| >Which reminds me of another curious phenomenon -- has anyone else
>> noticed apparent pitch changing as a function of volume? I can hear as
>> much as a quarter-tone shift when we go from a loud part to a quiet part
!nzert muz!k persept!on - 1 !nterd!sc!pl!nar+e journal
un!v ov kal!4n!a preSS. = korrekt.
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Date: Mon, 29 Jun 1998 09:01:43 -0400
From: Dave Phillips
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Greetings:
Here are a few additions to the booklist:
The Music Machine: Selected Readings from Computer Music Journal,
ed. Curtis Roads, MIT Press 1989, ISBN 0-262-18131-2
FM Theory & Applications, by John Chowning and David Bristow, Yamaha
Music Corporation 1986, ISBN 4-636-17482-8
Foundations of Computer Music, ed. Curtis Roads and John Strawn, MIT
Press 1987, ISBN 0-262-68051-3
Current Directions in Computer Music Research, ed. Max Mathews and
John Pierce, MIT Press 1989, ISBN 0-262-13241-9
Introduction To Computer Music, by Wayne Bateman, Wiley & Sons 1980,
ISBN 0-471-86839-6
There are also some interesting books by composer Phil Winsor, but I
don't have the info available right now. They are more oriented towards
composition algorithms than synthesis, as is Jaxitron's unique
"Cybernetic Music".
Max Mathews' "Technology Of Computer Music" is a good read for very
basic descriptions of Csound's MusicV heritage. Sorry, I don't own a
copy and have no other information on it.
If you're thinking of purchasing Charles Dodge's "Computer Music",
be sure you get the 2nd edition (1997) on Schirmer. Also, note that F.R.
Moore's "Elements Of Computer Music" (1990), good as it is, is loaded
with typos and other errors. An errata list was once available on the
Internet, but I don't know anything of its provenance nowadays. The
errors may have been corrected in the latest editions, but at $64 I
won't be finding out soon. Highly recommended though...
== Dave Phillips
http://www.bright.net/~dlphilp/index.html
http://www.bright.net/~dlphilp/linux_soundapps.html
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Date: Mon, 29 Jun 1998 09:06:20 -0400
From: Dave Phillips
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Greetings:
I now have over 5000 messages from the Csound mail-list currently
sitting on my hard-disk. I would be happy to donate them to anyone who
can format and organize them into a useful database for the message
archive, so if someone wants them, please let me know. I'd like to clear
the disk space, but I want to be sure I can refer to those messages
easily.
As has been oft-noted, the Csound mail-list is extraordinary for its
signal-to-noise ratio, and the mail-list does indeed need a regularly
maintained archive.
Just my two pesetas...
== Dave Phillips
http://www.bright.net/~dlphilp/index.html
http://www.bright.net/~dlphilp/linux_soundapps.html
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From: Robin Whittle
Organization: First Principles
To: csound@maths.ex.ac.uk
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Subject: Re: Harmonics, physics, chords etc.
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Cc: Paul Winkler
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Thanks Paul for the commentry on "critical bandwidth", "no
perceptual rough beating" and "complex tones". In my current
tired state, and without having read the source material in
"Science of Musical Sound" by John Pierce, I can't really comment
without making lots of speculations which are probably off the
track.
The business of listening to 800 Hz and 1000 Hz sine waves and
hearing 200 Hz strikes me as likely to be very dependent on the
level. This is clear evidence of non-linear behaviour of the ear
- which causes one signal to be in someway multiplied by the other.
At high signal levels, with dozens of harmonics ( AKA partials,
overtones ) comeing into the ear, and each one intermodulating a
bit with each of the others, it sure gets complex!
- Robin
===============================================================
Robin Whittle rw@firstpr.com.au http://www.firstpr.com.au
Heidelberg Heights, Melbourne, Australia
First Principles Research and expression: music, Internet
music marketing, telecommunications, human
factors in technology adoption. Consumer
advocacy in telecommunications, especially
privacy. Consulting and technical writing.
