| Hello,
here a positing for Ensoniq users showing how I create Transwaves, a special
feature of Ensoniq engines like the PPGish wavetable synthesis.
These are two scripts for cSound you need to generate transwave compatible
samples, put it in two textfiles and compile them with CSound
;here the orchestre file begins:
; usual data cSound needs
sr = 22050
kr = 220.5
ksmps = 100
nchnls = 1; suggestion, how about 2 ->stereo??
instr 1 ;here it comes
ifade = p4 ; the 'morphing control'
;take for example 3 oscs using different waveforms(->tables in scorefile)
;frequency should be 60,120,240,... perhaps fraction works too?
a1 oscil 11000,60,2
a2 oscil 12000,120,1
a3 oscil 14000,240,3
;mix them
a4 = a1+a2+a3
;stuff them in a filterbank for example and let mutate it
a5 areson a4,ifade,2000
a6 areson a5,10+ifade,1000
a7 areson a6,100+ifade,1020
a8 areson a7,20000-ifade,1045
a9 areson a8,20000-ifade*2,2377
a10 areson a9,20200-ifade*4,2353
;normalize them
ausgang balance a10,a1
;output them
out ausgang
endin
;end of orc file
You can also use different synthalgorhythms, important is the frequency so the
single cycles and harmonics fits together seamless!
Here comes the score files with the note data and the tables for the
waveforms:
;score file starts
; Wavetable for ASR 10/EPS
; Harmonics:
f3 0 1024 7 0 512 1 0 -1 511 0
f1 0 32 10 7 0 8 9 8 7
f2 0 2 10 1 2 5 2 1
;here the notedata begins
;Important is the frequency! (the fractionnumber)
;1 is the morphing start, just a example,
; exchange it with suitable values for your synthorc
i1 0 0.0167 100
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
; its long, isn't it?
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
i1 + . <
; +. genereates next note
; < interpolates between start/end value (here = 5000)
; e is the end of scorefile (important for csound)
i1 + . 5000
e
So, transfer the resulting samplefile to your ensoniq, loop starts at 0, end
is 400 (you may turn off 'autofinding') set the modulationtype to TRANSWAVE
and set the looppositon and modulator settings to suitable values. You may
also adjust the BaseKey
If you have any questions, feel free to mail me.
With friendly greetings,
Malte Steiner
--------------------------------------------------
Notstandskomitee / Das Kombinat
Industrial Electronic Art
http://members.aol.com/block4k7
--------------------------------------------------
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From: SteinersT1
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Date: Fri, 8 May 1998 08:03:51 EDT
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Hello,
now the first version of Hydra is online. I got to change the name because I
find a hexeditor called already hedit while programming. You can find my
program for editing hetrodyne analysis files on
http://members.aol.com/additiv
The first version is somehow harmonic surgery because you edit the detailed
envelopes. Later versions will got 'macro' modules like morphing filters
etc...watch out.
Now it is for windows only, a port to Java will follow and portions of the
software will be transferd to commandoline (DOS and UNIX) for blind users and
batchwork, later.
Hope all works, CU
Malte Steiner
--------------------------------------------------
Notstandskomitee / Das Kombinat
Industrial Electronic Art
http://members.aol.com/block4k7
--------------------------------------------------
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Grrrrrr,
a minute ago someone show me an article about M$ new toy called - Hydra, so I
have to drop the name again I guess. Any suggestions?
--------------------------------------------------
Notstandskomitee / Das Kombinat
Industrial Electronic Art
http://members.aol.com/block4k7
--------------------------------------------------
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Subject: Re: hYdra name
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>Grrrrrr,
>
>a minute ago someone show me an article about M$ new toy called - Hydra, so I
>have to drop the name again I guess. Any suggestions?
Grrrrrr
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Date: Fri, 08 May 1998 15:30:07 +0200
From: David Schuyeteneer
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I would like to post some questions..
- I think that contemporary composers of classical music were
inspired by supernatural
inspiration...As with any field of creation / inventions
/ development, it could be inspired by afterlife souls.
- Emotions and music : music/sound contain time-evolving patterns
that fit in certain
"emotion-patterns" and therefor activating certain according
emotions....If composers could do very serious and very CONSCIOUS
research on that topic : an extremely new kind of music could be founded
for the next centuries....music that would be EFFECTIVE. I think that electroacoustic
music is the very first attempt towards that new music. Classical music
was actually a first beginning.
- Music & Color for enhancing physical and mental health :
I don't mean the usual New-Age music here, I mean a new way of artists
dealing with their creations : Im almost 100% sure that there
must be a way to use color and sound to
stimulate/manipulate mental and physical settings of humans, animals
and plants.
please give as much comments as possible...
