| hi
is sombody keeping all the orchs+scores posted on
this list? i used to keep all that sort of mail,
but upgrading hd and redhat, all's gone with the wind...
just occured to me, they could be kept somewhere in
the net apart from old messages. if there aren't anybody, i
might volunteer collecting them from the beginning of
this year.
Hans has his orchestras in his pages, but others?
just my one cent (we're in euro)
-matti
mjkoskin@sci.fi
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From: Jim Stevenson
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To: gmetford@qubit.demon.co.uk, jdrexler@support.ucla.edu
Subject: Re: how to implement feedback?
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Both posts on this subject have been unreadable through unix Mail, because of
extremely long lines with no , which should be placed at end of all lines,
and at least every 80 chars.
Please remember this problem if you must quote each other.
If you quote me, please put your comments first.
I have already listened to my questions.
Thanks.
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From: Richard Dobson
Organization: Composers Desktop Project
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To: csound@maths.ex.ac.uk
Subject: Re: Free multichannel editor for Mac.
References: <19990109221319.AAB16718@[62.81.84.74]>
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Very interesting!
I will certainly add the info about the Mac version to my Soundcard
Attrition Page. It is very encouraging to find a company such as Yamaha
supporting multi-channel files. Does anyone on this list use a
DSP-Factory? I ned to know if that will play a m/c file.
I downloaded and ran the PC version of the 'Tiny Wave Editor';
unfortunately it crashes (running on Win95-OSR2) when it is trying to
draw the fourth channel; and in the File Open dialog it shows the files
as stereo.
If I can find the appropriate email target, I will tell them. We can't
have PC users falling behind, can we? :-)
Richard Dobson
Javier Ruiz wrote:
>
> For those in the Mac side of the world, and interested in the multichannel
> audio files subject, there is an hard-disk based editor made by Yamaha Co.
> that is able to read the 6-channel WAVE file that Mr. Dobson has in his
> Soundcard Attrition Page.
>
> Not only read it but also allows you to save it in AIFF and Sound Designer
> format. It even gives you a preview with info on the file.
>
> Other option is to create a multichannel file with up to 16 channels with up
> to 32 bits per sample.
>
> I dont know if it is in the Yamaha website, but I got it in a German CD-ROM.
>
> It is great to check those hard-earned quad files made with Csound.
>
> It is called TWE and it is free BTW.
>
> Happy new Sunday and excuse my bad English et cetera et cetera.
>
> Javier Ruiz.
>
> P.S.
> it seems there is also a PC version. I have just found them both at:
> http://www.yamaha.co.uk/synth/html/current/samplers/a3000/f_twe.htm
--
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm
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From: Jonathan Drexler
To: csound@maths.ex.ac.uk
Subject: Re: how to implement feedback?
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Pete:
I think that you can do it by creating a global variable to store a1. Then, in each a-rate pass you can add the value from the global, multiplied by some value if you want to scale it, back into the frequency input of the carrier, and then save the output again in the global variable for the next pass. I did something similar recently and it seemed to work. Is that what you had in mind?
I just heard about sound forge recently. Someone suggested a compositional method where you create snippetts of music using csound and then use sound forge to actually put the piece together. Does that sound workable to you? Any comments about sound forge? Thanks.
>>> pete moss 01/09 11:51 PM >>>
i was fooling around with sound forge and fm synthesis and created a
sound i like. i have been able to implement this sound in csound with
the following orc+sco. however, i would also like to add variable
feedback to the last oscil. how can i send the output of a1 back into
a1? is there an opcode that would handle this for me? i have never
used feedback.
thanks
pete
sr = 44100
kr = 44100
ksmps = 1
nchnls = 1
instr 1
iamp = p4
a3 oscil iamp*.1, 2200, 1
k2 linseg 0, .128*p3, .92, .19*p3, .3, .682*p3, 0
a2 oscil iamp*.0708*k2, a3+110, 2
k1 line 1, p3, 0
a1 oscil iamp*.5957*k1, a2+220, 1
out a1
endin
f1 0 8192 10 1
f2 0 8192 7 0 4096 1 0 -1 4096 0
i1 0 2 32000
e
!
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From: Hans Mikelson
To: csound
Subject: Re: how to implement feedback?
Date: Sun, 10 Jan 1999 09:54:57 -0600
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Hi,
Pete Moss wrote:
>is there an opcode that would handle this for me?
I think something like the following will work:
sr = 44100
kr = 4410
ksmps = 10
nchnls = 1
instr 1
iamp = p4
a1 init 0 ; The trick is you need to initialize a1 before using
; it for feedback.
a3 oscil iamp*.1, 2200 + a1, 1 ; Now you can use it as you wish.
k2 linseg 0, .128*p3, .92, .19*p3, .3, .682*p3, 0
a2 oscil iamp*.0708*k2, a3+110, 2
k1 line 1, p3, 0
a1 oscil iamp*.5957*k1, a2+220, 1
out a1
endin
f1 0 8192 10 1
f2 0 8192 7 0 4096 1 0 -1 4096 0
i1 0 2 32000
e
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Date: Sun, 10 Jan 1999 12:47:41 -0800
From: Jonathan Drexler
To: rwd@cableinet.co.uk, csound@maths.ex.ac.uk
Subject: Re: Sound Forge (was: Re: how to implement feedback?)
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Richard:
Could you give me an example of how DirectShow support
could be useful? I know what DirectShow is but am not
familiar enough with available plugins to know whether it
would be useful for me. Also I am afraid that I am not
clear as to why the stereo limitation in Soundforge
might be a problem. Could you explain at little?
My "snippetts" would probably not be granular, rather
a phrase here, a phrase there, which I would want to
amalgamate into a single piece, a bit like the mixing
and splicing work that used to be done in analog
studios.
Many thanks for responding.
--Jonathan
>>> Richard Dobson 01/10 3:21 AM >>>
SoundForge is an excellent program, with probably the best support for
DirectShow plugins. It is however (at least in it's current incarnation)
a strictly stereo editor. For your task a multi-track editor such as
Cool Edit Pro would be more suitable. It depends somewhat on the size
and quantity of the 'snippets'. If they are small and numerous (ie
granular synthesis or brassage), an algorthimic approach would be
better, which I am sure Csound can do, especially if you use Cscore, or
some other score-generation program (Perl?).
The CDP system can also do it - loads of programs for chopping up sounds
and reasssembling them.