Real World Electronics and software for music: eg.
Interfaces the Devil Fish mods for the TB-303.
===============================================================
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From: Terry Cast
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To: Richard Dobson
Cc: csound@maths.ex.ac.uk
Subject: Re: Pitch Hell, was: Harmonics, physics, chords etc.
References: <19980629092200.24128.qmail@hotmail.com> <359768DB.357036CC@cableinet.co.uk>
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Richard Dobson wrote:
> To bring this topic a little more into the Csound fold, perhaps there is a need
> for an opcode to reconfigure the cpspch calculations, for different scales?
Use cps2pch or cpsxpch.
All of the following is copied out of rasmus ekman's Windows help file for Csound:
icps cps2pch ipch, iequal
icps cpsxpch ipch, iequal, irepeat, ibase
Converts a pitch-class notation into cycles-per-second for equal divisions of the octave (for cps2pch) or for equal divisions of any interval. There is a restriction of no more
than 100 equal divisions.
See also Pitch converters.
INITIALISATION
ipch - Input number of the form 8ve.pc, indicating an octave' and which note in the octave.
iequal - if positive, the number of equal intervals into which the octave' is divided. Must be less than or equal to 100. If negative is the number of a table of frequency
multipliers
irepeat - Number indicating the interval which is the octave'. The integer 2 corresponds to octave divisions, 3 to a twelveth, 4 is two octaves, and so on. This need not be an
integer, but must be positive.
ibase - The frequency which corresponds to pitch 0.0
NOTES
1. The following are essentially the same
ia = cpspch(8.02)
ib cps2pch 8.02, 12
ic cpsxpch 8.02, 12, 2, 1.02197503906
2. These are opcodes, not functions.
3. Negative values of ipch are allowed, but not negative irepeat, iequal or ibase.
EXAMPLES
inote cps2pch p5, 19 ; convert oct.pch to cps in 19ET
inote cpsxpch p5, 12, 3, 261.62561 ; Pierce scale centered on middle A
inote cpsxpch p5, 21, 4, 16.35160062496 ; 10.5ET scale
The use of a table allows exotic scales by mapping frequencies in a table
For example the table
f2 0 16 -2 1 1.1 1.2 1.3 1.4 1.6 1.7 1.8 1.9
can be used with
ip cps2pch p4, -2
to get a 10 note scale of unequal divisions
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Date: Mon, 29 Jun 1998 09:43:15 -0400
From: jp
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First in a long series of ignorant and annoying questions from your truly about
the Windows environment, with which i am acquainting myself on our new family
computer. This is related to csound since I am planning our Win95 release of
Cecilia.
1- Which C development/compiling environment is most common/productive/free?
2- Which 3.48 version is most stable for Win95?
and specialy:
3- Do console-driven events (the dreaded -L flag) work on any version of 3.48?
and equally specialy:
4- Is it possible to pipe stuff from one app to another in Win95/98. (using the
-L flag of course)...
Yes? No? Maybe?
All the best to nice people, humbug to the rest!
--
________________________________________________________
Jean Piche
Universite de Montreal
http://mistral.ere.umontreal.ca/~pichej
http://www.musique.umontreal.ca/electro/CEC/
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From: Richard Dobson
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Subject: Re: Pitch Hell, was: Harmonics, physics, chords etc.
References: <19980629092200.24128.qmail@hotmail.com> <359768DB.357036CC@cableinet.co.uk> <359795DD.7F16CC96@ou.edu>
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Ah ! Thanks; it's been a month or two since I last looked at the manual.
The table mode should enable Pythagorean and mean-tone scales to be created
reasonably well. The only catch is that the latter, especially, needs to be
defined realtive to a tonic. When you're in mean-tone, you tune according to the
key you are in.
