| Hi, I'm trying to use the BeOs (R 4.5.1 Intel) for musical purposes.
I knew there was a version of CSound running on the BeOs but:
- it doesn't start (perhaps it works only on BeOs for PPC ?)
- it's not updated (it's based on the 2.46 rel.)
I tried to contact the author (jjk@acm.org) but received no reply, please
can somebody help me to make it work or to port to the Beos a CSound
standard implementation ?
Csound for the BeOs (indeed a good implementation) can be downloaded
at:http://www.bawue.de/~jjk/download.html#csound
Many thanks
Regards
Alessandro Fogar
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From: David Boothe
To: 'Csound'
Subject: streson question with example
Date: Fri, 13 Aug 1999 14:56:03 -0500
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When varying streson's fundamental resonator frequency (argument labeled
kfr), the output contains small impulses as if the "string" were being
plucked. The documentation gives no indication that this should be the case.
When the resonance fundamental is fixed, these artifacts are absent.
Since the Karplus-Strong alogrithm is a plucked sting model, is this just
the nature of it and/or its implementation in streson? Or is there a bug in
streson? I'm using Windows console version 3.57.
The example below is from a more elaborate instrument, but demonstrates
this. (Watch out for line wraps.)
Thanks in advance.
-David.
; Orchestra for streson demo=============================
sr = 44100
kr = 4410
ksmps = 10
nchnls = 1
instr 1
if1 = 400 ;filter cf beg/end
if2 = 800 ;filter cf mid
ib1 = if1*.5 ;filter bw beg/end
ib2 = if2*.5 ;filter bw mid
iseg = p3/2
kamp linseg .1, iseg, 9830, iseg, .1
kcf linseg if1, iseg, if2, iseg, if1
kbw linseg ib1, iseg, ib2, iseg, ib1
a1 randi kamp, 3*(if1+if2) ;noise
a2 reson a1, kcf, kbw ;noise filter
a3 balance a2, a1
;variable resonance fundamental:
kfr1 line 350, p3, 700
;fixed resonance fundamental:
kfr2 line 500, p3, 500
;select fixed or variable resonance:
kfr = (p4 = 1 ? kfr1 : kfr2)
a4 streson a3*.8, kfr, .9
out a4
endin
; Score for streson demo==========================
i1 0 4 1 ;variable resonance freq
i1 5 4 2 ;fixed resonance freq
e
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Date: Fri, 13 Aug 1999 14:22:45 -0700 (PDT)
From: "Matt J. Ingalls"
To: Alessandro Fogar
cc: Csound List
Subject: Re: CSound for the BeOs - Help needed
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im doing some Be stuff these days and was thinking i might have to compile
cssound anyway to generate some sample files - if Jens is not doing
the Be port anymore and i have time i will give it a shot...
(at least file creation - realtime i/o might take a bit longer...)
-matt
>
> I knew there was a version of CSound running on the BeOs but:
>
> - it doesn't start (perhaps it works only on BeOs for PPC ?)
> - it's not updated (it's based on the 2.46 rel.)
>
> I tried to contact the author (jjk@acm.org) but received no reply, please
> can somebody help me to make it work or to port to the Beos a CSound
> standard implementation ?
>
> Csound for the BeOs (indeed a good implementation) can be downloaded
> at:http://www.bawue.de/~jjk/download.html#csound
>
> Many thanks
>
> Regards
>
> Alessandro Fogar
>
>
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Date: Fri, 13 Aug 1999 17:10:07 -0500 (CDT)
From: "Jeremiah T. Isaacs"
To: csound@maths.ex.ac.uk
Subject: sound formats on the mac
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using gen 0 and soundin i am having "issues". what sound utilities on the
mac are most of you using for preparing sound files for csound use, and in
what format are you saving?
------------------------------
jti@io.com
http://www.io.com/~jti/
http://www.sonictherapy.com/fluoroscopic/fk.html
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From: "Jeremiah T. Isaacs"
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Subject: whoops
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make that gen01.
------------------------------
jti@io.com
http://www.io.com/~jti/
http://www.sonictherapy.com/fluoroscopic/fk.html
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Subject: Re: Negative p3 vs polyphonicity
References: <199907271411.KAA18866@renoir.op.net> <379E3C5E.3751F522@cableinet.co.uk> <37B0D474.85C4DCD9@worldnet.att.net> <37B2A08E.5A2415BD@cableinet.co.uk>
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Richard Dobson wrote:
>
> Yes, that is more or less it (I haven't actually tried using a
> fractional p1, though it is explicitly stated in the manual that the
> fractional parts can be used to give additional tags to identify tied
> notes).
I've done it, and it works great!
