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From: J P Fitch
To: Jim Smitherman
cc: zuijlen@ibm.net, Csound List
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In teh version I am preparing I am allowing a command line option
(harder than it sounds!) and an environment variable. On Windows
I may use the registry stuff as well.
Boy, did I get this wrong.......
==john
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From: Paul Barrett
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Hi
to anyone that is sending messages both to me (paul@i-cue.co.za) and sending
the same message to the csound list, if possible, don't send it to me, just
to the list. It all goes to the same mailbox, so I get two copies in the
same folder.
thanks
Paul Barrett
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From: Michael Gogins
To: Csound List ,
music-dsp ,
Dorian Mode , Buzz Talk
Subject: Re: Buzz,VST,CSound
Date: Sun, 20 Jun 1999 13:04:17 -0400
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Thanks for your mail. Really, Buzz got me more excited in some ways than
Csound itself (though make no bones about it, Csound is a much better
instrument if all you care about is how the end result sounds, which is all
I care about). Buzz took me back to my college days in 1972 at the
University of Utah where I met Vladimir Ussachevsky and Nyle Steiner and
played around patching modules on Nyle's home-built version of Moog modular
synthesizers. I can fall into the same trance patching Buzz machines that I
did patching analog synth modules...
You can reference the Csound front page at
http://mitpress.mit.edu/e-books/csound/frontpage.html for Buzz users, or my
web page at http://www.pipeline.com. For non Buzz people, see
http://www.buzz2.com.
If you don't mind, I'm copying this mail to the Csound list, the music-dsp
list, and to buzz-talk, because I feel that the issues touch on the future
of musical composition and performance and the kind of software support
required for them. I believe we are moving towards various generic
composition frameworks with notation/MIDI sequencing/realtime audio that use
standardized plugins to do a lot of the real work... Cubase, Logic, and Buzz
are all examples of such frameworks (though Buzz is less general than audio
sequencers, it still is a complete composition environment).
Csound is potentially the most powerful of all plugins, because it's a whole
language unto itself, and it can produce acoustically beautiful results.
Needless to say, it's vitally important that such a universal standard be
technically adequate. This is a whole other can of worms...
I am currently waiting for Steinberg to release the VST specification
version 2, which is said to support MIDI note control. When it does come
out, I plan to make Csound into a VST 2 plugin. At that time, I will look
into how well this all integrates with Buzz. I hope that Buzz will be
upgraded to VST 2 support also. If those things happen, no more need be
done; Csound will just plug right in along with everything else. If VST 2
does not prove adequate, the JavaSound API may have the potential to become
a universal plugin format.
If that doesn't happen, I don't think it would be too hard to make Csound
itself into a Buzz machine, or rather into two Buzz machines, one generator
machine and one effect machine. The Csound machine would have to be
programmed to get a filename for its orchestra file from somewhere; score
lines could come from the tracker patterns (the Csound machine could
interpret them either as real-time command-line events or as MIDI events).
Technically, my version of Csound, AXCsound/JCsound, begins by making Csound
into a library with an encapsulated C++ version of Csound that is partly
re-entrant (you can stop it and start it again without reloading it). This
is why making Csound into a Buzz machine should not be too hard. But I don't
think it's just a piece of cake, either; the audio ins and outs have to be
patched to the Csound processing loop (I don't have pluggable ins and outs
at this time). It may also be necessary to change some global static objects
in the Csound code to allow more than one instance of Csound to run at the
same time, that is, to finish the job of making Csound re-entrant.
As I write this I find the idea rather exciting, because Csound is not the
world's most interactive program, to say the least, but the joy of Buzz is
building up pieces interactively, moving the loop points around while
tweaking the machine connections and pattern parameters. It would be great
if Csound could be used in this interactive context, developing patterns
while Buzz is looping. The learning curve needn't be so steep for Buzz
people because there are a lot of great Csound orchestra files floating
around on the Web.
Note to the Csound community: All of this can be done without changing any
existing features or ways of using Csound at all.
Csound and Buzz are alike in that they are small, free programs that do more
than almost all their competition...
-----Original Message-----
From: Dorian Mode
To: gogins@nyc.pipeline.com
Date: Sunday, June 20, 1999 6:26 AM
Subject: Buzz,VST,CSound
>Dear mr Gogins,
>
>I'm a Buzz enthusiast and I read with great interest and excitement your
>postings on Buzz on CSound list. As you probably already have noticed that
>Buzz file format *.bmw or .bmx is described in buzz104/dev folder that
>installer program creates.
>
>One fascinating feature with tracker programs is the fact that they are not
>"tools" in sense that there would necessarily be an end product separated
>from the writing/composing/producing enviroment; there is a kind of shared
>space for the artist and the audience.
>
>What does Buzz incorporate:
>from "folk" music - the community aspect
>from "serious" music - notation, or score
> - virtuoso performance aspect ( the sequencing side )
> this century - music concrete > sampling ( wavetable, tracker )
> -synthesis (various generators)
> and maybe the possibility for the artist to explain the rationale behind
>incomprehensible noise in "blah blah" screen
>from "popular" music - the idea about studio as a compositional tool
> - effective distribution
>
>minus sides: the relatively rigid timing. And then it is a question of
>personal preference how structured or pattern based music one wants to do.
>
>what i woud like to see in future versions:
> machines generating control data and note data
> machines modifying above
>
>so that there would be this algorithmic/aleatoric dimension; or
> "generative" aspect.
>
> and some easier way to develop own plugins than using MSVisualC++; Oskari
>Tammelin has said that Buzz per se is not supposed to be synth creating
>program like Generator, but this prospect of utilising Csound in Buzz via
>VST is very fantastic indeed: actually I speculated about it on Buzz-talk
>mailing list some time ago but then concluded that it's too utopistic.
>
>I hope you don't mind, but I clipped some of your postings to Csound list
>and posted those clips to buzz-talk list; there have been expressed
interest
>in Csound and some people I reckon have already dabbled with it: but the
>vertical learning curve is probably too much for most of others than Buzz
>machine developers... I think it would be a gesture greatly appreciated if
>you could in your spare time write something to buzz-talk@unreal.org, and
>tell about Csound's and your programs possibilities for the
>electronic/computer musicians and future prospects .... and stuff.