Richard Dobson
Terry Cast wrote:
>
> Richard Dobson wrote:
>
> > To bring this topic a little more into the Csound fold, perhaps there is a need
> > for an opcode to reconfigure the cpspch calculations, for different scales?
>
> Use cps2pch or cpsxpch.
16.35160062496 ; 10.5ET scale
[snip]
> The use of a table allows exotic scales by mapping frequencies in a table
>
> For example the table
>
> f2 0 16 -2 1 1.1 1.2 1.3 1.4 1.6 1.7 1.8 1.9
>
> can be used with
>
> ip cps2pch p4, -2
>
> to get a 10 note scale of unequal divisions
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To: csound@maths.ex.ac.uk
Date: Mon, 29 Jun 1998 17:00:24 -0400
Subject: Re: Harmonics, physics, chords etc.
Message-Id: <19980629.170335.12206.4.jhclouse@juno.com>
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From: Jason H Clouse
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On Sun, 28 Jun 1998 00:55:13 PDT "Paul Winkler"
writes:
>Pierce also mentions a phenomenon you've neglected, which I think
>might
>be significant as well: The potential presence of overtones which are
>both strong and within a critical bandwidth so that there is audible
>beating between them. What is the critical bandwidth? It's a ratio
>between sine tones above which there is no perceptual rough beating.
>It's been shown to vary with frequency: it's between 2 and 3 semitones
>
>from about 1,000 hz on up, but it can be much greater than 3 semitones
>
>at lower frequencies. In other words, above approx. 1,000 hz, two pure
>
>sine tones will have no discernible beating as long as they're at
>least
>3 semitones apart.
Ahhh! So is *this* why they told us in part-writing to try our best not
to stick very low notes too close together?
Jason
---------------------------
email:jhclouse@juno.com
"Good times...GET RAW!!!"
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Date: Mon, 29 Jun 1998 23:13:32 +0100
From: Ben Jefferys
To: csound@maths.ex.ac.uk
Subject: Introducing... me!
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Hello!
It is normal form to hang around on lists for a bit before posting but I'm
just so excited, and the introductory mail told me to do it, so here goes...
Basically I've been thinking about Csound related issues for ages without
actually knowing about Csound. I had come to all the same conclusions
about control etc. (it would seem, with my browse over the docs) so it
was nice to find this and see that I wasn't going mad all these years.
I am approaching the 4th year of my computing degree at Imperial College,
London, and have to start thinking about a final year project. I really
wanted to do something to do with parallel processing and audio, and
was planning to do a complete synth (along the lines of Csound) from
scratch. Now I have found Csound and found that there is quite a large
user base etc. already, so I have decided to try and parallelize Csound
instead. My aim is to get impressive scores running with reasonably
complex orchestras running in realtime on college's 80-processor AP3000.
Hopefully with a bit of realtime input too, just for effect ;)
I would be interested in what similar projects have already been completed
or are in progress. I haven't found anything after a reasonably in-depth look
at the online resources. What do you think are my chances? Is it a worthwhile
project considering the speed of modern processors? What are users'
experiences with respect to the speed of recent versions, in real-life
projects? I'm not looking for in-depth advice, I am already familiar with
the technicalities of parallelization, just general opinions (along the
lines of, "yeah Ben, it's a great idea!" ;) )
And finally (and this has probably already been discussed, but while I'm
at it...) are there any servers around with complete scores and orchestras
with *whole* pieces, preferably written for Csound rather than converted
from elsewhere? This is out of interest, as well as having some nice
impressive files to demo my project!
And so I don't give off a completely techie vibe, I also intend to do some
creative stuff on the user-end of Csound. Watch this space!
Bye!
Ben.
--
... ben jefferys ...
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From: Richard Dobson
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To: jp
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Subject: Re: compiler
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Incomplete replies:
jp wrote:
>
> First in a long series of ignorant and annoying questions from your truly about
> the Windows environment, with which i am acquainting myself on our new family
> computer. This is related to csound since I am planning our Win95 release of
> Cecilia.
