| Greg Judelman wrote:
> I've analyzed a piano note with hetro (using up to 50 partials). Upon
> resynthesis in adsyn, the resynthesized piano note is not as close to the
> original as I would like. The attack of the note is not as sharp (ie less
> transient detail) and there is both low frequency and high frequency
> distortion. Any ideas on how to improve the quality of analysis to obtain
> a more accurate spectrum? Or is adsyn not capable of recreating the hetro
> output accurately?
>
Additive analysis/synthesis are supposed to be very efficient(realistic) on
harmonic or not too inharmonic sound.
It deals usually bad with noise with which attacks are made of.
If you find a satisfying result anyway, let me know because I'm working on
this problem currently
but on another software.
Thanks.
--
Jean-Michel DARREMONT
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From: Jean-Michel DARRMONT
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Subject: Re: Ambientscapes artists here ?
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I'm interested too to know more about this subject(orc&sco, aiff, realaudio, midifiles...)
david ds wrote:
>
> Hi,
> I was wondering if there are people here with a special
> passion for deep ambient, with lots of drones, processed and harmonized
> long textures....
>
> David
--
Jean-Michel DARREMONT
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From: Bill DeWitt
To: Csound List
Subject: MIDI
Date: Sun, 14 Mar 1999 09:33:17 -0500
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Hi folks,
Although I have a perfectly good Roland RD-300s sitting right beside me and
MIDI cables in a drawer nearby, I have never messed with MIDI stuff on the
computer. But since it seems to be a major part of CSound, I figure I should
learn about it.
My first problem is where/how to hook the durn thing up. I understand that
I can get an adapter for my SB64 sound card to plug it into the joystick
port (I would hate to loose my Joystick or would a splitter be enough?)
but... would it be better to get a separate MIDI card and if so (I've never
seen one for sale) what should I look for?
Thanks for any input, and if this is off topic, I'll be happy to take it
off the list.
` 0**************** Bill and Aula DeWitt *****************0
* What food is to the body Christ must be *
* to the soul. *
0**** http://www.geocities.com/Athens/Atlantis/8868/ ****0
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From: Tom Makucevich
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> Finally, functional languages. I've just been shown a paper about
> "Haskore", a Western music score generation system written in Haskell.
> It has convertors for Csound scos and MIDI amongst others. Looks quite
> neat, I will post the URL if people are interested. I feel that
> functional languages are certainly the way forward, and was wondering if
> there was an actual audio synthesis system written for Haskell or
> similar fuctional language. I'm sure this is old ground but maybe
> something has come up recently?
>
> Bye!
> Ben.
There is no sound synthesis program written in Haskell although there
was some discussion a few years ago about implementing a Csound orc generator
to compliment the Haskore score generator. However the interest has remained
largely in the realm of describing music structures rather than sound which we
think Csound already does very well.
Haskore (a collection of Haskell modules), while designed to express
traditional Western notation, is just as suited to things like algorithmic and
fractal composition and can do these quite elegantly. All of Haskell's
expressiveness is available in Haskore and it is both extensible and
modifiable so that any formula one likes can be used to generate scores.
-Tom
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From: J P Fitch
To: Tom Makucevich
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Subject: Re: Haskore - Haskell
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Well, I did have a student who produced a sound synthesis program in Haskell
a couple of years ago, but he moved on to Nottingham where they have a
functional programming group working on Haskell. Student's name was
Blompied.
==John ff
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Subject: Re: Haskore - Haskell
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Does anyone know of a program to translate pascal, encluding haskor
into c?
Thanks.
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From: jpff@maths.bath.ac.uk
Subject: Re: Problem with Winsound running very slowly
To: csound@maths.ex.ac.uk
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Message written at 13 Mar 1999 14:53:20 +0000
On my Pentium 166 the Winsound time for bach is about 13 times slower
than for consound. The ratio is a litttle less bad if i switch off
printing. I can only assume that checking the Windows event queue is
crippling. Perhaps some Windows programmer can assist.
==John ffitch
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From: jpff@maths.bath.ac.uk
Subject: Winsound speed
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Message written at 14 Mar 1999 15:55:18 +0000
Fiddling about with the event-checking code I have improved teh speed
of Winsound by a factor of about 22 with printing and about 30+
without printing. Have not discovered the down side yet. Will be in
the forthcoming version.
==John ffitch
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From: rasmus ekman
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SONICMAN wrote:
>
> I tried inserting the t 0 240 command then 250 then 260
> etc. nothin' happened?
Manual snip:
"This statement sets the tempo and specifies the accelerations
and decelerations for the current section."
This means that you can only have one t statement per section.
