| Sorry, but your example works OK with DirectCsound. Maybe a wrong port
to Winsound has been done, or another human error occurred.
Kurt S Nelson wrote:
>
> Dear fellow Csounders,
>
> I think there was some discussion about bugs in foutir before the 3.59
> release, so sorry if this has already been answered.
> Here's the problem: I had an orc/sco pair working with the "foutir"
> opcode the last time I used Csound, and did my first conversion from midi
> to a score that way, no problem.
>
> Now, I'm trying to do it again with another midifile, and I have changed
> the name of the output scorefile, and all Csound does is create the
> scorefile, but doesn't write anything to it.
>
> After calculating the frequencies with cpstmid and compiling a .wav file,
> Csound pauses and asks for me to type a character to continue.
> When I do this, it displays the following for a split second before
> closing:
>
> 0 (chngrng.sco):
>
> or something very similar.
>
> I am using a 486 with Windows95 and Winsound3.59
>
> Orchestra:
> _________________________________________________
> sr=44100
> kr=44100
> ksmps=1
> nchnls=1
>
> gihandle fiopen "chngrng.sco", 0 ;creates a
> score file for output
> massign 1, 1 ;assigns midichannels to
> instr1
> massign 2, 1
> massign 3, 1
> massign 4, 1
>
> instr 1
>
> icps cpstmid 1 ;reads
> midi note number and converts to cps
> foutir gihandle, 0, 1, icps
> kamp linseg 0, 0.01, 10000, 0.49, 0
> asig oscil kamp, icps, 2
> out asig
> endin
> _______________________________________________
> Score:
>
> f0 15 ;pads score with 15 seconds of silence by deferring creation
> of f0 (This is longer than the midifile in question)
> ; numgrades basefreq ratios...
> ; interval basekeymidi
> f1 0 64 -2 8 8 220 45 1 2 3 4 5 6 7
> 8 ;a function table for cpstmid tuning ratios for
> "midiconvert1.orc"
>
> f2 0 16384 10 1 ;a
> sine wave for oscil above
> __________________________________________________
> Your comments will be much appreciated
>
> ___________________________________________________________________
> Get the Internet just the way you want it.
> Free software, free e-mail, and free Internet access for a month!
> Try Juno Web: http://dl.www.juno.com/dynoget/tagj.
--
Gabriel Maldonado
http://web.tiscalinet.it/G-Maldonado
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Date: Mon, 01 Nov 1999 14:37:29 +0100
From: Gabriel Maldonado
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Subject: Re: [Csnd] Csound stdin / stdout
Probably it would not be difficult to block csound when data are not
available.
Michael Gogins wrote:
>
> The reason I'm asking about this is if it worked as advertized, it would be
> possible to write a VST plugin or a JavaSound implementation of Csound by
> reading and writing audio from the Csound process file handles, instead of
> having to hack the Csound code into a new kind of driver. This would only
> work if either input, or output, or both, blocked if data were not
> available.
>
> -----Original Message-----
> From: Gabriel Maldonado [mailto:g.maldonado@agora.stm.it]
> Sent: Sunday, October 31, 1999 8:27 AM
> To: Michael Gogins
> Cc: Csoundlist
> Subject: Re: Csound stdin / stdout
>
> I never tested it. Do you have some suggestion?
>
> Michael Gogins wrote:
> >
> > With DirectCsound, Winsound, and consound, do audio input and output via
> > stdin and stdout work and, if so, how well?
> >
> > In particular, are the files read and/or written with blocking, for
> example,
> > if the output file is not available, does Csound suspend execution until
> it
> > is available (this could be handled implicitly by the write system call)?
>
> --
> Gabriel Maldonado
>
> http://web.tiscalinet.it/G-Maldonado
>
> --
> To unsubscribe, send email to csound-unsubscribe@lists.bath.ac.uk
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Gabriel Maldonado
http://web.tiscalinet.it/G-Maldonado
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From: Grant Covell
To: "Csound (E-mail)"
Date: Mon, 1 Nov 1999 11:09:56 -0500
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Subject: [Csnd] Concert Announcement--Boston Area
Hello--
On Sunday, November 14, 1999 at 1:00pm, I'll be presenting a concert that
will include three recent works of mine.
Each work features music which was created or touched somehow by Csound, and
two of the works will feature live musicians performing and interacting with
Tape. Within (Piano and Tape) and Against (String Quartet and Tape) are the
two works that feature live musicians. Within and Against explore how live
performers can interact with a pre-recorded and essentially unchanging tape,
and require that the performers make decisions about whether to play when
the tape is sounding or silent. (I also wrote a bit about Within for Hans
Mikelson's Csound magazine earlier this year.)