>
> 1- Which C development/compiling environment is most common/productive/free?
I am using Visual C++ V.5 - hardly free, but I really appreciate the development
environment, not least the debugging support. It has generally come out tops in
journalistic evaluations, and, statistically, must be the most 'common', but the
Borland compiler is also very highly respected (though their documentation
isn't), and their 'OWL' object-oriented framework is widely regarded as superior
to Microsoft's MFC, which is a fairly thin (and not very O-O) wrapper of the
WIN32 APIs.
> 2- Which 3.48 version is most stable for Win95?
I'm not aware of any of them being especially unstable; the Winsound GUI is
however extremely un-Windows-like, and is easily crashable simply by clicking
the top-right close button.
>
> and specialy:
>
> 3- Do console-driven events (the dreaded -L flag) work on any version of 3.48?
>
Jpff has recently added this - I haven't tried it yet!
> and equally specialy:
>
> 4- Is it possible to pipe stuff from one app to another in Win95/98. (using the
> -L flag of course)...
>
> Yes? No? Maybe?
>
Yes (but not using -L): Microsoft has developed it's own 'cool' (or 'hot')
interprocess faciltities, such as shared memory, and COM (the basis for OLE,
ActiveX, etc), of course, which is horribly complicated, but does mostly seem to
work very well. I am just starting to get into it myself, to write plugins. If
Csound were able to be implemented as a COM server ( sooo easy, I can't imagine
why no-one has done it yet...hoho) , any COM-aware application, such as Visual
Basic, could access it and control it.
There are also 'anonymous' and 'named' pipes, which are probably the closest
Microsoft comes to unix-ism; the latter are comms channels across a network,
while the former are strictly local. They have to be programmed for; these
things are not part of the existing console-based command system. You will need
to talk to real Win32 gurus for this stuff!
Good luck!
Richard Dobson
> All the best to nice people, humbug to the rest!
>
> --
> ________________________________________________________
> Jean Piche
> Universite de Montreal
> http://mistral.ere.umontreal.ca/~pichej
> http://www.musique.umontreal.ca/electro/CEC/
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Date: Thu, 04 Jun 1998 00:07:09 +0000
From: Larry Troxler
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To: Jason H Clouse
Cc: csound@maths.ex.ac.uk
Subject: Re: Harmonics, physics, chords etc.
References: <19980628075518.27935.qmail@hotmail.com> <19980629.170335.12206.4.jhclouse@juno.com>
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Jason H Clouse wrote:
>
> On Sun, 28 Jun 1998 00:55:13 PDT "Paul Winkler"
> writes:
>
>
> >Pierce also mentions a phenomenon you've neglected, which I think
> >might
> >be significant as well: The potential presence of overtones which are
> >both strong and within a critical bandwidth so that there is audible
> >beating between them. What is the critical bandwidth? It's a ratio
> >between sine tones above which there is no perceptual rough beating.
> >It's been shown to vary with frequency: it's between 2 and 3 semitones
> >
> >from about 1,000 hz on up, but it can be much greater than 3 semitones
> >
> >at lower frequencies. In other words, above approx. 1,000 hz, two pure
> >
> >sine tones will have no discernible beating as long as they're at
> >least
> >3 semitones apart.
>
> Ahhh! So is *this* why they told us in part-writing to try our best not
> to stick very low notes too close together?
>
> Jason
Actually, the rationale that I was tought, was that it more closely
resembled the distribution of frequencies in the overtone series
(voice-leading with the biggest intervals on the bottom, that is). For
right or wrong ..
Larry
-- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
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From: Michael Gogins
To: Richard Dobson , jp
Cc: csound
Subject: Re: compiler
Date: Mon, 29 Jun 1998 21:17:28 -0400
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>> 4- Is it possible to pipe stuff from one app to another in Win95/98.
(using the
>> -L flag of course)...
