| An article in Experimental Music Instruments (Vol. 13, No. 3) focusses on
IX's involvement and mentions a recent book: Space Calculated in Seconds:
The Philips Pavillion, Lc Corbusier, Edgard Varese, by Marc Treib (Princeton
UP, 1996) as well as the Philips Technical Reviews for 1958 which detail JW
de Bruyn's work with Varese to create Poeme (Studios were unionized back
then, so a technician had to actually do all the work!!). Now, I haven't
actually seen the book or the Philips technical reviews, but books on Le
Corbusier always downplay IX's involvement or creation of works that are
conventionally attributed to Le Corbusier. My memory of modern architecture
fails me--I could dredge up a book--but there's a particulr church with
irregularly spaced vertical concrete lines on the outside which are
completely attributable to Xenakis. The outside lines/patterns are
stochastic, a clear Xenakis hallmark of the time. I do think I read
somewhere (A liner note?) where IX admitted to this church.
Continuing the arcane line on IX publications and writings, there's an
article by Xenakis in an early number of Organised Sound which talks about
his methods and discusses the UPIC software/tool he used for La Legende
d'Eer. And of course Formalized Music is a major requirement for
understanding just what makes Xenakis tick (though seeing the line where
music teeters between a realization of complex systems and pure music is
somewhat depressing as it takes the kick out of some of Xenakis' music for
me).
> And one last remark: Grant mentioned that Concret PH was
> realised for the
> Philips Pavilion at the 1958 World Fair in Brussels, where
> Varese's Poeme
> Electronique was also played. The pavilion is always
> attributed the famous
> architect LeCorbusier; it was in fact designed by Xenakis
> himself (who was
> then LeCorbusier's collaborator), following the same
> structures he had used
> for composing Metastasis. That's something LeCorbusier always tried to
> conceal and the books fail to say.
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To: mikael@mhc.se
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In-reply-to: <3726AB05.674C191D@mhc.se> (message from Mikael Hillborg on Wed,
28 Apr 1999 08:30:29 +0200)
Subject: Re: Digest please
References: <3724F885.961DC18D@seanet.com> <372651E1.7243@hem.passagen.se> <3726AB05.674C191D@mhc.se>
Date: Wed, 28 Apr 99 13:31:04 BST
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There is an "unofficial" digest which I run for my own purposes. It
is not really the answer as the restrictions on posting only by
subscribers fails.
Anyway I repeat, anyone wahting to receive the digest form need only
mail me. I will also forward messages to teh list from such digest
members (with only the minimum of moderating -- ie I will not forward
spam or wildly off-topic messages)
==John ff
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Date: Wed, 28 Apr 1999 14:53:40 +0200 (MET DST)
From: Thomas Huber
Subject: Syncing oscillators
To: csound@maths.ex.ac.uk
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Hello,
Many of the old analog synthesizers had the possibility to 'sync'
their VCO's. Now I don't see the point of syncing VCO's, I mean
if the two VCO's are running in phase, you could also just use
one VCO, because there will be no 'beat oscillation'. So what is
the purpose of syncing VCO's ?
Another question: How can you sync VCO's if they run on different
frequencies ? (In my opinion it is only possible if they run
1:2, 1:3 ... or 2:1 3:1 frequency ratio).
In csound, all oscillators that run at the same frequency (or at
a multiple 1:2, 1:3, 2:1 etc) are synced inherently, right ?
Or is there more to it than what I think ?
Thomas
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Date: Wed, 28 Apr 1999 08:58:12 -0400
To: CsoundList
From: "Dr. Richard Boulanger"
Subject: RE: Bosendorfer piano samples, e.t.c.
Cc: madgello@oz.net
MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.omphalos
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Dear Sergey, Ricardo and Csound List Members
These samples are not legal. They are copyright 1990 Digidesign and
ProSonus. Barry and I were using them back in 1990 to test his original
looping oscillator algorithm. They were taken from my personal SampleCell
CD-ROM for these tests and eventually were put up by one of Barry's
students some years later. BUT, they are not public domain and they should
not be distributed over the internet - especially by MIT! I hope that the
link at MIT is dead or that someone at the Media Lab will correct this
situation by taking these files down from the Csound "samples" directory at
MIT (trumpet, bosendorfer, strings, guitar ... etc...) and deleting them.
