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Re: percussive designs (and the files for marimba/agogobel?)

Date1998-02-13 11:39
Fromrasmus ekman
SubjectRe: percussive designs (and the files for marimba/agogobel?)
Brian Redfern wrote:
> 
> I'm a csound newcomer, just wondering about the best 
> ways to try to make realistic drum sounds.

Use samples (with loscil)- and even with very good 
sampled sounds, it's a pain to make the drumming 
sound reasonably realistic. Generally, Csound is 
probably not the best tool for imitating traditional 
instruments.

You could try the opcode pluck, but it is better
for string sounds than drum. Among the very new
opcodes (You need version 3.47 for this to work),
there one called "marimba", but according to the
docs it wants some sample to work.

Is this true, and if so, where could we get the 
mentioned files "marmstk1.wav" and "britestk.wav"?


Regards,

	re

Date1998-02-16 13:40
Fromjpff@maths.bath.ac.uk
SubjectRe: percussive designs (and the files for marimba/agogobel?)
The impulse files are in
pub/dream/documentation/sounds/modelling/

At least they are supposed to b.
==John
>>>>> "rasmus" == rasmus ekman  writes:

 rasmus> You could try the opcode pluck, but it is better
 rasmus> for string sounds than drum. Among the very new
 rasmus> opcodes (You need version 3.47 for this to work),
 rasmus> there one called "marimba", but according to the
 rasmus> docs it wants some sample to work.

 rasmus> Is this true, and if so, where could we get the 
 rasmus> mentioned files "marmstk1.wav" and "britestk.wav"?


 rasmus> Regards,

 rasmus> 	re




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Matt J. Ingalls wrote:
> > If you have a platform that *truly*
> > support symbolic links, you don't have to rename your files to soundin.xx,

> - could you explain this more?

A symbolic link ("symlink") is a property of Unix filesystems.
It is a file that points to the logical adress of another file.
So what's the use?? - They are handy when you would have to
keep several copies of the same file, f.e. when they're referen-
ced by programs under different names, or when you want
to have multiple identical files but you don't want to copy them
all over again if you change one of them. They take only
1 "block" of the filesystem, so you could make a copy of a 10 Meg
soundfile with just a 1K file. Nice, huh?

kd



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From: Olivier Pasquet 
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Subject: Real time IN
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Hello,

I have a small problem with the Real Time CSound.
When I try the Gabriel's example (delay), it says me:

"Failed to open DAC: wave out device already allocated"

-- I have tryed to set my soundcard at 8 bits: nothing changes.
-- I have tryed two types of soundcard (Sound blaster and Turtlebeach). I know
they are all Soundblaster compatible...
-- When I remove the "-i" flag, the OUT realtime works all right.

I'm quite sure it is a stupid thing.
How can I do?

Thank You very much.
                                                                         
Olivier.



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From: Mike Berry 
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David Schuyeteneer wrote:
> 
> khold oscil 50,0.3,2
> kvib randh 1,abs(khold)
> kdown line 1,p3,-5
> 
> ;  loscil xamp,   kcps,    ifn,[ibasefreq,][imod1, ibeg, iend]
> a1 loscil 10000, 1+kvib,    1,    1     ,    1,     0,   363790
> a2 loscil 10000, kdown,   1,    1     ,    1,     0,   363790

	Your line runs from 1 to -5.  When it passes zero, you begin to "speed up"
again, in a negative direction.

-- 
Mike Berry
mikeb@nmol.com
http://www.nmol.com/users/mikeb





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From: David Schuyeteneer 
To: csound mailing list 
Subject: new language proposal
Date: Mon, 16 Feb 1998 15:20:49 +0100
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A new sound language should be invented with syntax like this :

I honestly have to admit that inspiration comes from "POVRAY", wich can be
considered
as the visual equivalent of Csound...It is a raytracer that describes a 3D
scene the same way
Csound does with sound.

I think Csound lacks in clarity and structure. Disadvantages of Csound
structure :
-needs everything to be completed on one line
-absence of parentheses,brackets,vector-style modifications
-opcodes are too short abrieviated...
- blah-blah..
- blah...
- bl..
- b..
- ..
- ?


#include "fx.inc"  // includes fx.inc file wich contains several reverb and
chorus modules
#insert "stereo_441.hdr" //inserts ascii content of file "stereo_441.hdr"

#declare My_LFO  
lfo { sine<5,1>}
##declare

#declare My_Random_LFO
lfo { rnd {
              uniform   // "uniform" and "interpolation are keywords (see
manual for details)
              interpolation
              frequency <5> /* anything between "<" and ">" are interpreted
as vectors
                                       (see manual for the vector
dimensions) */
             }//rnd block
      }
##declare

#declare My_Beep
sound {   sine  {
                         amplitude 10000
                         basefreq  100
                         harmon 1, 0.5
                         harmon 2, 2
                        }
              
               amplitude {     // modifies sine{} amplitude
                                overall {
                                    attack   0.1
                                    decay    0.1
                                    sustain   2
                                    release   0.1
                                          } //overall

                            harmon { <1>  My_LFO }  // My_LFO controls
harmonic 1
                            
                           harmon { <2>	
                                        My_Random_LFO * 1.5    
//My_Random_LFO for harmonic 2
			   }	
                              
