Csound Csound-dev Csound-tekno Search About

physical modelling

Date1999-02-22 23:25
FromSergey Batov
Subjectphysical modelling
Hi,

I'm looking for information about hardware devices 
(synthesizers or sound modules) based on principle
of physical modelling. (Some names at least.) 

Thank you.

Regards,


Date1999-02-23 13:35
FromRiccardo Coen
SubjectRe: physical modelling
korg Z1
yamaha mu100R
Yamaha EX5




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From: David Boothe 
To: 'Sean Costello' , csound@maths.ex.ac.uk
Subject: RE: Hetro (was Re: Hetero)
Date: Tue, 23 Feb 1999 10:43:03 -0600
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My understanding of it is this:
The hetro utility breaks the sound down into its component sinusoids, with
user-specified parameters controlling base frequency, number of partials,
number of time breakpoints. It writes an analysis file that is then used by
adsyn to control a bank of sine oscillators. The important thing here is
that adsyn is an oscillator bank, not filters.

In my experience adsyn/hetro works best with slowly varying sounds.
Transients, fricatives and plosives are difficult to reproduce, so accurate
speech synthesis is not too convincing. For example, I once analyzed and
resynthesized a bee in flight, that was very difficult to tell from the
original. I also tried it with a nightingale song. Less convincing but still
in the range of "reasonable facsimile."

hYdra (http://members.aol.com/additiv/) is a nice Windows utility for
editing the hetro analysis file prior to resynthesis.


Hope this helps.

-David.

> -----Original Message-----
> From: Sean Costello [mailto:costello@seanet.com]
> Sent: Monday, February 22, 1999 11:42 AM
> To: csound@maths.ex.ac.uk
> Subject: Hetro (was Re: Hetero)
> 
> 
> Hi all:
> 
> I meant to say "hetrodyne" and "hetro" instead of hetero.  My brain
> hurts today.
> 
> Sean
> 
> Sean Costello wrote:
> > 
> > Hi all:
> > 
> > Anyone have any information on heterodyne analysis besides what is
> > available in the Csound manual?  It seems very close to the 
> theoretical
> > description of the phase vocoder (when described as a 
> series of bandpass
> > filters, as opposed to the FFT-based version).  Does it have any
> > advantages to the phase vocoder, or is it just an older routine? (It
> > seems very close to an analysis program James Beauchamp 
> describes in a
> > computer music book I have from 1969).
> > 
> > Thanks,
> > 
> > Sean Costello
> 


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From: Ricardo MadGello 
To: "Csound@Maths. Ex. Ac. Uk" 
Subject: 'outo'?? and multiple AudioFileOut or Windows wave devices needed
Date: Mon, 22 Feb 1999 02:26:12 -0800
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1st, is opcode 'outo' usable at all?  It only shows in the main Csound
document.  All references in various people's discussion imply that Csoun=
d
has a four channel limit.  I'm assuming 'outo' would be useless in all bu=
t
the case where the sound card's drivers present all eight channels to a
single wavein/waveout device, correct?

2nd, is it possible to get around the delay of finalization of Ms M/C Wav=
e
format by getting Csound to write to multiple Wav/AIFF wave files with
routing handled by the patch?  I can always line them up in Cakewalk for
playback to the card's multiple waveout devices.  Obviously, multiple
waveout device access would be needed for realtime use, but I'm not seein=
g
anywhere near clickless output even for the test.orc in directcsound 2.6.
BufferTweaking and all.  I'mm working on a batch file to assist with buff=
er
optimization search, will post when ready and working.

3rd, can I get a little feedback on what Windows compilers people are usi=
ng?
I just shipped my Ms VC++ 5 to John ffitch, so I don't have access to it
anymore.  Ms VC++ 6 gives me extremely strange errors that make it seem l=
ike
it no longer understands ANSI code.  I mean it complains about syntax err=
ors
(almost every line in two or three sections) on the same sources you all
have success with.  I'm getting some help from a pro at work on this next
week, but if you want to see the log, it's really weird.  I still have VC=
++
4.2 and I think I can get both on here, but you know Ms and how well it
handles versioning of system DLL's......  :-)

I suppose there's a way to setup the Csound patches to render 2-channel
pairs of output and split the 8-channel panning job across 4 sco's that a=
re
judicially arranged to do this, and compile separtately, but dang.....  ;=
-)

=3D=3D=3D
With the multi-channel wave file format down the road a ways, combined wi=
th
manufacturers' present reluctance to provide single device M/C drivers, I=
'm
just looking for an out (so to speak) for getting from Csound to 8 discre=
te
speaker channels in whatever arrangement.

I'm wondering if I've just stuck my head in a blender or some such.  Mayb=
e I
should back-burner this project that's been in the wings until technology=
 I
could afford became available.

The only 8-channel sound card I can afford gives four stereo wave devices=
 in
windows.  All the other 8-channel cards are ADAT which quintupals the cos=
t
of this part of the job and I don't need since this is strictly PC/Csound=
 to
sound card to speakers for performance.  The amps are on order and speake=
r
shopping is the weekend after next.  And... I'm finally starting in on th=
e
coding side.

A couple clues on where to find the wavein/waveout device and wave file i=
n
and out sections in Csound sources would be a timesaver here.  I need to =
go
through the whole thing eventually anyway, but...

