|
I want to add a -t flag to the command line so that I may use tempo and
tempest in my orchestra file. I mostly use "winsound 3.48" but have
tried using a batch file on a mac. If you know a way on your platform,
I can download the same version on to the same platform. The trouble
with winsound is as follows. It gives you an "Extra" option where you
find flags. The -t flag has only a numeric value to enter into the -t
option. This numeric value would then determine your default tempo
until instructed by the orc. otherwise, right? No, it doesn't even
change the tempo of the piece. So, I tried running csound through the
"Run" option in the "Start" menu, giving it the correct directory then
the name of the program, csound -t orchname filename scorename: Csound
perf's but gives me an "illegal tempo error." I've given it a -t flag
value and erased my tempo value, but I still get the error. As for the
mac's Csound, I tried entering a command line into a batch file
(although I am not quite aware of its function). It didn't work. Any
help would very much appreciated. Thanks for your time.
Nicholas Frost
_________________________________________________________
Do You Yahoo!?
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Date: Fri, 11 Jun 1999 11:53:27 +0200
From: Josep M Comajuncosas
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To: Ed Hall
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Subject: Re: double/float times
References: <199906110053.RAA05780@screech.weirdnoise.com>
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Even if they are no noticeable differences for this or that orchestra, I=B4=
m for
implementing double precision for a rather large number of specific needs=
. Anyway
a 12% of increased compilation time seems to me a very reasonable price t=
o pay!
I=B4ll prepare this weekend an orchestra showing (hopefully) how much bet=
ter doulbe
precision should sound compared to the current float implementation.
I=B4ll send it to Ed to see if that=B4s true ;-)
Ed Hall wrote:
> It took
> all of fifteen minutes to produce two binaries for Csound 3.54, one
> with floats, the other with doubles.
> Here are the results:
>
> float: 95.72 seconds
> double: 107.47 seconds
>
> So the double version is about 12% slower.
--
Josep M Comajuncosas
C/ Circumval.lacio 75 08790 Gelida - Penedes
Catalunya - SPAIN
home phone : 93 7792243 / 00 34 3 7792243
Csound page at http://members.tripod.com/csound/
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From: Josep M Comajuncosas
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Subject: How to generate subharmonics
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Hi,
this is probably a question to be sent to the music.dsp group, but I=B4m
sure some folks here may well know that. How can you generate
subharmonics? Is it a sort of waveshaping the best way?
--
Josep M Comajuncosas
C/ Circumval.lacio 75 08790 Gelida - Penedes
Catalunya - SPAIN
home phone : 93 7792243 / 00 34 3 7792243
Csound page at http://members.tripod.com/csound/
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In-Reply-To: Your message of "Fri, 11 Jun 1999 11:53:27 +0200."
<3760DC97.9E264695@intercom.es>
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From: Ed Hall
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> . . .
> I=B4ll prepare this weekend an orchestra showing (hopefully) how much b=
etter doulbe
> precision should sound compared to the current float implementation.
> I=B4ll send it to Ed to see if that=B4s true ;-)
Even better, folks can try it for themselves. Linux binaries (for Intel)=
are at:
http://www.weirdnoise.com/csound/csound-d # double-prec version
http://www.weirdnoise.com/csound/csound-f # single-prec version
while the shell script I used to wrap GCC with is at:
http://www.weirdnoise.com/csound/doubleup.sh
Copies of the files I used for benchmarks are at:
http://www.weirdnoise.com/csound/xanadu44.orc
http://www.weirdnoise.com/csound/xanadus.sco
Oh, and if you aren't already using Version 3.54 of Csound, you'll need:
http://www.weirdnoise.com/csound/csound.txt
or it will cry mysteriously about a missing "DB" file.
-Ed
PS. Please don't use www.weirdnoise.com as a general site for Csound--
bandwidth is limited!
=
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Date: Fri, 11 Jun 1999 16:56:07 -0400
From: Tobias Kunze
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To: Josep M Comajuncosas
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> How can you generate subharmonics?
The same way you generate unicorns.
> Is it a sort of waveshaping the best way?
Yes, as long as you shape brain waves.
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From: Josep M Comajuncosas
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Subject: Re: How to generate subharmonics
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Tobias Kunze wrote:
> > How can you generate subharmonics?
>
> The same way you generate unicorns.
I=B4ve seen Unicorns. I=B4ve heard Unicorns ;-)
> > Is it a sort of waveshaping the best way?
>
> Yes, as long as you shape brain waves.
Do you mean it is not mathematically possible? I=B4m interested in a
practical implementation. Maybe distorting the signal applying the
inverse of a Chebishev polynomial (but this adds lots of DC and other
unwanted components), maybe with a sort of FFT resynthesis or simply as
a psichoacustic effect, by generating harmonics of the low frequencies
to reinforce their presence.
