I've been using convolve for the past few weeks and have
	not yet gotten a clear idea of how the output signal is
	delayed with respect to the input. I've read the manual
	entry over and over and have calculated the delay by the
	formula given there but perhaps I just don't understand
	how or where to compensate for this delay.

		Generally my output signals tend to have the 
	impulse file appended at the end or in the middle of
	the sound that is output. For example, I've been trying
	to convolve a spoken sound (the word "gong") with an
	impulse file of a sampled gong. The output is starts
	out kind of gongish and then the actual clang of the 
	gong takes over in the middle like some sort of random
	cross-fade. I've tried padding the input file with
	silence at the beginning of the sample, same result
	with a corresponding silence at the beginning of the
	output file.

		Is there no way to scale the impulse file to
	fit the varying lengths of ain?

	Perhaps there is further documentation that I am 
	unaware of that someone could point me to...

	thanks,

	Bruce Quaglia
	University of Utah

At 1:08 PM -0600 7/3/97, bruce quaglia wrote:
>	I've been using convolve for the past few weeks and have
>	not yet gotten a clear idea of how the output signal is
>	delayed with respect to the input.

A (very) quick tutorial on convolution: A filter (highpass, lowpass,
bandpass, etc.) is usually characterized by its frequency response (e.g.,
passes low frequencies, removes high frequencies. If you put an impulse
(just a 1 surrounded by zeros in the digital domain) into a filter, the
signal (or sound) you get out is called the "impulse response" of the
filter. You can filter a signal in two ways: either run the signal through
the filter, or convolve the signal with the impulse response of the filter.

Since every filter (within reason) has an impulse response, we can assume
every signal (or sound) is the impulse response of some filter. When you
use convolve you are using the frequency response of the
entire-signal-at-once to filter the other signal. Adding silence at the
front or back of the sound will not change the sound of the convolution in
the least. It will only lengthen the delay. Convolution is symmetric so
which signal you call the filter and which signal you call the signal makes
no difference in the final output. By convention the shorter signal is
usually considered the filter.

In filter parlance, the filter signal is used as an FIR filter on the other
signal. When you put an impulse into an FIR filter, the impulse response
lasts the length of the filter. In other words, if the filter is 1024
samples long, the impulse response will be 1024 samples long. How much is
the response actually delayed? There is no precise answer but for symmetric
impulse responses the mid-point is usually used. So a 1024-sample sound
causes a delay of 512 samples, approximately.

Finally, convolve doesn't actually do convolution. It takes the Fast
Fourier Transform of part of the signal, multiplies that FFT by the FFT of
the impulse signal, takes the inverse FFT, and carefully combines the
parts. It's mathematically equivalent to convolution but much, much faster
for most cases.

I suspect what Bruce really wants to do is have his gong say the word
"GONG" while it's ringing. Convolve won't do that. He needs to run an
LPANAL on the word "gong" and use the output with an LPREAD, then run the
actual gong sound through an LPRESON. I'm almost certain that will give the
desired effect.

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

Hi all;
	Is there any way to graphically display the spectrum generated by
pvanal?(Win95 platform).
	I could write a program to do this, but I need to know the data
format for the output file generated by pvanal. 
	Does anyone have information on the file format for pvanal? Or the
other csound analysis modules?

Thanks for your help.
                                                            
 ----------------------
 Mark T Vigorito
 mtv@U.Arizona.EDU
 http://u.arizona.edu/~mtv












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From: =?iso-8859-1?Q?R=FCdiger_?= Borrmann 
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Dear Csounders,

I had a question concerning using Csound instruments with
Midi2Cs 0.95's GM feature and decided not only to tell it the
person who asked. It might be of general interest if I did
leave something out that wasn't obvious in the manual ...