>>
>> Yes? No? Maybe?
>>
>
>Yes (but not using -L): Microsoft has developed it's own 'cool' (or 'hot')
>interprocess faciltities, such as shared memory, and COM (the basis for
OLE,
>ActiveX, etc), of course, which is horribly complicated, but does mostly
seem to
>work very well. I am just starting to get into it myself, to write plugins.
If
>Csound were able to be implemented as a COM server ( sooo easy, I can't
imagine
>why no-one has done it yet...hoho)
The main obstacle is that Csound is designed as a process that starts, runs
an orc and sco, and exits. It cannot restart, its code is not re-entrant. If
this were fixed I would make Csound into a COM server myself. Anyone who
wants to work with me on this, please do!
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Date: Mon, 29 Jun 1998 18:10:41 -0700 (PDT)
From: Chris Brown
Subject: re: books - volunteering to create/maintain list
To: Csound mail-list
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Hi All,
If John FFitch will agree to put the text file up on the Bath server,
I will compile and maintain a list of Books regarding Electro Acoustic
music, Computer composition etc.
What do you say John.
Chris
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From: Paul Winkler
To: csound@maths.ex.ac.uk
Subject: Pentium/Linux csound speed boost
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Date: Mon, 29 Jun 1998 18:49:32 PDT
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Well, folks, I have some good news for those Csounders running
unix-derivative OSes on Pentiumclass platforms. Actually it's
undoubtedly old hat to some of you.I just compiled and installed the
pgcc compiler, which is a patch to the egcs compiler with lots of
Pentium-specific optimizations. I've done somebenchmarking of csound
3.482 for Linux against an older 3.46
gcc-compiled binary I had floating around, and the results are mostly
very favorable. I also booted into Windows 95 and tested csound95 just
to see how that compared (very well, actually-- who compiled that
executable, and with what?).
You can read more about pgcc and egcs at
http://www.goof.com/pcg/pgcc-faq.html
Apparently there is a DOS version: DJGPP , which I have seen mentioned
on the Csound list as well. (Maybe it was in connection with
csound95...)
Compilation and installation of pgcc went pretty smoothly, though it's
quite a lot to download. The patch was successful except for a few
comments in one file which I decided to ignore. The build eats a LOT of
drive space. My object directory swelled to 70 MB by the end, and the
bootstrapped compile took a LONG time (maybe an hour). Probably I could
have gone faster/smaller by being more specific about what to build
(there's c++ and fortran compilers and other stuff I never use).
Compiling Csound with pgcc:
Initially I just tried adding -mpentium -06 to the .configure file;
Csound compiles, but dumps core at run time. I looked at some specific
flags in the PGCC FAQ, and then changed the compile options to
COMPILE_OPTIONS= -fPIC -mpentium -O6 -fno-peep-spills
-fno-omit-frame-pointer -mstack-align-double -funroll-all-loops
-ffast-math
That did the trick. I'm not sure if both of the "-fno-" flags are
necessary.
Now for the not-necessarily-very-meaningful-but-traditional csound
benchmarks: (watch out for line wrapping, ugh!)
Test Bach-d Bach-m Riss-g Riss-m Guit-d Guit-m Jame-g pvanal
lpanal
Length 115.73s 115.73s 63.75s 63.75s 87.75s 87.75s 6.75s 6.75s
5.00s
------------------------------------------------------------------------------
P133/48:
pgcc 7.39 7.27 3.94 3.82 6.63 6.47 0.50 4.51
3.20
gcc 7.73 7.47 4.15 4.03 11.16 11.10 0.80 ---
---
Win95 10.03 7.98 5.95 3.99 9.061 6.81 0.82 ---
---
platform: Pentium 133, 48 MB SDRAM, 4.3 GB Maxtor EIDE drive.
