Message written at 20 Mar 1997 19:09:01 +0000
In-reply-to:  (message from
	Matt on Thu, 20 Mar 1997 12:58:21 +0000 (GMT))

I do not think that CDP is off topic.  They provide a suite of
programs, including Csound, for a large number of audio processing.
They are particularly good at what as computer phreaky I woudl call
filters; that is programs which take audio input and generate audio
output.  
  I know many readers of this list use CDP.  Many of their programs
come from the imagination of Trevor Wishart.

Disclaimer time: I am not a CDP member, although I know and met Archer
Endrich reasonable frequently, and Richard Dobson, who codes and
writes documentation etc is a co-author of some papers with me, and is
a visting research fellow in Bath.

==John











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To: gcc@kodak.com
From: Russell Pinkston 
Subject: Re: Help with ihold & neg p3 values??
Cc: csound@maths.ex.ac.uk
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I use ihold in my Yamaha dx7 emulation instruments, which are included in my
example orcs, ftpable from indigo.pac.utexas.edu. They're also included in
Jeff Harrington's package at

http://www.parnasse.com/dx72csnd.shtml

In general, the use of ihold and neg p3 values is pretty straightforward: An
instrument is turned on indefinitely and will continue to execute until
either...

1) The end of the score is reached.
- or -
2) A turnoff opcode is executed in the instrument.

The only trick to using them is to make sure the score lasts long enough. I
typically use an f0 card to extend the score, e.g.

;turn on some notes that will decay for 8 seconds after abs(p3) is over:
i01 0 -.5
i01 10 -2.0
;if the score ended here, execution would stop at time 12, 
;which would truncate the 2nd note's decay, so we add an f0 card...
f0 20
;now the score ends at time 20, so the the final decay can complete.
e

Hope that helps.

Russell PInkston

>I'm finding the manual very obtuse in its handling of ihold, turnoff,
>negative p3 values in .sco., tival and tigoto.
>
>Would anyone have any working samples/examples they could share?
>
>Thanks,
>
>Grant
>gcc@kodak.com
>
>

----------------------------------
Russell F. Pinkston, D.M.A.
Associate Professor of Composition
Director, Electronic Music Studios
School of Music
The University of Texas at Austin
Austin, TX 78712

[512-471-0865]












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From: Richard Dobson 
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Having read the discussion list off the Web for some while, I have now got
round to subscribing!

My main claim to fame(?) is that I have been working with John Fitch on an
occasional basis for a few years, since he invited me to become a visiting
research fellow at Bath university. The nonlinear filter now in Csound is
my one 'creative' contribution so far (coded by John).

I am also a core developer for the Composer's Desktop Project (CDP), working
on both Atari (Falcon) and PC platforms, the latter by means of Visual C++
V4. I have compiled the Bath sources for Windows95 under VC++. I noted a few
messages to the list concerning linking problems with VC++; if anyone is
still having difficulties I may be able to help. The main trick with WinSound
is that the Windows graphic modules (the .cpp files) need to be compiled as
multi-threaded; the rest can be single-threaded, and the main obstacle to 
overcome is telling VC++ what libraries to avoid.

Having recently embarked on an exploration of legato instruments in CSound,
I can pass on some observations regarding the tricks in designing 'held'
instruments. In the course of this work I found several bugs and lacunae in
Csound, fixes for which, such as the extra arguments to some new opcodes to
skip initialization, are now in the general release.

For portamento, for example, the phase of the oscillator must be preserved
betweeen one note and the next - this is done using the optional 'istor'
parameter. Similarly, all the delays and filters need to keep their data
across notes, so they also need to skip initialzation. 

Needless to say, for this to work as intended, the notes must neither
overlap, nor have gaps betweeen them.

For amplitude control, I use the 'ppX' and 'npX' mechanism of the score to
give instruments essential contextual knowledge, eg. what the previous amp was
and what the next one will be.

In fact, I have never bothered with 'ihold'; I just use the -p3 mechanism,
together with use of 'tival' in the instrument.