Enjoy!
Ruediger Borrmann
http://www.snafu.de/~rubo/songlab/midi2cs


GM supported - 'midi2cs.gmi' (General Midi Instrument) config file

     A new file 'midi2cs.gmi' will be created in the config files's
     directory the first time you start Midi2Cs 0.95. This file is the
     new General Midi Instrument's configuration file. It looks like
     this:

          ; MIDI2CS - General Midi instrument table
          ; Program Number - Instrument (WAV, AIFF or ORC file)
          000 "" ;Acoustic Grand
          001 "" ;Bright Acoustic
          002 "d:\studio\samples\gm\acpiac3.aif" ;Electric Grand
          003 "" ;Honky-Tonk
          004 "" ;Electric Piano 1
          005 "" ;Electric Piano 2
          006 "" ;Harpichord
          007 "" ;Clav
          008 "" ;Celesta 009
          ...
          048 "d:\studio\csounds\strings\strings.orc" ;String
          Ensemble 1
          ...

     Just add your own *.aif, *.wav, *.orc (see Midi2Cs's manual)
     files to design your own individual General Midi Instrument set.
     Next time you run a conversion of a MIDIfile the instruments of
     this table will be used as presets for all tracks in your
     MIDIfile that contain GM program changes (the first change will
     be taken).

     To use *.orc files (I better should have named them *.iif -
     instrument include files) as instrument input is a little tricky.
     Csound expects functions for lots of instruments to be included
     in the header section of your resulting score file. That means
     that all functions used by your *.orc instruments should be
     defined in a 'midi2cs.hdr' file in Midi2Cs's home directory. Do
     not forget to enable 'scoreheader'-reading of the *.hdr file by
     editing the global 'midi2cs.pro'-file. e.g.:

          scoreheader c:\csound\midi2cs.hdr ; file to be included into
scorefile (readonly)

     My current midi2cs.hdr looks like Russel Pinkston's (I think he
     was it but I won't swear) header section defined for lots of
     instruments in his tutorials:

          ; Simple Sine Function
          f01     0       512    10       1
          ; Ramp
          f02     0       513     7       0       512     1
          ; Exponential rise
          f03     0       513     5       .001    512     1
          ; Quarter Sine Wave in 128 locs + extended guard point
          f04     0       129     9       .25     1       0
          ; Quarter Cosine
          f05     0       129     9       .25     1       90
          ; Triangular Wave
          f06     0       512     10      1   0 .111   0  .04    0  .02
0 .012
          ; Sawtooth Wave
          f07     0       512     10      1  .5   .3 .25   .2 .167  .14
.125 .111
          ; Square Wave
          f08     0       512     10      1   0   .3   0   .2    0  .14
0 .111
          ; Narrow Pulse
          f09     0       512     10      1 1  1   1 .7 .5 .3 .1
          ; Exponential rise and decay
          f10     0       513     5       .1      32      1       480     .01

     The string instrument I used for testing looks like the
     following. Please do not add instr or out/outs lines. 'instr' and
     'out/outs' lines are added automatically by Midi2Cs as needed
     depending on mono/stereo settings in the 'midi2cs.pro' file and
     automatic instrument numbering.

          ;ORC
          ; edited by R. Pinkston, modified for use with MIDI2CS by R.
Borrmann
          ;

;==========================================================================;
          ;                Schottstaedt FM String Instrument from Dodge
         ;
          ;
         ;
          ;p4 = amp p5 = pch p6 = rise p7 = dec p8 = vibdel p9 = vibwth p10
= vibrte ;

;==========================================================================;
          ;        sr      =       44100
          ;        kr      =       4410
          ;        ksmps   =       10
          ;        nchnls  =       1
          ;
          ;                instr   1

          par
            p_maxamplitude 32000
            p_cps
          endpar

                  iamp    =       p4

                  irise   = .2    ;p6
                  idec    = .2    ;p7
                  ivibdel = .75   ;p8
                  ivibwth = .03   ;p9
                  ivibrte = 5.5   ;p10

                  ifc     =       p5
                  ifm1    =       ifc
                  ifm2    =       ifc*3
                  ifm3    =       ifc*4
                  indx1   =       7.5/log(ifc)    ;range from ca 2 to 1
                  indx2   =       15/sqrt(ifc)    ;range from ca 2.6 to .5
                  indx3   =       1.25/sqrt(ifc)  ;range from ca .2 to .038
                  kvib    init    0