>
>sorry 'bout my english
>
>Dorian
>
>
>______________________________________________________
>Get Your Private, Free Email at http://www.hotmail.com
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Date: Sun, 20 Jun 1999 12:06:25 -0500 (CDT)
From: Kevin Conder
To: Mark Gay
cc: csoundlist
Subject: Re: How do I get a fly buzzing sound?
In-Reply-To: <376C8864.8AFEC748@seanet.com>
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On Sat, 19 Jun 1999, Sean Costello wrote:
> Mark Gay wrote:
> >
> > Hi,
> >
> > I've been trying to put together some instruments that duplicate the sound
> > of buzzing insects. I'd like to get a fat house fly type of buzz as well as
> > a more high pitched mousquito. I'm currently mostlly working with VAZ but
> > I use Csound as well.
Try the insects files (Instrument #2) at
http://www.music.gla.ac.uk/HTMLFolder/UnderGrad/Synthesis/stuart/stuart.htm
===================================================================
Kevin Conder, email: kconder@interaccess.com
Web site: http://homepage.interaccess.com/~kconder
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From: Michael Gogins
To: Csound List ,
music-dsp ,
Dorian Mode , Buzz Talk
Subject: Re: Buzz,VST,CSound
Date: Sun, 20 Jun 1999 13:04:17 -0400
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Reply-To: music-dsp@shoko.calarts.edu
Thanks for your mail. Really, Buzz got me more excited in some ways than
Csound itself (though make no bones about it, Csound is a much better
instrument if all you care about is how the end result sounds, which is all
I care about). Buzz took me back to my college days in 1972 at the
University of Utah where I met Vladimir Ussachevsky and Nyle Steiner and
played around patching modules on Nyle's home-built version of Moog modular
synthesizers. I can fall into the same trance patching Buzz machines that I
did patching analog synth modules...
You can reference the Csound front page at
http://mitpress.mit.edu/e-books/csound/frontpage.html for Buzz users, or my
web page at http://www.pipeline.com. For non Buzz people, see
http://www.buzz2.com.
If you don't mind, I'm copying this mail to the Csound list, the music-dsp
list, and to buzz-talk, because I feel that the issues touch on the future
of musical composition and performance and the kind of software support
required for them. I believe we are moving towards various generic
composition frameworks with notation/MIDI sequencing/realtime audio that use
standardized plugins to do a lot of the real work... Cubase, Logic, and Buzz
are all examples of such frameworks (though Buzz is less general than audio
sequencers, it still is a complete composition environment).
Csound is potentially the most powerful of all plugins, because it's a whole
language unto itself, and it can produce acoustically beautiful results.
Needless to say, it's vitally important that such a universal standard be
technically adequate. This is a whole other can of worms...
I am currently waiting for Steinberg to release the VST specification
version 2, which is said to support MIDI note control. When it does come
out, I plan to make Csound into a VST 2 plugin. At that time, I will look
into how well this all integrates with Buzz. I hope that Buzz will be
upgraded to VST 2 support also. If those things happen, no more need be
done; Csound will just plug right in along with everything else. If VST 2
does not prove adequate, the JavaSound API may have the potential to become
a universal plugin format.
If that doesn't happen, I don't think it would be too hard to make Csound
itself into a Buzz machine, or rather into two Buzz machines, one generator
machine and one effect machine. The Csound machine would have to be
programmed to get a filename for its orchestra file from somewhere; score
lines could come from the tracker patterns (the Csound machine could
interpret them either as real-time command-line events or as MIDI events).
Technically, my version of Csound, AXCsound/JCsound, begins by making Csound
into a library with an encapsulated C++ version of Csound that is partly
re-entrant (you can stop it and start it again without reloading it). This
is why making Csound into a Buzz machine should not be too hard. But I don't
think it's just a piece of cake, either; the audio ins and outs have to be
patched to the Csound processing loop (I don't have pluggable ins and outs
at this time). It may also be necessary to change some global static objects
in the Csound code to allow more than one instance of Csound to run at the
same time, that is, to finish the job of making Csound re-entrant.
As I write this I find the idea rather exciting, because Csound is not the
world's most interactive program, to say the least, but the joy of Buzz is
building up pieces interactively, moving the loop points around while
tweaking the machine connections and pattern parameters. It would be great
if Csound could be used in this interactive context, developing patterns
while Buzz is looping. The learning curve needn't be so steep for Buzz
people because there are a lot of great Csound orchestra files floating
around on the Web.
Note to the Csound community: All of this can be done without changing any
existing features or ways of using Csound at all.
Csound and Buzz are alike in that they are small, free programs that do more
than almost all their competition...
-----Original Message-----
From: Dorian Mode
To: gogins@nyc.pipeline.com
Date: Sunday, June 20, 1999 6:26 AM
Subject: Buzz,VST,CSound
>Dear mr Gogins,
>
>I'm a Buzz enthusiast and I read with great interest and excitement your
>postings on Buzz on CSound list. As you probably already have noticed that
>Buzz file format *.bmw or .bmx is described in buzz104/dev folder that
>installer program creates.
>
>One fascinating feature with tracker programs is the fact that they are not
>"tools" in sense that there would necessarily be an end product separated
>from the writing/composing/producing enviroment; there is a kind of shared
>space for the artist and the audience.
>
>What does Buzz incorporate:
>from "folk" music - the community aspect
>from "serious" music - notation, or score
> - virtuoso performance aspect ( the sequencing side )
> this century - music concrete > sampling ( wavetable, tracker )
> -synthesis (various generators)
> and maybe the possibility for the artist to explain the rationale behind
>incomprehensible noise in "blah blah" screen
>from "popular" music - the idea about studio as a compositional tool
> - effective distribution
>
>minus sides: the relatively rigid timing. And then it is a question of
>personal preference how structured or pattern based music one wants to do.
