| Hi all,
a question from a new user: is there a way to obtain a longer cycle of
random numbers using the rand* generators?
If you try this orc/sco:
;randloop.orc
sr=44100
kr=441
ksmps=100
nchnls=1
instr 1
a1 rand 20
afilt reson a1, 439, 1
out afilt
endin
;randloop.sco
i1 0 10
e
you'll notice a loop in the resulting sound, that's maybe because of a
short cycle of random numbers (32000?) which is easily detectable at 44100
numbers per sec.
Any suggestion to avoid this loop? (I'm using the latest
csound.ppc/perf.ppc applications - not the 347beta)
TIA
Maurizio
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Date: Sun, 14 Dec 1997 10:50:39 -0800 (PST)
From: "Matt J. Ingalls"
To: Maurizio Giri
Cc: csound@maths.ex.ac.uk
Subject: Re: (pseudo) random generator
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try:
aunirand
-m
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From: David Schuyeteneer
To: csound mailing list
Subject: NEW and DESPERATE
Date: Sun, 14 Dec 1997 20:22:32 +0100
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Ok, I downloaded all the stuff I need to get started with Csound....inluded
the manual, lots of examples.....but...hey....still it's hard to get
started....
The syntax is really the most difficult I ever encountered considering
script
compiler programs...
Does anyone has tutorials or can explain me for a REAL beginner how to get
started with Csound ?? Ok, I do know how sound works : i know what
frequency
is, reverb, flange, harmonics, amplitude, filter etc....but not in the way
Csound
deals with it.....I especially need to know the SYSTEM Csound handles, not
a list of opcodes and features, but rather the syntax rules, the format of
the scripts...
so I can remind me that an oscil its third parameter has a different
meaning then
a grain opcode....That kind of things.....
special interests : - Textures and granular synthesis
- Timbral morphings
- "almost" voices - sounds somewhere between a
voice and a
noise or
instrument...
thanks.
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Date: Sun, 14 Dec 1997 13:54:39 -0800 (PST)
From: Mike Berry
To: Burton Alexandre
Cc: csound@maths.ex.ac.uk
Subject: Re: perf with OMS...
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The OMS implementation in perf.ppc is basic, to say the least.
perf opens a connection to all available real ports. It does not create a
virtual destination since it is impractical to run it in any
interapplication manner since it MUST be in the front and will not behave
well with any other programs running. It sounds to me like the choppy
performance is from an attempt to run csound in parallel with some MIDI
generating app. As it stands now, perf turns your PPC into a dedicated
renderer.
The are ways for us to rewrite perf to get around this, but they
require massive internal rewrite of csound and frankly aren't likely to
get done any time soon (unless there is another Mac programmer out there
who really wants to tackle it - I can tell you what you need to do).
Instead of trying myself, I wrote GrainWave which was designed from
scratch to be a real-time multitasking renderer.
I am guessing from your address that this involved doing a PPC
port of Cecilia...? It would be possible to add a connection dialog to
perf which allowed you to shut off ports. And to add a virtual
destination for IAC. But those are premised upon perf functioning in a
multi-app situation, which it simply won't.
Mike Berry
mikeb@mills.edu
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Date: Sun, 14 Dec 1997 17:33:31 -0600
From: Zhenhai Lin
Organization: University of Wisconsin-Madison
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Subject: Midi sound playing on SGI
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Dear all:
I am totally confused about MIDI.
I wonder how I can play midi sounds on SGI. I heard soundplayer can
handle midi sounds on IRIX6.2( which is what I am using). I tried to
play and it says I don't have a midi port. So I configured a midi port
on my machine but it plays without any sound at all.
So is MIDI an idea of controlling an external music instrument? Do I
really absolutely need some kind of external midi devise to play midi
sounds? Is it possible to convert to something that I can play just
using SGI's speaker (such as first convert it to csound file...)
Thank you very much!
--
Zhenhai Lin
Department of Computer Science, University of Wisconsin-Madison, USA
URL: http://www.cs.wisc.edu/~zhenhai
Email: zhenhai@cs.wisc.edu
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From: Michael Coble
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To: Hans Pelleboer
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Subject: Re: grapes and wine
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Hans Pelleboer wrote:
>
> Hello,
>
> In recent weeks I have read a number of questions regarding
> stereo microphone techniques and the decomposing of auditory images
> in their constituting components. Usually the problem is worded somewhat
> as follows: How does one write a csound script to emulate a M-S microphone
> image? Or: how to derive center information out of a stereo recording?