- Csound is a great tool for that. Ha ! ;-)
David.
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Date: Fri, 08 May 1998 13:39:59 -0300
To: SteinersT1
From: "Lic. Pablo Sotuyo Blanco"
Subject: Re: hYdra name
Cc: Csound Mailing List
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At 08:27 08/05/98 EDT, you wrote:
>Grrrrrr,
>
>a minute ago someone show me an article about M$ new toy called - Hydra, so=
I
>have to drop the name again I guess. Any suggestions?
>
If Hydra cannot be used...
What do think about calling it as LAERNA (thinking about Greek
Myths...) ;)
Pablo.
-----------------------------------------------
Lic.Pablo Sotuyo Blanco
Compositor / Composer =20
Interprete de Corno Frances / French Horn Player=20
4=BA Corno de la Banda Sinfonica Municipal de Montevideo /=20
4th French Horn of the Montevideo City Hall Symphonic Band
Luppo Music (Sounds & Casuals) Editor
-----------------------------------------------
mailto:psotuyo@equipenet.com.br
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To: Derek Pierce
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Subject: Re: Processor
In-Reply-To: Your message of "Fri, 08 May 1998 10:02:05 PDT."
<35533A8C.97331233@bathspa.ac.uk>
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From: Ed Hall
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This chip has possibly the worst floating-point performance of any of the
Intel-compatibles running at comparable clock speeds. If you're on a
budget, get a Pentium MMX or an AMD K6. The latter runs Csound quite
well--I've got one at 233MHz, and I get the following on the Csound
benchmark:
Test Bach-d Bach-m Riss-g Riss-m Guit-d Guit-m Jame-g pvanal lpanal
==============================================================================
K6/233 5.6 5.6 3.3 3.1 5.8 5.8 0.4 5.8 4.1
(Note: I'm running Unix on this box. W95 results may vary...)
An IDT WinChip would get about half this performance, given the same clock
rate. (A Pentium II would do considerably better than the K6, but it isn't
going to plug into your current motherboard.)
One warning: make sure your system board can be set to the appropriate
voltage for whatever CPU you buy, and that your BIOS is compatible with
it.
-Ed
-Ed
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Date: Fri, 08 May 1998 18:57:38 +0100
From: Richard Dobson
Organization: Composers Desktop project
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To: "Lic. Pablo Sotuyo Blanco"
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Or, following the Grrrr theme, how about 'Cerberus'?
Richard Dobson
Lic. Pablo Sotuyo Blanco wrote:
> At 08:27 08/05/98 EDT, you wrote:
> >Grrrrrr,
> >
> >a minute ago someone show me an article about M$ new toy called - Hydra, so I
> >have to drop the name again I guess. Any suggestions?
> >
> If Hydra cannot be used...
> What do think about calling it as LAERNA (thinking about Greek
> Myths...) ;)
> Pablo.
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From: tolve
Subject: Att. Csounders!
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Dear Csounders,
I am assisting in preparation of a csound FAQ and information sheet which
may be included in the appendix of Richard Boulanger's book and/or CD-ROM
on csound. This material may also be posted on the csound website at
montreal and other locations and appear on the MIT Csound site that will be
supporting the book.
if you wish to be included, kindly reply to me directly and provide any or
all of the following information you consent to include for the above
stated purposes. note that the only criteria for submission of your work is
that it utilize csound. a separate consent form will be sent if orcs, scos,
instruments or audio are desired specifically for the CD-ROM or book.
Optional information:
your name
internet address of website relevant to your work.
email address.
explanation of how csound is used, general methodology for composition,
role of other software, hardware and techniques.
name of performing group
name of compositions and/or volume (cd, whatever)
date of compositions and/or recording
contact information for purchase.
Look forward to hearing from you!
yours,
tolve
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Date: Fri, 08 May 1998 15:55:24 -0300
To: David Schuyeteneer ,
Csound List
From: "Lic. Pablo Sotuyo Blanco"
Subject: Re: Unlimited curiosity
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Hi, David...
At 15:30 08/05/98 +0200, David Schuyeteneer wrote:
>I would like to post some questions..
I am waiting for them... go ahead!
>I think that contemporary composers of classical music were
>inspired by supernatural inspiration...As with any field of creation /
>inventions / development, it could be inspired by afterlife souls.
Yes... it could be possible in some cases, but... where is the question?
>Emotions and music : music/sound contain time-evolving patterns
>that fit in certain
>"emotion-patterns" and therefor activating certain according
>emotions....If composers could do very serious and very CONSCIOUS
>research on that topic : an extremely new kind of music could be founded
>for the next centuries....music that would be EFFECTIVE. I think that
electroacoustic
>music is the very first attempt towards that new music. Classical music
>was actually a first beginning.