> As you say, this would all have to be handled in the instrument
> - unless the 'next-p' and 'prev-p' fields which I use for legato control
> can be adapted to look for the next or previous pfields ~for a given p1~
> rather than just the line in the score. Ideally, I would like a
> mechanism for 'static' variables ~local~ to an instrument, which
> supported multiple polyphonic instances of the instrument (what I call
> 'managing it's own polyphony'), perhaps up to some compiled limit.
Actually, you can already accomplish this by saving the p-fields into
regular instrument variables, and then in a later note that has the same
p1 (including fractional part), you can use those saved p-fields and the
new ones to generate ramp functions for slewing the pitch, amplitude, or
whatever. It does have to be coded into the instrument, but there's no
polyphony limit that I know of.
> Perhaps 'next-p' and 'prev-p' really need to be opcodes as well as score
> directives. Either way, though, it is a bit of a hack, as you are having
> to code explicitly for polyphony within an instrument.
Well, I wouldn't say you're coding for polyphony so much as coding for
legato capability. Even if an instrument is monophonic, wouldn't you
have to code in special provisions for good legato, like having a
parameter for portamento time, taking care to skip initialization on the
appropriate ugens if you're not on the first note of a legato run, etc.?
> If the
> instruments could be just a little more 'object-like', you could apply a
> polyphonic legato score to ~any~ instrument, and get the expected
> behaviour.
But look at real instruments -- they're pretty object-like, and *they*
have to have legato designed into *them* :-). E.g., a voice can just
slur to another pitch, but all a piano can do is start playing the new
note before the old one is let go of.
> Something for the Csound Conference, perhasp?
>
> Richard Dobson
David Kirsh
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Date: 13 Aug 99 21:11:38 MDT
From: craig routt
To: csound@maths.ex.ac.uk
Subject: pluck wierdness
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lately i have been experimenting with pluck and fm time domain
and i would like to build my own pluck but to put an fm in series with th=
e =
feed back loop. do i need alot of lines of c to define patch points for =
another .orc to fit into, or can i use a zak as control to the fm
instrument as well as the patch cords to plug a fm orc in series with
the manual feed back loop. so the swept frequency acts like a resonator
like a guitar body for instance , to dopler shift the fundamental or just=
=
over tones if you run thru a filter first, was what i thinking.
although i have seen alot of fabulous .orcs, i need to put fm into the =
loop itself.
thank you =
craig
wrote:
Hmm, good question. I haven't tried it myself. I haven't had time to play=
with the zak patch stuff yet. You might wanna try referring it to the lis=
t
instead. Sorry I couldn't be of help.
Jason
On 11 Aug 1999, craig routt wrote:
> =
> hi
> =
> how are you today?
> =
> i am fine . i was just curious, can you run the midi input
> =
> to the zaks, then use the zaks like a p field input?
> =
> thanks in advance.
> =
> craig routt
> =
> =
> =
> jasonf@ivy.the-i.net wrote:
> =
> Just wanted to let you know that I finally got the unnoficial Linux Cso=
und
> compiled and running. I had a few little problems, but was able to work=
> around them. It seems that the code comes with a config.cache with it, =
so
> ./configure doesn't search for all your paramaters. I just deleted that=
> and manually configured the Make.Variables to my liking. =
> =
> There seem to be a few files written in C++ that use g++. I couldn't fi=
nd
> where to specify which C++ compiler to used. When g++ saw my CFLAGS I s=
et
> for pgcc it croaked, so I just when into the Make.Variables and took ou=
t
> the special flags. Next time I compile (to add ALSA support) I'd like t=
o
> set it to use pg++. Where would I set that?
> =
> One last thing. I've been using a simple .orc to run with midi input:
> instr 1
> ichnl =3D 1
> inum notnum
> kfreq cpsmidib
> iamp ampmidi inum*100
> asig oscil iamp,kfreq,1
> out asig
> endin
> =
> I seem to have two problems. First I can't set the bend range to over 2=
> semitones. I looked through the Csound Manual and tried to use the
> bendrange opcodes, but they didn't seem to work. =
> =
> Also, the sound is really crackly. Every note on/off has that record po=
p
> sound going on. When I play numerous notes at the same time, it also gi=
ves
> me a nasty digital distortion. I think it's just overloading my
> soundcard's output, since I can turn the sound down in aumix and the
> distortion vanishes. The note on pop remains though.
> =
> Thanks for putting up with all my questions,
> Jason
> =
> =
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From: Sergey Batov
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Subject: bmp2wav
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Hi!
Victor Khashchansky sent me a new version of his program
bmp2wav with some new functions.
It's available from http://www.the7hills.com/bmp2wav/
Please, sent to Victor your observations and advises.
Regards,
Sergey Batov batov@glasnet.ru
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Hi!
Victor Khashchansky sent me a new version of his program
bmp2wav with some new functions.