>
>what i woud like to see in future versions:
> machines generating control data and note data
> machines modifying above
>
>so that there would be this algorithmic/aleatoric dimension; or
> "generative" aspect.
>
> and some easier way to develop own plugins than using MSVisualC++; Oskari
>Tammelin has said that Buzz per se is not supposed to be synth creating
>program like Generator, but this prospect of utilising Csound in Buzz via
>VST is very fantastic indeed: actually I speculated about it on Buzz-talk
>mailing list some time ago but then concluded that it's too utopistic.
>
>I hope you don't mind, but I clipped some of your postings to Csound list
>and posted those clips to buzz-talk list; there have been expressed
interest
>in Csound and some people I reckon have already dabbled with it: but the
>vertical learning curve is probably too much for most of others than Buzz
>machine developers... I think it would be a gesture greatly appreciated if
>you could in your spare time write something to buzz-talk@unreal.org, and
>tell about Csound's and your programs possibilities for the
>electronic/computer musicians and future prospects .... and stuff.
>
>sorry 'bout my english
>
>Dorian
>
>
>______________________________________________________
>Get Your Private, Free Email at http://www.hotmail.com
dupswapdrop: the music-dsp mailing list and website
http://shoko.calarts.edu/~glmrboy/musicdsp/music-dsp.html
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Message-ID: <376D4141.DB14FAB3@ibm.net>
Date: Sun, 20 Jun 1999 15:30:09 -0400
From: "Job M. van Zuijlen"
Reply-To: zuijlen@ibm.net
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Don't feel too bad, you usually get it right, and a multi-lingual Csound
is a nice idea :-)
Job
J P Fitch wrote:
>
> In teh version I am preparing I am allowing a command line option
> (harder than it sounds!) and an environment variable. On Windows
> I may use the registry stuff as well.
>
> Boy, did I get this wrong.......
>
> ==john
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Date: Sun, 20 Jun 1999 15:30:09 -0400
From: "Job M. van Zuijlen"
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Don't feel too bad, you usually get it right, and a multi-lingual Csound
is a nice idea :-)
Job
J P Fitch wrote:
>
> In teh version I am preparing I am allowing a command line option
> (harder than it sounds!) and an environment variable. On Windows
> I may use the registry stuff as well.
>
> Boy, did I get this wrong.......
>
> ==john
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From: Jim Smitherman
To: Csound List
Subject: loscil/Csound Book/
Date: Sun, 20 Jun 1999 14:45:18 -0500
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I'm working through Dr Boulanger's intro chapter to the upcoming Csound book
(sorry, don't have the url) and am having trouble with his instr
106
____________
instr 106 ; simple sample playback
a1 loscil 10000, 440, 4
out a1
endin
_____
;the function statement in .sco, as near as I can make out:
f 4 0 0 1 "sing.wav" 0 4 0
the p fields are:
i 106 20 3
since I seem to have trouble with aif files, I generated a 3 second 44.1
mono wav file at A 440 using Cool Edit, as described by Dr Boulanger as
being the original
file of a singer singing 'la' at that pitch . it seems to make no difference
. .
in the compilation, I get the error:
INIT ERROR in instr 106: no legal base frequency
a1 loscil 10000 440 4 0 -1 0 0 -1 0 0
B 20.000 - note deleted. i106 had 1 init errors
when I added the numbers 0 -1 0 0 -1 0 0 to the instr that the error
message offered, it then worked . . . . what's going on? shouldn't the
original example give this, for the book?
also, though it all compiles, and claims '0 errors' there is the error
message:
ftable 4:
deferred alloc
sing.wav: WAVE, 132300 samples
audio sr = 44100, monaural
WARNING: GEN1: aiff file truncated by ftable size
audio samps 132300 exceeds ftsize 132299
non-deferred ftable 4 needs size 262144
ftable 4: 132300 points, scalemax 1.000
how do you tell it to expect a wav instead of an aif? or is that even the
problem? that portion compiles, very interestingly too. and plus, the
final compilation only has five instrument sounds, though the sco seems to
call for six events each lasting 3 seconds, and the console output seems to
suggests all 6 are written. maybe i'm just staying up too late, and I'm
nuts for sure anyway, but it seems to me I've done it as the book suggests,
and there are oddities, that I've had to make significant changes to get it
to work. I hope I'm not the only beginner that all this might help if a
more experienced person cared to make comments.
Jim
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From: Jim Smitherman
To: J P Fitch
Cc: zuijlen@ibm.net, Csound List
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References:
Subject: Re: 'engish' txt for csound dos
Date: Sun, 20 Jun 1999 14:56:20 -0500
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no, it works fine as long as csound can find it! Just not all that well
documented.
----- Original Message -----
From: J P Fitch
To: Jim Smitherman
Cc: ; Csound List
Sent: Sunday, June 20, 1999 10:36 AM
Subject: Re: 'engish' txt for csound dos
> In teh version I am preparing I am allowing a command line option
> (harder than it sounds!) and an environment variable. On Windows
> I may use the registry stuff as well.
>
> Boy, did I get this wrong.......
>
> ==john
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From: Jim Smitherman
To: J P Fitch
Cc: zuijlen@ibm.net, Csound List
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References:
Subject: Re: 'engish' txt for csound dos
Date: Sun, 20 Jun 1999 14:56:20 -0500
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no, it works fine as long as csound can find it! Just not all that well
documented.
----- Original Message -----
From: J P Fitch
To: Jim Smitherman
Cc: ; Csound List
Sent: Sunday, June 20, 1999 10:36 AM
Subject: Re: 'engish' txt for csound dos
> In teh version I am preparing I am allowing a command line option
> (harder than it sounds!) and an environment variable. On Windows
> I may use the registry stuff as well.
>
> Boy, did I get this wrong.......
>
> ==john
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From: Jim Smitherman
To: csound@maths.ex.ac.uk
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References:
Subject: Re: [ot] Techno-bashing. (was: Csound and other synthesis systems)
Date: Sun, 20 Jun 1999 15:19:58 -0500
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----- Original Message -----
From: Mark T Vigorito
To:
Sent: Saturday, June 19, 1999 10:52 PM
Subject: Re: [ot] Techno-bashing. (was: Csound and other synthesis systems)
> On Sat, 19 Jun 1999, Kevin Conder wrote:
>
> > [.....]