>
You've pointed the heart of the matter, although it hasn't began
with Classical music... Every kind of vibration (sound/light/etc.) has the
power to affect ourselves in many ways. The CONSCIOUS use of them is the
real hidden key that we MUST consider everytime we play/compose/rehearse
music (in our actual field of creation). It includes a MORAL side that would
be very interesting to discuss, but very hard to stand in these days... ;)))
>- Music Color for enhancing physical and mental health :
>I don't mean the usual New-Age music here, I mean a new way of artists
>dealing with their creations : Im almost 100% sure that there
>must be a way to use color and sound to
>stimulate/manipulate mental and physical settings of humans, animals
>and plants.
When you say STIMULATE everything seems ok... But when you say
MANIPULATE, it comes to me a freezing image of lack of consciousness and
resposability... Without consider other ethical options... ;)
I think that the most important thing to consider is the utter
intentions of every work, of every composition, of every human creation. And
without arrogance and selfishness, I think we have to consider this very
carefully and finally choose our own side over the boundaries of the
conscious vs. unconscious field. I'm really convinced that composers has a
vital role in social development. But the moral of this role is fundamental
to be clear.
>please give as much comments as possible...
I'm doing so... but I'm still waiting for your questions... ;)))
>Csound is a great tool for that. Ha ! ;-)
For sure... =20
Hope it helps...=20
>David.
Pablo.
-----------------------------------------------
Lic.Pablo Sotuyo Blanco
Compositor / Composer =20
Interprete de Corno Frances / French Horn Player=20
4=BA Corno de la Banda Sinfonica Municipal de Montevideo /=20
4th French Horn of the Montevideo City Hall Symphonic Band
Luppo Music (Sounds & Casuals) Editor
-----------------------------------------------
mailto:psotuyo@equipenet.com.br
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Date: Fri, 08 May 1998 16:19:20 -0400
From: Carlton Wilkinson
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To: Fat_Boy , Csound list
Subject: Re: balancing samples
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I recently gave up on loscil in favor of sndwarp, which does the same
thing. There, by playing around with the overlaps and the window size,
you can get a pretty consistent texture. Never pure, really, but better
than what I could do with my limited understanding and the loscil
opcode.
--
Carlton Joseph Wilkinson
http://excaliber.net/alex/wilkwrks.htm
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Date: Fri, 08 May 1998 19:50:19 -0300
To: Csound Mailing List
From: "Lic. Pablo Sotuyo Blanco"
Subject: loscil - sndwarp
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Hi Carlton,
>I recently gave up on loscil in favor of sndwarp, which does the same
>thing. There, by playing around with the overlaps and the window size,
>you can get a pretty consistent texture. Never pure, really, but better
>than what I could do with my limited understanding and the loscil
>opcode.
>--
>Carlton Joseph Wilkinson
>http://excaliber.net/alex/wilkwrks.htm
Sorry about my ignorance... but... what is sndwarp?
thanx in advance...
Pablo.
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From: Hans Mikelson
To: Csound Mailing List
Subject: Re: hYdra name
Date: Fri, 8 May 1998 18:45:04 -0500
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If Hydra cannot be used...
I thought you couldn't name something the same name as another similar
product. For example you may be able to call your new keyboard Ford
keyboards because there is no chance that you will be competing with Ford.
Likewise you could manufacture a Moog automobile without violating trademark
restrictions. As long as your product is not similar to the other product
of the same name.
I think thats how it works.
Regards,
Hans Mikelson
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Date: Fri, 08 May 1998 20:33:56 -0400
From: Carlton Wilkinson
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To: "Lic. Pablo Sotuyo Blanco" ,
Csound list
Subject: Re: loscil - sndwarp
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sndwarp is a fairly new opcode -- someone else on the list can tell you
when exactly it was instituted. I only just found out about it recently.
But I'm running the latest Mills PPC version, which predates Csound
3.47--but I don't know by how much.
The trick for me was getting a current version of the manual--an html
version of 3.46 is available and it includes sndwarp.
Lic. Pablo Sotuyo Blanco wrote:
> Hi Carlton,
>
> >I recently gave up on loscil in favor of sndwarp, which does the same
> >thing. There, by playing around with the overlaps and the window size,
> >you can get a pretty consistent texture. Never pure, really, but better
> >than what I could do with my limited understanding and the loscil
> >opcode.
> >--
> >Carlton Joseph Wilkinson
> >http://excaliber.net/alex/wilkwrks.htm
>
> Sorry about my ignorance... but... what is sndwarp?
> thanx in advance...
> Pablo.