It's available from http://www.the7hills.com/bmp2wav/
Please, sent to Victor your observations and advises.
Regards,
Sergey Batov batov@glasnet.ru
dupswapdrop: the music-dsp mailing list and website
http://shoko.calarts.edu/~glmrboy/musicdsp/music-dsp.html
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Hold on. I made a mistake.
The address of the page is www.geocities.com/Area51/Shire/5788
My next project will be some MP3s.
then, onto CDs using Mp3.
Although the page is using Star Trek themes at the moment, I am going
back into Elvis Presley's top 100 songs and all 540 songs from the
church.
I'll be busy for a while. The goal? create new music using Csound (Not
for sale, but by hard work.)
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Date: Sat, 14 Aug 1999 10:36:15 +0100
From: Richard Dobson
Organization: Composers Desktop Project
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To: Csound
Subject: Re: Negative p3 vs polyphonicity
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It's not quite as easy as that, unfortunately. I want to have BOTH
polyphony AND legato, and that requires more than local variables, it
also requires distinct storage per voice for all opcodes which retain
inernal state (e.g oscillator phase). Thus, if I were running eight
legato voices using instrument 1, which used oscil, each of those voices
would need to maintain distinct internal state for it, so that
independent legato van be performed. At the momnet, the only way of
acheiving this is to run eight (say) versions of the same instrument,
under different numbers.
Kirsh Family wrote:
>
[snip]
> Well, I wouldn't say you're coding for polyphony so much as coding for
> legato capability. Even if an instrument is monophonic, wouldn't you
> have to code in special provisions for good legato, like having a
> parameter for portamento time, taking care to skip initialization on the
> appropriate ugens if you're not on the first note of a legato run, etc.?
>
Yes, exactly. Current Csound allows this, bot only monophonically per
instrument.
> > If the
> > instruments could be just a little more 'object-like', you could apply a
> > polyphonic legato score to ~any~ instrument, and get the expected
> > behaviour.
>
> But look at real instruments -- they're pretty object-like, and *they*
> have to have legato designed into *them* :-). E.g., a voice can just
> slur to another pitch, but all a piano can do is start playing the new
> note before the old one is let go of.
>
But as a composer you write a slur for a piano, and a slur for a violin,
and leave the player of the instrument to play it in their idiomatic
way. As a Csound composer you are creating ~three~ entities - the
instrument, the score, and the player who interprets the score using
the instrument. The player is the incompletely-defined entity - it may
be in the score, or in the orchestra, or uncomfortably divided betweeen
both. A truly 'complete' implementation of a Csound instrument would
need to support legato (or, if is were percussive, ignore it in an
appropriate way) within the orchestra code, so that there was no need to
hard-code it in the score - then ~any~ score (e.g from a MIDI file,
which is the origin of this thread) could play that instrument legato.
A lot of this can be done now, as you say - you have to deal with a lot
of variables in the instrument to preserve state, for legato control of
phase, pitch and amplitude (at least). BUT, only monophonically, as you
don't have control of opcodes that way, only your own variables. A
polyphonic instrument according to my definition achieves the same thing
as multiple copies of an instrument, but using, say, an array indexed by
the fractional part of p1. Then, for any given voice, you recover the
previous and next pfields (using opcodes), and you automatically use the
correct instance of oscil, etc, for that voice. The size of this array
would determine the maximum polyphony which that instrument can sustain
- and it would still be possible to force an instrument to be strictly
monophonic if necessary, by confining the array to a depth of one.
Richard Dobson
--
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd (LU: 6th July 1999)
CDP: http://www.bath.ac.uk/~masjpf/CDP/CDP.htm (LU: 14th June 1999)
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Date: Sat, 14 Aug 1999 11:35:37 +0200
From: Josep M Comajuncosas
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To: David Boothe
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Subject: Re: streson question with example
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I can see 2 probable causes for that: a change in frequency means a change in
the delay size and if the code does not take account fractional delay
interpolation it changes at integer sample positions. I also would suggest you
to try kr = sr. ksmps >1 can cause very annoying transients when dealing with
delay lines.
> When varying streson's fundamental resonator frequency (argument labeled
> kfr), the output contains small impulses as if the "string" were being
> plucked. The documentation gives no indication that this should be the case.
> When the resonance fundamental is fixed, these artifacts are absent.
>
> Since the Karplus-Strong alogrithm is a plucked sting model, is this just
> the nature of it and/or its implementation in streson? Or is there a bug in
> streson? I'm using Windows console version 3.57.
> --
Josep M Comajuncosas
C/ Circumval.lacio 75 08790 Gelida - Penedes
Catalunya - SPAIN tel. 93 7792243
e-mail: gelida@intercom.es
ET Informatica de Sistemes
e-mail: jcomajuncosas@campus.uoc.es
http://members.tripod.com/csound/
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