Other biog info:

	 I am yet another musician turned programmer - my instrument is the
flute, and I teach it at Bath College. I have also written a book on 
Electronic and Computer Instruments, which was published at high price by
OUP without pictures. Needless to say, it has not become a best-seller, though
I still think a lot of it is quite good.

CDP, of course, supports CSound, though at present with a desperately old
version. We have a version on the Atari, but it uses our own special sound
filing system, not the standard GEM/TOS system. My main interest in CSound
is in exploring ways of developing it graphically, so that it can be linked
to other graphical tools we are developing. Once I have acquired a suitable
multi-channel soundcard, I will explore the possibilities of adding general
multi-channel (ie, multi-device) support to the PC version of CSound. Any
material work that I do here will be passed directly to John; I do not
want to add yet another independent version of Csound to the existing pool! 

Anyone wanting CDP information should email me directly:
	rwd@pact.srf.ac.uk
or	masrwd@bath.ac.uk

Thanks to anyone who has read all of this rather long posting!

Richard W Dobson.











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Date: Fri, 21 Mar 1997 10:55:57 -0800 (PST)
From: "Matt J. Ingalls" 
To: Matt Comeione 
Cc: csound@maths.ex.ac.uk
Subject: Re: linseg Csound PPC 0.2b
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> Does anyone know the limit of line segments per line in a Csound orc?  I
> am trying to utilize the heterodyne analysis files to function as the
> pitch and volume envelopes for sampled wave forms.

	by glancing at the code, it looks like there should be no limit
(as long as you have enough memory) - csound will dynamically allocate
more space when needed.  (but i could be wrong)

 > 
> Also, I was wondering on the limitations in regards to the maximum
> amount of function tables allowed in a csound score file.

	in the PPC version, it is set to 1024.

-matt













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Subject:  Re: Advice: Default sr/kr/ksmps
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Message written at 21 Mar 1997 18:22:03 +0000
In-reply-to: <3.0.32.19970320172946.006981e4@sdps.demon.co.uk> (message from
	Richard Wentk on Thu, 20 Mar 1997 19:58:19 +0000)

The default for nchnls is 1.  That seems OK to me.

And yes, my fingers did keep typing zeros in my original message.  So
far 44.1 seems the popular default sr on this list and in private
e-mail.

The code for getting sensible defaults for ksmps etc is now in and
seems OK.

==John











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Date: Thu, 20 Mar 1997 22:47:34 +0100
To: csound@maths.ex.ac.uk
X-Aliased: From Joerg Spix 
From: Joerg Spix 
Subject: Re: Advice: Default sr/kr/ksmps / GM / phys. mod. bib.
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Hi,

I usually try to keep the kr near 1000, because that's nearly the same rate
that MIDI is. (Yes, I know that MIDI is not optimal, but it's there and
even Csound can make use of it.) So the values I use are:
44100, 1050, 42
22050, 1050, 21
11025, 1225,  9

(perhaps its better to keep the kr=1225 for all three versions and only
change the sr and ksmps?)

I think it really depends on the machine and problem/piece/instrument which
default is the best. It would probably be a good idea to add the default to
the Csound preferences, so the user can select his own standard. For a
fixed one I would prefer sr=22050 and kr=1225 or 1050. I don't thnk it is
the right time to set the standard to 44100, most of the machines are still
to slow to play a piece of music in real time. I would prefer the real time
output over sound quality when working on instruments or music over high
quality output. hen I think I need a better quality to decide how to go on,
I will compile a version out of real time with sr=44100.

About that GM stuff...:
I don't see any reason to discuss this here. The intention of Csound is not
the intention of GM. It is no problem to make samples of several
instruments and write an instrument to play them (I think with loscil).
Csound is not designed to handle all kind of MIDI messages (i.e. program
change is difficult to handle), so I wouldn't expect to see a clean
solution. I'm sure a lot of globals are needed to handle pgm change and
loading of sample tables. GM in Csound needs a really fast machine if you
want more than just a few voices and I'm sure most of the GM pro's are not
satisfied with a sample rate of 22050 or below.
I use MIDI for Csound to control my instruments in real time (with some
delay, of course), but if there would be something faster and more
intelligent designed like ZIPI, that I can use I would change to it as fast
as I could. Unfortunately I don't know of any device using ZIPI (there ay
be some prototypes at CNMAT?) and Csound also doesn't know ZIPI, so I have
to stay with my MIDI gear. Sometime I have to build the MIDI controllers
myself because they don't exist or the implementation is not adequate to my
needs.