Richard Dobson
Jonathan Drexler wrote:
>
[snip]
>
> I just heard about sound forge recently. Someone suggested a compositional method where you create snippetts of music using csound and then use sound forge to actually put the piece together. Does that sound workable to you? Any comments about sound forge? Thanks.
>
> >>> pete moss 01/09 11:51 PM >>>
> i was fooling around with sound forge and fm synthesis and created a
> sound i like. i have been able to implement this sound in csound with
> the following orc+sco. however, i would also like to add variable
> feedback to the last oscil. how can i send the output of a1 back into
> a1? is there an opcode that would handle this for me? i have never
> used feedback.
>
> thanks
> pete
>
> sr = 44100
> kr = 44100
> ksmps = 1
> nchnls = 1
>
> instr 1
> iamp = p4
>
> a3 oscil iamp*.1, 2200, 1
>
> k2 linseg 0, .128*p3, .92, .19*p3, .3, .682*p3, 0
> a2 oscil iamp*.0708*k2, a3+110, 2
>
> k1 line 1, p3, 0
> a1 oscil iamp*.5957*k1, a2+220, 1
>
> out a1
> endin
>
> f1 0 8192 10 1
> f2 0 8192 7 0 4096 1 0 -1 4096 0
>
> i1 0 2 32000
>
> e
>
> !
!
>
--
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm
!
!
!
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From: Paul Winkler
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To: New York Csounders , JSWAAV@aol.com, Hsh$mus@qc1.qc.edu,
timeblind@accesshub.net, gogins@nyc.pipeline.com, dglaser@ibm.net,
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The time has been set for Wed. the 13th, 7 pm, at Michael Gogins' place,
unless of course M.G. has to cancel for some reason.
So far, only Michael Gogins, myself, and Tolve are confirmed. Anyone
else coming? Please RSVP so M.G. knows what to expect!
--PW
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From: Richard Dobson
Organization: Composers Desktop Project
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To: Jonathan Drexler
CC: csound@maths.ex.ac.uk
Subject: Re: Sound Forge (was: Re: how to implement feedback?)
References:
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DirectShow is used for effects plugins (eg froom 3rd-parties) - this
could include tapped delay-lines with panning, reverb, etc.
If you are mixing lots of sounds, you really want to place them in a a
multi-track editor, where you can move each sound around in time, define
amplitudes and pan positions for them, and so on, before finally mixing
down to your stereo master. You can't do this with Sound Forge, as it is
not a multi-track editor of that kind. In fact, you can't even treat the
channels of a stereo file separately. It is strictly an editor for
individual mono or stereo soundfiles. In short, you need an editor with
as many 'tracks' as you want overlapping sounds (*2 if the sounds are
stereo to start with).
If you go to their website (http://www.sfoundry.com) you can download a
demo version to try out.
I think you can also get a demo of Cool edit Pro
(http://www.syntrillium.com). There are also several shareware or PD
multitrack editors available through the HarmonyCentral site
(http://www.harmony-central.com/Software/Windows/audio_editing.html), as
well as commercial demos. At least one of the m/t editors supports
plugins.
Richard Dobson
Jonathan Drexler wrote:
>
> Richard:
> Could you give me an example of how DirectShow support
> could be useful? I know what DirectShow is but am not
> familiar enough with available plugins to know whether it
> would be useful for me. Also I am afraid that I am not
> clear as to why the stereo limitation in Soundforge
> might be a problem. Could you explain at little?
>
> My "snippetts" would probably not be granular, rather
> a phrase here, a phrase there, which I would want to
> amalgamate into a single piece, a bit like the mixing
> and splicing work that used to be done in analog
> studios.
>
>
--
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm
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From: Riccardo Coen
To: Jonathan Drexler
cc: csound@maths.ex.ac.uk
Subject: Sound forge was Re: how to implement feedback?
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I've been working with Csound and sound forge for a few years now (even if
my SF skills have improved much more than my CSound ones). and it's a very
good combination. However I prefer working with cooledit so I can mix
CSound rendered bits without actually copying and pasting on top of the
same destination file.
/R
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From: the Physicist
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To: csound@maths.ex.ac.uk
Subject: Pentium350 fast enough / DSP Horsepower ?
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I have the following in mind: A PentiumII-350MHz with Linux/Csound
connected via MIDI to another PC (Pentium90) running a MIDI Sequencer.
A MIDI Keyboard will be connected to the PC runnong the Sequencer. The
PentiumII350 with Csound should work as Realtime-MIDI-Synthesizer.
Now for realtime playing/recording into the Sequencer, I would set
the sampling rate in Csound to about 15000 - 22000Hz, mono. When I'm done,
I will save the work in a MIDI-File and then render it non-realtime
with 44kHz stereo.
Will that work ? Has anyone used such kind of a setup ? And about
the subject line of this mail: How many times faster is a up-to-date
DSP compared to a PentiumII-350 in floating point operations ?
Thomas
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From: Hans Mikelson
To: csound@maths.ex.ac.uk
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Subject: Re: how to implement feedback?
Date: Sun, 10 Jan 1999 10:03:48 -0600
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>I just heard about sound forge recently. Someone suggested a compositional
method where you create snippetts of music using csound and then use sound
forge to actually put the piece together. Does that sound workable to you?
Hi,
I'm using a program called Multiquence to do something like this.
Hans Mikelson
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Date: Sun, 10 Jan 1999 12:30:49 +0000
To: Jonathan Drexler
Cc: csound@maths.ex.ac.uk
From: Gareth Metford
Subject: Re: how to implement feedback?
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Hi Jonathan
I do something very similar using Cool Edit Pro SE. While I've only
recently started using Csound, what I tend to do is create snippets of
music using various pieces of soft and hardware (inc. Cubase running on
an Atari ST and an Akai sampler), record these digitally into my PC and
then piece them together in CEP SE. Check out http://www.syntrillium.com
for info on the full version of the program (the SE version is given
away with Event audio cards: http://www.event1.com). They also do a very
good shareware 2-channel editor called Cool Edit 96.
Gareth
>I just heard about sound forge recently. Someone suggested a compositional
>method where you create snippetts of music using csound and then use sound forge
>to actually put the piece together. Does that sound workable to you? Any
>comments about sound forge? Thanks.