> The attempts to answer these questions center around the simple arithmetic
> of phase relationships, as used in the summing-matrix for a M-S pair.
> What is glossed over here entirely is the problem: What is an auditory
> image, and how do we perceive one as such?
> In the process of the build-up to the illusion which we call `stereo,'
> auditory sources are imprinted --arbitrarily!, because set up through the
> subjective hands of a recording engineer--
[snip]
Aha, If you will, let me recall the one of first major stereo recordings to
really punctuate the use of stereo... The Beatles with Rubber Soul for
example. Listen to instruments isolated to channels and I see what seems to
be the point here. The recording *doesn't* sound like a recording of a room
from a distance, but rather assigns tracks to different speakers. So perhaps
todays' stereo sound tries to mimic a room, but still the point seems to be,
how can you get the middle of the sound when it is really an acoustic
invention of a sound engineer? How does one reverse the artistic techniques
of the mix-down? Maybe it could be done algorithmically using similar
techniques as a physical model, the physical model being parameters that
emulate the techniques of a mixing engineer:)
> manner, that play-back over loudspeakers gives us some suggestion of
> direction, size and distance. Even if we simplify drastically by leaving
> out all time relationships, as caused by reflections and such in real-world
> acoustical environments, then still the sound pressures picked up
> by a single pair of microphones are the resultants of a vectorial addition
> of a -long- row of terms.
> Just manipulating the resultants does not reach far enough to alter the
> underlying relations of their components -- for the same reason that you
> can't make grapes out of wine!
>
> The idea, therefore, that there ever will be a simple operator --something
> like a reciprocal `pan' knob-- that will deduce a source from the complex
> streams that it generates, is probably futile.
>
> A way more fruitful approach, I think, is to start from the other side of
> the loop and build auditory images through SYNTHESIS, not attempting to
> derive
> the essential parameters through analysis. This will not lead to a
> clean-cut acoustical model, but it will definitely generate a bundle of
> useful parameters for image synthesis, which will be close to the controls
> of
> a typical mixing console and peripherals.
> One can think of massaging the direct/reverb ratio, diffusion with
> allpass filters or through convolution with noise. Early reflections and
> such are easily made by adding different delays.
> For this type of synthesis, csound provides us with an ample set of tools.
> Multi channel output allows the use of discrete center channels and the
> like.
>
> Hope these remarks will help to elucidate the issue somewhat.
>
> Hans Pelleboer
>
--
Michael Coble, Time Inc. New Media, Pathfinder
Gallery: http://www.panix.com/~coble, representing various artists
Home: http://pathfinder.com/pathfinder/staff/mcoble/
Work: http://www.pathfinder.com/
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From: Michael Coble
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To: Hans Mikelson
Cc: csound@maths.ex.ac.uk
Subject: Re: Opcode for Picture->Audio?
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Hans Mikelson wrote:
>
> Hello,
>
> One of the few features that Csound does not have is the ability to convert
> a picture into audio. There are a few programs that do this, usually
> transforming x into time, y into frequency and color into
> amplitude/magnitude. Perhaps this would best be implemented as a utility
> routine that would convert the audio into phase vocoder format.
Soundhack for the Macintosh has a primitive version of this feature. It
creates a lot of noise, but then again maybe that's a goal. Essentially, it's
hard to draw a waveform (besides a sin wave) from scratch, and noisy to edit
an existing one. Maybe it would work better if there was a very strong
interpolation algorithm behind the clunky abilities to draw with a mouse.
Don't know.
> Just a suggestion for an ambitious soul...
>
> Bye,
> Hans Mikelson
--
Michael Coble, Time Inc. New Media, Pathfinder
Gallery: http://www.panix.com/~coble, representing various artists
Home: http://pathfinder.com/pathfinder/staff/mcoble/
Work: http://www.pathfinder.com/
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Date: Sun, 14 Dec 1997 22:38:59 -0600
To: csound@maths.ex.ac.uk
From: =cw4t7abs
Subject: Re: Opcode for Picture->Audio?
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> Soundhack for the Macintosh has a primitive version of this feature.
1 kould utilize any drawing prgm 4 dis matter.
+ open rezultz with sndhak + odr prgmz [bSt]
> It
>creates a lot of noise, but then again maybe that's a goal. Essentially, it's
>hard to draw a waveform (besides a sin wave) from scratch, and noisy to edit
>an existing one. Maybe it would work better if there was a very strong
>interpolation algorithm behind the clunky abilities to draw with a mouse.