But you can use t to define a sequence of tempo changes,
as also documented in the manual.
re
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Date: Sun, 14 Mar 1999 19:34:26 +0100
From: rasmus ekman
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Blake Markle wrote:
>
> Here is the log file output upon running csound:
> (with a command like: csound95 -W -otest.wav -g -H -m3 %NAME%.orc
A completely unrelated comment: I don't see any reason to use
the csound95 file, as it is over two years old. Csound has been
much updated since that time (among other things there was a bug
causing noise in hetro which was fixed recently). You should
get the file csound_con.zip for windows 9x console-mode use.
ftp://ftp.maths.bath.ac.uk/pub/dream/newest
Cheers,
re
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Date: Sun, 14 Mar 1999 21:25:52 +0000
From: Andre Bartetzki
Organization: STEAM HfM Berlin
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Hi,
due to some difficulties with older manuals (GIFs on SGI, RTFs on Windows),
I've placed a PDF version of the CMask manual at
ftp://ftp.kgw.tu-berlin.de/pub/cmask/cmask03manual.pdf
This is only a new manual version (no changes of the contents and no upgrades
to the program !)
Andre
--------------------------------------------------
Andre Bartetzki http://www.kgw.tu-berlin.de/~abart
Deutsche Gesellschaft fuer elektroakustische Musik - DEGEM http://www.kgw.tu-berlin.de/~degem
Studio fuer elektroakustische Musik http://www.kgw.tu-berlin.de/~abart/Steam/steam.html
Hochschule fuer Musik Berlin http://www.hfm-berlin.de
Tel. +49-30-4726629
Tel. +49-30-203092488
--------------------------------------------------
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From: Bill DeWitt
To: Csound List
Subject: MIDI
Date: Sun, 14 Mar 1999 20:51:43 -0500
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Thanks to all those who responded to my question, after a day of Internet
searches and a few trips around town I think I am on the way. All I need now
is some musical talent.
` 0**************** Bill and Aula DeWitt *****************0
* We should now seek a deep and living *
* experience in the things of God. *
0**** http://www.geocities.com/Athens/Atlantis/8868/ ****0
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Subject: Re: How can I simply speed this up without changing all my in/out times?
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> This means that you can only have one t statement per section.
> But you can use t to define a sequence of tempo changes,
> as also documented in the manual.
I should also like to note that continuously varying tempos
can be expressed in this way. In fact, to get an instantaneous
change in tempo, one must reiterate the current tempo, and then
alter it in the same instant; otherwise 'ramping' of the tempo
will result, although this is quite often what is intended.
Toby
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To: csound@maths.ex.ac.uk
From: Arne Hanna
Subject: TEST
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From: Thomas Huber
Subject: Re: MIDI
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> My first problem is where/how to hook the durn thing up. I understand that
> I can get an adapter for my SB64 sound card to plug it into the joystick
> port (I would hate to loose my Joystick or would a splitter be enough?)
> but... would it be better to get a separate MIDI card and if so (I've never
> seen one for sale) what should I look for?
Most MIDI adapter cables for the gameport ('joystick-port') have a
gameport-thru, so you can connect MIDI stuff and the joystick at the
same time. I'm using such an adapter cable together with an Opti931
based soundcard and it works like a charm... (However, I have some other
strange problems at the moment)
Regards,
Thomas
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Subject: Re: Csound Performance on Multiprocessor Intel Systems?
To: csound@maths.ex.ac.uk
Date: Mon, 15 Mar 1999 7:49:24 MET
Organization: Hewlett-Packard GmbH
From: Jens Kilian
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> Just discovered the port to Beos at the Be site. Is this port
> multi-threaded to take advantage of multiple processors which the BeOs
> natively supports? If so, how is the performance for those who use it?
This port (a) is not multi-threaded (it contains the standard Csound compiled
for the BeOS), (b) has not been updated yet for the latest BeOS revision.
Bye,
Jens.
--
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Subject: Re: Csound Performance on Multiprocessor Intel Systems?
To: csound@maths.ex.ac.uk
Date: Mon, 15 Mar 1999 7:51:48 MET
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> Overclock a Celeron 300A to 450MHz (or in some cases 464 MHz) using a BX
> motherboard and add a cpu cooling fan. That's the cheapest you can get
> and it's _very_ reliable.
As I keep telling people: A processor rated for 300MHz is a processor which
has ALREADY failed at 450MHz, during the final test at the fab.
Bye,
Jens.