The work for tape alone, Machina ex Deis, is an extended composition
incorporating the mundane sounds of travel (airport and hotel waiting areas,
etc.), leisure (sports arenas, ballrooms, etc.) and computer generated
sounds derived from chess games.
The concert will be given at the Somerville Museum, Somerville, MA, which is
located at One Westwood Road in Somerville.
Please let me know if you'd like more details or location info.
Grant
===
Grant Chu Covell
Compositions for Tape with instruments and Tape alone
Sunday, November 14, 1999 at 1:00pm
The Somerville Museum, Westwood Road at Central Street, Somerville, MA.
(617) 666-9810 for more information. Ample street parking is available.
$5 for non-museum members/$3 for museum members.
This concert is funded in part by a grant from the Somerville Arts Council,
a local agency supported by the Massachusetts Cultural Council.
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From: =?ISO-8859-2?Q?Varga_Istv=E1n?=
Subject: Re: [Csnd] New site !!!!
Josep M Comajuncosas wrote:
> how is your ASR piano supposed to work? The samples sound pretty good. I
> really need a good piano to play with and it could be perfectly that
> one.
The archive contains a C program that pre-processes the samples for correct
loop handling; unfortunately this package will not work on Windows, but I
will upload a preprocessed version tomorrow, that should be portable.
To use the instrument you need to do the following:
copy ASR10_piano.include.orc and ASR10_piano.include.sco to INCDIR
copy the directory "ASR10_piano" (with the samples) to SSDIR
An example orc and sco file using the piano:
-------- pianotest.orc --------
sr = 44100
kr = 1378.125
ksmps = 32
nchnls = 1
#include "ASR10_piano.include.orc"
instr 1
icps = 440 ; freq. = 440 Hz
ifn = 100 ; using 24 ftables starting from 100
$ASR10PIANO(afoo'icps'ifn)
; the macro really works like some sort
; of "opcode" (and uses a rather high quality
; 16-point interpolation)
; you may add envelopes etc. here
out afoo
endin
-------- pianotest.sco --------
#include "ASR10_piano.include.sco"
t 0 60
i 1 0 5
; load ftables to 100 .. 123
$ASR10PIANO(100)
e
----------------------------------
Notes:
- the include files are in unix format, so you need to convert them on
Windows; this can be done by opening them with "edit.exe" and saving the file.
- the sco file uses absolute path to load the samples, change it to the
directory where you installed the piano samples (warning: do not change
loop points, tuning parameters, or other such data)
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Subject: Re: [Csnd] New site !!!!
The asr-10 piano samples are from
http://www.emu.com/support/other/ensoniq_downloads.html
in the file "asr-box1.zip"
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Subject: Re: [Csnd] Compressor / Limiter
An example for using the utility "maximizer", on a
short sequence of "tonal, 4/4 based techno stuff"
can be found at:
http://www.geocities.com/SiliconValley/Bit/5683/testfiles2.zip
test1a.mp2 is the original sound, and test5.mp2 is the compressed.
To find out how the compression was done, download
http://www.geocities.com/SiliconValley/Bit/5683/test2.zip
and check "mixer/Makefile".
(note: the techno voice sound can be found in
instr.zip:instr/voice_121_1.orc and sco, if anyone
is interested :-)
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From: David Boothe
To: jpff@maths.bath.ac.uk
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Cc: Csound
Subject: Re: [Csnd] Administrivia
Date: Mon, 1 Nov 1999 11:31:38 -0600
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jpff wrote:
>If you have any comments or suggestions for improvement send them to
Your dedication to Csound, and willingness to endure slings and arrows from
those who may not realize you have a day job, is, indeed an inspiration to
us all.
Well, to me, anyway.
Thank you.
-David.
__________________________________________________
Do You Yahoo!?
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Subject: Re: [Csnd] Administrivia
jpff wrote:
>If you have any comments or suggestions for improvement send them to
Your dedication to Csound, and willingness to endure slings and arrows from
those who may not realize you have a day job, is, indeed an inspiration to
us all.
Well, to me, anyway.
Thank you.
-David.
__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com
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Subject: [Csnd] second
I'd like to say amen to David Boothe's remarks
anent jpff.......
