| At 01:33 01/05/97 -0500, you wrote:
>the manual comments on the f1 as using gen1 to compute a sine wave. My
>question is this sine wave actually becomes part of the sound? and if this
>is the case, why is it NOT included in the *.orc file? I understood the
>*.sco file to be basically the notes to be played, not to further define the
>instrument.
The way this works is:
The score file creates a list of notes AND fills the tables used in the
instruments.
The instruments then refer to the tables when they start making a noise. In
the example the '1' on the end of the oscil statement means that the
oscillator is a making a sound using the waveshape stored in table 1.
The data in the tables can be changed at any time, which means you can use
the score to switch the sound that an oscillator plays whenever you like.
For example
f1 0 4096 10 1
f1 2 4096 10 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
means that after two time units any instruments that use the data in table
one will start playing a horrible buzzy sound instead a pure sine.
I haven't tried it, but my guess is that you can't change the sound of an
instrument after it's started. The sound will only change if you
reinitialise the instrument - hence no funky wavesequencing effects, at
least not without major effort. Can someone confirm this?
Don't forget that tables can contain control data too. You could, for
example, swap between different sets of pitches when using a instrument
that picked and played a pitch from a set at random. So using this facility
you could set up different 'chords' (or whatever) at different times.
And finally - no, it doesn't particularly make sense having the table data
in the score file. In many ways it doesn't make sense having the data in
two files at all, but Csound uses an 'orchestral' idiom where notes and
instruments are completely separate entities.
I suppose the idea is that the tables are rather like Csound's equivalent
of 'put down that viola and pick up a cello at this point', which is why
the table info ended up in the score file. In short - table definitions and
notes happen at a certain time, instrument definitions apply to the whole
piece. The other reason is that when Csound was written, memory was not as
cheap and plentiful as it is today. So it made sense to have a mechanism
where a single table could be used for different things at different times.
But just as most players don't swap instruments half way through, the
ability to change the data in a table doesn't seem to get much use. Today,
most people seem to prefer creating a different table instead, because it
makes the code clearer. Still, the facility is there if you want it.
Hope that helps,
R.
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From: Tobias Kunze
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Date: Thu, 1 May 1997 16:05:16 -0700
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This is another one that bugged me a while ago, and now again.
Let sr=22050, kr=25, ksmps=882, then:
| Csound Version 3.44 (May 1 1997)
| orchname: /tmp/tkunze.protozoo-new.cec.orc
| scorename: /tmp/tkunze.protozoo-new.cec.sco
| sorting score ...
| ... done
| orch compiler:
| 856 lines read
| instr 10
| instr 20
| instr 21
| instr 30
| instr 40
| MIT Csound: 3.44 (May 1 1997)
| indexing overflow error
kr=50, ksmps=441 works...
--
______________________________________________________________________
Tobias Kunze t@kunze.stanford.edu
CCRMA, Stanford University http://www.stanford.edu/~tkunze
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To: csound@maths.ex.ac.uk
From: Joe Bernert
Subject: Re: gen routines
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Thanks to all of you that replied to my question.... I at least understand
what the heck the sine wave functions were doing in the score file anyway. :)
BTW. someone mentioned there was a "web class" floating around somewhere....
devoted to csound.
I wonder if could get you to post that site again (whoever you are :) ). I
lost the address already ( I know, I know, so slap me)
again thanks alot!
Joe
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To: csound@maths.ex.ac.uk
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From: Hans Mikelson
Subject: Saw/Ramp Wave Transform and Oscillator Synch Instruments
Date: Thu, 01 May 97 21:52:07 PDT
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Hello Csounders,
A while ago someone asked for a way to smoothly transform from a saw toot=
h wave to a ramp wave. I have attached one version of this. This instru=
ment uses the algorithm for a bouncing ball similar to that used for "Pon=
g" and other video games. This could be modified to produce a wide varie=
ty of triangle like wave transformations.
I also included an oscillator sync instrument. Can anyone tell me how =
oscillator sync works when used with a square wave?
| | | \ | / Hans P. Mikelson
| __ | __/ | \ | hljmm@discover-net.net
|__ |__ |__ |__ \_ |__ http://discover-net.net/~hljmm/
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Fri, 2 May 1997 11:11:27 +0200 (ITADST)
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Date: Fri, 02 May 1997 05:11:44 +0200
From: Gabriel Maldonado
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Subject: Saw/Ramp Wave Transform and Oscillator Synch Instruments
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Hans Mikelson wrote:
>
> Hello Csounders,
>
> A while ago someone asked for a way to smoothly transform from a saw tooth
> wave to a ramp wave. I have attached one version of this. This instrument
> uses the algorithm for a bouncing ball similar to that used for "Pong" and
> other video games. This could be modified to produce a wide variety of
> triangle like wave transformations.
See and try my "mirror" opcode source at the url:
http://www.agora.stm.it/G.Maldonado/download.htm
the sintax is:
idest imirror isig, ilow, ihigh
kdest mirror ksig, klow, khigh
adest mirror asig, klow, khigh
As you can see, it can work at any rate and the distance and position of
the two walls (low and high) can be varied at k-rate. Obviously it
allows k-rate != from a-rate.
bye and happy csounding :)
--
Gabriel Maldonado
mailto:g.maldonado@agora.stm.it
http://www.agora.stm.it/G.Maldonado/home2.htm
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