--
mailto:jjk@acm.org phone:+49-7031-14-7698 (HP TELNET 778-7698)
http://www.bawue.de/~jjk/ fax:+49-7031-14-7351
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From: Thomas Huber
Subject: Limits in 'olimit.h'
To: csound@maths.ex.ac.uk
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I created a drum-track for csound that uses sampled drum sounds. It has
some 30 goto's and labels, and uses ftables for the drum-samples. Now with
V3.511 everything worked ok, but V3.52 complaint about too many goto's or
labels (I don't have the exact error message in mind). So I edited
oload.h and set NLABELS and NGOTOS to some 200. However, the problem
was still there after compilation.
So in which additional files are these limits stored ?
(I'm using csound on Unix (Linux), so memory consumption is no problem)
Thomas
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From: jpff@maths.bath.ac.uk
Subject: Re: Linear Prediction in Csound
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Message written at 14 Mar 1999 20:39:13 +0000
--- Copy of mail to vlabs@singnet.com.sg ---
Are you being confused by byte order? I ask as one piece of
unfinished business is to make all analysis files byte-order
independent. Just a thought..... the lpc stuff was written my Marc
Resbois, from whom I have not heard of late. Are you still listening
Marc?
==John ffitch
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From: J P Fitch
To: Thomas Huber
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Subject: Re: Limits in 'olimit.h'
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Which port to Linux? As far as I know there is no limit to teh number of
labels and gotos, although there was. The values NLABELS and NGOTOS
only control to quantum size of allocation, not the total size of the
allocation.
I shoudl add that it works for me on Linux.
==John
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From: jpff@maths.bath.ac.uk
Subject: Re: [Re: HRTFcompact?]
To: csound@maths.ex.ac.uk
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Message written at 14 Mar 1999 20:36:32 +0000
--- Copy of mail to rickmealey@netscape.net ---
This is not meant to be a policy statement, but more the reasoning why
so far I had not packaged HRTFcompact with the binary. This file is
only used by one opcode, and so a large number of users do not use it,
and the additional bandwidth to transfer this file is a waste. I also
feel that the HRTF opcode could do with additional work as there are
unnecessary clicks (try moving a silence in space and you will see
what I mean). We have been waiting for someone with an amalgamation
of time, understanding and programming to fix it.
I am sorry if the Montreal/Bath servers are causing a problem. The
transatlantic link has been in a particularly bad way recently, and
that may have added to your problems. I cannot speak for Montreal
though.
==John ffitch
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Date: Mon, 15 Mar 99 8:45:54 GMT
From: jpff@maths.bath.ac.uk
Subject: Re: Strange kr >= 22050
To: csound@maths.ex.ac.uk
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Message written at 14 Mar 1999 20:29:04 +0000
--- Copy of mail to huber@iamexwi.unibe.ch ---
A few questions:
What is sr and what is nsmps?
Can you give a list of opcodes you use?
There certainly have been bugs associated with sr=kr in the past.
While I thought they had all been eliminated, it is quite possible
that some still remain. The answers woudl allow a quick look.
==John ffitch
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Date: Mon, 15 Mar 1999 10:11:38 +0100 (MET)
From: Thomas Huber
Subject: Re: Limits in 'olimit.h'
To: csound@maths.ex.ac.uk
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> Which port to Linux? As far as I know there is no limit to teh number of
> labels and gotos, although there was. The values NLABELS and NGOTOS
> only control to quantum size of allocation, not the total size of the
> allocation.
I have compiled it myself from the source archive 'Csound.tar.gz' in
the 'newest' directory on ftp.maths.bath.ac.uk server. I also compiled
V3.511 myself. In that version, I ran into a limit, too, but it was higher
that in V3.52 (I had to downscale my drum-track instrument, I had about
50 samples at the beginning, but like that I doesn't work on V3.511 neither)
> I shoudl add that it works for me on Linux.
With 40+ goto's and labels ? Strange..
(BTW I compiled it with gcc-2.7.2.3, libc5, linux-2.2.2)
Regards
Thomas
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Date: Mon, 15 Mar 1999 09:51:51 +0000
From: Richard Dobson
Organization: Composers Desktop Project
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To: jpff@maths.bath.ac.uk
CC: csound@maths.ex.ac.uk
Subject: Re: Linear Prediction in Csound
References:
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I have to catch up on a lot of emails, as I have been away; but I have
amn immediate follow-up to this;
in CDP we use WAVE and AIFF file formats to store pvoc analysis data -
each naturally respects the appropriate byte-order. For historical
reasons we use our own proprietary mechanism in the header for storing
relevant information, but this could easily be converted into a
converntional 'chunk' format. I agree that a generaic cross-platform
pvoc analysis format is needed - the question is whart format(s) to
adopt.