Jeff Hall
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Date: Mon, 01 Nov 1999 13:08:55 +0000
From: Leigh Landy
To: uri@violin.technician.ac.il, phil@sonicartsnetwork.org,
piotr@connect.ab.ca, Jonathas@dsif.fee.unicamp.br, dgang@cs.huji.ac.il,
Marc Battier , Rodolfo Caesar ,
Lelio Camilleri ,
CEC list , Alcedo Coenen ,
Simon Emmerson ,
EMusic-List ,
Rajmil Fischman ,
Christiane ten Hoopen , ICMA ,
Sound List , CSound List ,
PCSound List ,
Smallmusic List ,
Patrick McCarten ,
Music-Research ,
Dennis Oppenheim ,
Jean-Claude Risset ,
Francis Rumsey ,
Organised Sound ,
Synth-List <@virgin.net:Synth-l@american.edua.watkins>,
Barry Truax ,
David Worrall ,
"Jill Davies (CUP)" ,
dalfarrfa@dsif.fee.unicamp.br, "Syst. Mw. List" ,
wessel@cnmat.berkeley.edu
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Subject: [Csnd] Call for papers and pieces
> THIS MESSAGE IS IN MIME FORMAT. Since your mail reader does not understand
this format, some or all of this message may not be legible.
--MS_Mac_OE_3024306535_1267592_MIME_Part
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Organised Sound
An International Journal of Music and Technology
Call for articles and music submissions
Volume 5, Number 3
Issue thematic title: Music Technology in the United States
Date of Publication: September 2000
Publishers: Cambridge University Press
Articles to be considered for publication in the named issue are now
invited.
Music Technology in the United States
Within the Global Village the United States plays a significant role. Yet
one still speaks, for example, of a divide between U.S. and European =AD or
even Canadian =AD aesthetic approaches to computer music.
Are there distinct American aesthetics in computer music? Which development=
s
in relevant areas of music technology are taking place or are about to take
place in the United States? Are they related to compositional procedures,
technological applications and/or technological developments? Are there
environmental or cultural circumstances which influence computer music in U=
.
S. culture?
Music technology in the United States is to be celebrated in issue 5/3 of
Organised Sound. This represents the first time the journal is focusing on =
a
national theme. The editors are pleased to announce that David Wessel at
CNMAT =AD University of California at Berkeley has offered to act as
facilitator for this issue. As Organised Sound publishes an annual CD, soun=
d
examples or pieces relating to the issue=B9s theme are also being sought.
---------------------------------------------------------------------------=
-
-------------
SUBMISSION DEADLINE: 1 February 2000
SUBMISSION FORMAT
Notes for Contributors can be obtained from the inside back cover of
published issues of Organised Sound or from:
http://www.cup.cam.ac.uk/journals/oso/osoifc.htm
TIMETABLE for SUBMISSIONS
Articles and other material for the editors' consideration should be
submitted
by 1 December1999. Hard copy to:
The Editors
Organised Sound
Centre for Technology and the Arts
De Montfort University
Leicester LE1 9BH, UK.
Email submissions should be mailed to (please see SUBMISSION FORMAT above):
os@cage.york.ac.uk
Further details about Organised Sound are available at:
http://www.cup.cam.ac.uk/Journals/JNLSCAT/oso/oso.html
Editors: Ross Kirk, Leigh Landy, Tony Myatt, Richard Orton.
Corresponding Editors:
Lelio Camilleri, Daniel Oppenheim, Miller Puckette, Barry Truax,
David Worrall
International Editorial Board:
Marc Battier, Francois Bayle, Peter Castine, Alcedo Coenen,
Francis Dhomont,Simon Emmerson, Rajmil Fischman, Takayuki Rai,
John Rimmer, Jean-Claude Risset, Francis Rumsey, Conrado Silva,
Christiane Ten-Hoopen, Daniel Teruggi, Jukka Tiensuu,
Trevor Wishart, Scott Wyatt, Iannis Xenakis.
Leigh Landy
------
"Organised Sound"
os@cage.york.ac.uk
http://www.cup.cam.ac.uk/
http://www.cup.cam.ac.uk/scripts/webjrn1.asp?mnemonic=3Doso
------
--MS_Mac_OE_3024306535_1267592_MIME_Part
Content-type: text/html; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable
Call for papers and pieces
=
&nbs=
p; &n=
bsp; Organised Sound
&nb=
sp; An International Journal of Music and Technology
&nb=
sp; Call for arti=
cles and music submissions
Volume 5, Number 3
Issue thematic title: Music Technology in the United States
Date of Publication: September 2000
Publishers: Cambridge University Press
Articles to be considered for publication in the named issue are now invite=
d.
