| Hi Csound devotees,
I have just posted three files to my website designed to make GM percussion
rendering with Csound easier. The panning is more theoretically correct
than I have seen, because it blends sound from both channels unless the
sound is panned exactly to the center. In keeping with the demands of GM,
it pans a mono or stereo sample twice, once for the sample itself, and once
for the Pan controller. It also implements volume adjustments for sample,
for the track, and for the note. Now if someone can make a new command to
do this faster!
There is also a command written in Cakewalk Application Language which
removes any overlapping parts of notes, updated for CPA 5.0. This is
important because of the problem with overlapping notes, where the second
one gets prematurely silenced then the first one ends.
Using these files, I get full decays, but I can change sample length, and
never have to change a setting in a setup file! I can specify full
pathnames to the files, using MY directory structure, instead of making
duplicates. I can easily change from stereo to mono, or tweak sample pan
or volume, just by editing the .sco file. Biggest drawback: Csound insists
on reading in every f-table this way, even if it is never used.
This is my first installment in "The MIDI Rendering Page". Come check out
my website, which is under construction, at:
http://www.themall.net/~slvrsrfr
I have some Real Audio 3.0 examples of my music (made before I devised this
technique) up there too.
Jackee Criswell
TheSilverSurfer@themall.net
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Date: Mon, 03 Mar 1997 18:36:14 +0100
From: LENTZ Mathieu
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Subject: help on a program
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I am writing to you in connection with a Csound program.I have problems
concerning its study and analysis. Maybe someone could help me. I hope I
haven't disturb you in your work. Here is the program :
; Physical Models *
>; coded: 1/22/97 Hans Mikelson *
>;*********************************************
>
>sr = 22050
>kr = 22050
>ksmps = 1
>nchnls = 1
>
>;Perry Cook's Slide Flute
>
>instr 2
> aflute1 init 0
>
>; Flow setup
>
> kenv1 linseg 0, .05, 1.1*p4, .1, .98*p4, p3-.15, .95*p4
> kenv2 linseg 1, p3-.01, 1, .01, 0
> aflow1 rand kenv1
> aflow1 = aflow1/p4
> asum1 = aflow1*.0356 + kenv1/p4*1
> asum2 = asum1 + aflute1*.4
>
>; Embouchure
>
> ax delayr 1/p5/4
> delayw asum2
> apoly = ax - ax*ax*ax
> asum3 = apoly + aflute1*.4
>
> avalue tone asum3, 8*p5
>
>; Bore
>
> aflute1 delayr 1/p5/2
> delayw avalue
>
> out avalue*p4*kenv2
>endin
>
>; Score
>; Start Dur Amplitude Pitch
>i2 0 .4 16000 220
>i2 + .2 12000 258.3
>i2 . . 13000 289.5
>i2 . . 14000 328.9
>i2 . . 15000 440
>i2 . . 16000 289.5
>i2 . . 14000 328.9
>i2 . .4 16000 258.3
>i2 . .2 17000 516.6
>i2 . . 15000 440
>i2 . . 17000 386.4
>i2 . . 15000 440
>i2 . . 14000 289.5
>i2 . . 17000 328.9
>e
Thanks for your help.
Your sincerely,
Matthieu Lentz
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Date: Mon, 03 Mar 1997 02:17:13 +0100
From: Gabriel Maldonado
Reply-To: g.maldonado@agora.stm.it
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To: Dennis Miller
Cc: Csound Mailing List
Subject: Re: Win95 REALTIME MIDI CSOUND VERSION
References: <199703031257.HAA31954@lynx.dac.neu.edu>
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Dennis Miller wrote:
>
> To: Gabriel M.
> Hello! I just downloaded the Win 95 version and noticed in the notes
> that it supported only SB cards. I seem to recall thatin an earlier
> message, you had mentioned that it worked with any soundcard that
> appeared in the list of installed cards? Could you clarify?
> thanks,
> Dennis
Well, this version should run with all card drivers compatible with
Win95 and not only with SB16 compatibles, at least in theory.