I could for example define pvoc chunks for both WAVE and AIFF formats,
and have a common extension of .ANA for them 9the parsing code will need
to read the header to determine which format the file is in - we do this
in CDP and it works very well).
Alternatively, the new WAVE-EX format form Microsoft would seem to be an
ideal candidate for pvoc files - as new format, using it will not break
or confuse other applications, and it can be announced to the world as
the 'official' pvoc format for Csound. Of course, as a WAVE-based format
the data is little-endian, which suits Intel machines but not others.
If this is a problem, then a further alternative is to define a new
IFF-style format from first principles, which includes byte-order in the
header information.
There is also the SDIF (CNMAT) format, which might be worth considering.
Richard Dobson
jpff@maths.bath.ac.uk wrote:
>
> Message written at 14 Mar 1999 20:39:13 +0000
> --- Copy of mail to vlabs@singnet.com.sg ---
>
> Are you being confused by byte order? I ask as one piece of
> unfinished business is to make all analysis files byte-order
> independent. Just a thought..... the lpc stuff was written my Marc
> Resbois, from whom I have not heard of late. Are you still listening
> Marc?
>
> ==John ffitch
--
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm
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From: Richard Dobson
Organization: Composers Desktop Project
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To: jpff@maths.bath.ac.uk
CC: csound@maths.ex.ac.uk
Subject: Re: Linear Prediction in Csound
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I have to catch up on a lot of emails, as I have been away; but I have
amn immediate follow-up to this;
in CDP we use WAVE and AIFF file formats to store pvoc analysis data -
each naturally respects the appropriate byte-order. For historical
reasons we use our own proprietary mechanism in the header for storing
relevant information, but this could easily be converted into a
converntional 'chunk' format. I agree that a generaic cross-platform
pvoc analysis format is needed - the question is whart format(s) to
adopt.
I could for example define pvoc chunks for both WAVE and AIFF formats,
and have a common extension of .ANA for them 9the parsing code will need
to read the header to determine which format the file is in - we do this
in CDP and it works very well).
Alternatively, the new WAVE-EX format form Microsoft would seem to be an
ideal candidate for pvoc files - as new format, using it will not break
or confuse other applications, and it can be announced to the world as
the 'official' pvoc format for Csound. Of course, as a WAVE-based format
the data is little-endian, which suits Intel machines but not others.
If this is a problem, then a further alternative is to define a new
IFF-style format from first principles, which includes byte-order in the
header information.
There is also the SDIF (CNMAT) format, which might be worth considering.
Richard Dobson
jpff@maths.bath.ac.uk wrote:
>
> Message written at 14 Mar 1999 20:39:13 +0000
> --- Copy of mail to vlabs@singnet.com.sg ---
>
> Are you being confused by byte order? I ask as one piece of
> unfinished business is to make all analysis files byte-order
> independent. Just a thought..... the lpc stuff was written my Marc
> Resbois, from whom I have not heard of late. Are you still listening
> Marc?
>
> ==John ffitch
--
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
CDP homepage: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm
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To: csound@maths.ex.ac.uk
From: Jens Groh
Subject: Re: Frequency Shifting & Hilbert Transforms
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Hello list!
Here is the frequency shifter instrument I announced.
Jens Groh
gisin ftgen 0,0,65536,10,1
instr 1
; input signal:
awvin = .....
;------ begin "third method" SSB modulation
ifs4 = sr * 0.25
; frequency shift (+/-) in Hertz:
kfrqshf = .....
; shift mode: 0.0 ... 1.0
; 1.0 -> "normal" SSB, spectral components shifted off [0,sr/2] are mirrored and overlap.
; 0.0 -> components shifted off [0,sr/2] are cut, the other end is augmented by mirror image, no overlap.
kshfmod = .....