                               } // amplitude block
                                          
              frequency {
                             
                            harmon { <1> sine <20,5> }  //sine

                              } // frequency block
                 }// sound block
##declare

output {
 My_Beep {  start 0
                   duration 7
                   stereo <0.3,0.7>   // 30% left channel, 70% right
channel
                }   
          }
My_Beep { start 7
                 duration 7
                  stereo { pan{sine<1,2>}}
                }
}output block


                                             

OR we could invent a language wich only works on massive parallel
processing Supercomputers.
This kind of language could be of a ultra high level like :

#include "amplitud.inc" 
//this includes different amplitude sets for symphonies

sound 1{ 
            symphony {   // generate a complete symphony with 300
instruments
                              instruments 300
                              style 1    ( beethoven 0.1)  // 10% of
beethoven style
                              style 2    ( bach 0.9)         //  90% of
Bach style
                            }                                
            morph { 
                          style<1,2>  //morph from style 1 to style 2
                          melodic 0.3  // 30% morphing of melody
                          rythm    0.7  /* 70% morphing of rythm, so here
the morph will be more clear
                                                on the rythm */
                          time duration/2 //morph will be complete in
duration/2 seconds
                        }
}

output { 1
            amplitude Standard_Symphony  
            start 0
            duration 3600 //1-hour symphony
          }

// ---------------- end of symphony.mus -----------------------------------
     
                           



David.
                           




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David Schuyeteneer wrote:
> 
> A new sound language should be invented with syntax like this :
> 
> I honestly have to admit that inspiration comes from "POVRAY", wich can be
> considered
> as the visual equivalent of Csound...It is a raytracer that describes a 3D
> scene the same way
> Csound does with sound.
> 
> I think Csound lacks in clarity and structure. Disadvantages of Csound
> structure :
> -needs everything to be completed on one line
> -absence of parentheses,brackets,vector-style modifications
> -opcodes are too short abrieviated...
> - blah-blah..
> - blah...
> - bl..
> - b..
> - ..
> - ..............
	We should remember as we discuss csound language modifications that there is
no need to write a language that is just like C or C++.  This is because those
languages already exist, and it is certainly possible and not terribly
difficult to write your music directly using a C++ compiler and a set of
standard sound and file i/o classes.  I mention this because this is how I
often work myself.
	The object of csound should be to provide something different from this. 
Currently, csound offers a compact (though recently bulging) dictionary and a
straight-forward (or limited) syntax.  This makes it easier to learn than C. 
Also, cross-platform support that is easier than C or C++.
	This discussion began (I think) as more about the internals of csound, rather
than the structure of the orc or sco.  The internals ARE a hodge-podge, but
this is primarily of concern to those who support the code.  If those people
want to clean it up, either through DLL's or C++ or whatever, and they have
the time and nerve, then do it.  But the point of that would be to PRESERVE
the way users interact with csound, not to change it.
	When you discuss significant changes to the syntax of csound, there is very
little reason to call it csound or start from the csound source (because the
source is not orderly or intelligible).  Instead, you are talking about making
a new language.  This is O.K., but should not be confused with upgrading
csound.  (Many of us have done just that - SAOL is the MIT version, GrainWave
is my Mac version, and so on...).  There should be lots of tools available,
since not every tool fits every purpose.
	I think that anything that makes maintaining csound easier is a good thing. 
But a new language is not maintenance, it is something new and separate, and
should be considered as such.
-- 
Mike Berry
mikeb@nmol.com
http://www.nmol.com/users/mikeb





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From: Olivier Pasquet 
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Hello David,

I like how your parallel processing supercomputer will work. Do not worry this
will come very soon on optic machines big like a simple poket calculator. But,
we will maybe die before.
For my part, I do not wait for a higher level. Indeed, it usually go against
you. You cannot do everything you want or everybody will use the same "super
hight level" functions. CSound have more and more hight level opcodes such as
voiceFM... It is useful but I prefere really new C codes that full the lack of
CSound capabilities (fof or pvanal styles...)
A supercomputer would allow us to do very complicated processings using a
simple programme such as CSound. Actually, I am not sure that a complicated
processing would change the sounds quality a lot. At the sight of granular
synthesis,  I do not know...

Are there other language like CSound. I only hear CSound or older versions in
my universe.

Bye Bye.                                                           Olivier.




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From: Olivier Pasquet 
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Subject: new language proposal -Reply
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Hello David,

I like how your parallel processing supercomputer will work. Do not worry this
will come very soon on optic machines big like a simple poket calculator. But,
we will maybe die before.
For my part, I do not wait for a higher level. Indeed, it usually go against
you. You cannot do everything you want or everybody will use the same "super
hight level" functions. CSound have more and more hight level opcodes such as
voiceFM... It is useful but I prefere really new C codes that full the lack of
CSound capabilities (fof or pvanal styles...)
A supercomputer would allow us to do very complicated processings using a
simple programme such as CSound. Actually, I am not sure that a complicated
processing would change the sounds quality a lot. At the sight of granular
synthesis,  I do not know...

Are there other language like CSound. I only hear CSound or older versions in
my universe.

Bye Bye.                                                           Olivier.