--
Josep M Comajuncosas
C/ Circumval.lacio 75 08790 Gelida - Penedes
Catalunya - SPAIN
home phone : 93 7792243 / 00 34 3 7792243
Csound page at http://members.tripod.com/csound/
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Date: Fri, 11 Jun 1999 17:45:46 -0400
From: Tobias Kunze
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Subject: Re: How to generate subharmonics
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> I=B4ve seen Unicorns. I=B4ve heard Unicorns ;-)
Then i take it you've shaped your brain waves, haven't you? :)
> Do you mean it is not mathematically possible? I=B4m interested in a
> practical implementation. Maybe distorting the signal applying the
> inverse of a Chebishev polynomial (but this adds lots of DC and other
> unwanted components), maybe with a sort of FFT resynthesis or simply as=
> a psichoacustic effect, by generating harmonics of the low frequencies
> to reinforce their presence.
well, depends on what you mean by "subharmonics". The--original,
I believe--meaning of the term stems from music theory (another
sad chapter in the long history of failures in this field) and
refers to an inverted series of overtones _below_ the fundamental, =
that is at 1/n f. Clearly, the fact that such a spectrum is still
harmonic as long as n has a finite limit did escape the theorists
who came up with it. Besides, no such spectrum exists in "nature",
which puts them in the same category as unicorns.
In a more practical sense, I guess you could term "subharmonics"
anything that's low enough not to be perceived as pitch and high
enough not to be perceived as rhythm, so at around 12-16 Hz. The
first example in Music History I can think of is the first act
of Verdi's "Othello" which has an C00/C#00/D00 organ chord underlying
the maybe first 15 minutes of the act to illustrate the storm.
The result is, well, close to noise.
But, as any double-bass player will jump in to deny immediately, =
_any_ low frequency will do as long as it is low enough. Witness
said double-bass player tune his/her instrument, for example. :)
So, no need for advanced DSP...
-Tobias
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HEY!!!!
Tobias Kunze wrote:
> But, as any double-bass player will jump in to deny immediately,
> _any_ low frequency will do as long as it is low enough. Witness
> said double-bass player tune his/her instrument, for example. :)
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Date: Fri, 11 Jun 1999 15:10:11 -0700
From: Sean Costello
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Subject: Re: How to generate subharmonics
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Josep M Comajuncosas wrote:
>=20
> Hi,
> this is probably a question to be sent to the music.dsp group, but I=B4=
m
> sure some folks here may well know that. How can you generate
> subharmonics? Is it a sort of waveshaping the best way?
In the analog realm, subharmonics are generated using a flip-flop circuit=
. The signal from which
subharmonics are to be derived is put through a comparator, essentially t=
urning it into an on-off
square wave. The resulting signal is then processed by a flip-flop circui=
t, which provides a divide
by N function; for every N times the input changes state, the output chan=
ges state once. The result
is a square wave which is 1/N the input frequency.
This technique is very effective when used with a perfectly periodic wave=
form. Synths like the
Roland SH-101 and MC-202 use subharmonic generation to get signals 1 and =
2 octaves below the main
signal, which can then be mixed in with the original waveform. Electronic=
organs like the Vox
Continental and Farfisa Duo Compact would have 13 oscillators (12 for eac=
h note in a chromatic
scale, plus one for the bottom key), and run the output of each oscillato=
r through a network of
flip-flops to derive all of the necessary pitches for an organ. In some "=
string synths" like the
Solina and ARP Omni, additional waveshaping would be used for each note t=
o convert the pitches to a
pseudo-sawtooth wave, that would then be sent through several parallel de=
lay lines (each with
independent LFO modulation) to produce the characteristic "ensemble" tone.
However, generating harmonics in this fashion proves to be more tricky wh=
en dealing with
non-electronic signals, such as that provided by any acoustic or electroa=
coustic instrument. Most
"real" instruments do not output a signal that can easily and consistentl=
y be divided in this
manner; minute changes in timbre can cause the tracking of the subharmoni=
c generator to leap through
harmonics, seemingly at random. In addition, having two or notes playing =
at the same time wreaks
havoc on the process, causing the output to jump all over the place. Some=
effects devices, like the
Boss Octave OC-2, deal with these problems quite well, by lowpass filteri=
ng both the input and
output signals. Other boxes, like the MXR Blue Box, embrace the weirdness=
of the process as a
"feature" (it CAN be fun to play the leaping harmonics, if you are so inc=
lined).
Another method of subharmonic generation is through self-modulation, such=
as an oscillator
modulating its own phase. As the amount of self-modulation increases, the=
harmonics increase as with
FM, but with a smoother increase in harmonics (i.e. none of the character=
istic "sideband clusters"
of normal FM). With certain settings, a chaotic transition to subharmonic=
states, as well as noisy
states, can be seen. This seems to be similar to the evolution of subharm=
onics in acoustic
instruments. Not terribly controlable, but a pretty cool sound.