>
>
>>>> pete moss 01/09 11:51 PM >>>
>i was fooling around with sound forge and fm synthesis and created a
>sound i like. i have been able to implement this sound in csound with
>the following orc+sco. however, i would also like to add variable
>feedback to the last oscil. how can i send the output of a1 back into
>a1? is there an opcode that would handle this for me? i have never
>used feedback.
>
>thanks
>pete
>
>
>sr = 44100
>kr = 44100
>ksmps = 1
>nchnls = 1
>
>instr 1
>iamp = p4
>
>a3 oscil iamp*.1, 2200, 1
>
>k2 linseg 0, .128*p3, .92, .19*p3, .3, .682*p3, 0
>a2 oscil iamp*.0708*k2, a3+110, 2
>
>k1 line 1, p3, 0
>a1 oscil iamp*.5957*k1, a2+220, 1
>
> out a1
>endin
>
>f1 0 8192 10 1
>f2 0 8192 7 0 4096 1 0 -1 4096 0
>
>i1 0 2 32000
>
>e
>
>
>!
>
--
Gareth Metford
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Subject: Re: csound (on Window NT) problem
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Message written at 10 Jan 1999 12:39:05 +0000
--- Copy of mail to jdrexler@support.ucla.edu ---
In-reply-to: (message from Jonathan Drexler on Fri, 08 Jan
1999 18:15:00 -0800)
References:
Can you give more details about the troubles you are having on NT?
For example you imply that the size-expansion system is not working,
whicle it seems to for me on my various machines. Can you provide a
simple exampel of it failing so i can test it? If it is a generic
problem it must be fixed, while if it is an NT special we know to look
at it in a diffferent way to fix.
==John ffitch
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Date: Sun, 10 Jan 1999 01:51:56 -0600
From: pete moss
Organization: pete moss GmbH
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To: csound
Subject: how to implement feedback?
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i was fooling around with sound forge and fm synthesis and created a
sound i like. i have been able to implement this sound in csound with
the following orc+sco. however, i would also like to add variable
feedback to the last oscil. how can i send the output of a1 back into
a1? is there an opcode that would handle this for me? i have never
used feedback.
thanks
pete
sr = 44100
kr = 44100
ksmps = 1
nchnls = 1
instr 1
iamp = p4
a3 oscil iamp*.1, 2200, 1
k2 linseg 0, .128*p3, .92, .19*p3, .3, .682*p3, 0
a2 oscil iamp*.0708*k2, a3+110, 2
k1 line 1, p3, 0
a1 oscil iamp*.5957*k1, a2+220, 1
out a1
endin
f1 0 8192 10 1
f2 0 8192 7 0 4096 1 0 -1 4096 0
i1 0 2 32000
e
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From: Richard Dobson
Organization: Composers Desktop Project
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To: csound@maths.ex.ac.uk
Subject: Re: Sound Forge (was: Re: how to implement feedback?)
References:
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SoundForge is an excellent program, with probably the best support for
DirectShow plugins. It is however (at least in it's current incarnation)
a strictly stereo editor. For your task a multi-track editor such as
Cool Edit Pro would be more suitable. It depends somewhat on the size
and quantity of the 'snippets'. If they are small and numerous (ie
granular synthesis or brassage), an algorthimic approach would be
better, which I am sure Csound can do, especially if you use Cscore, or
some other score-generation program (Perl?).
The CDP system can also do it - loads of programs for chopping up sounds
and reasssembling them.
Richard Dobson
Jonathan Drexler wrote:
>
[snip]
>
> I just heard about sound forge recently. Someone suggested a compositional method where you create snippetts of music using csound and then use sound forge to actually put the piece together. Does that sound workable to you? Any comments about sound forge? Thanks.
>
> >>> pete moss 01/09 11:51 PM >>>
> i was fooling around with sound forge and fm synthesis and created a
> sound i like. i have been able to implement this sound in csound with
> the following orc+sco. however, i would also like to add variable
> feedback to the last oscil. how can i send the output of a1 back into
> a1? is there an opcode that would handle this for me? i have never
> used feedback.
>
> thanks
> pete
>
> sr = 44100
> kr = 44100
> ksmps = 1
> nchnls = 1
>
> instr 1
> iamp = p4
>
> a3 oscil iamp*.1, 2200, 1
>
> k2 linseg 0, .128*p3, .92, .19*p3, .3, .682*p3, 0
> a2 oscil iamp*.0708*k2, a3+110, 2
>
> k1 line 1, p3, 0
> a1 oscil iamp*.5957*k1, a2+220, 1
>
> out a1
> endin
>
> f1 0 8192 10 1
> f2 0 8192 7 0 4096 1 0 -1 4096 0
>
> i1 0 2 32000
>
> e
>
> !
>
--
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm
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To: csound@maths.ex.ac.uk
From: sj
Subject: code
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hello, i'm looking for macintosh code as i want to write my own sound
processing applications. i downloaded the csound source code but i am
looking for something smaller and easier to digest. any suggestions?
sj
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From: jpff@maths.bath.ac.uk
To: jdrexler@support.ucla.edu
CC: csound@maths.ex.ac.uk
In-reply-to: (message from Jonathan Drexler on Sat, 09 Jan
1999 13:43:20 -0800)
Subject: Re: CSound resources
BCC: jpff@maths.bath.ac.uk
References:
Date: Mon, 11 Jan 99 15:00:53 GMT
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Source-Info: From (or Sender) name not authenticated.
>>>>> "Jonathan" == Jonathan Drexler writes:
Jonathan> Hi everybody:
Jonathan> I am running into some csound problems and wondered whether
Jonathan> anyone out there has a work-around. I have been getting
Jonathan> error-messages saying "error: instr 220 redefined, line 1762:".
Jonathan> There is also a warning about running out of GOTO's and
Jonathan> saying that the limit will be extended.
The extending of GOTOs should be safe. I could remove the message....
Jonathan> On examing my code I cannot see that instr 220 is actually
Jonathan> redefined anywhere, and I find that if I chop several gotos
Jonathan> and labels out of my orchestra code then the errors go
Jonathan> away. It doesn't matter which gotos I remove...any 6 of
Jonathan> them or so does the trick.
Jonathan> Alternatively, if I remove all "t" statements from my score
Jonathan> then the code compiles successfully, even with all of the
Jonathan> gotos.
I would like to see the example
Jonathan> Any ideas what is going on here? I would like to be able
Jonathan> to use "t" statements and be fairly liberal with
Jonathan> "if...goto" but perhaps there are limits. Could this have
Jonathan> something to do with csound memory limits? I have 64 mgb
Jonathan> of RAM on my system but I wondered whether csound might be
Jonathan> a DOS program that still has a 640 kb limit. Any
Jonathan> suggestions or information would be greatly appreciated.