There are many other sources for samples on the Internet. Check out the
Csound FrontPage for links to the free stuff. The implication has been
that they did some sampling of instruments at the media lab and this is not
the case.
Sincerely,
Richard Boulanger
>Doesn't look like it from here.
>
>Try:
>
>1 /pub/CLASS/EEL5745/Csound/Samples/Bosendorfer.tar
>3.8M - 1998 Apr 20 00:00
>FTP Site: ftp.eel.ufl.edu
>
>2 /pub/sci/audio/csound/additionals/Bosendorfer.tar
>3.8M - 1996 Mar 25 00:32
>FTP Site: ftp.funet.fi
>
>3 /pub/unix/sound/csbeta/Bosendorfer.tar
>3.8M - 1996 Feb 5 00:32
>FTP Site: ftp.funet.fi
>
>This file has the full Bosie set in UNIX tar library format.
>They have no extension, rename to *.aiff on DOS/Windows box, not sure about
>other OS.
>
>Ricardo MadGello
>Out & About.. .=DD .=DD=DD .=DD=DD=DD .=DD=DD=DD=DD .=DD=DD=DD=DD=DD=
.=DD=DD=DD=DD=DD=DD .
>
>
>> -----Original Message-----
>> From: owner-csound-outgoing@maths.ex.ac.uk
>> [mailto:owner-csound-outgoing@maths.ex.ac.uk]On Behalf Of Sergey Batov
>> Sent: Wednesday, April 21, 1999 11:19 PM
>> To: csound@maths.ex.ac.uk
>> Subject: Bosendorfer piano samples, e.t.c.
>>
>>
>> Hi,
>>
>> does anybody know something about
>> ftp://cecelia.media.mit.edu/pub/Csound ?
>> There were, for example, Bosendorfer piano samples...
>> Is this address still alive?
>>
>>
>> Sergey Batov batov@glasnet.ru
>>
_____________________________________________________________
Dr. Richard Boulanger
Professor - Music Synthesis Department
Berklee College of Music
1140 Boylston Street - Boston, MA 02215-3693
Office Phone: (617) 747-2485 Office Fax: (617) 536-2257
Email: radiobaton@earthlink.net OR rboulanger@berklee.edu
_____________________________________________________________
Personal Webpage: http://home.earthlink.net/~radiobaton/
THE Csound Frontpage: http://mitpress.mit.edu/e-books/csound/frontpage.html
HTML Tools & Tips: http://members.tripod.com/~richardboulanger/btot99.html
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Date: Wed, 28 Apr 1999 14:53:40 +0200 (MET DST)
From: Thomas Huber
Subject: Syncing oscillators
To: csound@maths.ex.ac.uk
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Hello,
Many of the old analog synthesizers had the possibility to 'sync'
their VCO's. Now I don't see the point of syncing VCO's, I mean
if the two VCO's are running in phase, you could also just use
one VCO, because there will be no 'beat oscillation'. So what is
the purpose of syncing VCO's ?
Another question: How can you sync VCO's if they run on different
frequencies ? (In my opinion it is only possible if they run
1:2, 1:3 ... or 2:1 3:1 frequency ratio).
In csound, all oscillators that run at the same frequency (or at
a multiple 1:2, 1:3, 2:1 etc) are synced inherently, right ?
Or is there more to it than what I think ?
Thomas
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Date: Wed, 28 Apr 1999 16:14:58 +0300 (EET DST)
From: Timo Tossavainen
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To: Thomas Huber
cc: csound@maths.ex.ac.uk
Subject: Re: Syncing oscillators
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Hi,
I'm not totally sure about this, but I think that the purpose of syncing
oscillators was to enable the spectral content of the resulting sound
to be altered by changing the frequency of the slave osc while the
pitch of the sound is the same as the master osc. The frequencies
of the oscillators don't have to be harmonically related. The synced
oscillators start their cycles at the same time and the cycle of the
slave is reset when another master cycle starts.
