| Some items of interest to users of Linux Csound:
The Csound 3.47 MIDI input problem may be solved, but I don't have a
MIDI keyboard to check it. Any volunteers ?
I've been playing around with the demo of the ARDI Executor, a Mac OS
emulator for Linux, and I've found that the following programs will run
under the demo:
CMask
MacMusic II
Phonogramme
Spliner
CornBucket
Syd
All of those programs are Csound helpers. Performance varies, and I'm
reluctant to judge them on the basis of 1) running them under the
Executor demo (it times out after 10 minutes), and 2) running them on a
woefully underpowered machine (486/120). Still, they do seem to work,
and they are all quite unique.
So, if you're running Linux, using Csound, and you want to expand your
toolkit, check out those applications. Pertinent URLs are listed in the
"OS Emulation" section of my Linux soundapps page.
== Dave Phillips
http://www.bright.net/~dlphilp/index.html
http://www.bright.net/~dlphilp/linux_soundapps.html
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From: Mark Wilkes
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I can't seem to be able to use loscil with large soundfiles (like
around 60 secs), and have resorted to using diskin instead. What's
the problem with loscil, and is there any reason to use it when I can
use diskin?
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Date: Wed, 25 Feb 1998 09:05:02 -0500
From: Jean Piche
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To: Mark Wilkes
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Subject: Re: loscil/diskin
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Mark Wilkes wrote:
>
> I can't seem to be able to use loscil with large soundfiles (like
> around 60 secs), and have resorted to using diskin instead. What's
> the problem with loscil, and is there any reason to use it when I can
> use diskin?
loscil stores the soundfile in ram via a gen01 function table. This means a 1
min. stereo file will try to appropriate 10Mb of ram. As its name suggests,
diskin reads from disk and is not subject to these limitations. loscil offers
looping point controls and will deliver more real-time performance since it
accesses data in ram...
--
________________________________________________________
Jean Piche
Universite de Montreal
http://mistral.ere.umontreal.ca/~pichej
http://www.musique.umontreal.ca/electro/CEC/
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Date: Wed, 25 Feb 1998 08:22:06 -0800
From: Erik Spjut
Subject: Re: Mathematics for sound.
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To: Pedro Batista , csound@maths.ex.ac.uk
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At 9:38 AM +0000 2/25/98, Pedro Batista wrote:
>Pete wrote:
>>i would say that as a general rule, it is good to know as much as possible
>>about anything. but even a little knowledege is better than none.[snip]
>
>IMO, music is mostly and primarly a physical interaction. The body reacts to
>music at a very intuitive level, either if you play it, or you listen to it.
[snip]
>pedro
At the risk of re-inflaming the "what is music?" debate (and I promise not
to send out the Csound version of 4'33" again), music is many things to
many people. If you want to understand HOW foscil works (as opposed to
twiddling knobs or parameters) you need knowledge of Fourier series or
transforms and Bessel functions, which requires a minimum of calculus and
probably some complex algebra. If you want to know where physical models
come from (and maybe design your own) you need to understand partial
differential equations. There is nothing wrong with knob twiddling, but if
that's all you do, there will be parts of digital synthesis that are
forever hidden from you.
However, Stradivarius was a lousy violinist and Issac Stern was never a
world-class violin maker. The artist and the recording engineer are both
necessary. The question ultimately boils down to your interests, desires,
and abilities.
-------------------------------------------------------------------------------
Erik Spjut (rhymes with cute) - Acting Director,The Center for Design Education
and/or Associate Professor of Engineering
Harvey Mudd College, Claremont, CA 91711 USA
Erik_Spjut@hmc.edu Ph & Voice mail (909) 607-3890 Fax (909) 621-8967
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From: rasmus ekman
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Subject: Re: back-synthesizing
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Pedro Batista wrote:
>
> If I have a wav file of the sound I want to reach, I can use a HETRO/adsyn
> combination to recreate it in the context of a csound instr, but its sort of
> like cheating, if you know what I mean. Cant those utilities be used to
> retrieve info from the soundwave itself, that would allow us to recreate it
> using just sound generation/shaping opcodes?
Cheating? If sound analysis/resynthesis in general is cheating, then
surely hetro is cheating. Using hetro is cheating from a purist
synthesician's viewpoint (which I'd like to take, but it's too frustrating),
but the info it uses is certainly derived from the sound itself.
What you are looking for is perhaps to be able to tap into that info
with more detailed control, to reshape the material. HETRO data is
as you may know a set of time/pitch and time/amp lines for a bank
of oscillators, and you can only use them wholesale in adsyn.
But you can do several analyses of the sound: like 5-10 files,
each with just 10 harmonics, analysis starting at different pitches,
like 50, 150, 250, 450 etc. This will make the spectrum denser,
so you lose less from the analysis, and you can use these as
different layers which are resynthesized at different speed/pitch.
(Or indeed, 80 files with just one harmonic. Must try that now.)
Also, do try pvoc. With the newer opcodes (pvread et al) you can
get the kind of control you're looking for (or at least that which
I'm talking about).
If you're having problems with it, post the orc/sco, and the command
line you use in analysis, and hopefully someone can tell what's up.
Cheers,
re
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From: Joseph T Reinsel
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Subject: Csound Handbook
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I have been teaching Csound in my Digital Composition class this spring and
using the Barry Vercoe Csound Manual. I was wondering if anybody knows if
there is a more "beginner friendly" version that might be better for my
teaching purposes for the future.
--Joseph Reinsel
Radford University, Radford, Virginia
|