There is no 640 kb limit on any of the real systems.
Jonathan> The version I am using is MIT Csound: 3.493 (Nov 21 1998),
Jonathan> running on Windows NT 40 service pack 3. Does anyone know
Jonathan> what C compiler was used to produce this EXE?
Micro$oft C++ v4
==John
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CC: csound@maths.ex.ac.uk
In-reply-to: (message from Jonathan Drexler on Sat, 09 Jan
1999 13:43:20 -0800)
Subject: Re: CSound resources
References:
Date: Mon, 11 Jan 99 15:00:53 GMT
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>>>>> "Jonathan" == Jonathan Drexler writes:
Jonathan> Hi everybody:
Jonathan> I am running into some csound problems and wondered whether
Jonathan> anyone out there has a work-around. I have been getting
Jonathan> error-messages saying "error: instr 220 redefined, line 1762:".
Jonathan> There is also a warning about running out of GOTO's and
Jonathan> saying that the limit will be extended.
The extending of GOTOs should be safe. I could remove the message....
Jonathan> On examing my code I cannot see that instr 220 is actually
Jonathan> redefined anywhere, and I find that if I chop several gotos
Jonathan> and labels out of my orchestra code then the errors go
Jonathan> away. It doesn't matter which gotos I remove...any 6 of
Jonathan> them or so does the trick.
Jonathan> Alternatively, if I remove all "t" statements from my score
Jonathan> then the code compiles successfully, even with all of the
Jonathan> gotos.
I would like to see the example
Jonathan> Any ideas what is going on here? I would like to be able
Jonathan> to use "t" statements and be fairly liberal with
Jonathan> "if...goto" but perhaps there are limits. Could this have
Jonathan> something to do with csound memory limits? I have 64 mgb
Jonathan> of RAM on my system but I wondered whether csound might be
Jonathan> a DOS program that still has a 640 kb limit. Any
Jonathan> suggestions or information would be greatly appreciated.
There is no 640 kb limit on any of the real systems.
Jonathan> The version I am using is MIT Csound: 3.493 (Nov 21 1998),
Jonathan> running on Windows NT 40 service pack 3. Does anyone know
Jonathan> what C compiler was used to produce this EXE?
Micro$oft C++ v4
==John
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Date: Mon, 11 Jan 1999 07:53:11 -0800
From: Jonathan Drexler
To: riccardo@just.mix.it
Cc: csound@maths.ex.ac.uk
Subject: Sound forge was Re: how to implement feedback?
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Could you explain why you like to use SoundForge and CoolEdit
instead of just CoolEdit. What sort of things is SoundForge good
for that CoolEdit isn't? Thanks.
>>> Riccardo Coen 01/11 5:13 AM >>>
I've been working with Csound and sound forge for a few years now (even if
my SF skills have improved much more than my CSound ones). and it's a very
good combination. However I prefer working with cooledit so I can mix
CSound rendered bits without actually copying and pasting on top of the
same destination file.
/R
!
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From: the Physicist
Message-Id: <199901111607.RAA05814@klee.iamexwi.unibe.ch>
To: csound@maths.ex.ac.uk
Subject: TB-303 like Lowpass-Filter
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How can I filter a rectangle/sawtooth so that it sounds
TB303-ish ? I know the TB305 orc/sco that is around and it
sounds incredibly good. However I didn't understand it, and
I want to program a MIDI-controllable instrument like that,
without this sequencer thing that is in this orc,too. So how
to do it ?
I tried filtering a sawtooth/rectangle with butterlp (butterbp).
The cutoff (center) was modified by the pitchbend value -> It
didnt't sound like a TB303 at all, and I operated the pitch
bender on the keyboard like a fool...
Thomas
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To: the Physicist
CC: csound@maths.ex.ac.uk
Subject: Re: TB-303 like Lowpass-Filter
References: <199901111607.RAA05814@klee.iamexwi.unibe.ch>
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you must filter the sawtooth wave with a lowpass resonant filter setting a relatively high
Q value, then you have to waveshepe the filtered signal in order to simulate the
distorsion. I suggest to use a smooth table for waveshaping, because the sound quality is
better, for example the central part of a sine wave from which you cut away the first and
the last quarter).
--
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
the Physicist wrote:
>
> How can I filter a rectangle/sawtooth so that it sounds
> TB303-ish ? I know the TB305 orc/sco that is around and it
> sounds incredibly good. However I didn't understand it, and
> I want to program a MIDI-controllable instrument like that,
> without this sequencer thing that is in this orc,too. So how
> to do it ?
> I tried filtering a sawtooth/rectangle with butterlp (butterbp).
> The cutoff (center) was modified by the pitchbend value -> It
> didnt't sound like a TB303 at all, and I operated the pitch
> bender on the keyboard like a fool...
>
> Thomas
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Date: Mon, 11 Jan 1999 12:35:04 -0500 (EST)
From: gamma_orion@iname.com
Subject: csound midi question
To: csound@maths.ex.ac.uk
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Hello,
when using csound as a real time synthetiser, it is possible to record
the midi events in a file in the same time that csound use it ?
Thanks
--
Antoine Lefebvre
gamma_orion@iname.com
http://pages.infinit.net/linux/music/music.html
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From: Grant Covell
To: csound@maths.ex.ac.uk
Subject: RE: diskin question
Date: Mon, 11 Jan 1999 13:29:43 -0500
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I gather no one uses diskin?
Again, I'm finding that
a1, a2 diskin ifilcod, kpitch, 0, 1
and
a1, a2 diskin ifilcod, kpitch, 0, 0
do exactly the same thing, that as cycle through ifilcod continuously.
Am I misunderstanding wraparound?
-----Original Message-----
From: Grant Covell [mailto:GCovell@c-bridge.com]
Sent: Wednesday, January 06, 1999 8:08 PM
To: csound@maths.ex.ac.uk
Subject: diskin question
Hello--
I've got an instrument with this line in it:
a1, a2 diskin ifilcod, kpitch, 0 ,1
and it behaves the same whether or not I set wraparound to 0 or 1. That is,
the souce file is read repeatedly, not just once (the source is .2 sec, the
p3 is 4 sec). Yes, I'll probably use GEN01 instead for the same effect, but
I want to keep as much of the instrument as possible in the sco.