                          timout  0,ivibdel,transient  ;delays vibrato for
p8 seconds
                  kvbctl  linen   1,.5,p3-ivibdel,.1   ;vibrato control
envelope
                  krnd    randi   .0075,15        ;random deviation in vib
width
                  kvib    oscili  kvbctl*ivibwth+krnd,ivibrte*kvbctl,1
;vibrato generator

          transient:
                  timout  .2,p3,continue          ;execute for .2 secs only
                  ktrans  linseg  1,.2,0,1,0      ;transient envelope
                  anoise  randi   ktrans,.2*ifc   ;noise...
                  attack  oscil   anoise,2000,1   ;...centered around 2kHz

          continue:
                  amod1   oscili  ifm1*(indx1+ktrans),ifm1,1
                  amod2   oscili  ifm2*(indx2+ktrans),ifm2,1
                  amod3   oscili  ifm3*(indx3+ktrans),ifm3,1
                  asig    oscili  iamp,(ifc+amod1+amod2+amod3)*(1+kvib),1
                  asig    linen   asig+attack,irise,p3,idec
          ;                out     asig
          ;
          ;                endin
                  aright  = asig
                  aleft   = asig

     You might have noticed that there's a par/endpar section in the
     instrument to specify parameters for automatic use with Midi2Cs.
     Parameters should be exactly as to be set in 'midi2cs.pro' and
     described in the manual. These settings have a higher priority
     than any midi2cs.pro file. It's not tested to death, so if there
     are any errors, please tell me, so that I am able to correct
     them. I am also interested in receiving intruments edited for the
     use with Midi2Cs. I'd like to publish Csound instruments working
     with the new GM features of Midi2Cs 0.95 them on a new web page.











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Can anyone tell me why I can't get a sound file written when compiling
with CSounder?  

Thanks
Stuart
stuartf@dimensional.com











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Date: Wed, 16 Jul 1997 17:54:30 -0700 (PDT)
From: Richard Karpen 
Reply-To: Richard Karpen 
To: Mark T Vigorito 
Cc: csound@maths.ex.ac.uk
Subject: Re: info on PVANAL files needed
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pvanal data is stored as Magnitude/Frequency pairs for each analysis
bin by frame. That is, you'll have

Frame1: Mag1, Freq1, Mag2, Freq2, Mag3, Freq3.....
Frame2: Mag1, Freq1, Mag2, Freq2, Mag3, Freq3.....
Frame3: Mag1, Freq1, Mag2, Freq2, Mag3, Freq3.....

and so on...

The data is binary. The file has a header defined by the PVSTRUCT.

You can anonymous ftp to: ftp.u.washington.edu
cd public/karpen

and get pvlook.c which reads through the pvanal data and outputs text. You
could take this program and pretty easily turn it into a program that
displays the data graphically. If you do, let me know!

Richard Karpen

=====================================================
 Professor Richard Karpen, Music Composition/Computer Music
 Director, Center for Advanced Research Technology
	in the Arts and Humanities (CARTAH)
 Box 353680
 University of Washington
 Seattle, WA 98195

 Phone: (206) 543-7130  FAX: (206) 685-9499
 email: karpen@u.washington.edu
 www:   http://weber.u.washington.edu/~karpen
=====================================================




On Wed, 16 Jul 1997, Mark T Vigorito wrote:

> Hi all;
> 	Is there any way to graphically display the spectrum generated by
> pvanal?(Win95 platform).
> 	I could write a program to do this, but I need to know the data
> format for the output file generated by pvanal. 
> 	Does anyone have information on the file format for pvanal? Or the
> other csound analysis modules?
> 
> Thanks for your help.
>                                                             
>  ----------------------
>  Mark T Vigorito
>  mtv@U.Arizona.EDU
>  http://u.arizona.edu/~mtv
> 
> 
> 













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To: csound@maths.ex.ac.uk
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From: Hans Mikelson 
Subject: Tube Distortion Instrument
Date: Mon, 14 Jul 97 13:42:30 PDT
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I found an interesting paper on the web which discusses vacuum tube 
distortion:

http://www.dwfearn.com/tvst1.htm

This inspired me to try and simulate it in Csound.  Unfortunately it isn't 
too great.  Does anyone have any examples of simulated distortion?