> > I've read enough Marshall McLuhan to realize the medium is the
> > message. Could someone in 1798 be able to create a true techno track?
>
> J.S. Bach did so before 1750...
yes, then there's the rather vibrantly incredible stuff of Perotin, I'm
thinking mainly of the Viderunt omnes, written 1198, hundreds of years even
before Bach. I don't believe the original poster has actually read ENOUGH
of McLuhan, to realize what indeed medium and message IS. Certainly, some
listening needs to be done.
with respect
Jim
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Date: Sun, 20 Jun 1999 16:17:50 -0600
To: Michael Gogins
Subject: Re: Buzz,VST,CSound
Cc: Csound List ,
music-dsp , Buzz Talk
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>Thanks for your mail.
(though make no bones about it, Csound is a much better
>instrument if all you care about is how the end result sounds, which is all
>I care about).
>Buzz took me back to my college days in 1972 at the
>University of Utah where I met Vladimir Ussachevsky and Nyle Steiner and
>played around patching modules on Nyle's home-built version of Moog modular
>synthesizers. I can fall into the same trance patching Buzz machines that I
>did patching analog synth modules...
>If you don't mind, I'm copying this mail to the Csound list, the music-dsp
>list, and to buzz-talk, because I feel that the issues touch on the future
>of musical composition and performance and the kind of software support
nebula m81 = future ov
data = korekt humanz = !nkorekt
futur = z!lansz
hensz humanz = komod!t!ez ov dub!ousz worth
>Dorian Mode" ,
sol++ konzum>g!glb!t . humanz = komod!t!ez ov dub!ousz worth
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Date: Sun, 20 Jun 1999 16:17:50 -0600
To: Michael Gogins
Subject: Re: Buzz,VST,CSound
Cc: Csound List ,
music-dsp , Buzz Talk
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Reply-To: music-dsp@shoko.calarts.edu
>Thanks for your mail.
(though make no bones about it, Csound is a much better
>instrument if all you care about is how the end result sounds, which is all
>I care about).
>Buzz took me back to my college days in 1972 at the
>University of Utah where I met Vladimir Ussachevsky and Nyle Steiner and
>played around patching modules on Nyle's home-built version of Moog modular
>synthesizers. I can fall into the same trance patching Buzz machines that I
>did patching analog synth modules...
>If you don't mind, I'm copying this mail to the Csound list, the music-dsp
>list, and to buzz-talk, because I feel that the issues touch on the future
>of musical composition and performance and the kind of software support
nebula m81 = future ov
data = korekt humanz = !nkorekt
futur = z!lansz
hensz humanz = komod!t!ez ov dub!ousz worth
>Dorian Mode" ,
sol++ konzum>g!glb!t . humanz = komod!t!ez ov dub!ousz worth
dupswapdrop: the music-dsp mailing list and website
http://shoko.calarts.edu/~glmrboy/musicdsp/music-dsp.html
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Date: Sun, 20 Jun 1999 18:07:49 -0400
From: "Job M. van Zuijlen"
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To: Csound List
Subject: direct output in Winsound with devaudio?
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It used to be that when you specified devaudio as output filename in
Winsound the output would be sent directly to the sound card (equivalent
to -odevaudio on the command line). In 3.54 it works for the command
line, but it no longer works in Winsound because Winsound seems to
automatically add an extension to the filename (e.g., .wav) and write to
the file devaudio.wav, which is not what I want. I remember that there
was a discussion a while ago about adding file extensions by default.
Unfortunately, I didn't pay attention, because the problem I describe
above is why you do not want file extensions added.
Anyone else had this problem? Any suggestions? Thanks.
Job van Zuijlen
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Date: Sun, 20 Jun 1999 23:29:07 +0200 (CEST)
From: Thomas Neuhaus
To: J P Fitch
cc: csound@maths.ex.ac.uk
Subject: Re: 'engish' txt for csound dos
In-Reply-To:
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On Sun, 20 Jun 1999, J P Fitch wrote:
> In teh version I am preparing I am allowing a command line option
> (harder than it sounds!) and an environment variable. On Windows
> I may use the registry stuff as well.
>
> Boy, did I get this wrong.......
... and while we're at it: it would be nice for us Unix folks who have to
keep Csound running in a networked multiuser environment to have a
compile-time makefile variable which we can set to something like
/usr/local/share/csound/ so we can compile csound without having to
change the sources or forcing every user to have her own copy of
english.txt.
No big deal, but a "nice to have"
regards,
Thomas
--
Thomas Neuhaus(neuhaus@folkwang.uni-essen.de) Phone (49)-201-4903-333
ICEM Institut fuer Computermusik und elektronische Medien
Folkwang-Hochschule Essen, Klemensborn 39, D-49239 Essen
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Date: Sun, 20 Jun 1999 23:29:07 +0200 (CEST)
From: Thomas Neuhaus
To: J P Fitch
cc: csound@maths.ex.ac.uk
Subject: Re: 'engish' txt for csound dos
In-Reply-To:
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On Sun, 20 Jun 1999, J P Fitch wrote:
> In teh version I am preparing I am allowing a command line option
> (harder than it sounds!) and an environment variable. On Windows
> I may use the registry stuff as well.
>
> Boy, did I get this wrong.......
... and while we're at it: it would be nice for us Unix folks who have to
keep Csound running in a networked multiuser environment to have a
compile-time makefile variable which we can set to something like
/usr/local/share/csound/ so we can compile csound without having to
change the sources or forcing every user to have her own copy of
english.txt.