I'm not sure how it's implemented in old analogs.
Timo
On Wed, 28 Apr 1999, Thomas Huber wrote:
> Many of the old analog synthesizers had the possibility to 'sync'
> their VCO's. Now I don't see the point of syncing VCO's, I mean
> if the two VCO's are running in phase, you could also just use
> one VCO, because there will be no 'beat oscillation'. So what is
> the purpose of syncing VCO's ?
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From: SteinersT1@aol.com
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Date: Wed, 28 Apr 1999 09:20:50 EDT
Subject: Re: Syncing oscillators
To: csound@maths.ex.ac.uk
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Hello,
syncing oscillators are done in synths for sound design purpose. When the
master osc starts a new cycle, the slave is reset to start too. There is
nothing exciting when they are at same Frequency, but with a high difference
it introduces some metallic resonances. A common sound is when a frequency EG
modulates the master osc. On some synths different modes of syncing where
implemented, mostly soft- and hard sync.
Nice, I recently start to think about syncing in cSound too but with no
conclusions so far....
Malte Steiner
---------------------------
Electronic Industrial Music
www.block4.com ____________
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Date: Wed, 28 Apr 1999 11:09:47 EDT
Subject: hYdraJ on Mac
To: csound@maths.ex.ac.uk
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Yeah, I got it:
You need JBindery to start Java Application on Mac. With it everything works
(but the gui is pretty slow on the mac here). You find JBindery in Apples MRJ
SDK you can recieve from their pages.
Another issue is that when you save adsyn files or orchesters, MAC relates it
to JBindry and let you open the document only with it. Any hints to break
this tide?
Soon I post MAC screenshots to
http://members.aol.com/additiv
where you can find hYdraJ, the Javaversion of hYdra, the free adsyn file
editor.
Greetings,
Malte
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From: "Dr J.Stevenson's research assistant"
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To: csound@maths.ex.ac.uk, f1f0@m9ndfukc.com
Subject: Re: Digest please
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I have much of the csound list posts archived ( but unedited )
if U want I can send it to U if U want to try to sift thru it
just ask what dates ya think ya want...
----for f1fo:----
A MAN MAY DIE YET STILL ENDURE IF HIS WORK ENTERS THE GREATER WORK.AS ALL MEN MUST THANK
PROGENITORS OBSCURED BY THE PAST, SO MUST ENDURE THE PRESENT THAT THOSE MAY CUM AFTER MAY CONTINUE THE GREATER WORK
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Date: Wed, 28 Apr 1999 16:55:03 +0100 (BST)
From: Andrew
To: "Dr J.Stevenson's research assistant"
cc: csound@maths.ex.ac.uk, f1f0@m9ndfukc.com
Subject: Re: Digest please
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The list is being archived automatically at
http://media.dr.rhbnc.ac.uk/csound/
Not sorted or searchable though!
ac
On Wed, 28 Apr 1999, Dr J.Stevenson's research assistant wrote:
->I have much of the csound list posts archived ( but unedited )
->if U want I can send it to U if U want to try to sift thru it
->just ask what dates ya think ya want...
->----for f1fo:----
->
->A MAN MAY DIE YET STILL ENDURE IF HIS WORK ENTERS THE GREATER WORK.AS ALL MEN MUST THANK
->PROGENITORS OBSCURED BY THE PAST, SO MUST ENDURE THE PRESENT THAT THOSE MAY CUM AFTER MAY CONTINUE THE GREATER WORK
->
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Date: Wed, 28 Apr 1999 09:17:20 -0700
From: "Dr J.Stevenson's research assistant"
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To: csound@maths.ex.ac.uk, f1f0@m9ndfukc.com
Subject: Re: Digest please
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From: Eric Scheirer
To: madgello@oz.net, "Dr. Richard Boulanger"
MMDF-Warning: Parse error in original version of preceding line at UK.AC.Bath.maths.omphalos
Cc: Csound list
Subject: Re: Bosendorfer piano samples, e.t.c.
Date: Wed, 28 Apr 1999 13:59:52 -0400
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Hi Prof. Boulanger,
Yes, the KEMAR samples were developed by Bill Gardner and Keith
Martin at the Media Lab, and have been released for public use.