>Don't know.
+ metasynth = spank matter also.
+ b 1-tgegrowhandlettimeypedmesz.
!n _new.interrupuzit
newanyex_ table_zbuthismp. f )_. _ 0 f 0 0 0 3 humanzsuk[]
reproduss!ng finite segmentz
http://www.god-emil.dk/=cw4t7abs/krop3rom
http://www.god-emil.dk/=cw4t7abs
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From: pete moss
Organization: pete moss GmbH
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To: "Matt J. Ingalls" , csound
Subject: Re: (pseudo) random generator
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what is aunirand?
also, is there a method to obtain a single (irate) random number, say
between 0 and 1?
i dont want a series of random numbers but just a single one.
pete
Matt J. Ingalls wrote:
> try:
>
> aunirand
>
> -m
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Date: Mon, 15 Dec 1997 07:44:00 +0100
To: csound@maths.ex.ac.uk
From: Maurizio Giri
Subject: Re: (pseudo) random generator
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-m wrote
>try:
>
>
>aunirand
thanks! this is exactly what i needed.
but... i can't find any documentation for this opcode, neither in csound
manual nor in readmes, examples, etc...
Is it an undocumented opcode? Are there any others?
thanks again
Maurizio
_____________________________________________
o Maurizio Giri o
o ConTempo o
o Italian Contemporary (and Early) Music o
o http://www.axnet.it/contempo o
o-------------------------------------------o
o ConTempo e-mail: contempo@wmail.axnet.it o
o Personal e-mail: m.giri@agora.stm.it o
o o
o Snail: Via Ostilia, 55 - 00184 Roma Italy o
o Tel +39.6.70451885 o
_____________________________________________
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To: csound@maths.ex.ac.uk
From: Arne Hanna
Subject: curve fitting
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Does anyone know the whereabouts of Dr Kirk Corey's 'curve fitting' pages?
The URLs below seem to be in error.
http://www.music.uiowa.edu/~kcorey/research/math-csound.html
http://www.music.uiowa.edu/~kcorey/research
Cheers
Arne
"You people have been throwing shit at me for years. Now it's starting to
fertilize!"
Edgar Varese
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
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Disclaimer: The views expressed in these messages are not necessarily those
of Management.
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Date: Mon, 15 Dec 1997 18:13:26 +1000
To: csound@maths.ex.ac.uk
From: Arne Hanna
Subject: Re: Opcode for Picture->Audio?
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I think anyone interested in this should check out Phonograme by Vincent
Lesbros, available via Dave Philips Linux page.
Cheers
Arne
"You people have been throwing shit at me for years. Now it's starting to
fertilize!"
Edgar Varese
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Disclaimer: The views expressed in these messages are not necessarily those
of Management.
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Date: Mon, 15 Dec 1997 00:15:28 -1000
From: Matt Comeione
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To: Csound list
Subject: pvoc csound 3.46 PPC
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I was wondering if someone could tell me the numerical range of the
amplitudes in the pvoc files. I am trying to utilize the pvread opcode
and am having difficulty with the amplitude scaling.
Is the range to 32767 in it's output?
Any help would be appreciated...
matt comeione
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To: pete moss
From: Russell Pinkston
Subject: Re: (pseudo) random generator
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>also, is there a method to obtain a single (irate) random number, say
>between 0 and 1?
>i dont want a series of random numbers but just a single one.
Use the i() function, which forces an i-time value from a k variable:
kval rand .5 ;kval is between -.5/+.5
ival = .5+i(kval) ;ival is between 0/1
----------------------------------
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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Date: Mon, 15 Dec 97 12:18:37 GMT
From: J.P.ffitch@maths.bath.ac.uk
Subject: Re: L/R stereo spread
To: csound@maths.ex.ac.uk
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Message written at 30 Nov 1997 17:48:46 +0000
--- Copy of mail to nathand@senet.com.au ---
In-reply-to: (message from Nathan Day on 27 Nov
97 19:18:16 +0930)
References:
>>>>> "Nathan" == Nathan Day writes:
>> does anyone know where I can get Csound examples of various enhanced
>> stereo techniques (ie MS, ORTF, etc)?
......
Nathan> one side of the image less bright, which simulates the effect that a
Nathan> persons head has, the 'hrtfer' UGEN in csound actually does these
Nathan> things in a much more sophisticated way, though where you get the
Nathan> HRTFcompact file from I do not know.