For all of you waiting for my physical modeling bibliography:
It is still delayed because the beginning of my thesis is delayed. I hope
I'm finished during April (rather the end than the beginning) with the list
(400 articles are waiting to be typed in). At the moment I can advise you
the books by Benade and Fletcher/Rossing, the two or three issues of CMJ
and the homepage of Julius Smith at CCRMA. (Most of them were mentioned
earlier.)
A very good source for the explanation of simulation by mass-spring models
and also modal synthesis is the book "Representations of musical signals"
by Giovani di Poli (ed.), published by MIT press. There are two (or three)
chapters by Claude Cadoz et al. (mass-spring and comparison of waveguides,
mass-spring and modal synth.) and J.-M. Adrien (modal synthesis). I can
highly recommend the article of Claude Cadoz et al., you can find any
formula you need for programming inside.


(Joerg.Spix@informatik.uni-oldenburg.de)













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From: Gabriel Maldonado 
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To: Csound Mailing List 
Subject: off-topic but very important!!!!
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SUBJECT: virus "PENPAL GREETINGS!"

If you receive an e-mail message titled "PENPAL GREETINGS!",
ERASE IT IMMEDIATELY WITHOUT READING IT!!!

There is a very dangeruos virus that spread itself via email!

DON'T LOAD ANY MESSAGE TITLED "PENPAL GREETINGS!"

As soon as you load this message, a troian virus infect the boot-sector
of your hard disk, destroing all data.
The virus is auto-replicant: when you read the message, this send itself
automatically to all user registered in the email list!!

This virus will destroy all data in your hard disk and potentially will
destroy all hard disks of users present in your email list. If this
virus will not be fast eliminated , it will infect all the Internet.

So erase the virus message as soon as you see it. Please send this
message to all friends and all mailing lists you are subscripted.











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From: "Brown, Chris SJ" 
To: csound 
Subject: Many Thanks for Csound
Date: Sat, 22 Mar 97 03:34:00 PST
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Hi All,

 I'm yet another bumbling "newbie" from the Keyboard magazine article.  I've 
been waiting to send my first message until I had a little more to say other 
than the standard -

Name:Chris Brown
Ocupation: Test Engineer
Musical Interest:  I want to compose "new age" music. For the last four 
years I have been - Learning to play an instrument. Taking all of the 
extremely few night courses in music I find.  Reading everything about 
electronic/computer music that I can lay my hands on.  I hope that in 
another four years I may be able to write something worth listening to.

 -  greetings.

The more I have to say is this.

After the recent flurry of e-mail that has been critical of Csound I thought 
I should send my thanks to all who have spent their time working on this 
program and sharing it with the rest of us.  I wish I could describe how it 
felt when I compiled Xanadu by Joseph T. Kung, listened to it the first time 
and realized some of the potential of Csound.  I've listened to it over and 
over like an acoustic junkie.  I guess Kung didn't hear that Csound isn't 
fit to fill a bit bucket.

Anyway back to more standard stuff.

This is a long shot but I thought I'd see if anyone on the list might be 
able to help me before I went to a book locator service.  I am reading "The 
Computer Music Tutorial" by Curtis Roads.  There is a book called "Theory 
and Application of Digital Signal Processing" by L. Rabiner and B. Gold that 
is referred to in the Roads book many many times.  It was written in 1975 
and is out of print.  Does anyone know where there is a copy I could 
purchase?

Second, I tried to compile the source code for Csound using Microsoft Visual 
C++ 1.52 under Windows 3.1 but I am having problems.  Is there anyone in the 
South San Francisco Bay area that would be willing to help me to get Csound 
to compile in exchange for a free dinner or similar compensation.