; first quadrature oscillator:
ko1frq = ifs4 - (1.0 - kshfmod) * kfrqshf
aqo1r oscil 1.0, ko1frq, gisin, 0.25
aqo1i oscil 1.0, ko1frq, gisin, 0.0
; first modulator:
awq1r = awvin * aqo1r
awq1i = awvin * aqo1i
; filter coefficients (6th order elliptical filter, fc=sr/4):
ifc0 = 0.051532459925
ifb01 = 1.0
ifb11 = 1.6375276435
ifb21 = 1.0
ifa01 = 1.0
ifa11 = -0.93027644018
ifa21 = 0.37171017225
ifb02 = 1.0
ifb12 = 0.56037176307
ifb22 = 1.0
ifa02 = 1.0
ifa12 = -0.40320752514
ifa22 = 0.73736786626
ifb03 = 1.0
ifb13 = 0.19165327787
ifb23 = 1.0
ifa03 = 1.0
ifa13 = -0.15398586410
ifa23 = 0.94001488557
; lowpass filters:
awf1r biquad awq1r, ifb01, ifb11, ifb21, ifa01, ifa11, ifa21
awf2r biquad awf1r, ifb02, ifb12, ifb22, ifa02, ifa12, ifa22
awf3r biquad awf2r, ifb03, ifb13, ifb23, ifa03, ifa13, ifa23
aw1fr = awf3r * ifc0
awf1i biquad awq1i, ifb01, ifb11, ifb21, ifa01, ifa11, ifa21
awf2i biquad awf1i, ifb02, ifb12, ifb22, ifa02, ifa12, ifa22
awf3i biquad awf2i, ifb03, ifb13, ifb23, ifa03, ifa13, ifa23
aw1fi = awf3i * ifc0
; second quadrature oscillator:
ko2frq = ifs4 + kshfmod * kfrqshf
aqo2r oscil 1.0, ko2frq, gisin, 0.25
aqo2i oscil 1.0, ko2frq, gisin, 0.0
; second modulator:
awq2r = aw1fr * aqo2r
awq2i = aw1fi * aqo2i
; summing up:
awvout = awq2r + awq2i
;------ end "third method" SSB modulation
out awvout
endin
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Date: Mon, 15 Mar 1999 12:48:17 +0100 (MET)
From: Thomas Huber
Subject: Re: Strange kr >= 22050
To: csound@maths.ex.ac.uk
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> A few questions:
> What is sr and what is nsmps?
sr is the samplingrate (audio sampling rate), and
nsmps is sr/kr (audio sr / control samplingrate)
> Can you give a list of opcodes you use?
In the meantime I could track it down a little more, but it's
somehow strange:
I have 3 normal intruments, each giving besides normal output
an output to a global reverb audio variable: gahall = gahall + 0.2*aout
Then I have a reverb instrument that resets gahall at the end.
The whole thing is controlled by a midi file, or via MIDI realtime input
(the problem appears in both cases).
Now there are 2 things:
- If I don't start the reverb instrument (it's not controlled by
MIDI, it's in the .sco file, like 'i99 0 150000'), it works
with kr >= 22050, no problem.
- Having thought now that the bug is in the 'reverb2' (or was it reverb1, I'm
not sure now) opcode, I took it out and realized my reverbation with
'convolve' plus an impulse response. But then again, the problem
occurs.
And there's one more thing: It's not a sr=kr problem, but an sr>=22050
problem: If I set 'sr' to 44100, it works as long as kr = 11025 or less.
But if I now set 'sr' to 22050, kr may again be 11025 or less in order
to work... So all 'nyquist' kinda things are out. It must somehow be
something about the global variable, I really don't know. If I find time,
I try to create a minimal not working orc/sco/mid that I can mail to
you (if you want), because the one's that I'm using now are very
complex, and it's a lot of work to localize a bug there
Regards,
Thomas
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From: jpff@maths.bath.ac.uk
To: huber@iamexwi.unibe.ch
CC: csound@maths.ex.ac.uk
In-reply-to: <199903150911.KAA17776@klee.iamexwi.unibe.ch> (message from
Thomas Huber on Mon, 15 Mar 1999 10:11:38 +0100 (MET))
Subject: Re: Limits in 'olimit.h'
BCC: jpff@maths.bath.ac.uk
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Date: Mon, 15 Mar 99 12:23:46 GMT
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If you can send me a version of your orchestra/sco which shows the
problemn I can investigate. As I said NLABELS and NGOTOS are not the
number of labels/gotos allowed but the quantum size by which the data
area grows. I have run exampoles with in excess of 100 gotos.
There was certainly a bug in 3.51 in this area due to an oversight
of mine. It is believed fixed in 3.52. That is why I am interested
in your report, but without an example I can do little.
==John
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From: jpff@maths.bath.ac.uk
To: huber@iamexwi.unibe.ch
CC: csound@maths.ex.ac.uk
In-reply-to: <199903150911.KAA17776@klee.iamexwi.unibe.ch> (message from
Thomas Huber on Mon, 15 Mar 1999 10:11:38 +0100 (MET))
Subject: Re: Limits in 'olimit.h'
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Date: Mon, 15 Mar 99 12:23:46 GMT
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If you can send me a version of your orchestra/sco which shows the
problemn I can investigate. As I said NLABELS and NGOTOS are not the
number of labels/gotos allowed but the quantum size by which the data
area grows. I have run exampoles with in excess of 100 gotos.
There was certainly a bug in 3.51 in this area due to an oversight
of mine. It is believed fixed in 3.52. That is why I am interested
in your report, but without an example I can do little.
==John |