OS: Windows 95 / linux 2.0.32 + XFree86 + FVWM2
csound versions:
"pgcc"= csound 3.482 with glibc patches, dynamically linked, compiled
with
"pgcc -O6 -mpentium -fno-peep-spills -fno-omit-frame-pointer
-mstack-align-double -funroll-all-loops -ffast-math".
"gcc" = csound 3.46, statically linked, compiled with "gcc -O2
-ffast-math -funroll-loops".
"Win95" = csound95.exe precompiled binary, invoked via a .bat file
from the Windows 95 GUI (thus popping up a DOS window).
Interestingly, these scores rank higher in the RESULTS table than I
would have guessed. My runs are well ahead of the most
similar hardware platforms in the RESULTS file (G. Maldonado's
P133/32, Antonio Neto's P166/32, & M. Gogins' Pent166/40).
The pgcc vs. gcc improvement ranges from 2.8% to 71.6%, with a mean
improvement of 31%.
Moving on, I decided to test Joseph Kung's piece Xanadu, as this has
been suggested several times as a more worthwhile benchmarking piece for
modern processors. It can be found via ftp at
ftp.musique.umontreal.ca/pub/mirrors/dream/documentation/orchestras+scores/others_examples
xanadu44.orc is the sr=44, kr=4410, stereo version of the orc;
xanadus.sco is the 1-minute-long version. I benchmarked this with the
same three setups as above. I also include Robin Whittle's PPro180/64
results with Csound95 as he reported back in May 97 (see Csound_81 in
the mailing list archives at .../dream/Csound_List_Archive) ... I
haven't seen any other tests of Xanadu for comparison.
Robin Whittle's
PPro180: 165.71 seconds (44% better than my best time)
Win95/Csound95: 238.76 seconds (9.7% better than linux/pgcc,
31% better than linux/gcc)
Linux/3.482/pgcc: 261.88 seconds (19.7% better than gcc)
Linux/Csound 3.46/gcc: 313.51 seconds
There is also a sr= 8192, kr= 512, mono version of the same orc
(xanadu.orc) and a longer, 100-second version of the sco
(xanadul.sco). Interestingly, this test showed a quite different spread:
Linux/3.482/pgcc: 99.97 seconds (4% better than csound95,
56% better than gcc!!!)
Win95/Csound95: 103.95 seconds (50.1 % better than gcc)
Linux/Csound 3.46/gcc: 156.05 seconds
So there you have it. Looks like csound95 and pgcc-compiled linux csound
are well ahead of gcc-compiled linux csound. To keep this message of a
reasonable length, I'm putting my next tests (some realtime stuff) in a
separate message.
Regards,
PW
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Date: Mon, 29 Jun 1998 18:08:03 -0700 (PDT)
From: Chris Brown
Subject: re: books - Phil Winsor
To: Csound mail-list
Cc: Dave Phillips
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Hi All,
The Phil Winsor books Dave refers to are:
Automated Music Composition
Phil Winsor
ISBN 0-929398-38-6
This book has many BASIC algorithms that are useful in automated
composition with later programs outputting data in a format to be used
by MusicSculptor. (a program written by Phil) The programs could be
easily changed to output csound or standard midi file data.
Computer Music in C
Phil Winsor and Gene Delisa
ISBN 0-8306-3677-4
This book has many C algorithms that are useful in automated
composition.
I believe both these books are out of print and the companion software
disks are no longer available from the publisher.
I contacted Phil Winsor at the University of North Texas over a year
ago. At the time he was negotiating with a company to get his stuff
republished. I don't know what has happened since as I didn't follow
up on it.
Cybernetic Music
Jaxitron
ISBN 0-8306-1856-2
Warning this books code is in APL. I have only glanced at it as I do
not understand APL at all and APL isn't easy to understand, at least
for me it isn't. I picked it up cheap at a used book store. I
believe this book is also out of print, copyright is 1985.
A more recent book is
A programmers guide to sound
Tim Kientzle.