No big deal, but a "nice to have"
regards,
Thomas
--
Thomas Neuhaus(neuhaus@folkwang.uni-essen.de) Phone (49)-201-4903-333
ICEM Institut fuer Computermusik und elektronische Medien
Folkwang-Hochschule Essen, Klemensborn 39, D-49239 Essen
-------------------------------------------------------------------------------
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Date: Mon, 21 Jun 1999 00:42:35 +0200
From: rasmus ekman
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To: Csound list
Subject: Re: loscil/Csound Book/
References: <00d101bebb55$844e70a0$75830b3f@isengardii>
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Jim Smitherman wrote:
>
> I'm having trouble with Dr Boulangers' instr 106
> a1 loscil 10000, 440, 4
> I generated a 3 second 44.1 mono wav file at A 440 using Cool Edit,
> in the compilation, I get the error:
> INIT ERROR in instr 106: no legal base frequency
Excerpts from LOSCIL entry of Csound manual:
ar1 [,ar2] loscil xamp, kcps, ifn[, ibas] [,imod1,ibeg1,iend1] [, imod2,ibeg2,iend2]
ibas (optional) - base frequency in cps of the recorded sound.
This optionally overrides the frequency given in the AIFF file,
but is required if the file did not contain one.
The default value is 0 (no override).
End excerpt.
So, an extra argument like this:
a1 loscil 10000, 440, 4, 440
should make it work.
If the chapter text does not mention some specific file having
this info (chunk), it may be a problem in the text. Still, the
error message *is* somewhat informative, and so should help.
Good luck,
re
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From: Jim Smitherman
To: Csound list
References: <00d101bebb55$844e70a0$75830b3f@isengardii> <376D6E5B.31A2@hem.passagen.se>
Subject: Re: loscil/Csound Book/
Date: Sun, 20 Jun 1999 18:12:30 -0500
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that did indeed fix the problem, thanks. I of course first thing looked up
loscil in the manual, but frankly, could get no help from the discussion re
my problem. I still don't really understand why the extra 440 is needed,
though, since indeed the file was literally 440 cps, so it would have seemed
no 'over ride' was necessary?
----- Original Message -----
From: rasmus ekman
To: Csound list
Sent: Sunday, June 20, 1999 5:42 PM
Subject: Re: loscil/Csound Book/
> Jim Smitherman wrote:
> >
> > I'm having trouble with Dr Boulangers' instr 106
>
>
> > a1 loscil 10000, 440, 4
>
>
> > I generated a 3 second 44.1 mono wav file at A 440 using Cool Edit,
> > in the compilation, I get the error:
> > INIT ERROR in instr 106: no legal base frequency
>
> Excerpts from LOSCIL entry of Csound manual:
> ar1 [,ar2] loscil xamp, kcps, ifn[, ibas] [,imod1,ibeg1,iend1] [,
imod2,ibeg2,iend2]
>
> ibas (optional) - base frequency in cps of the recorded sound.
> This optionally overrides the frequency given in the AIFF file,
> but is required if the file did not contain one.
> The default value is 0 (no override).
>
> End excerpt.
>
> So, an extra argument like this:
>
> a1 loscil 10000, 440, 4, 440
>
> should make it work.
>
> If the chapter text does not mention some specific file having
> this info (chunk), it may be a problem in the text. Still, the
> error message *is* somewhat informative, and so should help.
>
> Good luck,
>
> re
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Date: Mon, 21 Jun 1999 00:24:19 +0100
From: Richard Dobson
Organization: Composers Desktop Project
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To: Csound list
Subject: Re: loscil/Csound Book/
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I feel compelled to say, reading this, that I think the specification of
the opcode is a little flawed, in that it requires the user to know, or
take the trouble to find out, if a base frequency is contained in the
header. Possibly a majority of files don't carry this information. Given
the solution suggested, can't the opcode be revised to take the already
used kcps argument as the default, unless overridden?
Richard Dobson
rasmus ekman wrote:
>
> Jim Smitherman wrote:
> >
> > I'm having trouble with Dr Boulangers' instr 106
>
>
> > a1 loscil 10000, 440, 4
>
>
> > I generated a 3 second 44.1 mono wav file at A 440 using Cool Edit,
> > in the compilation, I get the error:
> > INIT ERROR in instr 106: no legal base frequency
>
> Excerpts from LOSCIL entry of Csound manual:
> ar1 [,ar2] loscil xamp, kcps, ifn[, ibas] [,imod1,ibeg1,iend1] [, imod2,ibeg2,iend2]
>
> ibas (optional) - base frequency in cps of the recorded sound.
> This optionally overrides the frequency given in the AIFF file,
> but is required if the file did not contain one.
> The default value is 0 (no override).
>
> End excerpt.
>
> So, an extra argument like this:
>
> a1 loscil 10000, 440, 4, 440
>
> should make it work.
>
--
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd (LU: 19th May 1999)
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From: Richard Dobson
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Subject: Re: direct output in Winsound with devaudio?
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I've just found this myself - a wee buglet in the new auto-extension
facility in that the special names are not checked for. A second wee
buglet actually provides a temporary workaround in that 'WAV' is checked
for twice, when the second check should be for AIF, so that if you set
the outfile type as AIFF, 'devaudio' works as it should!
[except that on my NT system Winsound hangs at the start of playback,
while Win95 seems to manage OK - ah, the joys of multiple OSes!]
Richard Dobson
"Job M. van Zuijlen" wrote:
>
> It used to be that when you specified devaudio as output filename in
> Winsound the output would be sent directly to the sound card (equivalent
> to -odevaudio on the command line). In 3.54 it works for the command
> line, but it no longer works in Winsound because Winsound seems to
> automatically add an extension to the filename (e.g., .wav) and write to
> the file devaudio.wav, which is not what I want. I remember that there
> was a discussion a while ago about adding file extensions by default.
> Unfortunately, I didn't pay attention, because the problem I describe
> above is why you do not want file extensions added.
>
> Anyone else had this problem? Any suggestions? Thanks.
>
> Job van Zuijlen
--
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Date: Mon, 21 Jun 1999 00:36:59 +0100
From: Richard Dobson
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Subject: Re: How do I get a fly buzzing sound?
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If you want the impression of many insects, then granulating your core
sound should work very well. If you want them flying around your head
(very seasonal), then quad granulation should be, er, very buzzy.