Sean Costello
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From: Josep M Comajuncosas
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Tobias Kunze wrote:
> well, depends on what you mean by "subharmonics"
In fact I was looking for a way to generate a sine wave of frequency f/2 =
from
a given sine wave of frequency f, that=B4s all...but it doesn=B4t seem so=
simple
as I thought
--
Josep M Comajuncosas
C/ Circumval.lacio 75 08790 Gelida - Penedes
Catalunya - SPAIN
home phone : 93 7792243 / 00 34 3 7792243
Csound page at http://members.tripod.com/csound/
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Date: Fri, 11 Jun 1999 15:34:07 -0700
From: Sean Costello
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To: Tobias Kunze
CC: Josep M Comajuncosas , csound@maths.ex.ac.uk
Subject: Re: How to generate subharmonics
References: <37616A3A.B5BC28AE@intercom.es> <376177E7.AE6BF91A@ccrma.stanford.edu> <37617A1A.7BE5B06E@intercom.es> <3761838A.10497648@ccrma.stanford.edu>
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Tobias Kunze wrote:
> well, depends on what you mean by "subharmonics". The--original,
> I believe--meaning of the term stems from music theory (another
> sad chapter in the long history of failures in this field) and
> refers to an inverted series of overtones _below_ the fundamental,
> that is at 1/n f. Clearly, the fact that such a spectrum is still
> harmonic as long as n has a finite limit did escape the theorists
> who came up with it. Besides, no such spectrum exists in "nature",
> which puts them in the same category as unicorns.
I wouldn't go so far as to claim that this spectrum does not exist in nature, as I could find a
number of Gyuto monks that would disagree with you on this (and remember, every computer music
composer is required BY LAW to sample Tibetan monks at least once during his/her career).
Subharmonics can be found in a number of instruments, including wind instruments and the human
voice. The most common modes of oscillation are an octave below the pitch of the signal, and an
octave and a fifth below the pitch. In most cases, these subharmonics only appear during "noisy"
moments, and jump between the various modes. However, with the proper training, musicians can learn
how to sustain one of these subharmonic modes. In the voice, for instance, I have found that
generating the sound known as "vocal fry" while singing a note at the same time can result in an
octave drop in the perceived pitch of the tone.
Do these "subharmonics" exist as actual pitches? I don't think so, in the sense of appearing as a
sine wave below the main pitch in an FFT analysis. However, a look at the waveform of a signal that
exhibits an octave subharmonic will show something interesting: the waveform repeats on a level that
corresponds, not to every period (of the original pitch), but to every other period. In other words,
there is a regular repeating pattern, at the period of the subharmonic, that modulates the shape and
amplitude of the original signal. There is a distinct pattern that corresponds to the original
pitch, but every odd cycle (or even, depending where you start counting from ;) will display a
different shape, or a different amplitude.
As far as electronic instruments, subharmonics have been utilized since Oskar Sala's Trautonium
incorporated them around 1948 or so. In this form, the subharmonics are generated by some sort of
flip-flop, where N changes of state in the input signal results in a change of state of the output
signal. Subharmonic generators can usually be found in analog synths as suboctave generators,
outputting a signal 1 or 2 octaves below the original. The Blacet Frequency Divider uses subharmonic
generation to output signals ranging from 1/2 to 1/10 the original frequency.
Sean Costello
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Date: Fri, 11 Jun 1999 17:47:10 -0500 (CDT)
From: "Jeremiah T. Isaacs"
To: csound@maths.ex.ac.uk
Subject: Re: getting started, weird problem...
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i changed it to ...
instr 1
kenv1 linseg p4/3,p3/4,p4,p3/4,p4/2,p3/4,p4/2,p3/4,0
asig1 oscil kenv1, cpspch(p5), 1
asig2 oscil kenv1, cpspch(p5/2), 1
asig3 oscil kenv1*0.2, cpspch(p5*2), 1
outs asig1*asig3/p4, asig2*asig3/p4
; ^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^
endin
and it all works exactly as expected. thanks all for pointing it out. il
try to come up with a better mistake next time (:
-j
------------------------------
jti@io.com
http://www.io.com/~jti/
http://www.sonictherapy.com/fluoroscopic/fk.html
------------------------------------------------
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From: Bob Douglas
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Subject: Re: How to generate subharmonics
References: <37616A3A.B5BC28AE@intercom.es> <376177E7.AE6BF91A@ccrma.stanford.edu> <37617A1A.7BE5B06E@intercom.es> <3761838A.10497648@ccrma.stanford.edu> <37618EDF.704ADCA3@seanet.com>
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What about flip-flopping the KOCT parameter in FOF ?
bd |