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Subject: Re: new language proposal -Reply
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>Are there other language like CSound. I only hear CSound or older versions =
in
>my universe.

super koll!dr
nyku!st.









s y m m e t r +3 [k 0 r ; u p t -1 p n
---- =D8 f =D8 =D8 =D8 3 [p-un_kT-pr_o-T=96k_oL]
3000f0/sba7t4wc=3D/kd.lime-dog.www//:pTTh





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>>  Which gets into realms of potential poetry that might be arguably
>>   blurring the line between music and language... interesting, eh?
>
>Which is exactly what the swedish "Text-Sound" movement of the 1960's
>did. In 1953 swedish poet =D6yvind Fahlstr=F6m wrote his "Manifesto For
>Concrete Poetry" where he suggested a form of poetry on the same
>principles as the concrete music, he wanted to strip the poetry of all
>semantic content and use the words and syllables as pure poetic
>carriers. The resulting movement used tapes and electro-aucustic
>techniques to acheive his goals, and no-one could really decide if
>they composed music or wrote poetry, hence the term "Text-Sound
>Compositions" where coined.

I'm familiar with the work, though not the history of it... one of my 
college professors, Charles Stein, continues to be quite active in this 
field. He's written some very interesting scores with "nonsense" words 
and sounds scattered over the page and directional symbols suggesting 
patterns of movement among them, as well as roughly indicating 
inflections. Plus we used to do a lot of "text-sound" improvisation. Fun 
stuff.

--PW

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



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Date: Mon, 16 Feb 1998 15:18:47 -0600
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From: =cw4t7abs 
Subject: Re: Whither music?
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>>>  Which gets into realms of potential poetry that might be arguably
>>>   blurring the line between music and language... interesting, eh?
>>
>>Which is exactly what the swedish "Text-Sound" movement of the 1960's
>>did. In 1953 swedish poet =3DD6yvind Fahlstr=3DF6m wrote his "Manifesto Fo=
r
>>Concrete Poetry" where he suggested a form of poetry on the same
>>principles as the concrete music, he wanted to strip the poetry of all
>>semantic content and use the words and syllables as pure poetic
>>carriers. The resulting movement used tapes and electro-aucustic
>>techniques to acheive his goals, and no-one could really decide if
>>they composed music or wrote poetry, hence the term "Text-Sound
>>Compositions" where coined.
>
>I'm familiar with the work, though not the history of it... one of my
>college professors, Charles Stein, continues to be quite active in this
>field. He's written some very interesting scores with "nonsense" words
>and sounds scattered over the page and directional symbols suggesting
>patterns of movement among them, as well as roughly indicating
>inflections. Plus we used to do a lot of "text-sound" improvisation. Fun
>stuff.


+ onl+e when !t =3D enklozed by pretent!ouz akadem!k notez jas _?
!n odr wordz !t =3D oki zo long az !t =3D art.matter.
tzo long az !t !=3D evr+eday operat!on rout!n + fami.liar 4m jas _?

h  ok !  z


--- b 3 g ! n nonsense" words

0 0 0 0 0 0 0 0 4 0
0 0 0 0 0 0 0 0 0 0
0 2 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 4 0 0 4 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 1 0 0 0 0 0 0
4 0 0 0 0 0 0 0 4 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 9 0 0 0 0 0 0 0
0 0 0 0 0 4 0 0 0 0
0 0 0 0 0 3 0 0 0 4
0 0 0 0 0 0 0 0 0 0
0 0 0 1 0 0 0 0 0 0
0 0 0 4 0 0 0 0 0 0
0 0 0 0 0 0 4 0 0 0
0 0 0 0 0 1 0 0 0 0
0 0 0 0 0 4 0 0 0 0
0 0 0 0 0 2 0 0 0 4
0 0 0 0 0 2 0 4 0 0
0 0 0 4 0 0 0 0 0 0
0 0 0 0 0 0 0 1 0 0
0 0 0 0 0 0 0 0 0 0
2 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 1 0 0 0 0 0 0 0 0
0 8 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 4 0 0
0 0 0 0 0 0 0 0 0 0
0 4 0 0 0 0 2 0 0 0
0 0 1 0 0 0 4 0 0 0
0 0 0 0 0 0 0 0 0 2
0 0 1 0 0 0 0 4 0 0
0 0 0 0 0 0 4 0 0 0
0 0 0 0 0 0 0 0 4 0
0 0 0 0 4 0 4 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 4 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 1
0 0 0 0 0 0 9 0 0 0
0 0 0 0 0 0 0 1 2 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 1 9 9 8
0 0 0 0 3 0 0 0 0 0
5 0 0 3 0 0 0 0 0 0                   =D8f=D8=D8=D83| |m9ndfukc|
hTTp://www.god-emil.dk/spCa/zweite
2 0 0 0 0 0 0 0 0 0
6 0 0 0 0 1 0 0 5 0
0 0 0 0 0 3 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 3
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
3 0 0 0 0 0 0 0 0 4
0 7 0 0 0 0 0 0 0 0
0 3 0 0 0 0 0 1 0 0
0 0 0 1 0 0 0 6 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 3 0 0 0 0 0 5 0
0 3 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 3 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 2 0
0 0 0 0 0 3 0 _ p h





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Date: Mon, 16 Feb 1998 16:16:01 -0500 (EST)
From: Larry Troxler 
To: =cw4t7abs 
Cc: csound@maths.ex.ac.uk
Subject: Re: new language proposal -Reply
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On Mon, 16 Feb 1998, =cw4t7abs wrote:

> >Are there other language like CSound. I only hear CSound or older versions in
> >my universe.
> 
> super koll!dr
> nyku!st.
> 

I'm not so sure if you could say that Nyquist is very similar to Csound,
except that they are both languages for dealing with sound.