Unfortunately, my MEDIA PRODIF-100 spdif digital card seems to don't
work, although Csound recognizes its driver. I think this could due to
some instability in sound flow at the inizializiation time. This may
cause a loss of data flow continuity and a break of syncronization in
spdif cards. It cause a crash in my DAT digital input. Maybe that
analog cards don't suffer this limit. Please experiment with your card
and tell me if all is ok.
bye
Gabriel Maldonado
mailto:g.maldonado@agora.stm.it
http://www.agora.stm.it/G.Maldonado/home2.htm
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Date: Mon, 03 Mar 1997 02:17:29 +0100
From: Gabriel Maldonado
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To: Rathe Hollingum
Cc: Csound Mailing List
Subject: Re: yOUR cSOUND
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Rathe Hollingum wrote:
>
> Hi,
>
> Just successfully downloaded your Csound. I hope I works when I
> take it home with me.
>
> I have lots of idears as to what to do with it. This version may
> also solve my problem with 8 bit samples. As when I use 8 bit samples in
> the gen functions I seem to get a usless sound out however when I change
> the P fields after the gen function I can't notice any change. Gen
> function 1 works well with 16 bit sample. Also I have noticed that when I
> convert a sample format form 8 bit to 16 bit using the windows wav player
> Csound doesen't like the file and says that there is a unknown skip
> chunk, or something like that.
Sorry, I'd never worked with 8 bit sample, so I don't know if my version
can
solve your problem. Normally I use two Wave editors: Cool and Goldwave.
Sometime the files saved with one in aiff or wav format, seems not work,
but when I load them with the other editor and save them in the same
format
Csound recognizes them. I think there is some little difference in the
soundfiles header that Csound doesn't recognize. I'd never used windows
wav player for saving. Try to use Cool and/or Goldwave (both shareware).
Gabriel Maldonado
mailto:g.maldonado@agora.stm.it
http://www.agora.stm.it/G.Maldonado/home2.htm
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Date: Mon, 03 Mar 1997 22:17:56 +0000
To: csound@maths.ex.ac.uk
From: Richard Wentk
Subject: Re: Morphing
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At 11:07 03/03/97 +0800, you wrote:
>General morphing technique in 3 easy steps:
>
[snip]
>Obvioulsy, this is abstract, and doesn't say how to find a space for
>the two sounds to live in, but it is, in fact, what every morph
>construction does. The two infinities here show how vague we are being
>when we talk as if there were one "right" morph, or as if there could
>be a definitive piece of morphing software.
Indeed. And of course there is no one final and true absolute and
definitive 'best' morph for any two sounds.
The important criteria though are not the technical ones. The model space
doesn't matter. What does matter is that the morph *sounds* convincing.
Whether you do this by technical finesse or psychoacoustic sleight of hand
is irrelevant - although obviously the broader and more effective the range
of models you have to work with, the more likely it is you'll get a
succesful result.
>We find two different models that have parameter regions where they
>produce sounds that are perceptually similar. Then to "morph" from a
>sound made with one of the models to a sound made with the other, we
>chose a parameter path that bring sound A into the overlapping
>perceptual region, switch models as subtly as possible, and continue
>on the path in the other model's parameter space until we arrive at
>sound B.
>
>In this way, both sounds don't actually reside in the same parameter
>space, but a convincing "morph" can still be achieved.
Yeah - that will work too. (But I wouldn't want to try it in practice
unless I really had to. :) )
As a more general principle, the morph becomes more difficult the more
information you have to deal with. Morphing between a square wave and a
triangle wave is trivial. Morphing smoothly between a Bach violin partita
and a Mozart piano concerto requires a total control over musical and sonic
considerations which is going to be unreachable in practice. (At least by
anyone with an IQ that doesn't run into four figures and *really* fast
hardware.)
It's the range of potential morphs in between these extremes that are
achievable now - often involving vocal sounds, because they seem unusually
compelling to most people - that I think are most interesting from a
compositional point of view.
R.
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To: csound@maths.ex.ac.uk
From: Javier Ruiz
Subject: Re: Curve equation needed BIS
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>>I'm looking for a particular parametrical curve who could fit the following
>>scheme: Imagine a unity square defined by the two following points
>>(0,0)-(1,1). For a given value of the parameter (let's say zero), the curve
>>would be the diagonal of the square. When the parameter would augment, it
>>would slowly distord in order to map the upper half border of the square [
>>i.e. defined by (0,0)-(0,1)-(1,1) ]. Ideally, when the parameter is
>>inifinite, the curve would exactly map this contour.
I made a mistake in the previous post.