Music Technology in the United States
Within the Global Village the United States plays a significant role. Yet o=
ne still speaks, for example, of a divide between U.S. and European =AD or eve=
n Canadian =AD aesthetic approaches to computer music.
Are there distinct American aesthetics in computer music? Which development=
s in relevant areas of music technology are taking place or are about to tak=
e place in the United States? Are they related to compositional procedures, =
technological applications and/or technological developments? Are there envi=
ronmental or cultural circumstances which influence computer music in U. S. =
culture?
Music technology in the United States is to be celebrated in issue 5/3 of O=
rganised Sound. This represents the first time the journal is focusing on a =
national theme. The editors are pleased to announce that David Wessel at CNM=
AT =AD University of California at Berkeley has offered to act as facilitator =
for this issue. As Organised Sound publishes an annual CD, sound examples or=
pieces relating to the issue=B9s theme are also being sought.
---------------------------------------------------------------------------=
--------------
SUBMISSION DEADLINE: 1 February 2000
SUBMISSION FORMAT
Notes for Contributors can be obtained from the inside back cover of
published issues of Organised Sound or from:
http://www.cup.cam.ac.uk/journals/oso/osoifc.htm
TIMETABLE for SUBMISSIONS
Articles and other material for the editors' consideration should be submit=
ted
by 1 December1999. Hard copy to:
The Editors
Organised Sound
Centre for Technology and the Arts
De Montfort University
Leicester LE1 9BH, UK.
Email submissions should be mailed to (please see SUBMISSION FORMAT above):=
os@cage.york.ac.uk
Further details about Organised Sound are available at:
http://www.cup.cam.ac.uk/Journals/JNLSCAT/oso/oso.html
Editors: Ross Kirk, Leigh Landy, Tony Myatt, Richard Orton.
Corresponding Editors:
Lelio Camilleri, Daniel Oppenheim, Miller Puckette, Barry Truax,
David Worrall
International Editorial Board:
Marc Battier, Francois Bayle, Peter Castine, Alcedo Coenen,
Francis Dhomont,Simon Emmerson, Rajmil Fischman, Takayuki Rai,
John Rimmer, Jean-Claude Risset, Francis Rumsey, Conrado Silva,
Christiane Ten-Hoopen, Daniel Teruggi, Jukka Tiensuu,
Trevor Wishart, Scott Wyatt, Iannis Xenakis.
Leigh Landy
------
"Organised Sound"
os@cage.york.ac.uk
http://www.cup.cam.ac.uk/
http://www.cup.cam.ac.uk/scripts/webjrn1.asp?mnemonic=3Doso
------
--MS_Mac_OE_3024306535_1267592_MIME_Part--
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Date: Mon, 1 Nov 1999 15:51:03 -0800 (PST)
From: Bob Pritchard
To: cecdiscuss@concordia.ca
cc: csound@maths.ex.ac.uk
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Subject: [Csnd] Post doctoral position
University of British Columbia School of Music, Vancouver, B.C. Canada
The School of Music, under the auspices of the International Research on
Permanent Authentic Records in Electronic Systems (InterPARES) project,
seeks to fill a position for a Research Postdoctoral Fellow. The primary
goal of the InterPARES project is to develop the theoretical and
methodological knowledge essential to the permanent preservation of
authentic records generated and/or maintained electronically, and, on the
basis of this knowledge, to formulate model policies, strategies and
standards capable of ensuring that preservation. (For more information on
InterPARES, see www.interpares.org).
Candidates for this position should have a doctorate in music theory,
composition or another discipline relevant to the work of the project.
Candidates whose doctoral research has touched upon the application of
computers to the creation or analysis of music and musical scores are
encouraged to apply.
The appointment is for one year, starting 1 January 2000, with the
possibility of renewal for a second year. The successful candidate will
work under the supervision of faculty members in the School of Music, and
will be expected to conduct research in one or more of the following areas:
users' needs relevant to the preservation of computer art music; methods
for identifying and preserving evidence of the authorship of digitally
produced popular or commercial music; issues surrounding the long-term
preservation of traditional scores created with music notation software; or
any other area of inquiry that is relevant to the project. The appointment
will also involve some teaching of the research to graduate students.
Salary will be commensurate with qualifications and responsibilities.
Applicants should send a current c.v., with three letters of reference, and
a letter indicating their research interests and identifying specific
contributions they can make to one or more of the research areas identified
above to Professor John Roeder, Associate Director School of Music,
University of British Columbia, 6361 Memorial Road, Vancouver, British
Columbia, V6T 1Z2.