Also, I see the source for mkgraph but the csound_new package doesn't
contain this executable.  I can compile it here, but not all Csound users
are coders.  I can't even say I am for another year or two.   B^Q


Sorry for the laundry list, but it looks like I need to start chipping in
here after being in my own private Idaho all these years.   ;-)  It looks
like I'll need to mess with 'space' to get it to work in 3D also.

Anyone have the Ambisonics/Csound stuff happening on Windows platform?  A=
nd
before a whole bunch of OS-war flames rain down again.  I hunted for the
last month and a half for an 8-channel sound card with Linux support.
GadgetLabs is thinking about it, but they've said it's not up there on th=
e
priority list.  $625 for the Wave/8*24 - 8 analog in - 8 analog out -
S/P-DIF I/O add-on...  I had to stop waiting some time....


Hey you all are great!
Sorry I don't have any cool palindromes this week.

Keep on pluggin'.  You guys/gals/its are doing great work here!  I meant =
you
f1f0..   I visited and absorbed what I could from your site.  I see it
referenced there.  (Explanation is so nobody gets me wrong on that one...=
)

Thanks ALL!

Ricardo MadGello
Out & About.. .=A0 .=A0=A0 .=A0=A0=A0 .=A0=A0=A0=A0 .=A0=A0=A0=A0=A0 .=A0=
=A0=A0=A0=A0=A0 .



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Date: Tue, 23 Feb 1999 16:14:59 -0300 (GRNLNDST)
From: Christian Lyra 
To: csound@maths.ex.ac.uk
Subject: Dx emulator (off-topic)
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Hi, 

	Some time ago I found a little program that was capable of reading
.syx files from Dx-7 and render a waveform. It's called dixie. But I lost
the URL... :( Does anyone know about it?
	If I'm not wrong the first time that I saw the url was in csound
mailing list...

	Thanks

		Christian Lyra



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To: csound@maths.ex.ac.uk
Subject: Instrument Cataloge
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I'm lookinf for the amsterdam catalouge of Csound 
instruments.
thanks,


-------------------------------
Beam to http://www.StarTrek.com
Now featuring the Star Trek Store and
the official site for Star Trek: Insurrection.
------------------------------


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Date: Tue, 23 Feb 1999 13:17:48 -0800
From: Erik Spjut 
Subject: Re: LPC - how do you make it work well?
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Try/Modify these (the original soundfile was a 1 s marimba note at middle
C, but you can use whatever you like):

sr = 44100
kr = 44100
ksmps = 1
nchnls = 1

      instr 1 ; vary pitch p4=pitch multiplier
iharm  =       int(44100/(262*p4)/2)-1  ;Chz max harm w/o alias
kenv   linseg  0,0.01,1,1,1             ;get started right
kmovit linseg  0,p3,1.0029   ;1.0029 is duration of original file
krmsr,krmso,kerr,kcps lpread kmovit, "Marimba.lp"
axit   buzz    1,kcps*p4,iharm,1,-1
araw   lpreson axit
afinal gain    araw, krmso*kenv,20
 out afinal
      endin


      instr 2 ; play backwards & vary pitch p4=pitch multiplier
iharm  =       int(44100/(262*p4)/2)-1  ;Chz max harm w/o alias
kenv   linseg  1,p3-0.01,1,0.01,0,1,0             ;get ended right
kmovit linseg  1.0029, p3, 100/44100,1,100/44100
  ;1.0029 is duration of original file, 100/44100 is to prevent reading past 0
krmsr,krmso,kerr,kcps lpread kmovit, "Marimba.lp"
axit   buzz    1,kcps*p4,iharm,1,-1
araw   lpreson axit
afinal gain    araw, krmso*kenv,20
 out afinal
      endin

      instr 3 ; hold pitch, shift formants p4=formant multiplier
iharm  =       int(44100/(262)/2)-1  ;Chz max harm w/o alias
kenv   linseg  0,0.01,1,1,1             ;get started right
kmovit linseg  0,p3,1.0029   ;1.0029 is duration of original file
krmsr,krmso,kerr,kcps lpread kmovit, "Marimba.lp"
axit   buzz    1,kcps,iharm,1,-1
araw   lpfreson axit,p4
afinal gain    araw, krmso*kenv,20
 out afinal
      endin

*******Score****************
f1 0 16384 10 1
i1 0 2 0.5
i1 2 2 0.75
i1 4 1 1
i1 5 1 1.5
i1 6 1 2

i2 8 1 1
i2 9 3 2
i2 12 1 1.3749831

i3 14  1 0.5
i3 15  1 1
i3 16 1 2

lpreson and lpfreson interpolate between frames but unless kr=sr you'll get
a buzz or noise at kr. I suspect that's your burble. I find the opcodes
very useful but the use of the parameters is a bit obscure.

At 12:23 PM -0800 2/20/99, Sean Costello wrote:
>Hi all:
>
>Just started experimenting with LPC.  So far, every sound I have tried
>to produced has ended up sounding overly "liquid" - i.e. the filtering
>seems to change drastically between frames, resulting in a burbling
>sound that resembles a filter being modulated by white noise.  Is this
>just the inevitable result of LPC?  Or are there some tricks (different
>analysis parameters, different synthesis parameters) that produce
>smoother results?
>
>One other question: Does the Csound lpreson opcode interpolate between
>coefficients for overlapping frames, or does it just spit out the frames
>with no overlapping?
>
>Thanks,
>
>Sean Costello
>
>P.S. If anyone out there knows of any LPC tutorials that explain how to
>use it musically, I would love to seek them out.