Larry

--  Larry Troxler  --  lt@westnet.com  --  Patterson, NY USA  --
  




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From: tolve 
Subject: Re: Whither music?
Date: Mon, 16 Feb 1998 17:45:01 -0500
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>>>  Which gets into realms of potential poetry that might be arguably
>>>   blurring the line between music and language... interesting, eh?
>>
>>Which is exactly what the swedish "Text-Sound" movement of the 1960's
>>did. In 1953 swedish poet =D6yvind Fahlstr=F6m wrote his "Manifesto For
>>Concrete Poetry" where he suggested a form of poetry on the same
>>principles as the concrete music, he wanted to strip the poetry of all
>>semantic content and use the words and syllables as pure poetic
>>carriers. The resulting movement used tapes and electro-aucustic
>>techniques to acheive his goals, and no-one could really decide if
>>they composed music or wrote poetry, hence the term "Text-Sound
>>Compositions" where coined.
>
>I'm familiar with the work, though not the history of it...

there is a nice little book on similar work entitled Dada Performance,
edited by Mel Gordon, PAJ publications, NY. During Dada's non reign circa
1916-24:

"(Hugo) Ball, (Richard) Huelsenbach, and (Tristan) Tzara experimented with
three kinds of poetic techniques: Lautgedichte (sound-poetry and
noise-music); simultaneous poetry; and chance poetry. Although the
Futurists and turn-of-the-century German poets had already pioneered the
use of nonsense words and onomatopoetic sounds as literary devices, the
Dadas incorporated them into moments of hysterical incantation with real
drumbeats..."

but, as the italian futurists also previously created noise music with
mechanical sound making devices (manifesto: the art of noise 1906?), and
their work does not seem to be as well documented, you have to wonder if
they really didn't get there first -after some ancient tribe somewhere else.

gadji beri bimba!
tolve

>one of my
>college professors, Charles Stein, continues to be quite active in this
>field. He's written some very interesting scores with "nonsense" words
>and sounds scattered over the page and directional symbols suggesting
>patterns of movement among them, as well as roughly indicating
>inflections. Plus we used to do a lot of "text-sound" improvisation. Fun
>stuff.
>
>--PW
>
>______________________________________________________
>Get Your Private, Free Email at http://www.hotmail.com






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From: tolve 
Subject: Re: new language proposal -Reply
Date: Mon, 16 Feb 1998 17:55:42 -0500
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i would be most interested, and appreciative in/to read/ing a superficial
comparison of csound, super collider, and nyquist.

tolve

>On Mon, 16 Feb 1998, =cw4t7abs wrote:
>
>> >Are there other language like CSound. I only hear CSound or older
>>versions in
>> >my universe.
>>
>> super koll!dr
>> nyku!st.

Larry Troxler wrote:
>
>I'm not so sure if you could say that Nyquist is very similar to Csound,
>except that they are both languages for dealing with sound.







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>i would be most interested, and appreciative in/to read/ing a superficial
>comparison of csound, super collider, and nyquist.

nyku!zt cmj vol 21. nr 3
sc - c on line demo







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Date: Mon, 16 Feb 1998 23:59:43 +0100 (MET)
From: Nicola Bernardini 
To: Csound mailing list 
Subject: Re: [Csound parser]: format for subject headers?
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On Mon, 16 Feb 1998, Richard Dobson wrote:

> I would like to suggest a standard format for postings to the group on this topic,
> more-or-less on the lines of the one I have used for this message. A similar
> system is used on a discussion list for people writing Windows Device Drivers.
> What do people think?

I agree. I think that threading mailing list programs could handle
these subjects easily even if the string right after the square
bracket is different and keep everything in the same thread.

Nicola

------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
 
Re graphics: A picture is worth 10K words -- but only those to describe
the picture.  Hardly any sets of 10K words can be adequately described
with pictures.




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Date: Tue, 17 Feb 1998 00:58:16 +0000
From: Larry Troxler 
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Nicola Bernardini wrote:
> 
> On Mon, 16 Feb 1998, Richard Dobson wrote:
> 
> > I would like to suggest a standard format for postings to the group on this topic,
> > more-or-less on the lines of the one I have used for this message. A similar
> > system is used on a discussion list for people writing Windows Device Drivers.
> > What do people think?
> 
> I agree. I think that threading mailing list programs could handle
> these subjects easily even if the string right after the square
> bracket is different and keep everything in the same thread.
> 
> Nicola
> 

I don't understand - What advantage does such a format have? I assume
this must have to do with some type of automated way of sorting
messages, but I don't understand the details.