Complete applications must be received by 30 November 1999. This position
is funded through a grant from the Social Sciences and Humanities Research
Council of Canada.
Please direct any question to Professor Roeder at:
jroeder@interchange.ubc.ca
dr.bob pritchard bob@interchange.ubc.ca
School of Music, University of British Columbia
Vancouver, B.C. Canada V6T 1Z2
Vox (604) 822-3113 Fax (604) 822-4884
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Message-ID: <001601bf24c5$97fc12e0$fb901b26@quark>
Reply-To: Michael Rhoades
From: Michael Rhoades
To: Csound
References: <002701bf248e$f540bdc0$7c98e226@dboothe.lyrick.com>
Date: Mon, 1 Nov 1999 19:02:11 -0500
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Subject: Re: [Csnd] Administrivia
I fully agree David,
Thanks a milliion, jpff!!
Michael Rhoades
Make the Rhoadsmith Web Connection at
http://www.innerlightpub.com/rhoadsmith
----- Original Message -----
From: David Boothe
To:
Cc: Csound
Sent: Monday, November 01, 1999 12:31 PM
Subject: Re: [Csnd] Administrivia
> jpff wrote:
> >If you have any comments or suggestions for improvement send them to
>
>
> Your dedication to Csound, and willingness to endure slings and arrows
from
> those who may not realize you have a day job, is, indeed an inspiration to
> us all.
>
> Well, to me, anyway.
>
> Thank you.
>
> -David.
>
>
> __________________________________________________
> Do You Yahoo!?
> Bid and sell for free at http://auctions.yahoo.com
> --
> To unsubscribe, send email to csound-unsubscribe@lists.bath.ac.uk
>
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To: csound@lists.bath.AC.UK
Message-ID:
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Subject: [Csnd] Postdoc job opening
Apologies for doubles.
University of British Columbia School of Music
The School of Music, under the auspices of the International Research on
Permanent Authentic Records in Electronic Systems (InterPARES) project,
seeks to fill a position for a Research Postdoctoral Fellow. The primary
goal of the InterPARES project is to develop the theoretical and
methodological knowledge essential to the permanent preservation of
authentic records generated and/or maintained electronically, and, on the
basis of this knowledge, to formulate model policies, strategies and
standards capable of ensuring that preservation. (For more information on
InterPARES, see www.interpares.org).
Candidates for this position should have a doctorate in music theory,
composition or another discipline relevant to the work of the project.
Candidates whose doctoral research has touched upon the application of
computers to the creation or analysis of music and musical scores are
encouraged to apply.
The appointment is for one year, starting 1 January 2000, with the
possibility of renewal for a second year. The successful candidate will
work under the supervision of faculty members in the School of Music, and
will be expected to conduct research in one or more of the following areas:
users' needs relevant to the preservation of computer art music; methods
for identifying and preserving evidence of the authorship of digitally
produced popular or commercial music; issues surrounding the long-term
preservation of traditional scores created with music notation software; or
any other area of inquiry that is relevant to the project. The appointment
will also involve some teaching of the research to graduate students.
Salary will be commensurate with qualifications and responsibilities.
Applicants should send a current c.v., with three letters of reference, and
a letter indicating their research interests and identifying specific
contributions they can make to one or more of the research areas identified
above to Professor John Roeder, Associate Director School of Music,
University of British Columbia, 6361 Memorial Road, Vancouver, British
Columbia, V6T 1Z2.
Complete applications must be received by 30 November 1999. This position
is funded through a grant from the Social Sciences and Humanities Research
Council of Canada.
Please direct any question to Professor Roeder at:
jroeder@interchange.ubc.ca
dr.bob pritchard bob@interchange.ubc.ca
School of Music, University of British Columbia
Vancouver, B.C. Canada V6T 1Z2
Vox (604) 822-3113 Fax (604) 822-4884
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Message-ID: <000f01bf24ca$8a818140$0499170c@default>
From: Hans Mikelson
To: Csound
Date: Mon, 1 Nov 1999 18:38:09 -0600
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Subject: [Csnd] Web Archive not Archiving
Hi,
It seems the web archive at http://media.dr.rhbnc.ac.uk/csound/list/ may not
be working with the new list.
Bye,
Hans Mikelson
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From: Hans Mikelson
To: Csound
Date: Mon, 1 Nov 1999 20:07:25 -0600
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Subject: Re: [Csnd] Web Archive not Archiving
Oops, it works now.
Hans Mikelson
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