-------------------------------------------------------------------------------
Erik Spjut (spyoot, rhymes with cute) - Associate Professor of Engineering
and  Associate Director for Engineering Computing,  Center for Design Education
Harvey Mudd College, Claremont, CA 91711-5990  USA
Erik_Spjut@hmc.edu      Ph & Voice mail (909) 607-3890      Fax (909) 621-8967




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HI,

	As a new Csound user I am finding ACCCI tremendously 
helpful.                             
ftp://ftp.musique.umontreal.ca/pub/mirrors/accci/

Enjoy,

Phil


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From: Josep M Comajuncosas 
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I absolutely agree a "statement" block would help to make the code more r=
eadable
and elegant. Too much goto=B4s are never advisable,
and it doesn=B4t look too serious really. It makes Csound code seem an
oldfashioned language ;-)



David Boothe wrote:

> Not that I am aware. Csound uses the CR as the end of a statement. The =
only
> way I have found to simulate a 'statement block,' as you would have in =
a C
> if..else statement, would be with gotos and labels. Inelegant I know.
> C-style if..else statements would be a useful addition, if it is possib=
le in
> Csound's syntax.






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    "'gamma_orion@iname.com'" , csound@maths.ex.ac.uk
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> I absolutely agree a "statement" block would help to make the code more r=
eadable
> and elegant. Too much goto=B4s are never advisable,
> and it doesn=B4t look too serious really. It makes Csound code seem an
> oldfashioned language ;-)

Why not make the parser understand c-like syntax?

aout =3D balance(x,y,z); // comment

instead of assemblyesque
aout=09balance=09=09x,y,z ; comment

-Aaron




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Hi folks,

FYI

I just read that Iannis Xenakis won one of this year's Polar Music
Prize's given by the Royal Swedish Academy of Music.  The prize money
is $125,000!!!  There are two prizes awarded one to a popular and one
to a classical musician.  I assume that since Stevie Wonder was the
other recipient that Xenakis won the classical musician prize.

Maybe there is money to be made in Electro-Acoustic music.

If you are on this list Iannis, congratulations!!

Chris




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Well, one reason (maybe or maybe not the only reason, and maybe or maybe not a
sufficient reason) is that those of us who don't know C would have to learn a whole
new syntax.

Terry Cast

Aaron Isaksen wrote:

> Why not make the parser understand c-like syntax?
>
> aout = balance(x,y,z); // comment
>
> instead of assemblyesque
> aout    balance         x,y,z ; comment
>
> -Aaron



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> If you are on this list Iannis, congratulations!!
euh - I just heard he moved to soundhack?



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Terry Cast wrote:
> 
> Well, one reason (maybe or maybe not the only reason, and maybe or maybe not a
> sufficient reason) is that those of us who don't know C would have to learn a whole
> new syntax.

Unless it could be done without breaking old syntax... that is,
aout opcode arg1, arg2, arg3

would be interpreted the same as

aout = opcode(arg1, arg2, arg3)


Personally I think that would be pretty darn cool!

But I'm guessing it might be a non-trivial project? It would be
important to preserve existing behavior ...

The if/elsif/else blocks, on the other hand, would be a VERY nice
feature, and I can't see how it could hurt anything. It also strikes me
as more important than adding punctuation in the style of C or any other
popular language, as nice as that could be.  I find reading other
people's csound orcs to be very difficult if they're at all complex, and
nicer block structures would help.

--PW


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Subject: RE: if...
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You could also take it code blocking one step further and add orc based
functions
as well....(I know this is a silly example...)

For example:

arate	My_Oscillator(iPitch){

	a1 = oscili iPitch,3000,1
	return a1
}


instr 1
	aout = My_Oscillator(440)
endin


Maybe this to.....?

	aout = balance(My_Oscillator(440),a2,a3)


Dustin Barlow
dbarlow@omnids.com



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One reason might be that Csound was designed to ~have~ an assembly-like
syntax, and if...then...else is not a cpu-level instruction.

You can get into all sorts of problems if you mix two syntax paradigms
in one language, bacause int would not be genuine C, but merely a
simulacrum - other legitimate C-style code such as

	aout =3D balance(x,y,balance(f,g,h));

would not be possible, thought the syntax might suggest it is. In any
case, ~replacing~ existing Csound syntax with a different one will
simply break everybody's work, and is not an option. The only
hypothetical possibiity would be to allow both forms, and that would get
everything, and everyone, into an almighty muddle!

Also , there is the cultural question - why C? Why not Basic, Lisp,
Pascal, Forth,Occam...