; Orchestra begins here.

sr=44100
kr=4410
ksmps=10
nchnls=1

gasig    init 0

; Pluck
instr 2

  iamp =      p4*4
  ifqc =      cpspch(p5)
  kamp linseg 0, .002, p4, p3-.004, p4, .002, 0

  asin1 pluck kamp, ifqc, ifqc, p6, p7
  gasig =     gasig + asin1

endin

; Tube Amp
instr 10

asig     init   0
kamp     linseg 0, .002, 1, p3-.004, 1, .002, 0
igaini   =      p4
igainf   =      p5
iduty    =      p6
islope   =      p7

aold     =      asig
asig     =      igaini*gasig/40000 ; Distortion effect using waveshaping.
aclip    tablei asig,5,1,.5        ; A lazy "S" curve, use table 6 for 
increased
aclip    =      igainf*aclip*10000 ; distortion.

; Tube Amplifiers show a shifted duty cycle which I try to emulate with
; a delay line.  The slope bit is just something goofy I thought I would add.
atemp    delayr  .1
adel1    deltapi (1-iduty*asig)/3000 + (1+islope*(asig-aold))/3000
         delayw  aclip

         out    adel1*kamp

  gasig  =       0

endin


; Score starts here

; Sine Wave
f1 0 8192 10 1
; Triangle Wave
f2 0 8192 7  -1  4096 1 4096 -1

; Distortion Tables
;----------------------------------------------------------------------
; Heavy Distortion
;f5 0 8192   8 -.8 336 -.76 3000 -.7 1520 .7 3000 .76 336 .8
; Slight Distortion
;f5 0 8192   8 -.8 336 -.78  800 -.7 5920 .7  800 .78 336 .8
; Tube Distortion
; Light
;f5 0 8192 7 -.8 834 -.79 834 -.77 834 -.64 834 -.48 1520 .47 2000 .48 1336 
.48
; Heavy
f5 0 8192 7 -.8 934 -.79 934 -.77 934 -.64 1034 -.48 520 .47 2300 .48 1536 
.48

; Tube Amp
;   Sta  Dur  PreGain PostGain  DutyOffset  SlopeShift
i10 0    1.5  2       1         1           0

; Pluck
;   Sta  Dur  Amp   Fqc   Func  Meth
i2  0.0  1.6  4000  7.00   0     1
i2  0.2  1.4  3000  7.05   .     .
i2  0.4  1.2  2600  8.00   .     .
i2  0.6  1.0  3000  8.05   .     .
i2  0.8  0.8  4000  7.00   0     1
i2  1.0  0.6  3000  7.05   .     .
i2  1.2  0.4  2600  8.00   .     .
i2  1.4  0.2  3000  8.05   .     .


|    |    |  \   |     /      Hans P. Mikelson
|  __     |  __/ |  \    |    hljmm@discover-net.net
|__  |__  |__    |__ \_  |__  http://discover-net.net/~hljmm/












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From: Dustin Barlow 
To: "csound@noether.ex.ac.uk" 
Subject: RE: Help with CSounder
Date: Wed, 16 Jul 1997 21:45:12 -0500
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I can help, can you be more specific?

Dustin Barlow
Omni Digital Systems
http:\\www.omnids.com

-----Original Message-----
From:	stuart [SMTP:stuartf@dimensional.com]
Sent:	Wednesday, July 16, 1997 7:50 PM
To:	csound@noether.ex.ac.uk
Subject:	Help with CSounder

Can anyone tell me why I can't get a sound file written when compiling
with CSounder?  

Thanks
Stuart
stuartf@dimensional.com












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OK, time to stop lurking...anyone had any success with 'hrtfer'??  I've 
tried and tried, but no matter how large the amplitude of the soundin 
file, and no matter how much post-hrtfer scaling (or balance-ing) I do, 
the results are choppy and sprinkled with random artifacts (samples out 
of range).  I started with the Fitch's example in release notes 3.44 and 
used a soundin file containing filtered noise.  Some of the best results 
I've obtained appear to pan, but fail miserably in making the sound 
source seem 3-D.  A friend of mine here at school demo'ed his Diamond 
Multimedia Monster sound card with software by Crystal River that does 
realtime hrtf calculations and believe me it makes 'hrtfer' look pretty 
silly.  Perhaps being able to do 25 million floating point operations 
per second has a little something to do with it, but I'm still wondering 
if anybody has had any success with 'hrtfer'.