This is the superellipse function corrected to give a diagonal when n=0
y=(1-(1-x)^(n+1))^(1/(n+1))
This will give you:
y=x when n=0
and what you want when n=infinite (or almost)
BTW the superellipse formula is:
abs(x/a)^n+abs(y/b)^n=1 (abs(z)=absolute value of z)
in our particular case a=b=1
Javier Ruiz
C/Las Americas, 4, bajo.
38205 Santa Cruz de Tenerife
CANARY ISLANDS-SPAIN
phone: 34 22 25 35 14
e-mail: javiruiz@lix.intercom.es
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To: Csound Mailing List
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From: Hans Mikelson
Subject: Slide Flute Waveguide Model
Date: Mon, 03 Mar 97 19:17:23 PST
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This instrument is described at:
http://ccrma-www.stanford.edu/CCRMA/Software/clm/compmus/clm-tutori
als/pm.html
| | | \ | / Hans P. Mikelson
| __ | __/ | \ | hljmm@discover-net.net
|__ |__ |__ |__ \_ |__ http://discover-net.net/~hljmm/
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From: Grace Sullivan
Subject: LMJ Ed-in-Chief opening
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NOTE
The deadline for submitting proposals for the LMJ Editor-in-Chief position
has been extended until _21 MARCH 1997_.
Please post and/or inform all interested parties. Address any inquiries to
grace@sfsu.edu
Thanks.
Grace Sullivan
LMJ Managing Editor/Leonardo Associate Editor
http://userwww.sfsu.edu/~grace/namely.html
Leonardo/ISAST
236 West Portal Avenue, #781, San Francisco, CA 94127, U.S.A.
tel (415) 440-6170 / fax (415) 440-6127
http://www-mitpress.mit.edu/Leonardo/home.html
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Subject: Morphing and more
Date: Tue, 4 Mar 97 14:43:50 +1100
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Morphing
Given 2 soundfiles, S1 and S2. There is a unique transformation function
, T, such that
S1 x T = S2 (1)
T can simply be derived:
T = S2 / S1
This means that any soundfile can be converted to any other soundfile.
Given an appropriate T function The Black Dog's "Spanners" can be
converted into Stravinsky's "Requiem Canticles" using a process of
multplication. (Copyrighters could go crazy on this one).
There must be a function, Tm ,that will create a soundfile Sm, that is
part way between S2 and S3. So, if
S1 x T1 = S2, and
S1 x T2 = S3
maybe Tm = (k x T1) + ( (1-k) x T2). So
S1 x Tm = Sm
If k was a linear function between 0 and 1, then we would have a morph
right?
I implemented this a few years ago, in Csound and in C. Turns out that
the resultant "morph" is just a straight mix of the 2 soundfiles :-(
I hoped that by fiddling with Tm (or substituting S1) I could create new
soundfile variants. It turns out that T is VERY sensitive to
modifications - you can easily get samples wildly out of range or a lot
of noise.
Any comments? A mathematically literate friend has told me that in (1)
the spectrum of S2 is the convolution of the spectra of S1 and T.
Practical or not, transformationists may enjoy the knowledge that any
sound can be derived or converted into any other. And you don't even
have to hear that to appreciate the elegance.
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Date: 03 Mar 97 23:11:19 EST
From: "Kevin P. Parks"
Reply-To: kpp@dartmouth.edu
Subject: Re: Morphing and more
To: ggerrard@ozemail.com.au, csound@maths.ex.ac.uk
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--- Graeme Gerrard wrote:
-->>can be converted into Stravinsky's "Requiem Canticles"
-->>using a process of multplication.
If i send you my thesis composition could you please turn it
into stravinsky's "requiem canticles" (or as my friend
liked to call it the: "requiem testicles", which was i believe
a sequel to the "canticum scrotum")?
I would be equally happy with the "septet" or "threni"
(tastier than either of werbern's cantatas if you ask me) or
better yet "agon" (a top ten piece of the '50s, anyone. . ..?).
That would be really nice. either way, it would improve
my piece dramatically. Hell, i'll give you all my stuff
you could turn some of it into nono, some into feldman . . etc..
i would be a pretty amazing composer. heck that is one black
box i would buy. Pump in the crummy music and out comes
the good stuff.
hehe (ok, sorry to cram your mail spools)
back to lurking.