ISBN 0-201-41972-6
This book is full of c++ code - MIDI, various sound file formats, FFT,
sine wave generation... basics are covered. The code is supposed to
be portable to PC,MAC and UNIX O/Ss
Chris
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From: Paul Winkler
To: csound@maths.ex.ac.uk
Subject: linux csound: some realtime benchmark attempts
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--====================987654321_0==_
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In my last message, I showed that the pgcc compiler gives csound
substantial performance increases, as compared to standard GNU cc. Now
I'm looking at realtime benchmarks.
Recently I got help from the list on piping realtime events from another
application to csound via the -L flag. I've modified my code a bit for
benchmarking purposes, and done some tests.
There's no standard way to do realtime csound benchmarks, so these
are...
experimental realtime benchmarks
--------------------------------
All measurements were taken with a lightly-loaded X-windows session
active. It's a P133 system with 48 MB SDRAM and an EIDE hard drive.
Linux kernel version is 3.42. "top" shows the cpu is about 97% idle
before Csound starts.
Just in case Jim Stevenson isn't thoroughly sick of listening to
incomprehensible ASCII tables, here's my table format:
The first column gives the buffer size for the csound -b flag. The
second and third columns give scores for oscil and oscili,
respectively. Each of these two columns has one to three scores in
it. The first score represents the maximum number of voices obtainable
without getting sound breakups. The second score, if present,
represents the same thing, only this time tested while flinging the
mouse pointer quickly around the screen. The third score, if present,
gives the number of oscils that can be active before we start to hear
glitches at the start of each note. The fourth and fifth columns are
the same as the second and third, only testing the pgcc-compiled
version rather than the gcc-compiled version.
GCC PGCC
Buffer OSCIL OSCILI OSCIL OSCILI
------ ------ ------ ----- ------
64 32 0 0 25 0 0 37 0 0 27 0 0
128 37 0 0 27 0 0 39 0 2 28 0 2
256 32 0 32 27 0 27 39 0 38 28 0 28
512 37 33 36 28 26 28 40 31 40 28 18 28
1024 37 > > 27 > > 40 33 > 30 22 >
2048 39 > > 29 > > 43 35 > 29 22 >
4096 41 > > 29 > > 44 36 > 32 23 >
8192 42 > > 30 > > 44 38 > 32 24 >
16384 36 > > 31 > > 44 39 > 32 24 >
32768 37 > > 27 > > 39 39 > 29 22 >
65536 18 ? ? ? ? ? 19 ? ? 13 ? ?
When using realtime control, 512 is about the largest buffer size I
can use and still feel like notes play pretty much when I send
them. At higher settings, the delay is just too big for good-feeling
realtime control. At lower settings, there's too much gunk at the
beginning of each note.
In general, pgcc
improvement wasn't all that much compared to what I got with
non-realtime benchmarks ... Improvement ranged from none at all to 21.8%
better (for oscil at b = 256), and was usually more in the range of 5%.
The _increased_ mouse-induced glitching for Oscili is strange and
troubling. That was so unexpected that I checked the results a bunch of
times and always got within 1 point of the same scores... weird. I have
no explanation.
I should probably pick a more complex orc to use for testing; it's
pretty rare to just use one oscillator without even an envelope. :)
Attached is the file oscilRT.c which I used for the realtime
benchmarks. It does some unix-specific things; DOS or Mac people will
have to come up with their own realtime benchmark.
regards,
PW
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--====================987654321_0==_
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name="oscilRT.c"
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begin 644 oscilRT.c
M+RHJ(%-O;64@8V]D92!T;R!B96YC:&UA7!EF4[#0I&24Q%("IO9G`[#0IC:&%R(&-S;W5N9&-M9%LR-39=.PT*#0II;G0@
M;6%I;BAV;VED*0T*>R`@+RHJ*BH-"B`@<')I;G1F*")':79E('-T87)T:6YG
M('!I=&-H(&EN(&EN=&5G97(@:'HZ("`B*3L-"B`@
Date: Tue, 30 Jun 1998 10:49:22 +0200
From: Marco Budde
Organization: Student der TUHH
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To: dlphilp@bright.net, csound@noether.ex.AC.UK, jpff@maths.bath.ac.uk
Subject: csound for Debian GNU/Linux
Content-Type: text/plain; charset=us-ascii
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Hi!