Richard Dobson
Mark Gay wrote:
>
> Hi,
>
> I've been trying to put together some instruments that duplicate the sound
> of buzzing insects. I'd like to get a fat house fly type of buzz as well as
> a more high pitched mousquito. I'm currently mostlly working with VAZ but
> I use Csound as well.
>
> Thanks
>
> --Mark
--
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From: pete moss
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anyone here ever use keykit? i just got turned onto it today, and it
seems really cool! i wanted to see what others have to say, especially
in regards to interfacing it with csound.
for those who dont know, it is a freeware midi thing at
http://www.nosuch.com/keykit it runs on several different systems
:P
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From: Jim Smitherman
To: Csound list
References: <00d101bebb55$844e70a0$75830b3f@isengardii> <376D6E5B.31A2@hem.passagen.se> <376D7823.8624F656@cableinet.co.uk>
Subject: Re: loscil/Csound Book/
Date: Mon, 21 Jun 1999 04:05:20 -0500
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At the very least, the text of the chapter needs editing to include the
correct information. The example as printed was, simply put, incorrect.
There is nothing more disheartening than to carefully follow an instruction
in such a complex study as csound, then have it not work, and this
immediately at the start! I realize mistakes creep into texts, this one
needs fixing, I think.
Also, I would suggest, after having just worked through the second set of
etudes, that more discussion of the Function tables would be in order, since
in the etude2 examples, there are none given of F statements; only new instr
designs that relate to using p fields to control the sound, rather than
setting basic parameters in the orc. It seemed reasonable to go back and
use the function tables from the first set (though, not all of them
certainly), but this still was educated guesswork, and took some doing.
Perhaps now I understand function tables the better for having gone through
it all again in the manual, but still it seems a lack in the text itself not
to relate the new designs to the old f tables, at least in some passing way.
Having worked through all the original tutorials some years ago, and as an
obsessive compiler of other peoples files, I'm not a total virgin and this
helped; yet how is one to understand who has never done any kind of csound
work . . . as this initial chapter should assume would be the case?
still, I look forward to the book itself.
----- Original Message -----
From: Richard Dobson
To: Csound list
Sent: Sunday, June 20, 1999 6:24 PM
Subject: Re: loscil/Csound Book/
> I feel compelled to say, reading this, that I think the specification of
> the opcode is a little flawed, in that it requires the user to know, or
> take the trouble to find out, if a base frequency is contained in the
> header. Possibly a majority of files don't carry this information. Given
> the solution suggested, can't the opcode be revised to take the already
> used kcps argument as the default, unless overridden?
>
> Richard Dobson
>
> rasmus ekman wrote:
> >
> > Jim Smitherman wrote:
> > >
> > > I'm having trouble with Dr Boulangers' instr 106
> >
> >
> > > a1 loscil 10000, 440, 4
> >
> >
> > > I generated a 3 second 44.1 mono wav file at A 440 using Cool Edit,
> > > in the compilation, I get the error:
> > > INIT ERROR in instr 106: no legal base frequency
> >
> > Excerpts from LOSCIL entry of Csound manual:
> > ar1 [,ar2] loscil xamp, kcps, ifn[, ibas] [,imod1,ibeg1,iend1] [,
imod2,ibeg2,iend2]
> >
> > ibas (optional) - base frequency in cps of the recorded sound.
> > This optionally overrides the frequency given in the AIFF file,
> > but is required if the file did not contain one.
> > The default value is 0 (no override).
> >
> > End excerpt.
> >
> > So, an extra argument like this:
> >
> > a1 loscil 10000, 440, 4, 440
> >
> > should make it work.
> >
>
>
> --
> Test your DAW with my Soundcard Attrition Page!
> http://wkweb5.cableinet.co.uk/rwd (LU: 19th May 1999)
> CDP: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm (LU: 14th June 1999)
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From: Jim Smitherman
To: csound list ,
music-dsp list
References: <37692854.AC8AE909@exbang.com> <37695BF6.120F4974@intercom.es>
Subject: Re: Csound and other synthesis systems
Date: Mon, 21 Jun 1999 04:30:12 -0500
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----- Original Message -----
From: Josep M Comajuncosas
Come on, with those pro-sequencers you cannot go further than recreating
some plastified
classical or jazz arrangements or derive to some tonal, 4/4 based techno
stuff (techno,
jungle, drum&bass, etc. all the same for me). I rarely use them (neither
MIDI lately) in my
music. If "real" music =3D music people dance at the disco/ music you he=
ar at
the tube
stations, maybe I=B4ll agree with you, but that is not certainly an extre=
mely
creative
challenge IMHO.
_______________________
I feel compelled to say that pro sequencers, such as cakewalk, are only a=
s
'pro' as the one using it. There are certainly rank amatuers out there
making the kind of primitive garbage you mention. . . midi has made a lar=
ge
production base possible, but that has _nothing_ to do with quality excep=
t
in the many immature minds partaking of it. As myself a pianist of two
degrees and 40 years experience, I can do, and have done, quite a bit
better than "plastified classical or jazz arrangements or derive to some
tonal, 4/4 based techno stuff." On the Roland JV1080 (alas stolen, but =
I
shall again aquire one this year) I was doing all sorts of music far beyo=
nd
'disco and tube,' which I also along with you despise.
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Date: Mon, 21 Jun 99 12:15:37 BST
From: jpff@maths.bath.ac.uk
Subject: Version 3.55
To: csound@maths.ex.ac.uk
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Message written at 20 Jun 1999 15:51:23 +0100
i have put sources and binaries for Csound 3.55 onto my server.
This is mainly a 'steady-as-sh-goes' release, fixing a few bugs and
introducing a few new opcodes. I have also worked over the
localization stuff, but I suspect it needs more.