Please credit them if you use the samples.
Regarding the Bosendorfer samples, I will talk to Barry next time
he's in and find out what must be done. They are currently
still online on our ftp site ftp://sound.media.mit.edu/pub/Csound
and so they might need to be taken down if we are not approved
to release them in this way. One way or the other, I will make
a public post.
Best,
-- Eric
+-----------------+
| Eric Scheirer |A-7b5 D7b9|G-7 C7|Cb C-7b5 F7#9|Bb |B-7 E7|
|eds@media.mit.edu| < http://sound.media.mit.edu/~eds >
| 617 253 0112 |A A/G# F#-7 F#-/E|Eb-7b5 D7b5|Db|C7b5 B7b5|Bb|
+-----------------+
-----Original Message-----
From: Dr. Richard Boulanger
To: madgello@oz.net
Date: Wednesday, April 28, 1999 12:32 PM
Subject: RE: Bosendorfer piano samples, e.t.c.
>Ricardo,
>
>I am not 100% sure about the KEMAR stuff. That, I believe is OK to use and
>distribute.
>It would be worth asking the list and the people at mit about these... Eric
>Schirer or Paris Smaragdis could answer.
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From: Dew Drops
To: Csound
Subject: soundin
Date: Wed, 28 Apr 1999 16:45:00 -0400
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I'm new to CSound and having some trouble getting soundin to work; the
output comes out really distorted. I think it would be fine if I could
rescale the amplitude of the sound. Is there a way to do this in CSound ?
Or a way to set the volume of the input file in soundin ? here's my orc
file:
____________________
instr 5
asroll soundin "troll.wav", 0
outs asroll ; send signal to channel 1
endin
and my score:
_________________
; ins strt dur
i5 0 5
e
any help would be much appreciated.
Drew
_____________________________________________________________________
Q: How many IBM 370's does it take to execute a job?
A: Four, three to hold it down, and one to rip its head off.
Drew Volpe volpe@fas.harvard.edu
_____________________________________________________________________
Drew
_____________________________________________________________________
Q: How many IBM 370's does it take to execute a job?
A: Four, three to hold it down, and one to rip its head off.
Drew Volpe volpe@fas.harvard.edu
_____________________________________________________________________
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To: Dew Drops
Cc: csound@maths.ex.ac.uk
Subject: Re: soundin
In-reply-to: Your message of "Wed, 28 Apr 1999 16:45:00 EDT."
<001801be91b7$fc46e5a0$e7b5f78c@default.fas.harvard.edu>
Date: Wed, 28 Apr 1999 17:02:56 -0400
From: Paul Barton-Davis
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In message <001801be91b7$fc46e5a0$e7b5f78c@default.fas.harvard.edu>you write:
>instr 5
> asroll soundin "troll.wav", 0
> outs asroll ; send signal to channel 1
>endin
outs expects two input arguments, not one. If you just want to send a
single signal, use "out" or "outs1" or "outs2".
also, the number of channels in "troll.wav" needs to match the number
of output arguments you supply to soundin (in this case, 1).
--p
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Date: Wed, 28 Apr 1999 18:07:13 -0400
From: "Job M. van Zuijlen"
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To: Csound List
Subject: Re: FW: Recommended Xenakis?
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As far as I remember (I have no documentation available right now), J.W.
de Bruyn was more than just a "technician" and actually played an active
role in setting up the electronic music studio of Philips Research Labs,
which formed the basis of the now unfortunately deceased studios of the
Institute of Sonology of the University of Utrecht. I doubt that de
Bruyn's assistance had anything to do with studios being unionized or
not. The Philips' studio was part of the Research Labs and as such not
a regular studio. The main reason is, I think, that it wasn't
necessarily obvious how to use the equipment. Also, because of the lack
of voltage control, any pair of additional hands and ears would have
been helpful. One of the anecdotes told at Sonology at the time was
about the Cobra painter Karel Appel who wanted to create electronic
music for a documentary about his work. The photos from that episode
showed a transformed studio, as wild as the man's paintings. Some form
of assistance and supervision was definitely needed.