Richard Dobson




Aaron Isaksen wrote:
>=20
> > I absolutely agree a "statement" block would help to make the code mo=
re readable
> > and elegant. Too much goto=B4s are never advisable,
> > and it doesn=B4t look too serious really. It makes Csound code seem a=
n
> > oldfashioned language ;-)
>=20
> Why not make the parser understand c-like syntax?
>=20
> aout =3D balance(x,y,z); // comment
>=20
> instead of assemblyesque
> aout    balance         x,y,z ; comment
>=20
> -Aaron

--=20
Test your DAW with my Soundcard Attrition Page!
http://wkweb5.cableinet.co.uk/rwd
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Is it also true that gotos take a lot of time to process, especially in
a-time?  I think another argument is that often the types of projects that
utilize if-thens the most are ones that rely heavily on sensing and
control, i.e. midi and other realtime inputs where processing time is of
the essence, so to speak.  I think I'll jump on the bandwagon here and
speak in favor of the statement block idea.  I'm no expert on programming
languages (I'm in my fifth week of a college C Programming course) but
there must be some more elegant way of doing this, right?  It seems rather
inefficient to me to have my program jumping around everytime there is a
little trick to perform.  Anyway, just a suggestion.  I'm afraid I don't
have enough programming know-how to work out any details.

				Kevin Gallager, kgallagh@astro.temple.edu
				Web - http://astro.temple.edu/~kgallagh




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>>you said:
One reason might be that Csound was designed to ~have~ an assembly-like
syntax, and if...then...else is not a cpu-level instruction.
			^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Umm, trueassembly ( well machine language ) doesn't have as 'rich' ( maybe flexibles
a better word ) branching statement, but cpu's branch if not equal ( direct & indirect)

to 0 instructions can be thought of as if then else statements ( of course most
if then statements arn't just simple boolean checks, but multiple ones requireing
many branch checks @ the ML abstraction( level 1 unless wanna break ML into multiple
microcode instructions :)


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>Is it also true that gotos take a lot of time to process, especially in
a-time?  I think another argument is that often the types of projects that
^^^^ a-time?? r=run c=compile what's a==?
well unless the compiler does something funky the 'goto' statement could
be just a simple ML jmp (direct) to another memory address ( umm performed
in 1 [or less?] cpu cycle ( fast )
>>
the essence, so to speak.  I think I'll jump on the bandwagon here and
speak in favor of the statement block idea.  I'm no expert on programming
languages (I'm in my fifth week of a college C Programming course) but
there must be some more elegant way of doing this, right?  It seems rather
inefficient to me to have my program jumping around everytime there is a
little trick to perform.  Anyway, just a suggestion.  I'm afraid I don't
have enough programming know-how to work out any details.
 >>
real problem with gotos is the undisciplned hackers who write spaghetti
code that is TUFF to follow ( in software engineering they call this
job security ;) Only they (sumtimes) can follow ( read ) the programflow


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Kevin Gallagher wrote:
> 
> Is it also true that gotos take a lot of time to process, especially in
> a-time?  

	The goto label is directly translated into an assembly language jump statement.
 You know, ironically C code is first translated into assembly language before
being compiled into machine code.  The whole speed thing is only of historical
interest.  There was a time when programmers who really knew assembly could
generate faster instructing code than a typical C program.  This is no longer
true, as smarty pants C compilers make better optimized assembly language than
any group 'o code miserly assembly language programmers:)  
	
	So, why is Csound so old:) ?  Anyway, my .02 about expanding the language.  How
about this...


if(sunny){
	make_hay();
}
else{
	work_inside();
}


	This code needs a compiler that operates like a macro, translating it into the
older style Csound code before it executes.  First inline the procs, then change
the if else statements into goto labels, add in assignments, and after some
time, voila, a C extension.  BTW  with the above notation another compiler could
do pascal, C++, ... It's lots of work and not much fun to make a compiler
though, it being among my least favorite and most difficult courses in college:)

-- 
Michael Coble::Director, Client Engineering::24/7 Media, Inc. 
    Digital Art Gallery, http://www.panix.com/~coble/
    Music, http://www.panix.com/~coble/Coble/music/
    Work, http://www.247media.com


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Date: Tue, 23 Feb 1999 19:26:41 -0800 (PST)
From: Wayne Freno 
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Subject: Re: if...
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I must put in my 1.4 cents Canadian and say I've been learning
Csound for about a year and I would hate to see the syntax
change suddenly.  C syntax or "asseblyesque" make about the 
same sense to a beginner.  Let's stick with it the way it is.

Wayne Freno
--
end soundbite




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From: Josh Steiner 
To: Csound 
Subject: Re: if...
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I'll add my bit as well.  I know that it could be possible for csound to 
support to styles of syntax, the real issue is finding who wants to code 
it.  If avoiding complexity in the source tree prevents such a thing 
being developed, this could concievably be developed as a 
preprocesor/translator that would convert C-Csound into current csound.   
I personally would love to see this happen, since i find assembly style 
syntax nasty and there are so many things nice that come out of using a 
procedual style.  Of course, for the forseeable time frame I will not be 
able to work on such a thing, so I won't gripe any further :)

---
Joshua W. H. Steiner - joschi@eds.org - http://eds.org/~joschi

"Some scientists claim that hydrogen, because it is so plentyful, is the
basic building block of the universe. I dispute that. I say there is more
stupidity than hydrogen, and that is the basic building block of the
universe." 
   - Frank Zappa




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Richard Dobson wrote:

> Also , there is the cultural question - why C? Why not Basic, Lisp,
> Pascal, Forth,Occam...

Well, it might be nice to have a music synthesis language where the
syntax of the orchestras and scores is the same as the syntax of the
unit generators themselves.  However, it would probably make more sense
to work with a music language that already has this feature, such as
Cmix or Common Lisp Music, if this is truly important to someone. 
Personally, I enjoy working in Csound most of the time (although for
loops, or while loops, would be nice for implementing denser additive
sounds).