Grant Covell
gcovell@c-bridge.com
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Date: Mon, 11 Jan 1999 10:00:28 -0800 (PST)
From: "Matt J. Ingalls"
To: csound@maths.ex.ac.uk
Subject: Comments on csound3.493 (fwd)
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---------- Forwarded message ----------
From: Rolf
Reply-To: csound-dev@eartha.mills.edu
To: ingalls@mills.edu
Subject: Comments on csound3.493
Dear Csound-developers 11/1-99
I have some comments after trying Csound 3.493.
*The /* */ comment has not worked for me with more
than one line( neither on mac nor windows). The text between is
debugged.
*allpass and comb has a parameter; ilpt , which, if possible, would be
interesting to control on k-rate
*One thing I currently miss in csound is an fast opcode which can
transpose
any audio signal based on an fft-analysis without use of external files,
and
with no limits on the pitch range. Maybe something similar to cross2,
which
could look like this:
ar transpose ain,xpitch,isize,ioverlap,iwin [,ibins, ibinoffset
,ibinincr]
where kpitch ( in ratio) has no upper or lower limit
and where large number of bands runs quite fast
Optional paramters similar to those in pvadd could also be used.
This would make it possible to use timestreching-functionality,in
other opcodes,and then do pitchmodifications separately,without
worrying about pitch-range.
Since i am no programmer, i send this suggestion to you.
Ruben Sverre Gjertsen
rubsg@hotmail.com
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Date: Mon, 11 Jan 1999 14:36:21 -0500 (EST)
From: Josh Steiner
To: Csound
Subject: Hello.
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This is my first post to this list. I am Computer Science student at
Antioch college graduating this spring. I am also a musician and compose
several diferent styles of music, including Ska and Punk, but most
important to this posting is Jungle/Drum'n'bass. I am planning on
designing a couple of software tools to be used by my Jungle group
(http://xiphoidprocess.com) for live performance. Essentially I have a
couple ideas of how I could produce inhuman sounding highly fast and
intense drum beats live while leaving the musician with a great deal of
control. To make a long story short, I'll be developing the front end gui
on linux using gtk+, the user will interact with my gui which will send
information to the toolkit that I am now trying to chose. My brother
recomended me to Csound. The little reading that I have done about csound
leads me to beleive that you can interact with csound in real time sending
score information via stdin. Does anyone have any experience with this?
Is Csound a good choice for this type of project? What others might you
recomend.
I appriciate any and all advice.
---
Joshua W. H. Steiner - jsteiner@antioch-college.edu - http://joschi.base.org
"Either that wallpaper goes or I do."
- Oscar Wilde, last words
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From: David Boothe
To: 'Grant Covell'
Cc: "Csound (E-mail)"
Subject: RE: diskin question
Date: Mon, 11 Jan 1999 14:21:18 -0600
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Grant-
diskin appears to change the rules depending on kpitch. If kpitch is static
such as:
kpitch init 1 ;play at normal speed and pitch
or
kpitch init 2 ;play at twice as fast, octave higher
then, iwraparound works as expected.
But if kpitch is a moving value, such as:
kpitch line 1, p3, 2
then iwraparound seems to have no effect. The soundfile is looped until the
end of the note.
I don't know if this is broken, or if it must work this way for some reason
- the manual isn't too clear on this point. Anyway, you might be better off
using GEN01 and a table or oscil opcode, especially if you are accessing the
sound several times in the score. A .2 sec soundfile isn't that large and
diskin is intended for large soundfiles.
Hope this helps.
-David.
> -----Original Message-----
> From: Grant Covell [mailto:GCovell@c-bridge.com]
> Sent: Monday, January 11, 1999 12:30 PM
> To: csound@maths.ex.ac.uk
> Subject: RE: diskin question
>
>
> I gather no one uses diskin?
> Again, I'm finding that
>
> a1, a2 diskin ifilcod, kpitch, 0, 1
>
> and
>
> a1, a2 diskin ifilcod, kpitch, 0, 0
>
> do exactly the same thing, that as cycle through ifilcod continuously.
> Am I misunderstanding wraparound?
>
>
> -----Original Message-----
> From: Grant Covell [mailto:GCovell@c-bridge.com]
> Sent: Wednesday, January 06, 1999 8:08 PM
> To: csound@maths.ex.ac.uk
> Subject: diskin question
>
>
> Hello--
>
> I've got an instrument with this line in it:
>
> a1, a2 diskin ifilcod, kpitch, 0 ,1
>
> and it behaves the same whether or not I set wraparound to 0
> or 1. That is,
> the souce file is read repeatedly, not just once (the source
> is .2 sec, the
> p3 is 4 sec). Yes, I'll probably use GEN01 instead for the
> same effect, but
> I want to keep as much of the instrument as possible in the sco.
>
> Grant Covell
> gcovell@c-bridge.com
>
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From: Grant Covell
To: 'David Boothe'
Cc: "Csound (E-mail)"
Subject: RE: diskin question
Date: Mon, 11 Jan 1999 15:31:08 -0500
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David--
Thanks for the help here. In truth, kpitch isn't static, it does move, and
so my usage corresponds to your observation. I guess wrapaound is broken
when kpitch moves.
As it is, I have been using GEN01 and tablei for the same effect.
Thanks,
Grant.
-----Original Message-----
From: David Boothe [mailto:DBoothe@lyrick.com]
Sent: Monday, January 11, 1999 3:21 PM
To: 'Grant Covell'
Cc: Csound (E-mail)
Subject: RE: diskin question
Grant-
diskin appears to change the rules depending on kpitch. If kpitch is static
such as:
kpitch init 1 ;play at normal speed and pitch
or
kpitch init 2 ;play at twice as fast, octave higher
then, iwraparound works as expected.
But if kpitch is a moving value, such as:
kpitch line 1, p3, 2
then iwraparound seems to have no effect. The soundfile is looped until the
end of the note.
I don't know if this is broken, or if it must work this way for some reason
- the manual isn't too clear on this point. Anyway, you might be better off
using GEN01 and a table or oscil opcode, especially if you are accessing the
sound several times in the score. A .2 sec soundfile isn't that large and
diskin is intended for large soundfiles.
Hope this helps.
-David.
