| On the face of it, this sounds like you are suffering from massive
crosstalk between channels somewhere in the analogue stage (you get
exactly what you ask for in Csound!). If you are writing your sound to
disk, you can of course inspect the waveform visually in an editor to
see if the empty channel is indeed so (you will need a vertical zoom
facility, and/or a dB scale display, to see any quiet stuff, though). A
'domestic' card (is it a card?) such as the one you mention ~must~ be
very suspect; getting clean audio from inside a computer box demands
some very sophisticated (= expensive) engineering and board design. It
would be useful therefore to identify what the audio card is in the
systems which do appear to work well. Apparently the new Creative
SB-Live card is remarkably quiet, and affordable.
Richard Dobson
Kevin Gallagher wrote:
>
> Thanks to everyone who has replied to my query about midi networking. I
> will try this and report how it turns out!
>
> I have another question, and this actually pertains more or less to
> csound.:
>
> I pose this to PC users: when I write a script that pans hard left or
> hard right, the result is a sound that is not fully in the specified
> speaker. It's more like a 70/30 split. It's not just csound either...I
> tried a bunch of applications. Each time I make sure sound is being sent
> to one side and nothing is being sent to the opposite side, I get the
> 70/30 split rather than 100/0. Some machines, however, work okay in that
> I CAN get hard left or right. I called IBM tech support and they were
> not too helpful. Has anyone here experience this problem with stereo
> imaging? I have a PnP Audio Crystal FM Synthesis soundcard (built into
> the system) and I wonder if it's my card that's causing the problem.
>
> Kevin Gallager, kgallagh@astro.temple.edu
> Web - http://astro.temple.edu/~kgallagh
--
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: Hans Mikelson
To: Csound List
Subject: A-Rate Flters was Re: CSound book
Date: Sun, 27 Dec 1998 08:25:50 -0600
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Hi,
Sean Costello wrote:
>Can any of the Csound filters be modulated by an a-rate signal,
>instead of a k-rate signal?
I am thinking of making this change to some future version of rezzy &
moofvcf. (Hmmm, maybe I should do it right now...)
Bye,
Hans Mikelson
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From: Yair Kass
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Gareth Metford wrote:
> Csound, he raves about it on his page (http://www.comatonse.com/thaemlit
> entirely created with Csound, at http://www.comatonse.com/releases/c001.
Gareth, are you sure the url's are right.
I couldn't get them. You got me curious.
Yair
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Date: Sun, 27 Dec 1998 17:01:47 +0100
From: Josep M Comajuncosas
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Subject: Re: CSound book
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> Are these all albums that feature Csound or are they
> just masters of digital synthesis? I didn't think Aphex Twin used
> Csound...
Was it a joke that about the use of Csound in the post-production stage of
the last album from Spice Girls, some months ago? I hope it was... ;-)
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Message-ID: <36869157.FA3B0391@bigfoot.com>
Date: Sun, 27 Dec 1998 14:58:17 -0500
From: Brandon Nelson
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Subject: Pink Noise?
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Can anyone tell me how to create pink noise? I've designed an instrument
that uses Butterworth filtered noise to create a pipe-like sound, and it
took me forever to realize why the low notes had no energy.
--
brandon_nelson@bigfoot.com
ICQ: 11617296
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Subject: Re: Pink Noise?
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All my reference books are at the office, so I'm straining my brain here.
But as I recall, pink noise is defined as equal power at every frequency
(or in each band), whereas white noise would be random - all frequencies
have equal occurence. This is what rand would generate.
So you would have to filter the output of rand by 1/freq. This would be
equivelent to halving the power for each doubling of frequency, or a low
pass filter having a slope of 3 dB/octave. Someone with better DSP chops
than mine would have to figure out how to do that. In fact, it might be
useful to have a random generator that outputs pink noise.
As a practical solution, you might set up an algorithm to adjust the gain
of the output of each Butterworth filter. Use a multiplying factor against
some reference band using the 1/freq ratio. What the multiplier is would
depend not only on the frequency ratio of the current band to the
reference, but also the bandwidth.
Hope this helps. Perhaps someone can tell us how a 3 dB/oct low pass filter
could be implemented.
-David.
At 02:58 PM 12/27/98 -0500, Brandon Nelson wrote:
>Can anyone tell me how to create pink noise? I've designed an instrument
>that uses Butterworth filtered noise to create a pipe-like sound, and it
>took me forever to realize why the low notes had no energy.
>
>--
>brandon_nelson@bigfoot.com
>ICQ: 11617296
>
>
>
>
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Date: Mon, 28 Dec 1998 03:46:39 +0000
To: Josep M Comajuncosas
Cc: Csound List
From: Gareth Metford
Subject: Re: CSound book
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According to the latest issue of Sound On Sound, Spike Stent did the
mixing for that album, and he's heavily into his computer editing tools
(48 tracks of 24-bit Pro Tools in his studio apparently), so it wouldn't
entirely surprise me if it was true.
Gareth
>> Are these all albums that feature Csound or are they
>> just masters of digital synthesis? I didn't think Aphex Twin used
>> Csound...
>
>Was it a joke that about the use of Csound in the post-production stage of
>the last album from Spice Girls, some months ago? I hope it was... ;-)
>
--
Gareth Metford
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From: Gabriel Maldonado
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Csound List
Subject: a-rate modulating filters (was Re: CSound book)
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I think that writing an a-rate freq-cutoff version of csound filter should be a quite
trivial job. Maybe I will do this in the future, because I'm curious about the sounds that
can be produced. Are you sure that they are interesting?
Sean Costello wrote:
> P.S. Can any of the Csound filters be modulated by an a-rate signal,
> instead of a k-rate signal? Some of my favorite sounds come from
> audio-rate modulation of the cutoff frequency of a resonant filter.
> Aphex Twin, for example, runs his drums through the filtering section of
> a Korg MS-20, which is a Sallen-Key highpass and a Sallen-Key lowpass
> filter in series, with independent cutoff for each; often, at least one
> of the filtering sections will be modulated by the input signal. I know
> I could just set the k-rate to be identical to the a-rate, but that
> would really slow things down. Any advice?
--
Gabriel Maldonado
http://www.agora.stm.it/G.Maldonado/home2.htm
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Hello List,
I would like to introduce my Zeitgeber video of my project Notstandskomitee
which I done for an event in the Hoerbar in november. Only works where
submitted which are created of sounds of a clockdevice for kitchen, just ticks
and ringings. I processed these sounds with cSound and composed it to a video
because I had no time to perform it at the given date. You can see and hear
results on
http://www.block4.com/Notstandskomitee/zeitgeber.htm
That's is why you didn't heard of hYdra for a while, besides beeing programmer
I am also an artist, both takes a lot of time. But soon the Javaversion of my
adsyn file editor will be ready, consoleversions will be released too and I
got a lot of ideas for the next version which will keep you upset, guarenteded
(<- surly wrong typed, but I am tired)!!
CU,
Malte Steiner
P.S.: Can anybody guess, which city is portraid in the video ;) ?
- find hYdra for free there: http://members.aol.com/additiv - |