Also, does anyone have any reports on Soundhack's HRTF capability?  
Takes a long time, and though the results are better than hrtfer, they 
are also plagued with artifacts.

In advance, THANKS!
-Jeff











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Subject: Re: Tube Distortion Instrument
To: Csound mailing list 
Date: Thu, 17 Jul 1997 01:23:27 -0400 (EDT)
From: Eli Brandt 
In-Reply-To:  from "Hans Mikelson" at Jul 14, 97 01:42:30 pm
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Hans Mikelson wrote:
> I found an interesting paper on the web which discusses vacuum tube 
> distortion:
> 
> http://www.dwfearn.com/tvst1.htm

Very interesting indeed!  So much for the "soft overload" folk-theory
of tube distortion.

> This inspired me to try and simulate it in Csound.  Unfortunately it isn't 
> too great.

One thing to check would be whether your orchestra generates the
tube-amp output waveform shown in the paper, and whether it gives the
right harmonic content.

> adel1    deltapi (1-iduty*asig)/3000 + (1+islope*(asig-aold))/3000
>          delayw  aclip

Hmm, interesting approach.  Do you have a theoretical feel for what
this operation does to a waveform?  (I'm lazy at this time of night...)

I thought one of the key points of that paper was that waveshaping is
clearly not enough.  In overload, the triode's transfer function is
something like:

