included) as
> discribed in the ambisonics homepage, which is more
> than distribution of sounds in space just by a quad
> mix, based on amplitude (like panning in the stereo-
> field): What they discribe convincingly is some
> psychoarcoustic shaping of the sound material, so
> that amplitude distribution is one part,
> freq-dependent response (which seems to mean, that
> the distribution of sound is frequency-dependent, in
> correlation with the amount of phase shifting
> required for precise spatial localisation. It may
> even include the head-related transfer-function (hrtf).
> All this may give a more precise localisation for
> hopefully many listeners (not just the one in the
> middle). See ambisonics homepage for reference:<
> http://www.york.ac.uk/inst/mustech/3d_audio/ambison.htm>
>
> Now- isn't this possible to do in a c-sound-file? To
> generate the surround sound according to a score in
> an instrument , which contains this psychoarcoustic
> processing as a "module", that is applyed like any
> other filter or reverb? output is then 4-channel, but
> contains more spacial information than just an
> amplitude-based 4-channel-mix.
> Has anyone used such thing? Maybe there are really
> some scores/orc. arround, that (I thought) I had
> heard of. They should be at the ambisonics page, but
> they are not anymore. Or maybe I got the whole
> ambisonics page wrong?
> Who has experience in that?
>
> greetings
>
>
> Jan Jacob
>
>
>
>
>
> ---Richard Dobson wrote:
> >
> > The SB live is designed to generate surround audio
> from a mono or stereo
> > source, which is what the games people want. The
> fact that you get a
> > quad ~output~ does not necessarily mean you can
> give it a quad ~input~.
> >
> > Any card which provides a single quad WAVE device
> can be used by Csound
> > to play a quad file.
> >
> > The free Multi-Channel Toolkit (Win32 console)
> available from the CDP
> > website includes a program 'playsfx' which will
> report the number of
> > channels supported by each WAVE device on the
> system. Where N channels
> > are supported by a device, playsfx can play an
> N-channel file.
> >
> > More to the point, if a device supports a quad
> file, you can play the
> > file using Media Player - you don't need any
> third-party application.
> >
> > Unfortunately, some cards (where the driver-writers
> were lazy) will
> > acccept a quad file even when they shouldn't - it
> may come out at half
> > speed, or worse.
> >
> > Richard Dobson
> >
> >
>
>
>
>
> _________________________________________________________
> DO YOU YAHOO!?
> Get your free @yahoo.com address at http://mail.yahoo.com
>
>
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Date: Fri, 20 Aug 1999 07:24:36 -0400
From: Dave Phillips
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To: Hans Mikelson
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Subject: Re: Algorithmic composition with csound
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Hans Mikelson wrote:
> I have been using keykit for alg-comp lately. It is midi based but will
> work with midified Csound orc's. Keykit is very nice.
Hans, can you give some more details about a KeyKit/Csound connection ?
What do you mean by "midified" ? (I like KeyKit too).
= Dave Phillips
http://www.bright.net/~dlphilp/index.html
http://sunsite.univie.ac.at/Linux-soundapp/linux_soundapps.html |