==John ffitch
Release Notes for 3.55
======================
Language Changes
----------------
The environment variable CSSTRNGS is used to identify the string
database. If it is not present it looks in SSDIR SADIR etc and
finally /usr/local/lib
This can be overridden with a -j filename option
Opcode Fixes
------------
linseg, linsegr -- an off-by-one error corrected in all cases
buzz, gbuzz -- error case reported only once per note instead of every
k-cycle in error.
loscil3 -- ignored the amplitude leading to usually quiet output
mandolin -- Bug fixed which stop the initial pluck, and also rescaled
New Opcodes
-----------
svfilter -- Implementation of a resonant second order filter,
with simultaneous lowpass, highpass and bandpass outputs.
hilbert -- An IIR implementation of a Hilbert transformer.
resonr, resonz -- Implementations of a second-order, two-pole two-zero
bandpass filter with variable frequency response.
mac, maca -- Multiply and Accumulate instructions
Windows GUI Changes
-------------------
devaudio as an output device was incorrectly changed to devaudio.wav
------------------------------------------------------------------------
==John ff
1999 June 20
========================================================================
hilbert
areal, aimag hilbert asig
DESCRIPTION
An IIR implementation of a Hilbert transformer.
PERFORMANCE
hilbert is an IIR filter based implementation of a broad-band 90
degree phase difference network. The input to hilbert is an audio
signal, with a frequency range from 15 Hz to 15 kHz. The outputs of
hilbert have an identical frequency response to the input (i.e. they
sound the same), but the two outputs have a constant phase difference
of 90 degrees, plus or minus some small amount of error, throughout
the entire frequency range - the outputs are in quadrature. hilbert is
useful in the implementation of many digital signal processing
techniques that require a signal in phase quadrature. areal
corresponds to the cosine output of hilbert, while aimag corresponds
to the sine output; the two outputs have a constant phase difference
throughout the audio range that corresponds to the phase relationship
between cosine and sine waves.
Internally, hilbert is based on two parallel 6th-order allpass
filters. Each allpass filter implements a phase lag that increases
with frequency; the difference between the phase lags of the parallel
allpass filters at any given point is approximately 90 degrees. Unlike
an FIR-based Hilbert transformer, the output of hilbert does not have
a linear phase response. However, the IIR structure used in hilbert is
far more efficient to compute, and the nonlinear phase response can be
used in the creation of interesting audio effects, as in the second
example below.
AUTHOR
Sean Costello
Seattle, Washington
1999
------------------------------------------------------------------------
svfilter
alow, ahigh, aband svfilter asig, kcf, kq[, iscl]
DESCRIPTION
Implementation of a resonant second order filter, with simultaneous
lowpass, highpass and bandpass outputs.
INITIALIZATION
iscl - coded scaling factor, similar to that in reson. A non-zero
value signifies a peak response factor of 1, i.e. all frequencies
other than kcf are attenuated in accordance with the (normalized)
response curve. A zero value signifies no scaling of the signal,
leaving that to some later adjustment (see balance). The default value
is 0.
PERFORMANCE
svfilter is a second order state-variable filter, with k-rate controls
for cutoff frequency and Q. As Q is increased, a resonant peak forms
around the cutoff frequency. svfilter has simultaneous lowpass,
highpass, and bandpass filter outputs; by mixing the outputs together,
a variety of frequency responses can be generated. The state-variable
filter, or "multimode" filter was a common feature in early analog
synthesizers, due to the wide variety of sounds available from the
interaction between cutoff, resonance, and output mix ratios. svfilter
is well suited to the emulation of "analog" sounds, as well as other
applications where resonant filters are called for.
asig - Input signal to be filtered.
kcf - Cutoff or resonant frequency of the filter, measured in cps.
kq - Q of the filter, which is defined (for bandpass filters) as
bandwidth/cutoff. kq should be in a range between 1 and 500. As kq is
increased, the resonance of the filter increases, which corresponds to
an increase in the magnitude and "sharpness" of the resonant
peak. When using svfilter without any scaling of the signal (where
iscl is either absent or 0), the volume of the resonant peak increases
as Q increases. For high values of Q, it is recommended that iscl be
set to a non-zero value, or that an external scaling function such as
balance is used.
svfilter is based upon an algorithm in Hal Chamberlin's Musical
Applications of Microprocessors (Hayden Books, 1985).
AUTHOR
Sean Costello
Seattle, Washington
1999
------------------------------------------------------------------------
resonr, resonz
ar resonr asig, kcf, kbw[,iscl, istor]
ar resonz asig, kcf, kbw[,iscl, istor]
DESCRIPTION
Implementations of a second-order, two-pole two-zero bandpass filter
with variable frequency response.
INITIALIZATION
The optional initialization variables for resonr and resonz are
identical to the i-time variables for reson.
istor - initial disposition of internal data space. Since filtering
incorporates a feedback loop of previous output, the initial status of
the storage space used is significant. A zero value will clear the
space; a non-zero value will allow previous information to remain. The
default value is 0.
iscl - coded scaling factor for resonators. A value of 1 signifies a
peak response factor of 1, i.e. all frequencies other than kcf are
attenuated in accordance with the (normalized) response curve. A value
of 2 raises the response factor so that its overall RMS value equals
1. (This intended equalization of input and output power assumes all
frequencies are physically present; hence it is most applicable to
white noise.) A zero value signifies no scaling of the signal, leaving
that to some later adjustment ( see balance). The default value is 0.
PERFORMANCE
resonr and resonz are variations of the classic two-pole bandpass
resonator (reson). Both resonr and resonz have two zeroes in their
transfer functions, in addition to the two poles. resonz has its
zeroes located at z = 1 and z = -1. resonr has its zeroes located at
+sqrt(R) and -sqrt(R), where R is the radius of the poles in the
complex z-plane. The addition of zeroes to resonr and resonz results
in the improved selectivity of the magnitude response of these filters
at cutoff frequencies close to 0, at the expense of less selectivity
of frequencies above the cutoff peak. resonr and resonz have very
close to constant-gain as the center frequency is swept, resulting in
a more efficient control of the magnitude response than with
traditional two-pole resonators such as reson. resonr and resonz
produce a sound that is considerably different from reson, especially
for lower center frequencies; trial and error is the best way of
determining which resonator is best suited for a particular
application.
asig - Input signal to be filtered.
kcf - Cutoff or resonant frequency of the filter, measured in cps.
kbw - Bandwidth of the filter (the cps difference between the upper
and lower half-power points).