Sean Costello

P.S. Stephen Travis Pope has a relevant article, "Machine Tongues XV:
Three Packages for Software Sound Synthesis," available online at
http://www.create.ucsb.edu/~stp/publs.html.  Interesting comparison of
Cmix, Csound, and cmusic.  Note that the article was written in 1992 -
obviously, a lot has changed in the meantime (I don't know if cmusic is
used too much today outside of a few legacy systems at UCSD).


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From: Hans Mikelson 
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Subject: DX-Synth Emulation Re: New Opcodes
Date: Mon, 22 Feb 1999 20:12:39 -0600
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Hi,

A couple of thoughts on DX emulation.

1. It might be nice if Harrington's code were public so it could be modified
and made available cross platform and modified...maybe it is?

2. A DX-synth emulator should have the ability to read DX patches in DX
format so you could rely on the extensive archives of DX patches and just
call up the patch you want.

Regards,
Hans Mikelson



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Hello,
I have begin to look at the source code but I am a little bit confuse.
Can someone tell me the role of the important file. I mean not the
opcode but the main part, parser, main...

I will look for a possible language extension for if, then, else....and
maybe other things....

thanks
-- 
Antoine Lefebvre
antoinelefebvre@softhome.net
http://pages.infinit.net/linux/music/music.html



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From: Hans Mikelson 
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>Josh Steiner wrote:
>> Could someone tell me how you filter to get that legendary "talk-box"
>> sound.

I have one in my collection at http://www.werewolf.net/~hljmm/csound/
in the effects section.

Understanding the idea behind a talk box may help in simulating the sound.
I built a talk box by taking a small speaker and attaching a funnel to the
end.  A piece of plastic tubing connects between the end of the funnel and
your mouth.  The sound goes into a guitar amplifier, to increase the
harmonic content through distortion, into the talk box, out through the
funnel, into the tube, into your mouth where it is shaped by your vocal
tract, into a microphone, into a second amplifier or mixer.  The talk box
speaker must be powered so I had to connect a switch and a jack to the
guitar amp so that I could switch between driving power to the guitar amp
speaker and sending power to the talk box.

The first step is to increase the harmonic content.  This can be done
through waveshaping or using distort1.  I next found a book that had the
formant frequencies and amplitudes of several typical vowels.  I set up some
tables for these vowels.  I used another table to index the formant tables.
For example 1="ahh" 2="ooh" etc.  I used port to smoothly move from one
vowel to the next.

Don't confuse the talk-box with a vocoder which is another beast entirely.
The "talk-box" sound of the "Beastie Boys" is not your typical talk-box or
vocoder sound.  It is quite distinctive.

Good luck,
Hans Mikelson



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Hi,

Not yet mentioned:

Yamaha VL70m,
Korg Wavedrum,
Roland's COSM systems,
http://www.rolandcorp.com/products/MI/electronic_drum_systems/TD-10.html
http://www.rolandcorp.com/products/MI/vguitar_and_guitar_synthesizers/VG-8EX
.html
Technics WSA1 (supposedly uses some type of modeling although perhaps not in
the same league as the others.)

Oh and Yamaha's plans for the Pentium III:

http://www.harmony-central.com/Newp/1999/SoftSynthesizer-Poly-VL.html
A software polyphonic VL synth... :)

Regards,
Hans Mikelson
New owner of a Waldorf Pulse+  :)  Now that makes a sweet sound!



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From: Hans Mikelson 
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>real problem with gotos is the undisciplned hackers who write spaghetti
>code that is TUFF to follow ( in software engineering they call this
>job security ;) Only they (sumtimes) can follow ( read ) the programflow


I don't see too much wrong with gotos as long as they are used correctly to
construct control structures.  Those who did not cut their teeth programming
FORTRAN may be less comfortable with them.  I wonder if CS even teaches the
proper use of GOTO's anymore?  Once you start adding if then else structures
then you start opening up a bigger can of worms like, while, do until, for,
do for, case, sub, function, etc.

I was thinking today about the modular graphical software synths I've used
and thought that one problem with them is that you end up with all kinds of
simple components on the screen.  What would be nice would be if you could
hook up a group of components into a new user definable component, for
example put a vdelay and an oscillator together and call it a flanger, or
put a bunch of oscillators together and call it a hammond, create an icon
for them, then use these newly created components to create something else.
Maybe some software already does this?  Maybe this can be done with csound
using Maldonado's subroutine code? (I haven't tried it.)

Regards,
Hans Mikelson





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Hi Csounders:

I have a certain synthesis technique I would like to perform, but I am
not sure of the best way to do it.  What I would like to do is take a
single one-cycle sample of a vocal sound, and trigger that sample at a
certain rate.  The sample should not change pitch or duration as it is
triggered - for triggering rates below the frequency of the original
sample, there should be gaps between the triggered samples, while for
triggering rates above the frequency of the original sample, the samples
should overlap.  

How would I do this in Csound?  Obviously, simply loading the sound into
a table and using oscili or a phasor/tablei combination will not yield
the desired effect (this would change the pitch of the sample).
Convolving the sample with a pulse train would work, but would probably
take forever to compute.  Can any of the fof routines do this (i.e.
trigger a sample once, with the triggering controlled at an audio rate,
as opposed to cycling through the sample table and enveloping the
result)? Are there other techniques I am overlooking?