Job van Zuijlen
Grant Covell wrote:
>
> An article in Experimental Music Instruments (Vol. 13, No. 3) focusses on
> IX's involvement and mentions a recent book: Space Calculated in Seconds:
> The Philips Pavillion, Lc Corbusier, Edgard Varese, by Marc Treib (Princeton
> UP, 1996) as well as the Philips Technical Reviews for 1958 which detail JW
> de Bruyn's work with Varese to create Poeme (Studios were unionized back
> then, so a technician had to actually do all the work!!).
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Date: Thu, 29 Apr 1999 08:25:54 +1000
From: Bob Douglas
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Organization: Sydney Conservatorium
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To: CSound list
Subject: Re: FW: Recommended Xenakis?
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Job M. van Zuijlen wrote:
> .......... of the now unfortunately deceased studios of the
> Institute of Sonology of the University of Utrecht.
Is the Institute of Sonology deceased in Den Haag too !? I knew it had moved
because I studied Algorithmic Composition with Paul Berg there in 87-88. Stan
Tempelaar's lectures were the best I ever heard on Digital Processing! It was
a great place, buzzing with activity - they even had the original copy of
Varese's Poeme, as well as some of the original equipment used by Stockhausen
for panning etc.
Bob Douglas
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From: Michael Gogins
To: Grant Covell ,
"Csound (E-mail)"
Subject: Re: Recommended Xenakis?
Date: Wed, 28 Apr 1999 20:50:44 -0400
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Why should teetering anywhere remove the kick from music? Who cares where
the sound waves come from, or how the composer corralled them? At any rate,
I don't. I'm interested in how good they sound.
It's true that knowing how they were made does affect my perception of the
music, but I regard this as noise - I'm curious about how music is made so I
want to know how it was made, but I'd almost rather not know so that my
hearing would be colored only by the music itself.
-----Original Message-----
From: Grant Covell
To: Csound (E-mail)
Date: Wednesday, April 28, 1999 8:11 AM
Subject: FW: Recommended Xenakis?
>...discusses the UPIC software/tool he used for La Legende
>d'Eer. And of course Formalized Music is a major requirement for
>understanding just what makes Xenakis tick (though seeing the line where
>music teeters between a realization of complex systems and pure music is
>somewhat depressing as it takes the kick out of some of Xenakis' music for
>me).
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Date: Wed, 28 Apr 1999 21:53:31 -0400
From: "Job M. van Zuijlen"
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Subject: Re: FW: Recommended Xenakis?
References: <87E25BFE149AD21194CC00A0C999D98922682D@mail2.c-bridge.com> <37278691.B74370BA@ibm.net> <37278AF0.BD3FF717@mail.usyd.edu.au>
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No, as far as I know the institute in Den Haag is still alive and I
should have mentioned that they are the successor of Utrecht, and the
keeper of its legacy. The people you mention, Berg and Tempelaars, used
to teach in Utrecht, and I have enjoyed their classes at the time, as
well.
Job van Zuijlen
Bob Douglas wrote:
>
> Job M. van Zuijlen wrote:
>
> > .......... of the now unfortunately deceased studios of the
> > Institute of Sonology of the University of Utrecht.
>
> Is the Institute of Sonology deceased in Den Haag too !? I knew it had moved
> because I studied Algorithmic Composition with Paul Berg there in 87-88. Stan
> Tempelaar's lectures were the best I ever heard on Digital Processing! It was
> a great place, buzzing with activity - they even had the original copy of
> Varese's Poeme, as well as some of the original equipment used by Stockhausen
> for panning etc.
>
> Bob Douglas
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From: Grant Covell
To: 'Michael Gogins' ,
"Csound (E-mail)"
Subject: RE: Recommended Xenakis?
Date: Wed, 28 Apr 1999 22:42:48 -0400
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You're 100% onto my point, and you said it much better. I should have been
less glib.
