Hi,

At 01:31 AM 2/9/98 +0100, rasmus ekman wrote:

>Ah! Now, has anybody recently done any masterpiece in Csound?

Ummm...working on it...

Bye,
Hans Mikelson

P.S. After reading a piece of email entitled "Good Times" my brand new 600
MHz Workstation transformed itself into a 8088!  This machine allows me to
decipher over 50% of =cw4t7abs posts.  ;)  (Just kidding! Jeepers!)

P.P.S. So as to not completely waste this message, here is an
orchestra/score showing how to do planar rotations of three dimensional
oscillators.  In this example I apply it to a spherical lissajous surface.
It can, of course, can be extended to higher dimensions if you are dealing
with 4 or more dimensional oscillators.

; ORCHESTRA

sr=44100
kr=22050
ksmps=2
nchnls=2
zakinit 30,30

; Spherical Lissajous Figures
        instr 5

ifqc    init cpspch(p5)
iu      init p6
iv      init p7
irt2    init sqrt(2)
iradius init 1
ioutx   init p8
iouty   init p9
ioutz   init p10

kampenv linseg 0, .001, p4, p3-.002, p4, .001, 0  ; Declick

; Cosines
acosu  oscil 1, iu*ifqc,   1, .25
acosv  oscil 1, iv*ifqc,   1, .25

; Sines
asinu  oscil 1, iu*ifqc,   1
asinv  oscil 1, iv*ifqc,   1

; Compute X and Y for spherical Lissajous
ax = iradius*asinu*acosv
ay = iradius*asinu*asinv
az = iradius*acosu

; Output to zak channels
   zawm kampenv*ax, ioutx
   zawm kampenv*ay, iouty
   zawm kampenv*az, ioutz

endin

        instr 50

ifqc    =    p4
iphase  =    p5
iplane  =    p6
inx     =    p7
iny     =    p8
inz     =    p9
ioutx   =    p10
iouty   =    p11
ioutz   =    p12

kcost  oscil 1, ifqc,   1, .25+iphase
ksint  oscil 1, ifqc,   1, iphase

ax      zar  inx
ay      zar  iny
az      zar  inz

; Rotation in X-Y plane
  if (iplane!=1) goto next1
    axr = ax*kcost + ay*ksint
    ayr =-ax*ksint + ay*kcost
    azr = az
    goto next3

; Rotation in X-Z plane
next1:
  if (iplane!=2) goto next2
    axr = ax*kcost + az*ksint
    ayr = ay
    azr =-ax*ksint + az*kcost
    goto next 3

; Rotation in Y-Z plane
next2:
    axr = ax
    ayr = ay*kcost + az*ksint
    azr =-ay*ksint + az*kcost

; Output to Zak channels
next3:
        zaw axr, ioutx
        zaw ayr, iouty
        zaw azr, ioutz

endin

; Mixer
instr 100

in1  =  p4
in2  =  p5

; Read the Zak channels
a1   zar  in1
a2   zar  in2

; Output the results
     outs a1, a2

; Clear the audio channels
     zacl 0,30
endin

; SCORE
f1 0 8192 10 1  ; Sine

; Spherical Lissajous
;    Sta  Dur  Amp    Frqc   U    V     OutX  OutY  OutZ
i5   0    .6   5000   7.04   3    2     1     2     3
i5   +    .4   6000   5.11   5.6  .4    .     .     .
i5   .    .4   .      6.07   2    8.5   .     .     .
i5   .    .2   4500   6.02   4    5     .     .     .

; Planar Rotation
; 1=X-Y Plane, 2=X-Z Plane, 3=Y-Z Plane
;    Sta  Dur  Fqc  Phase  Plane  InX  InY  InZ  OutX  OutY  OutZ
i50  0    1.6  1.5  0      2      1    2    3    4     5     6
i50  0    1.6  1.8  0      3      4    5    6    7     8     9

; Mixer
;    Sta  Dur  In1  In2
i100 0    1.6   4    6

Matt J. Ingalls wrote:
> 
> David Schuyeteneer wrote:
> 
> > I have a new cd. It's called "electroclips" : a collection of 20+
> 
> in which i had the same reaction:
> > I listened to it over and over again and slowly became discouraged : I
> 
>         listen to Jonty's CD and you will have no interest in synthesis
> anymore..

Nonono you guys think backwards...
My best (read: only full-scale) work built on, um, somebody's
Buchla synthesizer piece -- he made it sound like dozens
of instruments, voices and concrete-ish sources. 
The method was: I listened to a small part (it's 2 hrs+),
then went to the studio focusing on a particular sound, spent
my 3 hrs trying to imitate it (on the studio's $15000 Buchla), 
completely and pathetically failed, but in the process I was 
virtually guaranteed to get at least 30 sec's worth of 
*brilliant* (and utterly different) sounds.

Then it's just a matter of cramming them together in an 
interesting and entertaining shape... but with such first-class
material the sounds almost laid themselves side by side right away.

Ah! Now, has anybody recently done any masterpiece in Csound?

(- or generally, is it today possible to do anything worthwhile
_synthesizing_ sounds rather than fiddling with samples?
And, just to throw in a little black powder, I'd regard a good
"physical model" with filters and hard-coded numbers as half a 
sample, unless it uses a *very* un-"intuitive" method, like 
Karplus-Strong...)

Regards,

	re

On Mon, 9 Feb 1998, rasmus ekman wrote:

> Then it's just a matter of cramming them together in an 
> interesting and entertaining shape... but with such first-class
> material the sounds almost laid themselves side by side right away.
> 

	I don't want to appear to be picking a fight....but,
	there's something aesthetically bankrupt in the notion
	that the compostional aspects of writing a good piece
	of electro-acoustic music amount to nothing more
	than coming up with good sounds and then "cramming
	them together in an interesting and entertaining shape"...
	In fact, I would say that this notion accounts for more
	truly bad pieces of electro-acoustic music than I can
	count. A new sound, a new technology or a new midi
	controller is not in an of itself enough to make a 
	piece of music anymore than a Beethoven sonata is
	some "some good chords" or tunes crammed together.
	A painter mixes his/her pallette...AND THEN THEY PAINT!
	Anyone with me on this? (again, pardon the pugilistic
	tone, I'm sure you didn't mean that remark litterally, 
	(I hope), but it's a real issue...honest to God  it is..)

	Bruce Quaglia
	bruce.quaglia@m.cc.utah.edu

At 01:31 AM 2/9/98 +0100, rasmus ekman wrote:

>Ah! Now, has anybody recently done any masterpiece in Csound?

Yes _ I have but the text is better than the sound, still it seems a
masterpiece at first sight. I actually compiled it from chunks I copied
from this list, because I don't understand a clue of how csound really
works. That is why I am on this list. To sample masterinsight into
masterpieces. 
Gz

>
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