> -----Original Message-----
> From: Grant Covell [mailto:GCovell@c-bridge.com]
> Sent: Monday, January 11, 1999 12:30 PM
> To: csound@maths.ex.ac.uk
> Subject: RE: diskin question
>
>
> I gather no one uses diskin?
> Again, I'm finding that
>
> a1, a2 diskin ifilcod, kpitch, 0, 1
>
> and
>
> a1, a2 diskin ifilcod, kpitch, 0, 0
>
> do exactly the same thing, that as cycle through ifilcod continuously.
> Am I misunderstanding wraparound?
>
>
> -----Original Message-----
> From: Grant Covell [mailto:GCovell@c-bridge.com]
> Sent: Wednesday, January 06, 1999 8:08 PM
> To: csound@maths.ex.ac.uk
> Subject: diskin question
>
>
> Hello--
>
> I've got an instrument with this line in it:
>
> a1, a2 diskin ifilcod, kpitch, 0 ,1
>
> and it behaves the same whether or not I set wraparound to 0
> or 1. That is,
> the souce file is read repeatedly, not just once (the source
> is .2 sec, the
> p3 is 4 sec). Yes, I'll probably use GEN01 instead for the
> same effect, but
> I want to keep as much of the instrument as possible in the sco.
>
> Grant Covell
> gcovell@c-bridge.com
>
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Date: Mon, 11 Jan 1999 13:38:54 -0800 (PST)
From: "Matt J. Ingalls"
To: Grant Covell
cc: 'David Boothe' ,
"Csound (E-mail)"
Subject: RE: diskin question
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ill take a look at the code today...
(btw what platform/version are you using?)
-matt
On Mon, 11 Jan 1999, Grant Covell wrote:
> David--
>
> Thanks for the help here. In truth, kpitch isn't static, it does move, and
> so my usage corresponds to your observation. I guess wrapaound is broken
> when kpitch moves.
> As it is, I have been using GEN01 and tablei for the same effect.
>
> Thanks,
>
> Grant.
>
> -----Original Message-----
> From: David Boothe [mailto:DBoothe@lyrick.com]
> Sent: Monday, January 11, 1999 3:21 PM
> To: 'Grant Covell'
> Cc: Csound (E-mail)
> Subject: RE: diskin question
>
>
> Grant-
>
> diskin appears to change the rules depending on kpitch. If kpitch is static
> such as:
> kpitch init 1 ;play at normal speed and pitch
> or
> kpitch init 2 ;play at twice as fast, octave higher
> then, iwraparound works as expected.
>
> But if kpitch is a moving value, such as:
> kpitch line 1, p3, 2
> then iwraparound seems to have no effect. The soundfile is looped until the
> end of the note.
>
> I don't know if this is broken, or if it must work this way for some reason
> - the manual isn't too clear on this point. Anyway, you might be better off
> using GEN01 and a table or oscil opcode, especially if you are accessing the
> sound several times in the score. A .2 sec soundfile isn't that large and
> diskin is intended for large soundfiles.
>
> Hope this helps.
>
>
> -David.
>
> > -----Original Message-----
> > From: Grant Covell [mailto:GCovell@c-bridge.com]
> > Sent: Monday, January 11, 1999 12:30 PM
> > To: csound@maths.ex.ac.uk
> > Subject: RE: diskin question
> >
> >
> > I gather no one uses diskin?
> > Again, I'm finding that
> >
> > a1, a2 diskin ifilcod, kpitch, 0, 1
> >
> > and
> >
> > a1, a2 diskin ifilcod, kpitch, 0, 0
> >
> > do exactly the same thing, that as cycle through ifilcod continuously.
> > Am I misunderstanding wraparound?
> >
> >
> > -----Original Message-----
> > From: Grant Covell [mailto:GCovell@c-bridge.com]
> > Sent: Wednesday, January 06, 1999 8:08 PM
> > To: csound@maths.ex.ac.uk
> > Subject: diskin question
> >
> >
> > Hello--
> >
> > I've got an instrument with this line in it:
> >
> > a1, a2 diskin ifilcod, kpitch, 0 ,1
> >
> > and it behaves the same whether or not I set wraparound to 0
> > or 1. That is,
> > the souce file is read repeatedly, not just once (the source
> > is .2 sec, the
> > p3 is 4 sec). Yes, I'll probably use GEN01 instead for the
> > same effect, but
> > I want to keep as much of the instrument as possible in the sco.
> >
> > Grant Covell
> > gcovell@c-bridge.com
> >
>
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Date: Mon, 11 Jan 1999 17:48:25 -0500 (EST)
From: gamma_orion@iname.com
Subject: #include don't work
To: csound@maths.ex.ac.uk
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Hello,
today I tried to use the syntax
#include :filename: in orchestra and in score but ti don't work. I
tried either the official and the unofficial version 3.49.4.
It is normal...
--
Antoine Lefebvre
gamma_orion@iname.com
http://pages.infinit.net/linux/music/music.html
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From: Sergey Batov
To: csound@maths.ex.ac.uk
MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.omphalos
Subject: DLS Level 1 (on PC)
Date: Tue, 12 Jan 1999 04:35:42 +0300
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Dear Csounders!
Not long ago I've bought PCI soudcard on YAMAHA YMF724A chip set.
(Look at http://www.atrend.com.tw). The manufacturer promises
"Downloadable Sounds (DLS) Level 1 support." There was not any soft for it,
so
I tried to find something in WWW. And I found Miles Sound Tools on
. This is a soft synthesizer and it
can use DLS Level 1 for playing MIDI-files on ANY soundcard
with CODEC. DLS Level 1files can be made from .wav or .aif by Awave
(http://hem.passagen.se/fmj/fmjsoft.html).
The questions are:
1) Can anybody recommend another programs like Miles Sound Tools (I'm
afraid the results of Miles Sound Tools are not the best)?
2) Is anywhere full description of DLS Level 1 format?
3) May be someone has soundcard like this? What about hardware support of
DLS?
P.S. DLS Level 1 format allows to use soundcard as a sampler. Of course,
Csound
can do it much better! Well, I just want to work out own opinion about DLS
Level 1 and
(may be) then to forget about it for a long time.
Thank you,
Sergey Batov batov@glasnet.ru
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From: Martin Puryear
To: "'batov@glasnet.ru'"
Cc: csound@maths.ex.ac.uk
Subject: RE: DLS Level 1 (on PC)
Date: Mon, 11 Jan 1999 22:05:58 -0800
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Sergey,
You can get the DLS1 spec from the MMA. The URL is http:\\www.midi.org. At
the end of the month, they will vote upon (and presumably approve) DLS Level
2.