Knowing the intricacies of some Xenakis has taken the flash and bite out of
it. But with Xenakis especially, some works (yes, I generalize) are about
the realization of a process or complex system into music. Personally, I'm
fascinated about the imposition of non-musical systems into music (one of my
compositions uses chess games translated into sound): A meaningful structure
in one context translated into a musical one. Sometimes it works, sometimes
not. Xenakis does some of this, and I've been curious as to the
how/why/what. And knowing more about some of the pieces has dissapointed me
(Waarg, Eonta), some it has engaged me (Jonchaies, Persephassa).
> Why should teetering anywhere remove the kick from music? Who
> cares where
> the sound waves come from, or how the composer corralled
> them? At any rate,
> I don't. I'm interested in how good they sound.
>
> It's true that knowing how they were made does affect my
> perception of the
> music, but I regard this as noise - I'm curious about how
> music is made so I
> want to know how it was made, but I'd almost rather not know
> so that my
> hearing would be colored only by the music itself.
>
> -----Original Message-----
> From: Grant Covell
> To: Csound (E-mail)
> Date: Wednesday, April 28, 1999 8:11 AM
> Subject: FW: Recommended Xenakis?
>
>
> >...discusses the UPIC software/tool he used for La Legende
> >d'Eer. And of course Formalized Music is a major requirement for
> >understanding just what makes Xenakis tick (though seeing
> the line where
> >music teeters between a realization of complex systems and
> pure music is
> >somewhat depressing as it takes the kick out of some of
> Xenakis' music for
> >me).
>
>
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Date: Wed, 28 Apr 1999 23:06:51 -0400
From: "Job M. van Zuijlen"
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Subject: Somewhat OT: who is jasonf@ivy.the-i.net?
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I don't know if anyone else has this problem, but since today, for every
message I send to Csound, I get a failure message telling me that the
mail service for jasonf@the-i.net
is unavailable. Anyone understand what is going on?
Job van Zuijlen
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Date: Wed, 28 Apr 1999 20:40:34 -0700
From: Prent Rodgers
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Also try http://pcfarina.eng.unipr.it/Public/IMP-RESP/ near the one in
Public/Convolution. I have used SLUCIA.WAV in the IMP_RESP to nice
effect.
Prent Rodgers
Mercer Island, WA
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From: Anders Andersson
To: The CSound mailinglist
Date: Thu, 29 Apr 1999 08:31:00 +0200
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Subject: Re: Syncing oscillators
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> syncing oscillators are done in synths for sound design purpose. When the
> master osc starts a new cycle, the slave is reset to start too. There is
> nothing exciting when they are at same Frequency, but with a high
> difference it introduces some metallic resonances. A common sound is when
> a frequency EG modulates the master osc. On some synths different modes of
> syncing where implemented, mostly soft- and hard sync.
>
> Nice, I recently start to think about syncing in cSound too but with no
> conclusions so far....
This is very easy. Just replace your std oscillator (oscil) with a "phasor"
and a "table" (wrapping). This will do exact the same thing as the oscil,
but with the exception that you can multiply the output from the phasor
*before* it enters the table-stage, thus driving the table faster (or
slower) but still reset when phasor restarts.
*BUT*...
This could (*will*) cause serious aliasing, because of it's digital nature.
One solution to this might be to have an "oscillator envelope", that will
mute the oscillator a few samples at the start of a new cycle, and at the
end. This will distort the waveform, but atleast the aliasing is limited.
The correct solution to get the specific "sync" sound, is ofcourse to
analyze the output from an analogue sync-mod-oscillator and to synthesize
the precise spectrum, but this could be hard when you want a moving "inner
oscillator".
// Anders (MOS 6581 rewlz man! Syncmode in hardware.. =D)
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To: csound@maths.ex.ac.uk
From: Hans Timmermans
Subject: development qeustion
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Hello,
The Music Software Development group of our department has started the
development of an Composition & Performance environment for Soundscapes.
Several Composers canb work on a Soundscape together, linked by the
Internet and react to material from other composers. The system will
distribute the results via the Internet and terminals generating the
composition can in in Museums, at home, in Concerthalls, in forsests or
mountains, cityparks etc.
We are thinking of using CSound as the audio-synthesis engine, but in order
to do so, CSound would need to be extended with Java-control options and
scheduling-facilities to post and control instruments while running the
Composition.
