| Dose any one know where to find a downloadable archived version of the
ACCCI. I have an older version but I would like to have a copy of the 1.2
version on my home machean. Any format will work but .hqx is perfered.
Thanks
Shamus McConney
mcconney@nwe.ufl.edu
http://web.nwe.ufl.edu/~mcconney/
http://web.nwe.ufl.edu/~mcconney/Pd+.html
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Date: Sat, 13 Feb 1999 16:40:48 +0100
From: rasmus ekman
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Subject: Re: more than one krate
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Kevin Gallagher wrote:
>
> could there be a way to have more than the
> four rates p, i, k, and a for csound?
p?
anyway, you could use a kgoto counter to skip code
Like:
instr 1
icount = 100
kcount init icount
; ...code
if kcount > 0 kgoto countdown
;... Midi code (or whatever)
printks "let's twist again %.2f", 0, kcount
kcount = icount
kgoto continue
countdown:
kcount = kcount - 1
printk .01, kcount
continue:
; ...more code
endin
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Date: Sat, 13 Feb 1999 15:45:04 +0000
From: Tobiah
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To: rdouglas@mail.usyd.edu.au
CC: CSound list
Subject: Re: Cecilia vs CSound - Working Method
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> What sorts of things can be done by working this way, that can't be achieved
> by working in an environment like Cecilia or Cynthia ?
> For example, what is the advantage of creating a file in 'vi' etc., compared
> to working in Cynthia/Cecilia.
I think that a graphical front end to Csound could be
used as the final tool in making very simple pieces,
or in particular individual complex sounds. The
place where this becomes a limitation for me in the
way that I work, is when it is time to organize a
large, complex composition.
As yet, present computer hardware available to me is
nowhere near fast enough to consider rendering an
entire five minute composition with thousands or
millions of notes, each time a small adjustment
needs to be heard. My approach to this problem has
paralleled the process of compiling large C programs.
I still use Makefiles (in fact, trees of Makefiles)
where the top level Makefile serves only to mix
individual 'Tracks' of sounds. Mixing is like Linking
in C. It is very fast as compared to recompiling
everything at once.
So, having built a large system like this, I might
go down four levels in the tree to adjust the
granularity of a score generation program that makes
a score for a bass sound in the seventh minute of
track 4, part one. The change triggers a rendering
of the sound itself, a remix of part one, and then
a remix of the whole piece. If the make is run from
the part one level, then just part one can be heard
each time there is a change to the sound, until the
result is satisfactory enough to justify remixing and
auditioning the entire piece.
The other beauty of this system is that variables can
be propagated down the tree from any point, adjusting
global parameters such as max amp, reverb time or
others. All aspects of the entire piece remain
dynamic, and can be easily adjusted years later,
PROVIDED THAT THE BUILD TOOLS ARE STILL AVAILABLE.
I trust that 'make', and 'bash' are not in near
danger of extinction, or loss of support and
development. I don't feel the same way about most
GUI interfaces. Will they follow me to my next
hardware platform? I don't bet on it. I am staying
rooted in command line UNIX as my main engine.
None of this makes the GUI's less usable however. As
I stated previously, I often love to use them when I
need to experiment with parameters, or functions, by
quickly hearing the results of a tweak. The
difference is that I then transport those found
parameters to my makefile tree where I know that
they will always be available for reworking.
There. Now I've given my process away, and my music
will pale in comparison to the new wave of large
Csound compositions that will follow.
Toby
-There otta be a law-
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Date: Sat, 13 Feb 1999 11:11:58 -0500 (CST)
From: Rusty Wickell
To: Tobiah
cc: CSound list
Subject: Re: Cecilia vs CSound - Working Method
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Toby,
I would be interested in seeing more of this method. Maybe an example of
how you structure your files and the Makefile. I to love to use these same
tools and had not thought of it, till you mentioned it.
Thanks for the secret,
Rusty
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From: Tobiah
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> Toby,
> I would be interested in seeing more of this method. Maybe an example...