I'm interested to package csound for Debian GNU/Linux
2.1 (see www.debian.org). But therefor I need informations
about csound's copyright.
I couldn't find any copyright informations in the source
package or on the csound homepage.
Debian splits its archive in two parts: free software
and non-free software. You can find a short description
at:
http://www.debian.org/social_contract#guidelines
So it would be nice, if you could send me some
informations about the copyright.
cu, Marco
--
Uni: Budde@tu-harburg.d400.de Mailbox: mbudde@hqsys.antar.com
Fido: 2:240/5202.15 http://www.tu-harburg.de/~semb2204/
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Date: Tue, 30 Jun 1998 10:24:00 +0100
From: Richard Dobson
Organization: Composers Desktop project
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To: Michael Gogins
Cc: csound
Subject: Re: compiler
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I did embark on just this some while back, adding in lots of init functions, and
indeed got Csound running re-entrantly for most of the main opcodes, but I ran
out of steam after a while (local statics are a particular problem!). Also, John
Fitch told me a few months ago that
a few of the things I had done weren't quite right (but I don't yet know what
those are!); however, most of what I did is still in the published sources,
commented out. I have a lot of other work on at the moment, but I do want to go
back to this exercise at some point. Once it is done, there is the chance for
some ~very~ snappy user interfaces - and it would benefit all platforms.
It would help if people adding new opcodes gave a moment to add init functions
(and preferably memory de-allocation functions too), avoided local statics, and
so on. Once the modules are re-entrant, there is a sporting chance the framework
code can be made so too.
Perhaps we could co-ordinate?
Richard Dobson
Michael Gogins wrote:
>
>
> The main obstacle is that Csound is designed as a process that starts, runs
> an orc and sco, and exits. It cannot restart, its code is not re-entrant. If
> this were fixed I would make Csound into a COM server myself. Anyone who
> wants to work with me on this, please do!
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Date: Tue, 30 Jun 1998 10:36:02 +0100
From: Richard Dobson
Organization: Composers Desktop project
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To: Paul Winkler
Cc: csound@maths.ex.ac.uk
Subject: Re: Pentium/Linux csound speed boost
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It would be interesting to compare these benchmarks with a VC++ build optimized
for the Pentium. Normally the build is made using what Microsoft calls 'blend',
which is friendly to 386/486 processors.
I think the next release of VC++ will add support the Pentium II.
Someone with lots of surplus disk space (100M) might like to try the Intel C++
compiler, which can plug into the VC++ development environment as an alternative
compiler; it supports the Pentium II, or course, and claims certain speed-ups in
floating-point handling, not least the cast of float to int, which is remarkably
slow in VC++. I implemented the assembly code for the cast, as an inline
function, and the test run was almost three times faster than the code using the
conventional cast, which involves an internal function call. This alone would
probably give Winsound quite a speed boost.
Richard Dobson
Paul Winkler wrote:
>
> Test Bach-d Bach-m Riss-g Riss-m Guit-d Guit-m Jame-g pvanal
> lpanal
> Length 115.73s 115.73s 63.75s 63.75s 87.75s 87.75s 6.75s 6.75s
> 5.00s
> ------------------------------------------------------------------------------
>
> P133/48:
> pgcc 7.39 7.27 3.94 3.82 6.63 6.47 0.50 4.51
> 3.20
>
> gcc 7.73 7.47 4.15 4.03 11.16 11.10 0.80 ---
> ---
>
> Win95 10.03 7.98 5.95 3.99 9.061 6.81 0.82 ---
> ---
>
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