AUTHOR
Sean Costello
Seattle, Washington
1999
------------------------------------------------------------------------
mac and maca
ar mac ksig1, asig2, ksig3, asig4, ...
ar maca asig1, asig2, asig3, asig4, ...
DESCRIPTION
Multiplies the arguments in pairs and accumulates their sum
ar = ksig1*asig2 + ksig3*asig4 + ...
ar = asig1*asig2 + asig3*asig4 + ...
INITIALIZATION
none
PERFORMANCE
ksign - multipliers (scales) of signals
asign - Audio signals to be summed/scaled
------------------------------------------------------------------------
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Message-ID: <001501bebbda$208b0940$79d496c0@Realizer.ngt.sungard.com>
From: Michael Gogins
To: jeremyasmith@geocities.com, Csound List ,
music-dsp ,
Dorian Mode , Buzz Talk
MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.omphalos
Subject: Re: Buzz,VST,CSound
Date: Mon, 21 Jun 1999 07:35:11 -0400
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Sure, I'd be interested in your code. Maybe there's a site you could upload
it to, like one of the MIDI web sites; as far as I'm concerned you can just
mail it to me.
-----Original Message-----
From: Jeremy A.Smith
To: Michael Gogins ; Csound List
; music-dsp ; Dorian
Mode ; Buzz Talk
Date: Monday, June 21, 1999 4:35 AM
Subject: Re: Buzz,VST,CSound
>I have some MIDI code that generates frequencies (in Hz) depending on the
>MIDI data it receives - it also keeps track of which voices are playing. So
>hit middle C and you get:
>
>Voice 1=440Hz (or whatever Hz it is)
>
>Then hit middle D:
>
>Voice 2=480Hz
>
>Let go of middle C and hit middle E:
>
>Voice 1=420Hz
>
>It is nn channel multitimbral (ie, I could make it work with more than 1
>MIDI input, giving up to 64 channels input with a 4-channel MIDI loopback
>connected to a sequencer running on the same machine) with portamento,
>pitchbend, vibrato (or any other kind of LFO), velocity etc.
>
>If anyone's interested in glueing this code to another program (I'd help
>out with it, of course) e-mail me. The code isn't very well documented, but
>the main thing is it's portable (runs on Windows), and it works. In my
>soft-synth running on a Celeron 400, I get 0 latency and it can handle
>playing 48 voices with no trouble (it will probably play around 100 voices
>polyphonic).
>
>Also, the MIDI code is event-driven, so it only kicks into action when it
>receives MIDI input - thus the reliability of it depends on how quickly
>CSound or Buzz can respond. The code took me something like 3 months to
>program, so I'd like to do something more useful with it.
>
>Jeremy.
>
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From: Michael Gogins
To: jeremyasmith@geocities.com, Csound List ,
music-dsp ,
Dorian Mode , Buzz Talk
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Subject: Re: Buzz,VST,CSound
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Reply-To: music-dsp@shoko.calarts.edu
Sure, I'd be interested in your code. Maybe there's a site you could upload
it to, like one of the MIDI web sites; as far as I'm concerned you can just
mail it to me.
-----Original Message-----
From: Jeremy A.Smith
To: Michael Gogins ; Csound List
; music-dsp ; Dorian
Mode ; Buzz Talk
Date: Monday, June 21, 1999 4:35 AM
Subject: Re: Buzz,VST,CSound
>I have some MIDI code that generates frequencies (in Hz) depending on the
>MIDI data it receives - it also keeps track of which voices are playing. So
>hit middle C and you get:
>
>Voice 1=440Hz (or whatever Hz it is)
>
>Then hit middle D:
>
>Voice 2=480Hz
>
>Let go of middle C and hit middle E:
>
>Voice 1=420Hz
>
>It is nn channel multitimbral (ie, I could make it work with more than 1
>MIDI input, giving up to 64 channels input with a 4-channel MIDI loopback
>connected to a sequencer running on the same machine) with portamento,
>pitchbend, vibrato (or any other kind of LFO), velocity etc.
>
>If anyone's interested in glueing this code to another program (I'd help
>out with it, of course) e-mail me. The code isn't very well documented, but
>the main thing is it's portable (runs on Windows), and it works. In my
>soft-synth running on a Celeron 400, I get 0 latency and it can handle
>playing 48 voices with no trouble (it will probably play around 100 voices
>polyphonic).
>
>Also, the MIDI code is event-driven, so it only kicks into action when it
>receives MIDI input - thus the reliability of it depends on how quickly
>CSound or Buzz can respond. The code took me something like 3 months to
>program, so I'd like to do something more useful with it.
>
>Jeremy.
>
dupswapdrop: the music-dsp mailing list and website
http://shoko.calarts.edu/~glmrboy/musicdsp/music-dsp.html
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Message-ID: <376E29C0.CD37E578@cygnus.com>
Date: Mon, 21 Jun 1999 08:02:08 -0400
From: Thomas Hudson
Organization: Cygnus Solutions
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To: pete moss
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Subject: Re: keykit
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pete moss wrote:
>
> anyone here ever use keykit? i just got turned onto it today, and it
> seems really cool! i wanted to see what others have to say, especially
> in regards to interfacing it with csound.
>
> for those who dont know, it is a freeware midi thing at
> http://www.nosuch.com/keykit it runs on several different systems
>
I've used it quite a bit. I was working on porting the Linux version
to use the ALSA sequencer (http://www.alsa-project.org), which would
allow routing between applications or even multiple instances of KeyKit.
Unfortunately, between now and August my regular job is going to eat
up all available time (can't let those product delivery dates slip ;-).
Since the linux version of CSound supports ALSA, the two would make
a great combo; KeyKit generating midi events for Csound.
If you're new to it be sure and play with some of the tutorials. It's
been a while but I remember blowing a whole day playing with transposing
echos into several different midi patches.
Thomas |