More info can be found on: http://www.hku.nl/~hanst/projecten/devp99.html
We are looking for developers worning on new versions of CSound interested
in this topics and would like to work on this project together with
developers outside of our faculty.
If you are interested please mail me.
Hans Timmermans
Senior Lecturer in Computer Music and in Music Software Development.
mailto:hans.timmermans@kmt.hku.nl
http://www.hku.nl/~hanst
School of Music
Graduate and Postgraduate Programs in Composition, Music Production and
Music Technology http://www.hku.nl/ma/
Faculty of Art, Media & Technology
Utrecht School of the Arts
phone: (+31) 35 6836464
fax: (+31) 35 6836480
PO-BOX 2471
1200 CL HILVERSUM
the NETHERLANDS
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Subject: Re: Syncing oscillators
To: csound@maths.ex.ac.uk
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Hello,
<>
Sync-sounds lives from interruption, but you are right, due to the merciless
digital precision it will introduce artefacts. I would call it 'very hard
sync mode'.
A rolloff function would be necessary and could be a new parameter for
sounddesign.
Interesting would be how sync is sounding and implemented into digital
synths, currently I recall 3 synths (Korg Wavestation (and perhaps his
precessor, SCI Prophet VS), Roland JD990 and - not sure- Kurzweil K2000) and
of course the virtual analogue ones but these will sound as expected.
I got an Oberheim Matrix6r which can do sync, I will sample it and look what
happens to the spectrum and waveform...
CU,
Malte Steiner
---------------------------
Electronic Industrial Music
www.block4.com ____________
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Date: Thu, 29 Apr 99 11:15:09 BST
From: jpff@maths.bath.ac.uk
Subject: Re: Localization of CSound
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Message written at 29 Apr 1999 07:51:25 +0100
--- Copy of mail to thudson@cygnus.com ---
If it is GNU code then presumably it has GNU licencing? I have
checked my SGI and Linux machines and neither of them has such a
system. I remain reluctant to use it. It is on my friend's SUN
machine so we did look at the man pages for some time yesterday
lunchtime, but I am not very enthusiastic. I am inclined to do it teh
obvious way.
==John ffitch
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Date: Thu, 29 Apr 99 11:15:44 BST
From: jpff@maths.bath.ac.uk
Subject: Concert Announcement
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Message written at 29 Apr 1999 09:48:03 +0100
On Saturday 8 May 1999 at 19:30
At Kingswood Theatre, Lansdown Road, Bath, UK
Beatsystem will present a concert of Electro-Acoustic Music
Dereck Pierce Drone 1 for tape and electric violin
Luigi Nono ...Sofferte onde serene...
John ffitch Drums and Different Cannons
Giacinto Scelsi Aitsi
Dereck Pierce This gospel Train is Pulled by Steam
with Connie Garforth (Piano), Jo Nye (Voice), Davide Rossi (Electric
violin), Grapham Sims (Electric Guitar) and Dereck Pierce (Sound
diffusion).
Tickets available from Kingswood Theatre, Beatsystem or at the door
==John ffitch
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From: jpff@maths.bath.ac.uk
To: pbd@op.net
CC: volpe@fas.harvard.edu, csound@maths.ex.ac.uk
In-reply-to: <199904282104.RAA28196@renoir.op.net> (message from Paul
Barton-Davis on Wed, 28 Apr 1999 17:02:56 -0400)
Subject: Re: soundin
BCC: jpff@maths.bath.ac.uk
References: <199904282104.RAA28196@renoir.op.net>
Date: Thu, 29 Apr 99 11:57:07 BST
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You can use outs for a mono output if you wish. I got fed up with the
error message, so changed it some time back.
==John ff
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In-reply-to: <199904282104.RAA28196@renoir.op.net> (message from Paul
Barton-Davis on Wed, 28 Apr 1999 17:02:56 -0400)
Subject: Re: soundin
References: <199904282104.RAA28196@renoir.op.net>
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You can use outs for a mono output if you wish. I got fed up with the
error message, so changed it some time back.
==John ff |