In particular, why would anyone need to mention the word "csound" in the
subject on the Csound mailing list :-)


Larry


--  Larry Troxler --  lt@westnet.com  --  Patterson, NY USA  --



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To: csound@maths.ex.ac.uk
From: "A. Archias" 
Subject: Re; ver 3.47(pc) & modelled opcodes
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 Hello;

  I have been trying a few of the modelled opcodes without
any success.
>.orc
instr 1
   
   kjet=0.32
   knoise=0.15
   kform=1.0    ; gain of phoneme  0 to 1.2
   kfreq=260    ;freq of note played
   kvibf=7      ;freq of vibrato
   kvamp=0.05   ;amplitude of vibrato
a1 wgflute  kmamp,kfreq,kjet,p4,p5,knoise,kvibf,kvamp,1
endin
>.sco
f1 0 32768 10 1 0 0 0 0
;  st dur  p4 p5
i1 0 1.0  .1 .2
e

;the symptom is that my computer (PCI 90)just hangs when instr allocation is
taking place. The notes say that ifn is from a function. I assumed GEN 10 for
example. I tried 'voice' and got similar results. Which GENs would apply for
the modelled opcodes?
                          Thanks for any answers    Andy
 




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From: Gabriel Maldonado 
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Larry Troxler wrote:

> It is a myth that C++ is somehow slower than the same code in C.
> Efficiency is not a valid concern.

In modern developing toolkits C++ compiler is exactly the same as C
compiler. The only difference is the programming style: a good
object-oriented style normally should be easily readable (sometimes also
redoundant) and this not always goes in parallel with speed. Also the
data hiding and the access of private variables by means of member
functions is not always the best, if you are looking at the pure
efficiency.

--
Gabriel Maldonado

mailto:g.maldonado@agora.stm.it
http://www.agora.stm.it/G.Maldonado/home2.htm
http://www.geocities.com/SiliconValley/Way/7041/home2.htm







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Richard Dobson wrote:

> This sounds like we are moving Csound towards being a full scripting
> language.  I like the idea of a synthesis language with a little more
> richness than Csound (obviously, SAOL already fits this bill quite
> well) ,

But, until now (alpha or beta version?), SAOL is very slow on PCs (at
least 10 times slower
than Csound).This makes realtime almost impossible.

> but would be a dramatic change to the nature of Csound - perhaps too
> much?

I think not so much.

> How far can it be taken before we end up reinventing CMIX?

What is the question about CMIX ? (excuse my ignorance). Is it better
than csound?

> > With respect of adding new features to the ORC language, I suggest
> > the
> > following things:
> >
> > 1) the possibility to implement multi-arguments functions and
> > subroutines that can be written directly in the orc code with
> > following
> > form:
> > ;****CALLING A FUNCTION (named 'anyfunc1' in this example)
> > a1    oscili    anyfunc1(a2,a3,a4) * kamp, anyfunc2(a3,a4,a5),  1
> >
> > ;**** BODY OF A FUNCTION
> >          func      anyfunc1(aparm1,kparm2,iparm3,kparm4)
> > avalue   =         aparm1+sqrt(parm2)
> > avalue2  oscili    avalue, kparm2 ,iparm3
> >          areturn   avalue2 * kparm4
> >          endfunc
> >
> > ;**** CALLING A SUB (named 'anysub' in this example)
> > aoutarg1, aoutarg2   anysub      ainarg1,ainarg2, kinarg3
> >
> > ;**** BODY OF A SUB
> >           sub      anysub(aoutarg1,aoutarg2,ainarg1,kinarg2,inarg3)
> > aoutarg1  oscili   1,ainarg1,1
> > aoutarg2  oscili   1,kinarg2,1
> > aoutarg3  oscili   1,inarg3,1
> >           endsub
>
> I'm not sure what you means by 'compiled as inline', given that Csound
>
> doesn't compile anything,as such. Are these really macros?

Yes, they can quite easily implemented as a transparent macro
preprocessor, so, for each call, a copy of code is generated.

> What would be the necessary restrictions on these? For example,
> presumably
> the oscili instances retain their internal state between calls, i.e
> are
> effectively static objects.

Yes, they are.

> So presumably they are not re-entrant.  How
> would they behave if control occasionally jumped past them?

They will not operate well, because oscillators' phase is not
incremented all
times. Some restrictions which I think to be unavoidable, unless one
restart
writing Csound from zero using a different philosophy.

> Presumably these
> would not be global functions, but within the scope of an instrument?
> Could the same function be called more than once in the same argument
> list?  eg:
>        a1    oscili    anyfunc1(a2,a3,a4) * kamp, anyfunc1(a3,a4,a5),


these functions will be a particular case of intelligent macros. These
should generate more or less the following csound code:

;***anyfunc1
func anyfunc1(i1, i2, i3)

    a4   oscili 1, i1,1
    a5   oscili 1, i2,1
    a6   oscili 1, i3,1

    areturn    a4+a5+a6
endfunc

:*** Caller instr
instr 1
    iamp    init    2000
    if1    init    120
    if2    init    220
    if3    init    320
    out    (anyfunc1(100,200,300) + anyfunc1(i1,i2,i3) ) * iamp
endin


;------- code generated after the macro substitution

instr 1
    iamp    init 2000
    if1    init    120
    if2    init    220
    if3    init    320

;***** start of first call substitution
a41   oscili 1,100,1 ;*** at each output variable name is postponed
a51  oscili 1, 200,1  ;*** a progressive number  for each 
;**** instance of func within the same instr
a61   oscili 1, 300, 1 ;*** to avoid conflicts
aret1 = a41+a51+a61
;****end of first call  substitution

;**** start of second call substitution
a42   oscili 1,if1,1
a52   oscili 1, if2,1
a62  oscili 1, if3,1
aret2    = a42+a52+a62 ;**** the name of return variable is 
;**** changed in respect of that of the first call
;**** end of second call substitution

out    (aret1 + aret2)*iamp ;*** in this line the function calls are
                ;***substituted with the return values of the macros
endin

There could be some problems with the temporary output variable names,
which
should not disturb other names of the variables used in the caller
instr. So it is possible to merge the name of the function at each
variable name.