--
Carlton Joseph Wilkinson
http://excaliber.net/alex/wilkwrks.htm
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To: SteinersT1 , csound@maths.ex.ac.uk
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From: tolve
Subject: Re: hYdra name
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In the US, trademark law encompasses numerous factors -fought over at great
expense in civil court (though i understand that there are insurance
policies for this sort of thing). While it is true that there is far less
likelihood of a battle over the use of similar names in products that do
not compete, under the principle of dilution you could run into trouble if
your mark is judged to somehow diminish the effect of a widely known mark.
and large companies with many lawyers on retainer...
tolve
Hans Mikelson wrote:
> If Hydra cannot be used...
>
>
>I thought you couldn't name something the same name as another similar
>product. For example you may be able to call your new keyboard Ford
>keyboards because there is no chance that you will be competing with Ford.
>Likewise you could manufacture a Moog automobile without violating trademark
>restrictions. As long as your product is not similar to the other product
>of the same name.
>
>I think thats how it works.
>
>Regards,
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Date: Fri, 8 May 1998 22:47:07 -0400 (EDT)
From: Burton Alexandre
Subject: Re: hYdra name
Cc: csound@maths.ex.ac.uk
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Maybe i'm wrong, but isn't it when Apple's computers started to make
sounds that could be generously described as "music" that Apple Records sued
them for making a product that competed into the "music industry" under
the name "Apple"?
ALex.
On Fri, 8 May 1998, tolve wrote:
> In the US, trademark law encompasses numerous factors -fought over at great
> expense in civil court (though i understand that there are insurance
> policies for this sort of thing). While it is true that there is far less
> likelihood of a battle over the use of similar names in products that do
> not compete, under the principle of dilution you could run into trouble if
> your mark is judged to somehow diminish the effect of a widely known mark.
> and large companies with many lawyers on retainer...
>
> tolve
>
>
> Hans Mikelson wrote:
>
> > If Hydra cannot be used...
> >
> >
> >I thought you couldn't name something the same name as another similar
> >product. For example you may be able to call your new keyboard Ford
> >keyboards because there is no chance that you will be competing with Ford.
> >Likewise you could manufacture a Moog automobile without violating trademark
> >restrictions. As long as your product is not similar to the other product
> >of the same name.
> >
> >I think thats how it works.
> >
> >Regards,
>
>
>
>
>
Alex.
"the map is not the territory"
(korzybski)
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Date: Sat, 9 May 1998 01:43:40 -0700 (PDT)
From: Qian Chen
Subject: question about grain
To: Csound
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I have a problem with grain.
I programed the following csound orc & sco to study grain. Then I
found that I always could not make the sound decay to 0 no matter how
long I set p3. I used "kamp oscil 1,1/idur,1" as usual to generate
the amplitude envelop. What's wrong?
Any comment is welcomed.
Qian Chen
;orchestra file
sr=44100
kr=441
ksmps=100
nchnls=1
instr 1
idur = p3
kamp oscil 2000,1/idur,1
kcps line cpspch(5.00),1,cpspch(6.00)
kpitch randh 1, kcps
idens = 125
iampoff = 200
ipitchoff = cpsoct(10)
igdur = .3
igfn = 2
iwfn = 3
imgdur = .5
ar grain kamp, kpitch, idens, iampoff, ipitchoff, igdur, igfn, iwfn,
imgdur
out ar
endin
;score file
f1 0 1024 7 0 512 1 512 0
f2 0 1024 5 0.1 200 1 300 .5 400 .7 124 .1
f3 0 1024 7 0 256 1 256 .5 256 1 256 0
i1 0 15 1
e
_________________________________________________________
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From: Manning
Reply-To: Manning
To: Burton Alexandre
Cc: csound@maths.ex.ac.uk
Subject: Re: hYdra name
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Burton Alexandre is correct re the trademark dispute Apple Corps v Apple
Corps over the use of 'Apple': The case ran in the High Court in London
for over a year and cost millions, and then I believe carried on further
in the USA. It arose out of an earlier agreement between the two companies
which basically said Apple Records would not make computers and Apple
Computers would not make products capable of generating music. However
this original agreement was itself the outcome of legal proceedings purely
over the use of the name 'Apple', and associated logos, by two different
organisations on the grounds that there was the distinct possibility of a
conflict of trade interests, so there is a cautionary tale here re the
current debate over hYdra.
Do not underestimate the potential consequences of trademark disputes -
they are very costly....
Peter Manning
On Fri, 8 May 1998, Burton Alexandre wrote:
>
> Maybe i'm wrong, but isn't it when Apple's computers started to make
> sounds that could be generously described as "music" that Apple Records sued
> them for making a product that competed into the "music industry" under
> the name "Apple"?
>
>
> ALex.
>
>
|