DirectX 6.1 just shipped today (finally), and it contains DirectMusic -- a
set of Windows APIs to handle DLS and MIDI. There is a DLS software synth
included (in fact, I believe we will give away the source as a reference
design). The URL is http://www.microsoft.com/directx, but they haven't
updated the site in a few weeks.
Your Yamaha card (contains a DS1 chip right?) is one of the ones I'm working
with for the next release of DirectMusic, which will use hardware synth
cards. Last I heard, this will ship later this year (a beta DS1 driver and
an updated DirectMusic will be included in beta3 of Windows 2000, which will
come out in a month or two).
Martin Puryear
Kernel Audio Development
Windows 98 / "Windows 1900"
> -----Original Message-----
> From: Sergey Batov [SMTP:batov@glasnet.ru]
> Sent: Monday, January 11, 1999 5:36 PM
> To: csound@maths.ex.ac.uk
> Subject: DLS Level 1 (on PC)
>
> Dear Csounders!
>
> Not long ago I've bought PCI soudcard on YAMAHA YMF724A chip set.
> (Look at http://www.atrend.com.tw). The manufacturer promises
> "Downloadable Sounds (DLS) Level 1 support." There was not any soft for
> it,
> so
> I tried to find something in WWW. And I found Miles Sound Tools on
> . This is a soft synthesizer and it
> can use DLS Level 1 for playing MIDI-files on ANY soundcard
> with CODEC. DLS Level 1files can be made from .wav or .aif by Awave
> (http://hem.passagen.se/fmj/fmjsoft.html).
> The questions are:
> 1) Can anybody recommend another programs like Miles Sound Tools (I'm
> afraid the results of Miles Sound Tools are not the best)?
> 2) Is anywhere full description of DLS Level 1 format?
> 3) May be someone has soundcard like this? What about hardware support of
> DLS?
>
> P.S. DLS Level 1 format allows to use soundcard as a sampler. Of course,
> Csound
> can do it much better! Well, I just want to work out own opinion about
> DLS
> Level 1 and
> (may be) then to forget about it for a long time.
>
> Thank you,
> Sergey Batov batov@glasnet.ru
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Date: Mon, 11 Jan 1999 23:09:13 -0800 (PST)
From: "Matt J. Ingalls"
To: Grant Covell
cc: csound@maths.ex.ac.uk
Subject: Re: diskin question
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diskin worked fine for me
i went back and looked at your message
.2 seconds! well thats shorter than diskins read buffer
so i could see how things might get messed up
(not saying its not a bug!!)
but you should use a table for such short sounds
if not always since you are on a PC
which can read from file as virtual memory (right??)
although you have 2 use 2 tables 4 stereo
diskin was always intended to be used for large files
that couldnt fit into RAM.
-matt
> Hello--
>
> I've got an instrument with this line in it:
>
> a1, a2 diskin ifilcod, kpitch, 0 ,1
>
> and it behaves the same whether or not I set wraparound to 0 or 1. That is,
> the souce file is read repeatedly, not just once (the source is .2 sec, the
> p3 is 4 sec). Yes, I'll probably use GEN01 instead for the same effect, but
> I want to keep as much of the instrument as possible in the sco.
>
> Grant Covell
> gcovell@c-bridge.com
>
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From: "Matt J. Ingalls"
Reply-To: "Matt J. Ingalls"
To: gamma_orion@iname.com
cc: csound@maths.ex.ac.uk
Subject: Re: csound midi question
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the mac version has it in the preferences dlog ..
On Mon, 11 Jan 1999 gamma_orion@iname.com wrote:
> Hello,
> when using csound as a real time synthetiser, it is possible to record
> the midi events in a file in the same time that csound use it ?
>
> Thanks
>
> --
> Antoine Lefebvre
> gamma_orion@iname.com
> http://pages.infinit.net/linux/music/music.html
>
>
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Date: Tue, 12 Jan 1999 10:17:12 +0000
To: Riccardo Coen ,
Jonathan Drexler
From: Andreas Schoter
Subject: Wave editors vs CSound as a compositor
Cc: csound@maths.ex.ac.uk
In-Reply-To:
References:
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At 14:13 11/01/99 +0100, Riccardo Coen wrote:
>I've been working with Csound and sound forge for a few years now (even if
>my SF skills have improved much more than my CSound ones). and it's a very
>good combination. However I prefer working with cooledit so I can mix
>CSound rendered bits without actually copying and pasting on top of the
>same destination file.
This is interesting - I've only been working with CSound for a couple of
weeks, but I seen to have adopted the reverse strategy.
That is, I'll use a wave editor to tinker with the sample untill I like it,
then I'll incorporate it into a CSound score using a diskin-based
instrument. That way all the layering, spacial positioning and timing is
done in CSound rather than in a wave editor.
Would someone with more experience of the possibilities comment of the pros
and cons of these two approaches?
Thanks
Andreas
________________________________________________________________________
Dr Andreas Sch=F6ter, Intertrader Ltd
http://www.intertrader.com
Tel: +44(0)131 475 7108, Fax: +44(0)131 475 7109
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From: david ds
To: csound@maths.ex.ac.uk
Subject: Wave editors VS Csound
Date: Tue, 12 Jan 1999 02:51:29 PST
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I use both strategies :
sometimes i completely build up my waves in CoolEdit Pro and then
"DISKIN" them in Csound. I then play with all kinds of interactions
between Csound synthesized sounds and the samples : i do filtering, rms
measurement to control parameters of synthesized sounds...
Sometimes its different : I synthesize waves or a complete piece in
Csound (wich may include samples made in Cooledit pro) and then finish
it in CoolEdit's multitracker...final mixing, some EQ and various
fx....Also crossfading and panning is done very easy in CoolPro's
multitracker..
CoolPro is a fantastic piece of software : wave-editors paradise : ever
fx is included, even convolution and vocoding, versatile filters,
restoring capabilities (DEclipping !), plus a 64track harddisk
recorder....