> A function which only allowed arithmetical statements might be a
> useful inclusion - it could have global scope. Also a function which
> allowed local
> variables, so that some private modification of a krate argument could
> be
> made at arate, might be useful. The local variable could have an
> initializer
> which is reset at each krate step (or integer multiple).

Sorry, I don't understand. Why a modification of a k-rate argument could
be made at arate and what is its usefulness?

> > 3) standard structured languages conditional flow of control
> > statements:if...elseif...else...endif,
> > switch...case...default..endswitch,
>
> Someone will surely want these at arate as well as i- and krate. That
> is a
> lot of keywords!In a switch, would all the 'cases' need to be at the
> same
> rate?  There must be many examples where the direct transfer of
> procedural
> constructs to Csound is complicated by the issue of multiple execution
> rates.

I agree. A limiting rule could be to use the same rate of the
conditional
value.


--
Gabriel Maldonado

mailto:g.maldonado@agora.stm.it
http://www.agora.stm.it/G.Maldonado/home2.htm
http://www.geocities.com/SiliconValley/Way/7041/home2.htm




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To: Gabriel Maldonado 
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Subject: Re: csound parser 
In-Reply-To: Your message of "Mon, 16 Feb 1998 13:20:16 +0100."
             <34E82F00.34343FF9@agora.stm.it> 
Date: Tue, 17 Feb 1998 02:10:14 EST
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Once the csound parser has been ported to use bison/flex then the
"intelligent" macros you describe below could be added fairly easily.
I think this would be one of the main benefits of using a flexible
(and extensible) parsing system rather than the somewhat messy and
fragile one built into the current csound implementation.

> 
> these functions will be a particular case of intelligent macros. These
> should generate more or less the following csound code:
> 
> ;***anyfunc1
> func anyfunc1(i1, i2, i3)
> 
>     a4   oscili 1, i1,1
>     a5   oscili 1, i2,1
>     a6   oscili 1, i3,1
> 
>     areturn    a4+a5+a6
> endfunc
> 
> :*** Caller instr
> instr 1
>     iamp    init    2000
>     if1    init    120
>     if2    init    220
>     if3    init    320
>     out    (anyfunc1(100,200,300) + anyfunc1(i1,i2,i3) ) * iamp
> endin
> 
> 
> ;------- code generated after the macro substitution
> 
> instr 1
>     iamp    init 2000
>     if1    init    120
>     if2    init    220
>     if3    init    320
> 
> ;***** start of first call substitution
> a41   oscili 1,100,1 ;*** at each output variable name is postponed
> a51  oscili 1, 200,1  ;*** a progressive number  for each 
> ;**** instance of func within the same instr
> a61   oscili 1, 300, 1 ;*** to avoid conflicts
> aret1 = a41+a51+a61
> ;****end of first call  substitution
> 
> ;**** start of second call substitution
> a42   oscili 1,if1,1
> a52   oscili 1, if2,1
> a62  oscili 1, if3,1
> aret2    = a42+a52+a62 ;**** the name of return variable is 
> ;**** changed in respect of that of the first call
> ;**** end of second call substitution
> 
> out    (aret1 + aret2)*iamp ;*** in this line the function calls are
>                 ;***substituted with the return values of the macros
> endin
> 
> There could be some problems with the temporary output variable names,
> which
> should not disturb other names of the variables used in the caller
> instr. So it is possible to merge the name of the function at each
> variable name.
> 
> > A function which only allowed arithmetical statements might be a
> > useful inclusion - it could have global scope. Also a function which
> > allowed local
> > variables, so that some private modification of a krate argument could
> > be
> > made at arate, might be useful. The local variable could have an
> > initializer
> > which is reset at each krate step (or integer multiple).
> 
> Sorry, I don't understand. Why a modification of a k-rate argument could
> be made at arate and what is its usefulness?
> 
> > > 3) standard structured languages conditional flow of control
> > > statements:if...elseif...else...endif,
> > > switch...case...default..endswitch,
> >
> > Someone will surely want these at arate as well as i- and krate. That
> > is a
> > lot of keywords!In a switch, would all the 'cases' need to be at the
> > same
> > rate?  There must be many examples where the direct transfer of
> > procedural
> > constructs to Csound is complicated by the issue of multiple execution
> > rates.
> 
> I agree. A limiting rule could be to use the same rate of the
> conditional
> value.
> 
> 
> --
> Gabriel Maldonado
> 
> mailto:g.maldonado@agora.stm.it
> http://www.agora.stm.it/G.Maldonado/home2.htm
> http://www.geocities.com/SiliconValley/Way/7041/home2.htm
> 
> 