O.K., but only a hint. I can't give away too much :( )
########## Mid level Makefile in large piece ############
OUTFILE = $(SFDIR)/one/track1
#OUTFILE = dac
CSFLAGS = -W -R -d -b65536 -B65536 -o $(OUTFILE) --log
DIRS = blip groan blip3 blip3hi stoned #blip2 blip4
all : dirs $(OUTFILE)
#TRACK1
$(OUTFILE) : orc sco touched
csound $(CSFLAGS) orc sco
touch ../touched
sco : ms.c
gcc ms.c -o ms -lmycscore -lcscore -lm
ms > sco
dirs :
for each in $(DIRS); do (cd $$each; make); done
#########################################################
There. Now I've really opened the flood gate.
Toby
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Date: Sat, 13 Feb 1999 14:01:15 -0500 (CST)
From: Rusty Wickell
To: Tobiah
cc: CSound list
Subject: Re: Cecilia vs CSound - Working Method
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Toby,
What do you use to mix the files? Is it a command line program or is
csound itself? Your method has a lot a very strong points that I like
_very_ much!! Please tell me more, I await in anticipation. I would love
to be able to see a full example, with all tree makefiles and examples
of global variables etc.. ,but I understand if you want to keep
your secret to yourself.
Thanks,
Rusty
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From: Tobiah
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Subject: Re: Cecilia vs CSound - Working Method
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Rusty Wickell wrote:
> I would love to be able to see a full example,
> with all tree makefiles
Ok. Browse the whole tree here.
You can't build the piece from it though,
because you won't have my cscore extentions,
source sounds or support programs.
Naaa na naaa na naaaaaa naaaaaa
Toby
http://tobiah.rcsreg.com/pub/secret
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Date: Sat, 13 Feb 1999 23:14:39 +0000
From: Andre Bartetzki
Organization: STEAM HfM Berlin
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J P Fitch wrote:
>
> Thius variable was removed in my sources some time ago; after all I use
> shaker rather too much! Is this a Mac problem?
> ==John
I've noticed a similar problem with IRIX Csound !
Obviously, there are further discrepancies in the manual descriptions of some
opcodes ...
Specially in waveguide opcodes!
Andre
--------------------------------------------------
Andre Bartetzki http://www.kgw.tu-berlin.de/~abart
Studio fuer elektroakustische Musik http://www.kgw.tu-berlin.de/~abart/Steam/steam.html
Hochschule fuer Musik Berlin http://www.hfm-berlin.de
Tel. +49-30-4726629
Tel. +49-30-203092488
--------------------------------------------------
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From: Gabriel Maldonado
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Subject: Re: more than one krate
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There are only 3 rates in csound: i,k and a (p-fields are i-rate).
The need of a high k-rate value is mainly to avoid distortion in sound. As I said in a
previous message, one shoud use only a-rate signals to control amplitude or variant delay.
So I suggest to use a-rate amplitude envelopes or to use opcode interp to tranform a
k-rate signal to an a-rate one. In these cases the distortion will become unheardable even
with low k-rate values.
Gabriel
Kevin Gallagher wrote:
>
> I was just wondering, is there/could there be a way to have more than the
> four rates p, i, k, and a for csound? I'm doing some stuff in realtime so
> I need to optimize bandwidth. In getting rid of some pops and clicks, I
> found that I need a high krate (3000+), but my realtime MIDI stuff often
> demands a low krate (under 500). Is there a way to have two krates, a
> high one and a low one? If not, what is a good workaround?
>
> Kevin Gallager, kgallagh@astro.temple.edu
> Web - http://astro.temple.edu/~kgallagh
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From: jpff@maths.bath.ac.uk
Subject: Re: Incorrect evaluation driving me crazy
To: nv96llu@ksk.sala.se, csound@maths.ex.ac.uk
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Message written at 13 Feb 1999 14:47:50 +0000
In-reply-to: (message from Lars Luthman on Sun, 7 Feb 1999 16:06:56 +0100 (CET))
This is a generic bug in the macro expansion system. I have just fixed it.
It was a memory allocation problem.
==John ffitch |