-kp--
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Date: Tue, 04 Mar 1997 01:31:34 -0800
From: doug cross
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To: csound@maths.ex.ac.uk
Subject: clips not sought
References: <32CF22D0.C41@omnids.com>
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i've been working with this file for a while now and i can't figure why
it is that i am getting clips after each playing of "anysound".(my
example file is 5.555 seconds in duration. something to do with the
bandwidth maybe? The score is abbreviated for the sake of example.
any ideas or suggestions would be welcome.
;===============orc
sr = 44100
kr = 4410
ksmps = 10
nchnls = 2
instr 17
iq = p7 ;bandwidth
icf1 = 250 ;centre freq
icf2 = 375
icf3 = 562
icf4 = 843
icf5 = 1265
icf6 = 1898
icf7 = 2847
icf8 = 4271
ipan = p5
imodrise = p3/3
imodec = p3/3
igain = p6
;-------------------------------------------------
aenv oscil igain,1/p3,2
asigm, asign soundin "anysound.aiff", p4 ; duration is 5.555 sec
asigm = asigm*aenv
asign = asign*aenv
;-------------------------------------------------
asigm1 reson asigm,icf1,icf1/iq,1
asigm2 reson asigm,icf2,icf2/iq,1
asigm3 reson asigm,icf3,icf3/iq,1
asigm4 reson asigm,icf4,icf4/iq,1
asigm5 reson asigm,icf5,icf5/iq,1
asigm6 reson asigm,icf6,icf6/iq,1
asigm7 reson asigm,icf7,icf7/iq,1
asigm8 reson asigm,icf8,icf8/iq,1
asign1 reson asign,icf1,icf1/iq,1
asign2 reson asign,icf2,icf2/iq,1
asign3 reson asign,icf3,icf3/iq,1
asign4 reson asign,icf4,icf4/iq,1
asign5 reson asign,icf5,icf5/iq,1
asign6 reson asign,icf6,icf6/iq,1
asign7 reson asign,icf7,icf7/iq,1
asign8 reson asign,icf8,icf8/iq,1
asigl =
(asign1+asign2+asign3+asign4+asign5+asign6+asign7+asign8)
asigr =
(asigm1+asigm2+asigm3+asigm4+asigm5+asigm6+asigm7+asigm8)
asigl = asigl*igain
asigr = asigr*igain
outs asigl*ipan, asigr*(ipan-1)
endin
;====================== sco
f2 0 8193 8 0 4096 1 4096 0
;in st dur skip pan gain iq
i17 0 2.55537 0 0.5 7 900
i17 0.77 2.5542 0.029299 0.499 7 988.802
i17 1.63 2.5529 0.062022 0.498 7 1088.1
i17 2.48 2.5516 0.094365 0.402 7 1186.2
i17 3.04 2.55075 0.115674 0.401 7 1250.8
i17 3.78 2.54963 0.143831 0.4 7 1336.2
i17 4.56 2.54844 0.17351 0.399 7 1426.2
i17 5.36 2.54722 0.203951 0.399 7 1518.5
i17 6.03 2.54621 0.229445 0.398 7 1595.8
i17 6.9 2.54488 0.262548 0.301 7 1696.2
i17 7.46 2.54403 0.283857 0.301 7 1760.8
i17 8.33 2.54271 0.316961 0.3 7 1861.2
i17 9.05 2.54161 0.344357 0.301 7 1944.2
e
;etc
thanks
doug
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Date: Tue, 3 Mar 1992 11:32:35 +0000
To: csound@maths.ex.ac.uk
From: Per Byrne Villez
Subject: Re: Copyright issues
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Donald J Ankney wrote:
But that's the beauty of Csound. There is no Csound "smell" or
>"sound." An instrument can be implemented in just about any environment,
>and other than directly asking the composer what environment a sound was
>created in, there is no way of telling.
Yes, that was, my benign sarcastic point of view,
per
On Thu, 27 Feb 1992, Helen Byrne & Per Byrne Villez wrote:
>
>>
>>
>>
>> It would be very interesting to see how many lawyers could spot what was
>> composed/made on Csound and what wasn't. I suppose it would have to have
>> that Csound kind of 'smell' about it.
>>
>> Per Byrne Villez
>>
>
>
>
>
>_____________________________________________________________
>Donald J. Ankney | "For in human Art we are mot merely
>ankney@u.washington.edu | dealing with playthings, however
>5106 NE 24th #1 | pleasant or useful they may be,
>Seattle, Wa 98105 | but...with a revelation of truth."
>(206)729-0423 | -Hegel
|