David
______________________________________________________
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From: david ds
To: csound@maths.ex.ac.uk
Subject: Csound suggestion : pitch (bend) /transpose
Date: Tue, 12 Jan 1999 02:56:38 PST
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There is still one thing i miss in Csound : a simple efficient
pitchbender/transposer like :
ar pitchchange amp,kpitch
where kpitch is k-rate pitch control signal
david
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To: csound@maths.ex.ac.uk
From: Christian Guirreri
Subject: Re: Wave editors VS Csound
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I use quite an opposite strategy. Due to CSound's synthesis power, I build
my waveforms in CSound, and when I can't quite place something where I want
it, I simply import everything to a multitracker and rebuild.
For example, I did a large project last semester using 's' sections in
between parts that could easily be copied and pasted to repeat. I wanted
to fade another voice between the sections, without starting a new note,
and wasn't sure if it was possible (?). I just imported the project and
the one voice into a multitracker (I use Sonic Foundry's Acid and Sound
Forge), and added the part.
Christian Guirreri
cguirrer@runet.edu
At 02:51 AM 1/12/99 -0800, david ds wrote:
>I use both strategies :
>
>sometimes i completely build up my waves in CoolEdit Pro and then
>"DISKIN" them in Csound. I then play with all kinds of interactions
>between Csound synthesized sounds and the samples : i do filtering, rms
>measurement to control parameters of synthesized sounds...
>
>Sometimes its different : I synthesize waves or a complete piece in
>Csound (wich may include samples made in Cooledit pro) and then finish
>it in CoolEdit's multitracker...final mixing, some EQ and various
>fx....Also crossfading and panning is done very easy in CoolPro's
>multitracker..
>
>CoolPro is a fantastic piece of software : wave-editors paradise : ever
>fx is included, even convolution and vocoding, versatile filters,
>restoring capabilities (DEclipping !), plus a 64track harddisk
>recorder....
>
>
>David
>
>
>______________________________________________________
>Get Your Private, Free Email at http://www.hotmail.com
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From: rasmus ekman
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> ---------- Forwarded message ----------
> From: Rolf
>
> I have some comments after trying Csound 3.493.
> *The /* */ comment has not worked for me with more
> than one line( neither on mac nor windows). The text between is
> debugged.
...and any text following the end-of-comment sign on the same
line will be missed. Eg, on
iamp = /*32000*/ 15000
the 15000 won't be seen.
I have an almost-fix for all this. It is "almost" since the line
where the comment begins will be tagged with the orch source file
line number of the comment termination line.
This leads to bad behaviour with orchestra error messages, which will
show incorrect line number for that line of orch code.
This is because there is a global variable which holds current line
number, and we need to muck about with that to do the fix. To get
around this, I believe some larger rewrite is needed.
I have run it with a test orch on Win95, which is included below.
There is a similar bug in backslash line-continuation, but that one
requires a deeper incision. It looks like John has begun doing
something to fix all these problems (the written but never read
array srclin, indexed by srccnt, in rdorch.c).
I think a lot of the code in Rdorch.C ought rather to be rewritten
from scratch to separate the new linenum-warping preprocessor-type
features from the old orch parsing, but I'm not doing it, so
shouldn't nag.
Anyway here goes, if anyone wants to try it.
re
(Longest line is 90+ chars, somewhere else in code)
The C-comment code is in Rdorch.c, splitline(),
lines 561-567:
if (c == '/' && *lp == '*') { /* C Style comments */
char *ll = strstr(++lp, "*/");
int nxtline;
if (ll == NULL) synterrp(lp-2, "Unmatched comment");
lp = ll+2;
break;
}
To fix the present bugs (and introduce a minor new one), substitute this:
if (c == '/' && *lp == '*') { /* C Style comments */
char *ll = strstr(++lp, "*/");
int nxtline;
/* v 3.48 code:
if (ll == NULL) synterrp(lp-2, "Unmatched comment");
lp = ll+2;
break; */
/* Fix for multi-line comments (re Dec 22, 1998) */
if(ll == NULL) {
synterrp(lp-2, "Unmatched comment");
while(linadr[++curline] != NULL) ; /* Skip to last line */
curline--;
break; /* After break we jump to nxtlin, then orch read terminates */
}
nxtline = curline;
while( linadr[++nxtline] <= ll ) ; /* Move to end-of-comment line */
curline = nxtline-1; /* A problem: Now errors on line where multi-line */
lp = ll+2; /* comment began will show wrong line number */
continue; /* not break, else miss orch code after end-of-comment sign */
/* End of re changes */
}
########## End of C code #############
DEMONSTRATION OF PROBLEMS -- ORC which should be legal
with proper C-style comment parsing!
; ORCHESTRA FILE -- Comments.orc
sr = 22050
kr = 2205
ksmps = 10
nchnls = 2
; This instr only tests various comment situations
instr 1
iamp = /* 30000 */ 15000
ibasfrq = p4
; /* This comment should be hidden by semicolon
a1 oscil iamp, ibasfrq, 1 /*
This comment covers the newline chars,
so the lines will be concatenated
*/ , 0.5 ;So here we have the optional iphs arg of oscil
/* This should be ok since it's preceded by a newline
*/ a2 oscil iamp, ibasfrq*2.5, 1
a3 oscil iamp, ibasfrq, 1 /*
Another one hiding some newlines
But the a4 oscil below should be parsed on new line
; */
a4 oscil iamp, ibasfrq / 2, 1
/* A multiline one which should still find eoc sign
notlegal = 2*5/ iamp ; */
/* /* This is single-line: The terminator terminates all */
a4 oscil iamp, ibasfrq*3.3, 1 ; We should hear this */
/* *;/ * /
* /
another stupid test ends here */
; Output should be: Left: 100+250 Hz; Right: 50+330 Hz
outs a1+a2, a3+a4
; Demonstration of bug in the bugfix
; a3 oscil notlegal, ibasfrq / 2, 1 /*
/*If the semicolon is removed from the line above, the error
messages will show wrong line number. The actual line number
is 42, but shows as 46 with my buggy "bugfix"!
*/
; /* If semicolon is removed, this one is unmatched
endin
; ######### End Comments.orc ########
; SCORE FILE -- Comments.sco
f1 0 8192 10 1
i1 0 2 100
e
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Date: Tue, 12 Jan 1999 13:54:28 +0100
From: rasmus ekman
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Subject: Re: old orchestras anywhere?
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Matti Koskinen wrote:
>
> is sombody keeping all the orchs+scores posted on this list?
I have some (most?), from April 96 - now. To date 86 pieces,
though 30+ are by Hans Mikelson, so they should be on his site.
If you set up such a page, I could zip them up and send you.
Or to anyone else who wants them, just mail.
re |