If I could get this to work, the results should be fairly nice - pitch
shifting without formant shifting, or formant shifting without pitch
shifting.  Of course, I could do this with LPC, but I would really like
to try the above technique.

Thanks,

Sean Costello

P.S. The "PSOLA" in the title refers to "Pitch Synchronous Overlap-Add,"
a form of timestretching/pitchshifting that the above synthesis
technique is a fledgling attempt at trying to implement.


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From: nunativs 
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Hans wrote:

> I was thinking today about the modular graphical software synths I've
used
> and thought that one problem with them is that you end up with all kinds
of
> simple components on the screen.  What would be nice would be if you
could
> hook up a group of components into a new user definable component, for
> example put a vdelay and an oscillator together and call it a flanger, or
> put a bunch of oscillators together and call it a hammond, create an icon
> for them, then use these newly created components to create something
else.
> Maybe some software already does this?  Maybe this can be done with
csound
> using Maldonado's subroutine code? (I haven't tried it.)
> 
Try Dave Perrys Visual Orchestra.  It allows you to do just what you have
described with Csound. 
Also  check out Generator by Native Instruments.  Very highly recommended,
does just what you describe above.  There is also a downloadable demo, plus
the new version coming out called Reactor that is a modular sampler.
http://www.native-instruments.com/


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Richard Dobson wrote:
 
> Also , there is the cultural question - why C? Why not Basic, Lisp,
> Pascal, Forth,Occam...
 I haven't yet seen the obvious ( semmantical ) reason yet!!
its called CSound not (B)ASICsound (L)ispsound,... :)


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Aaron Isaksen wrote:
>=20
> > I absolutely agree a "statement" block would help to make the code mo=
re readable
> > and elegant. Too much goto=B4s are never advisable,
> > and it doesn=B4t look too serious really. It makes Csound code seem a=
n
> > oldfashioned language ;-)
>=20
> Why not make the parser understand c-like syntax?
>=20
> aout =3D balance(x,y,z); // comment
>=20
> instead of assemblyesque
> aout    balance         x,y,z ; comment
>=20
> -Aaron

Cannot this be done with macros ? Or are user defined macros not
available in Csound ? (then maybe it should be available ?)=20
Maybe this wouldn't allow nested calls etc but it could help a bit.=20

About the discussion of mixing different programming paradigms,
it's not good to mix too much but even a language like LISP=20
doesn't follow the functional paradigm to 100%. The PROGN statement=20
allows you to write an entire LISP program in a procedural/imperative=20
style. In C you can program functional. And with the ! (cut) operator=20
in Prolog, you can cut away evaluation paths and program (kind of)=20
procedural.

:)
mikael@mhc.se


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From: "Dr J.Stevenson's research assistant" 
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Subject: Re: if statement blocks
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>I don't see too much wrong with gotos as long as they are used correctly to
I agree, but GOTOs  ( from experience of translating BASIC->C ) allow to much

freedom to deviate from a rational ( structured ) program flow which is readable

for others ( cleaning up spag code is much akin to programming in C64 ML IMHO
> I wonder if CS even teaches the             
proper use of GOTO's anymore?

 I started my BSCS @ SJSU in 1989 ( when the CS dept wuz part of the Math dept )
GOTOs weren't taught & their appearace in hmwrk source code could lower your grade
( actually 1 teacher allowed them w/o penalty but all other professors complained
about his spagehtti coding eventhough his projectss where (nearly) always on time
while the rest of the Ph.D's projects where always behind schedule )

>>
Once you start adding if then else structures             
then you start opening up a bigger can of worms like, while, do until, for,
do for, case, sub, function, etc.
>>
	you forgot about C's venerable switch {break} structure & its 'fallthru'
hazards  ;)
	( I heard a buggy switch structure miscommings caused one of AT&T's
worst traffic jams in the late 80's )


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From: Josep M Comajuncosas 
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Subject: Re: if statement blocks
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Enough theory by now...Look at this example:
what the code should do:

if (...)  then do (...)
    else if (...) then do (...)
    else do (...)

(continue)


To do it with Csound=B4s current sintax you must do tricky jumps:

if (...) goto label1:goto label2
label1:
(...)
goto continue
label2:
if (...) goto label3:goto label4
label3:
(...)
goto continue
label4:
(...)
continue:
(...)

It works of course but it is very innelegant. And of course this makes sr=
=3Dkr
necessary. Who prefers this sintax? As long as they are if... statements =
for variables
and conditional jumps we should have if... statements for blocks of code.=
 And all sort
of conditionals should be available at a rate as well.


Josep M Comajuncosas




Dr J.Stevenson's research assistant wrote:

> >I don't see too much wrong with gotos as long as they are used correct=
ly to
> I agree, but GOTOs  ( from experience of translating BASIC->C ) allow t=
o much
>
> freedom to deviate from a rational ( structured ) program flow which is=
 readable
>
> for others ( cleaning up spag code is much akin to programming in C64 M=
L IMHO





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From: Gabriel Maldonado 
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With the possibility of nested macros, already available in my version and soon available
in canonical version, it is possible language abstraction in a similar way of high level
languages. If..then...else and loops are not available in the orchestra yet. Nested loops
are now available for score (in my next version).