             |
          ___|____________
         /   |
--------/----+--------------
       /     |
     _/      |
~~~~~        |
             |

At any rate, it destroys the zero-crossings' symmetry, so it can't
consistently go through the origin, as it does for small signals.

I'd love to see transfer curves (phase-aligned, ideally) for various
signal levels to see how this shift develops.  Physically, does the
circuit have some kind of state information that allows this? and how
long is its memory?

-- 
     Eli Brandt  |  eli+@cs.cmu.edu  |  http://www.cs.cmu.edu/~eli/











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Date: Thu, 17 Jul 1997 04:38:15 -0600
From: stuart 
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Subject: Re: Help with CSounder
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Dustin Barlow wrote:
> 
> I can help, can you be more specific?
> 
> Dustin Barlow
> Omni Digital Systems

Yes, I click on a orc and sco file.  I have no clue as to if I should
include somewhere an output filename, or even how to.  I hit compile,
winsound comes up, goes through the normal compilation process without
errors, but the last message is "no soundfile written". 

Thanks 
stuart
stuartf@dimensional.com











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Message-ID: 
From: Edwin de Jong 
To: "'pcsound@maths.bath.ac.uk'" 
Subject: Musical Signal Processing
Date: Thu, 17 Jul 1997 12:15:32 +0100
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Dear Sir or Madam,

The reason for contacting you is the recent book publication of 'Musical
Signal Processing' , a book in the field of new music research. Since I
am of the opinion that this book might be of interest to your members, I
took the liberty to send you some information (please see the attached
files, both in word and in text format) on this recently published book.

Please do not hesitate to contact me (edejong@swets.nl) if you need any
further information!  

Sincerely yours,

Edwin de Jong

  

S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z 
Edwin de Jong
Marketing Assistant
Swets & Zeitlinger Publishers
P.O. Box 825
2160 SZ LISSE
THE NETHERLANDS
Tel: +31 (0) 252 435 133
Fax: +31 (0) 252 415 888
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S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z S&Z      

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UGx1cw==

------ =_NextPart_000_01BC92AB.2064C870
Content-type: text/plain; name="ICMA(2).TXT"
Content-transfer-encoding: quoted-printable

Announcing a new book in the Studies of New Music Research series

Musical Signal Processing
Editors: Curtis Roads, Stephen Pope, Aldo Piccialli (=86), and Giovanni =
De Poli=20

Compiled by an international array of musical and technical specialists, =
Musical Signal Processing opens the door to the most important topics in =
musical signal processing today. Beginning with basic concepts, and =
leading to advanced applications, it covers such essential areas as =
sound synthesis (including detailed studies of physical modelling and =
granular synthesis), control signal synthesis, sound transformation =
(including convolution), analysis/resynthesis (phase vocoder, wavelets, =
analysis by chaotic functions), object-oriented and artificial =
intelligence representations, musical interfaces, and the integration of =
signal processing techniques in concert performance.

Prepared over a period of four years, Musical Signal Processing is =
designed to be adopted in courses of musical sound synthesis and sound =
processing, in research centres, conservatories, and university =
departments of music, acoustics, computer science, and engineering. The =
audience includes electronic and computer musicians, engineers, =
acousticians, and instrument designers. The chapters in Musical Signal =
Processing have been written according to a two-part structure: the =
first half tutorial, the second half advanced. Thus any chapter should =
be accessible to students of the field.

Table of Contents:

Part I 	Foundations of musical signal processing

Overview	C. Roads

1) Musical signal synthesis					G. Borin, G. De Poli, and A. Sarti
2) Introducing the phase vocoder				M.-H. Serra
3) Musical signal modelling with sinusoids plus noise	X. Serra

Part II	 Innovations in musical signal processing=20

Overview	G. De Poli

 4) Wavelet representations of musical signals		G.-P. Evangelista
 5) Granular synthesis of musical sounds			S. Cavaliere, and A. =
Piccialli
 6) Music signal analysis with chaos				A. Bernardi, G.-P. Bugna, and G. =
De Poli
 7) Acoustic modelling using digital waveguides		J.O. Smith III






Part III Musical signal macrostructures

Overview	S.T. Pope

8) Programming language design for musical signal  processing	=
R.Dannenberg, P. Desain,=20
 									and H. Honing
9) Musical object representation					S.T. Pope
10) Artificial-intelligence-based music signal applications		A. Camurri, =
and M. Leman=20
     - a hybrid approach						 										=09
Part IV Composition and musical signal processing

Overview	C. Roads

11) Notations and interfaces for musical signal processing	G. Sica
12) Sound transformation by convolution			C. Roads
13) Musical interpretation and signal processing		A. Vidolin

Order Information:

ISBN (Bound): 90 265 1482 4 - Price US$ 99.00 /  Dfl. 178,00 (*)
ISBN (Paper): 90 265 1483 2 - Price US$ 39.00 / Dfl. 70,00 (*)

(*) exclusive of local sales tax

PLEASE CHECK OUR WEBSITE FOR MORE INFORMATION:
HTTP://WWW.SWETS.NL/JNMR/SNMR.HTML

OR CONTACT:

 SWETS & ZEITLINGER PUBLISHERS
PO BOX 825, 2160 SZ LISSE
THE NETHERLANDS
EDEJONG@SWETS.NL

							=09

------ =_NextPart_000_01BC92AB.2064C870--

pvanal data is stored as Magnitude/Frequency pairs for each analysis
bin by frame. That is, you'll have

Frame1: Mag1, Freq1, Mag2, Freq2, Mag3, Freq3.....
Frame2: Mag1, Freq1, Mag2, Freq2, Mag3, Freq3.....
Frame3: Mag1, Freq1, Mag2, Freq2, Mag3, Freq3.....

and so on...

The data is binary. The file has a header defined by the PVSTRUCT.

You can anonymous ftp to: ftp.u.washington.edu
cd public/karpen

and get pvlook.c which reads through the pvanal data and outputs text. You
could take this program and pretty easily turn it into a program that
displays the data graphically. If you do, let me know!

Richard Karpen

=====================================================
 Professor Richard Karpen, Music Composition/Computer Music
 Director, Center for Advanced Research Technology
	in the Arts and Humanities (CARTAH)
 Box 353680
 University of Washington
 Seattle, WA 98195

 Phone: (206) 543-7130  FAX: (206) 685-9499
 email: karpen@u.washington.edu
 www:   http://weber.u.washington.edu/~karpen
=====================================================




On Wed, 16 Jul 1997, Mark T Vigorito wrote:

> Hi all;
> 	Is there any way to graphically display the spectrum generated by
> pvanal?(Win95 platform).
> 	I could write a program to do this, but I need to know the data
> format for the output file generated by pvanal. 
> 	Does anyone have information on the file format for pvanal? Or the
> other csound analysis modules?
> 
> Thanks for your help.
>                                                             
>  ----------------------
>  Mark T Vigorito
>  mtv@U.Arizona.EDU
>  http://u.arizona.edu/~mtv
> 
> 
>