Thanks.
Christopher Brown
cbrown@sj.unisys.com
P.S.  I was driving around the other afternoon, after reading some mail from 
 people that were unhappy with Csound, when I had the following lyrical 
inspiration. Jean Piche you may find the following slightly amusing.
XXXXXXXXXXXXXXXXXXXXXXXXXX
X  Warning
X  Sensitive People
X  or those with
X  Discriminating Taste
X  Read no Further!
XXXXXXXXXXXXXXXXXXXXXXXXXX
These words came pretty easy so I hope I haven't ripped off something 
previous.  It's also a first ever effort (so I can only get better right).
To be sung to the tune "I'm A Believer" performed by the Monkees in 1966 
(Original Words and Music bye Neil Diamond).  For generation x'ers and later 
this song is in the record albums next to your mom's white go go boots in 
the attic.

New Title: I'm A Complainer

I thought Code was only wrote to criticize.
Done by someone else but not by me.  (oh)
I could not be happy.         (de du det endu)
Not until I whined.                (de du det endu)
C - sound's not the answer to my dreams.
Then I found this place.      (du-dut du-dut du)
Now I'm a complainer.        (du-dut du-dut du)
Not a line -                 (du-dut du-dut du)   
of it's code did I write.         (du-dut du-dut du)
I want more.                            (oh)
I'm a complainer.
Glad I didn't pay more oop's it's free.

Have a good one.
Chris














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From: Jackee Criswell 
To: CSound mailing list 
Subject: Re: MIDI and its putative evilness OR the NEW DLS standard!
Date: Sat, 22 Mar 1997 05:41:58 -0600
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Hi all,

Didn't think we'd killed this thread already, did y'all?  I may have to
recant my public position.  Although MIDI works fine for keyboards and drum
machines sending note information realtime, it looks like there is going to
be actual hardware and tons of sequencing software based on the DLS
standard in the not too distant future.  A Yamaha representitive I have
been talking to via email pointed out this website, and I found the article
right away:

http://www2.midi.org/mma/dlsvote.htm

It says "The MIDI Manufacturers Association (MMA) today announced the
unanimous vote of its members in favor of the
Downloadable Sounds Level 1 (DLS-1)".  For those developers who wish to
keep Csound up with the latest standards, my hat is off to you!

(By the way, yes you can sequence perfectly fine in a Csound .orc.  It is
just that once you have all your nifty experimental instruments set up, you
still have the task of getting reams of note data into the program, and you
may even want it with the human feel of a live player!)

Jackee Criswell
TheSilverSurfer@themall.net

Check out my new computer music website at:
http://www.themall.net/~slvrsrfr

P.S.: Just got my MIDI Rendering page completed for the time being.  Now I
gotta change to The DLS rendering page?!?!!?












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Message-Id: <199703221240.EAA10509@mail.themall.net>
From: Jackee Criswell 
To: CSound mailing list 
Subject: Re: *** New language, new developments ***
Date: Sat, 22 Mar 1997 06:23:22 -0600
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Regarding the new Csound based language that will be a part of the new MPEG
4 standard:

I applaud this move loudly.  I have already been corresponding with one of
the programmers who is doing Csound updates about the despirate need for a
Csound standard.  I enumerated the reasons why it was so badly needed
privately, and there are more than a few correspondances between my list
and Mr. Scheirer's list.  Still I wonder, will it soon be possible to
implement a fast MIDI or DLS renderer, with multiple layers for both pitch
and volume, with crossfading between them, and pans and volume calculations
for both controllers and samples handled correctly?  Time will tell ...

In the meantime, I urge all to find out about this new standard, and get
behind it if it doeth not suck, and provide feedback concerning the points
in which it doeth suck.  Look forward to reading the draft myself, as soon
as I can.

Things are starting to happen fast in the home digital audio field.  The
next Cakewalk PA  6.0 ships with Active-X plugin realtime effects, which
will be useable from any DA app written for them.  What a great time to be
alive!

Jackee Criswell
TheSilverSurfer@themall.net

Check out my new computer music website at:
http://www.themall.net/~slvrsrfr

The MIDI Rendering Page is finally complete ... for the time being!