__________________________________________________________________________
David Ratajczak 
Web:    http://web.mit.edu/dratajcz/
E-mail: dratajcz@mit.edu



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From: JAMIE B 
Subject: Re: new language proposal
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On Feb 16, David S wrote:




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Date: Tue, 17 Feb 1998 11:00:17 +0100 (MET)
From: Nicola Bernardini 
To: Csound mailing list 
Subject: Re: [Symbolic links] (was: new csound/parser (symbolic links))
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On Mon, 16 Feb 1998, khalid wrote:

> Matt J. Ingalls wrote:
> > > If you have a platform that *truly*
> > > support symbolic links, you don't have to rename your files to soundin.xx,
> 
> > - could you explain this more?
> 
> A symbolic link ("symlink") is a property of Unix filesystems.
> It is a file that points to the logical adress of another file.
> So what's the use?? - They are handy when you would have to
> keep several copies of the same file, f.e. when they're referen-
> ced by programs under different names, or when you want
> to have multiple identical files but you don't want to copy them
> all over again if you change one of them. They take only
> 1 "block" of the filesystem, so you could make a copy of a 10 Meg
> soundfile with just a 1K file. Nice, huh?

well this is not really exact. To be true, a symbolic link just
take the space of the pathname it contains (even nicer, huh?). The
point is that it takes one i-node (i-nodes are indexing filesystem
numbers) and the quantity of i-nodes is finite (could be, for example,
1 i-node each 1K, or 1 i-node each 4k, etc.: the quantity is decided
by the user at formatting time. Since us musicians we have biig files
all over our disks, i-node quantity is not a concern (we often use
1 i-node for tens of megs and we end up with a lot of spare ones...:-)

nicb
------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
 
Re graphics: A picture is worth 10K words -- but only those to describe
the picture.  Hardly any sets of 10K words can be adequately described
with pictures.




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From: David Schuyeteneer 
To: csound mailing list 
Subject: AWE64
Date: Tue, 17 Feb 1998 11:24:19 +0100
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has anyone an AWE64 soundblastercard ? Does it record at 16bit and
simultaneous playback
also at 16bit ? Coz' my sb16 is only fullduplex 16bit and 8bit mode, not
2x16bit.


David.




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Date: Tue, 17 Feb 1998 11:24:12 +0100 (MET)
From: Nicola Bernardini 
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Subject: [Csound parser] Re: new language proposal
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On Mon, 16 Feb 1998, Mike Berry wrote:

[snip]
> David Schuyeteneer wrote:
> > 
> > A new sound language should be invented with syntax like this :
[snip]
> 	When you discuss significant changes to the syntax of csound, there is very
> little reason to call it csound or start from the csound source (because the
> source is not orderly or intelligible).  Instead, you are talking about making
> a new language.  This is O.K., but should not be confused with upgrading
> csound.  (Many of us have done just that - SAOL is the MIT version, GrainWave
> is my Mac version, and so on...).  There should be lots of tools available,
> since not every tool fits every purpose.
> 	I think that anything that makes maintaining csound easier is a good thing. 
> But a new language is not maintenance, it is something new and separate, and
> should be considered as such.

I think that *this* is really so clear! This is what I meant to say in
my last postings on the subject. The idea to have a more mantainable source
in order to make some useful *extensions* does not imply the idea of
speaking entirely different tongues. It's not that we don't like the
other tongues, but csound is understood by csounders and this is an
important value to be preserved.

nicb

------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
 
Re graphics: A picture is worth 10K words -- but only those to describe
the picture.  Hardly any sets of 10K words can be adequately described
with pictures.




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From: JAMIE B 
Subject: Re: new language proposal
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(ooops ..!)

On Feb 16, David S wrote:

> A new sound language should be invented with syntax like this :

 ... The good thing about the Csound syntax is that it is simple, and consistent. This consistency means that once one has overcome the steep learning curve,
new functions can be learned with ease (provided that the synthesis technique
is understood).
As a musician, and not a programmer, I find Csound very refreshing ... a 
powerful synthesis engine, and composition tool, without the tarty front-end,
or commercial 'synth' approach, which come with aesthetic qualities which can
lead to standardised musical outcomes, and enable people to 'twiddle' without
really knowing what they are doing (I'm NOT saying this is an invalid way
of working)

I would just like to thank the likes of Barry Vercoe and John ff for working
so hard to make CSound possible.

Csound really is, a blank  canvas, with inks, brushes, oils, found objects..

Jamie B



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Date: Tue, 17 Feb 1998 11:34:12 +0100 (MET)
From: Nicola Bernardini 
To: Csound mailing list 
Subject: [Csound Parser] Re: new language proposal -Reply
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On Mon, 16 Feb 1998, tolve wrote:

> i would be most interested, and appreciative in/to read/ing a superficial
> comparison of csound, super collider, and nyquist.

there was a suite of papers by Roger Dannenberg on one of the last
CMJs which basically compared nyquist and csound. Even though Dannenberg
is the creator of nyquist, the rigourous scientific approach of his
articles make them some very very useful reading on benchmarking
and comparing the two languages. I think this is better than anything
we could write, which would be simplistic for lack of time and clarity.
(Sorry about super collider, I don't even know what that is).

nicb

------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
 
Re graphics: A picture is worth 10K words -- but only those to describe
the picture.  Hardly any sets of 10K words can be adequately described
with pictures.