-- 
Gabriel Maldonado

http://www.agora.stm.it/G.Maldonado/home2.htm


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From: Gabriel Maldonado 
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With my 'call' family of opcodes it is possible to do it. It is possible to pass and
return parameters at any rate.
It is possible to do it also with nested macros, which are faster but are more difficult
to debug, and the error messages generated by them are a lot more obscure.


Gabriel

Hans Mikelson wrote:
> 
> >real problem with gotos is the undisciplned hackers who write spaghetti
> >code that is TUFF to follow ( in software engineering they call this
> >job security ;) Only they (sumtimes) can follow ( read ) the programflow
> 
> I don't see too much wrong with gotos as long as they are used correctly to
> construct control structures.  Those who did not cut their teeth programming
> FORTRAN may be less comfortable with them.  I wonder if CS even teaches the
> proper use of GOTO's anymore?  Once you start adding if then else structures
> then you start opening up a bigger can of worms like, while, do until, for,
> do for, case, sub, function, etc.
> 
> I was thinking today about the modular graphical software synths I've used
> and thought that one problem with them is that you end up with all kinds of
> simple components on the screen.  What would be nice would be if you could
> hook up a group of components into a new user definable component, for
> example put a vdelay and an oscillator together and call it a flanger, or
> put a bunch of oscillators together and call it a hammond, create an icon
> for them, then use these newly created components to create something else.
> Maybe some software already does this?  Maybe this can be done with csound
> using Maldonado's subroutine code? (I haven't tried it.)
> 
> Regards,
> Hans Mikelson

-- 
Gabriel Maldonado

http://www.agora.stm.it/G.Maldonado/home2.htm


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In-reply-to: <199902230227.VAA23124@pop05.iname.net> (message from Antoine
	Lefebvre on Mon, 22 Feb 1999 21:34:15 -0500 (EST))
Subject: Re: if...
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>>>>> "Antoine" == Antoine Lefebvre  writes:

 Antoine> Yes,
 Antoine> I know all those statement, but in some complex structure, it become
 Antoine> confuse bery rapidly....I was just wondering why there is no statement
 Antoine> block like in C.


 Because Csound is an assembler-style language.  It is also rather old
 as languages go.
==John


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CC: csound@maths.ex.ac.uk
In-reply-to: <36D231C6.5827@hem.passagen.se> (message from rasmus ekman on
	Tue, 23 Feb 1999 05:42:46 +0100)
Subject: Re: opcode information.
BCC: jpff@maths.bath.ac.uk
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>>>>> "rasmus" == rasmus ekman  writes:

 rasmus> Antoine Lefebvre wrote:
 >> 
 >> there is no info in the csound manual about those one.....

 rasmus> Search the Version3_XX.Notes files (at Bath, in /newest directory along with 
 rasmus> the Csound binaries) for doc of opcodes introduced after Bath 3.48 version.

 rasmus> Go to Gabriel Maldonado's (GM's) page to get documentation for his opcodes:
 rasmus> 	http://www.agora.stm.it/G.Maldonado/home2.htm

 rasmus> what's up, did you do a diff of -z flag output in the versions?

 >> intrpol antrpol kntrpol

 rasmus> ntrpol, new in Bath 3.49

as part of anti-name polution

 >> argc argt kargc kargt
 >> artrnc artrnt krtrnc krtrnt

 rasmus> Maldonado?

These are Gabriel's opcodes for passing information between instrument
instances

 >> convle

 rasmus> Same as convolve. A misspelt entry on line 736 of Entry.c which should
 rasmus> be deleted.

No it is a deliberate alternative to convolve as some peope complained
that the word was too long for tabbing layout.  Also see butterlp and
butlp etc

 >> ...call

 rasmus> Maldonado?

That is Gabriel's version of my schedule

 >> iout...

 rasmus> By GM, new in Bath 3.47, renamed to out... in Bath 3.52

 >> mdelay

 rasmus> From Maldonado, N/A in Bath version.

Oh yes it is!
{ "mdelay", S(MDELAY),   3,     "",     "kkkkk", mdelay_set, mdelay,   NULL },

 >> mod mul

 rasmus> don't know. But a mod-like operator % was introduced in Bath 3.50

These are the opcode vbersions of % and *.  They can be used as in
      i1  mod i3,4
but I think
      i1  =  i3 % 4
is clearer.  One can do teh same with + and add of course

 >> nsamp

 rasmus> function, in 3.49

which says how many samples there are in a table read from a file (as
distinct from the length).


 >> physic1 physic2

 rasmus> Thus named in GM's "CsoundRT" distribution, available as wguide1/wguide2 
 rasmus> in Csound 3.49

We (Gabriel, Richard B. and myself) discussed this is Ann Arbor and
resolved on these more explicit names

 >> posc

 rasmus> poscil in 3.52, from GM

precise oscilator
 >> pset

Sets parameters for an instrument, particularly when driven from a
MIDI input or such.  It is in teh MIT manual.

 rasmus> no idea

 >> seed

 rasmus> Always undocumented, should stay so. Don't bother. Connected with
 rasmus> the "x-noise" set (linrand, unirand et al) of random generators.
 rasmus> Some info provided in Robin Whittle's documentation of his contributions.

Actually it is older and has been there since teh noise opcodes.
Extended a little with Robin's code

 >> soundout sub

soundout is rather live soundin, writes sampels to a file

sub is internal form of - operator


 rasmus> don't know.