It is on the Bath and Montreal servers as
utilities/Analysis/HRTFcompact
==John
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From: J.P.ffitch@maths.bath.ac.uk
Subject: Re: Way to add loop points and base freq. to AIFF files for loscil
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Message written at 29 Nov 1997 14:27:48 +0000
--- Copy of mail to toby@rcsreg.com ---
In-reply-to: <347DD5B3.18D2B64D@rcsreg.com> (message from Toby Shepard on Thu,
27 Nov 1997 12:18:59 -0800)
References: <347DD5B3.18D2B64D@rcsreg.com>
Adding AIF-C format to Csoudn is on my list of things-to-do. I did
look at it last weekend, but the documentation I had was inadequate,
and it seemed to interfer with the AIFF format too much. I backed off
to have another go after the ICMC deadline.
==John
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To: Michael Coble
Cc: csound@maths.ex.ac.uk
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From: Hans Pelleboer
Subject: Re: grapes and wine
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Hello Michael --and everybody else!
On reading your reply it became clear to me that I have to expand
--still!--
a bit on the concept `auditory image'. What you said definitely holds:
> So perhaps
> todays' stereo sound tries to mimic a room, but still the point seems to
be,
> how can you get the middle of the sound when it is really an acoustic
> invention of a sound engineer?
>From the days of `ping-pong stereo' to present day pop reproduction, the
creation of auditory illusions through electroacoustic wizardry has only
increased.
But even if we are able to keep ourselves from playing with all the knobs
available,
--so no `synthetic' stereo-- then the problem STILL remains.
In order to clarify the following:
> > manner, that play-back over loudspeakers gives us some suggestion of
> > direction, size and distance. Even if we simplify drastically by leaving
> > out all time relationships, as caused by reflections and such in
real-world
> > acoustical environments, then still the sound pressures picked up
> > by a single pair of microphones are the resultants of a vectorial
addition
> > of a -long- row of terms.
let us perform a little mind experiment. The M-S technique is a so-called
`purist' technique, and indeed, almost as old as stereophony itself:
So here we are, no reverbs, delays or anything added; just a single
microphone
in front of a large string section, in an acoustical `dead' space. Imagine
now all the strings playing a single chord, starting very soft and then
crescendo
(So no transient effects that may disrupt the image). If the players are
properly balanced, then what you will hear on the recording is an image
that is clearly in
the center--albeit somewhat broadened-- whose gravity point will lie
somewhere around the second chair of the violas. However; this image is
composed from
sound, emitted by ALL the players, not just the 'lone hapless viola player.
So: sound in the middle, but multiple sources, and therefore: no simple
decomposition.
> How does one reverse the artistic techniques
> of the mix-down? Maybe it could be done algorithmically using similar
> techniques as a physical model, the physical model being parameters that
> emulate the techniques of a mixing engineer:)
This is possible, yet fiendishly difficult; I remember an ASA presentation
in the early eighties of a computer processed Caruso recording, in which,
through inverse filtering, the entire orchestra had been eliminated. This
was a herculean task: note for note the filters had to be set to eliminate
the momentary harmonic
complexes --and this was still relatively simple homophonic music with a
prominent soloist; imagine lifting a single boy treble out of Tallis' Spem
in alium!
(I don't remember the guy's name who did his dissertation on this; I
thought it had been done at Washington State --If anyone knows more about
this work, then please let me know; especially if you happen to have a
recording of this reconstruction.)
Hans Pelleboer
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References: Conversation <3.0.3.16.19971206163620.3a67941e@werewolf.net> with last message <3.0.3.16.19971206163620.3a67941e@werewolf.net>
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To: Hans Mikelson
Cc: csound@maths.ex.ac.uk
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From: Hans Pelleboer
Subject: Re: Opcode for Picture->Audio?
Date: Mon, 15 Dec 97 13:47:48 PST
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Hans Mikelson still requests more punishment:
----------
> Hello,
>
> One of the few features that Csound does not have is the ability to
convert
> a picture into audio. There are a few programs that do this, usually
> transforming x into time, y into frequency and color into
> amplitude/magnitude. Perhaps this would best be implemented as a utility
> routine that would convert the audio into phase vocoder format.
>
> Just a suggestion for an ambitious soul...
>
> Bye,
> Hans Mikelson
>
>
>
There is Hyperupic written by Chris Penrose, which is available
at the Princeton ftp-site.
Unfortunately, it is a NeXT application, so it will require substantial work
to port it to less potent Eunux.
Yours,
Hans Pelleboer
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