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Gabriel Maldonado wrote:

> But, until now (alpha or beta version?), SAOL is very slow on PCs (at
> least 10 times slower
> than Csound).This makes realtime almost impossible.
>

To be fair, the distribution is still really for development and testing
purposes. Ultimately the idea is that it will be implemented in hardware, in
a soundcard or a set-top box.

> > How far can it be taken before we end up reinventing CMIX?
>
> What is the question about CMIX ? (excuse my ignorance). Is it better
> than csound?
>

I don't use it myself, so I cannot make a judgement. Briefly, CMIX is a
large library of  unit generators in C - you use them by writing your own C
program. It is designed by Paul
Lansky:http://www.music.princeton.edu/winham/PSK/

I may follow up your macro ideas once I have read and understood (i'm a bit
slow in the mornings....) :-)

Richard Dobson






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Larry Troxler wrote:

> Nicola Bernardini wrote:
> >
> > On Mon, 16 Feb 1998, Richard Dobson wrote:
> >
> > > I would like to suggest a standard format for postings to the group on this topic,
> > > more-or-less on the lines of the one I have used for this message. A similar
> > > system is used on a discussion list for people writing Windows Device Drivers.
> > > What do people think?
> >
> > I agree. I think that threading mailing list programs could handle
> > these subjects easily even if the string right after the square
> > bracket is different and keep everything in the same thread.
> >
> > Nicola
> >
>
> I don't understand - What advantage does such a format have? I assume
> this must have to do with some type of automated way of sorting
> messages, but I don't understand the details.
>

Yes, by having a fixed element in the subject line, it becomes searchable (eg by a perl
script or whatever). I also thought it could be a courtesy to the list, since there could
be many large posts on this topic, and perhaps not everyone will want to read them! :-)

> In particular, why would anyone need to mention the word "csound" in the
> subject on the Csound mailing list :-)
>

A good point!  OK, lets just say  Re: [parser]:  

On the other hand, especially since posts are archived for the web, the full string
"Csound parser" may well get more hits from search engines - the more exposure  Csound
gets, the better!

Richard Dobson




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Nicola Bernardini wrote:
> 
> well this is not really exact. To be true, a symbolic link just
> take the space of the pathname it contains (even nicer, huh?). The
> point is that it takes one i-node (i-nodes are indexing filesystem
> numbers) and the quantity of i-nodes is finite (could be, for example,
> 1 i-node each 1K, or 1 i-node each 4k, etc.: the quantity is decided
> by the user at formatting time. Since us musicians we have biig files
> all over our disks, i-node quantity is not a concern (we often use
> 1 i-node for tens of megs and we end up with a lot of spare ones...:-)

Nicola,
	why don't you reply to people asking you words you use the
next time? I just replied because your initial answer to "fellow 
csounder" Matt J. Ingalls didn't give him a chance to get an idea
of what a symbolic link is (in my opinion). As far as I remember,
he didn't ask for inodes. I would like everybody to explain what 
they're talking about themselves (my opinion).

kd



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Date: Tue, 17 Feb 1998 13:10:09 +0100 (MET)
From: Nicola Bernardini 
To: Csound mailing list 
Subject: Re: [Symbolic links] Being communicative?
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On Tue, 17 Feb 1998, khalid wrote:

> Nicola Bernardini wrote:
> > 
> > well this is not really exact. To be true, a symbolic link just
[snip]

> 
> Nicola,
> 	why don't you reply to people asking you words you use the
> next time? I just replied because your initial answer to "fellow 
> csounder" Matt J. Ingalls didn't give him a chance to get an idea
> of what a symbolic link is (in my opinion). As far as I remember,
> he didn't ask for inodes. I would like everybody to explain what 
> they're talking about themselves (my opinion).

You are absolutely right. Since Matt is (as he says) a Mac user, I
took the thread of answering him with examples he could use on his
machine (a thing that I seemed to appreciate in a later posting).
In the reply to your mail, I just pointed out that a symbolic link
is even *better* than what you described, that's all. You know,
it is difficult to discern people faces and attitudes from ASCII
characters, so very often mail posting look like presumptous or
offensive while that was not their initial intention. It happens
to me too.

nicb

------------------------------------------------------------------------
Nicola Bernardini
E-mail: nicb@axnet.it
 
Re graphics: A picture is worth 10K words -- but only those to describe
the picture.  Hardly any sets of 10K words can be adequately described
with pictures.




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Subject:  Re: entry.c and dynamic linking
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Message written at 17 Feb 1998 10:05:48 +0000
In-reply-to: <199802160237.CAA26864@hermes> (message from Eli Brandt on Sun,
	15 Feb 1998 21:38:55 -0500 (EST))

Eli wrote...
> It's always hard to argue when somebody else says they'd like to
> rewrite an unmaintainable body of code. :-)

While I am happy with the first part, the second is not true.  It is
maintainable.  Not only that but it is modifiable, as has been done
over recent years.  Personally I would find YACC/LEX more
unmaintainable.  Yes and i do have to lecture on it next week.

==John ffitch