 >> vlpres

 rasmus> Thus named in GM's "CsoundRT" distribution, available as vlowres
 rasmus> in Csound 3.49


 rasmus> hth,

That one I do not know!

==John ff


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>>>>> "Antoine" == Antoine Lefebvre  writes:

 Antoine> Yes,
 Antoine> I know all those statement, but in some complex structure, it become
 Antoine> confuse bery rapidly....I was just wondering why there is no statement
 Antoine> block like in C.


 Because Csound is an assembler-style language.  It is also rather old
 as languages go.
==John


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CC: csound@maths.ex.ac.uk
In-reply-to: <36D231C6.5827@hem.passagen.se> (message from rasmus ekman on
	Tue, 23 Feb 1999 05:42:46 +0100)
Subject: Re: opcode information.
References: <199902230159.UAA03358@pop01.globecomm.net> <36D231C6.5827@hem.passagen.se>
Date: Wed, 24 Feb 99 11:10:01 GMT
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>>>>> "rasmus" == rasmus ekman  writes:

 rasmus> Antoine Lefebvre wrote:
 >> 
 >> there is no info in the csound manual about those one.....

 rasmus> Search the Version3_XX.Notes files (at Bath, in /newest directory along with 
 rasmus> the Csound binaries) for doc of opcodes introduced after Bath 3.48 version.

 rasmus> Go to Gabriel Maldonado's (GM's) page to get documentation for his opcodes:
 rasmus> 	http://www.agora.stm.it/G.Maldonado/home2.htm

 rasmus> what's up, did you do a diff of -z flag output in the versions?

 >> intrpol antrpol kntrpol

 rasmus> ntrpol, new in Bath 3.49

as part of anti-name polution

 >> argc argt kargc kargt
 >> artrnc artrnt krtrnc krtrnt

 rasmus> Maldonado?

These are Gabriel's opcodes for passing information between instrument
instances

 >> convle

 rasmus> Same as convolve. A misspelt entry on line 736 of Entry.c which should
 rasmus> be deleted.

No it is a deliberate alternative to convolve as some peope complained
that the word was too long for tabbing layout.  Also see butterlp and
butlp etc

 >> ...call

 rasmus> Maldonado?

That is Gabriel's version of my schedule

 >> iout...

 rasmus> By GM, new in Bath 3.47, renamed to out... in Bath 3.52

 >> mdelay

 rasmus> From Maldonado, N/A in Bath version.

Oh yes it is!
{ "mdelay", S(MDELAY),   3,     "",     "kkkkk", mdelay_set, mdelay,   NULL },

 >> mod mul

 rasmus> don't know. But a mod-like operator % was introduced in Bath 3.50

These are the opcode vbersions of % and *.  They can be used as in
      i1  mod i3,4
but I think
      i1  =  i3 % 4
is clearer.  One can do teh same with + and add of course

 >> nsamp

 rasmus> function, in 3.49

which says how many samples there are in a table read from a file (as
distinct from the length).


 >> physic1 physic2

 rasmus> Thus named in GM's "CsoundRT" distribution, available as wguide1/wguide2 
 rasmus> in Csound 3.49

We (Gabriel, Richard B. and myself) discussed this is Ann Arbor and
resolved on these more explicit names

 >> posc

 rasmus> poscil in 3.52, from GM

precise oscilator
 >> pset

Sets parameters for an instrument, particularly when driven from a
MIDI input or such.  It is in teh MIT manual.

 rasmus> no idea

 >> seed

 rasmus> Always undocumented, should stay so. Don't bother. Connected with
 rasmus> the "x-noise" set (linrand, unirand et al) of random generators.
 rasmus> Some info provided in Robin Whittle's documentation of his contributions.

Actually it is older and has been there since teh noise opcodes.
Extended a little with Robin's code

 >> soundout sub

soundout is rather live soundin, writes sampels to a file

sub is internal form of - operator


 rasmus> don't know.

 >> vlpres

 rasmus> Thus named in GM's "CsoundRT" distribution, available as vlowres
 rasmus> in Csound 3.49


 rasmus> hth,

That one I do not know!

==John ff


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From: jpff@maths.bath.ac.uk
To: csound@maths.ex.ac.uk
In-reply-to: <36D34828.2D610F51@ou.edu> (message from Terry Cast on Tue, 23
	Feb 1999 18:30:32 -0600)
Subject: Re: if...
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Precedence: bulk

>>>>> "Terry" == Terry Cast  writes:

 Terry> Well, one reason (maybe or maybe not the only reason, and maybe or maybe not a
 Terry> sufficient reason) is that those of us who don't know C would have to learn a whole
 Terry> new syntax.

 Terry> Terry Cast

 Terry> Aaron Isaksen wrote:

 >> Why not make the parser understand c-like syntax?
 >> 
 >> aout = balance(x,y,z); // comment
 >> 
and of course that is not even C !!

 >> instead of assemblyesque
 >> aout    balance         x,y,z ; comment
 >> 
 >> -Aaron

It is the concept that matters.  There have been many attempts to
import other languages on top of Csound.  It is a trivial student
exercise to compile a C-like syntax to Csound, although the semantics
of i-, k- and a-rate is a little harder.  I set this project ever
year, but no one ever does it.
==John