jim altieri wrote:

> if you're going to kick someone off for being pretentious and OT, might as
> well kick off about half of the members on any listserv.  it's good to
> remember that there are other ways of communicating, such as the way this
> guy communicates, and that there are other cultural and communication issues
> involved in making music.  or, just ignore him, and be on your merry way

I'd have to agree. The issue comes down to this. How socially and politically
convulsive do events like the current crisis in Serbia/Kosovo/Albania have to
be, before we bring such topics in out of the cold (namely OT) and acknowledge
the way they influence our current  music-making.

It's sobering to remember that we wouldn't be making ANY computer music
without, some might say, the aesthetically pyrrhic "advances" that occurred
during WW 2, and thereafter. Alan Turing's work on decrypting the German
Enigma machine is one of the more benign examples that comes to mind. I'm sure
most of us could easily call forth many of the more malignant variety.

The point is that it takes less than six degrees of separation to connect
Computer Music, per  se, to the DoD. The current forced migration from Kosovo,
euphemistically called "ethnic cleansing" (try "ethic cleansing"), is the
largest such movement of people in Europe since WW2. It is not some
streetcorner tiff on the other side of the world. If you are an American, this
isgoing to have far reaching repercussions on US foreign policy, and perhaps
even the way the military does its thing. 

f1f0 (@m9ndfukc.com) may just be there to remind us that one day, the DoD
could come knocking on your door with an offer difficult to refuse - "...that
opcode you got there, we could use it .....". If you think that's
funny/improbable, look into the development of submarine screw-silencing
during the last ten years. If  f1f0's style irks you, persist. Has anyone, for
example, thought of taking the trouble to respond to f1f0's postings in the
same dialect ?

Actually, I did communicate private to the f1f0 unit.
	nothing in return

I actually stole some words from its website.

There are some interesting things there.

Some are simply exogenetic meandersings that serve in several ways as a
generic, "Why didn't I think of that?"

On the other hand, leaving room for one more to allow continued holding of
csound related cards to chest, little i has found that persistent attempts
at metacommunication minus the requisite, "I speak your language also."
leaves too much room for doubt in the general trend of things, no matter how
McDonaldsesque this may sound.

I really would like to understand a couple things before I lay my csound
hand down on the table here in this csound forum.  Is it possible that f1f0
can relay the csound related stuff in a generic csound list-understandable
language?  And we as csound language-tunnel-visioned as we are make the
trade of attempting to understand this new language, as odd and inferential
as it seems ?

What I've seen/heard/experienced at these sites has been (when successful
due to inherent need to program for the world not just Mac when it comes to
this 3w stuff) somewhat csound related.  I have no doubt that some of these
sonic events presented through a combination of fireworks driven HTML, more
practice please, and MOV/sound are generated using csound.

Here's the csound card.

Personally, if I can find a link in any communication on this list that has
to do with csound, I'm listening.

Some of what I've posted here has little obvious connection with the use of
csound as a tool.  This is csound language.  I'm still learning.  But,
, I'm telling you.  I got a patch in mind that'll
....   

That's what I'm talking about.

The catch.

My personal work is stopped with regards to csound capability at present
level of development.

I am sadly stuck with a rather large investment in Intel based PC hardware
that cannot do it's desired function at all due to lack of software.
- - -

I've had this dream ever since I was a teenkid.  A dream that goes. . . ..

Stereo is cool!
No, wait a second, Stereo sucks!
This is horrible.
How can they flatten out music so grossly.
Matrix stereo, quad, weird speaker arrays filled the listening halls to
surpass this abismal sound coming from a mere pair of speakers.
I have this dream where we build a hall just for the kind of music that can
only come from csound and related sound manipulation tools.
A more "TruSpace" tm  kind of sound.
I'm pretty sure that is a common goal in this list.
We make these awesome soundscapes, and , we could
sure use a concert hall that would take advantage of that sound and so on
and so on.
---------

Bottom line.
I'm not a C/C++ programmer.
I'm barely a csound programmer.
Mostly becasue I understand the language but came in on this weird path
where I have specific needs before I can even start.

8->32 channel out, Any  and real time, using multiple stereo(and/or mono?) channels or single
multi-channel driver.  Win32 version, preferably DirectX-style plug-in for
multi-channel DAW apps.

An out opcode that can have adjustable sample play pointers into any number
of channels of audio file and/or real-time output.

A 3 (possibly 4 or more) dimensional sound object localization mixer as
opcode.

An 8/14/20/26/ channel (self-calibrating for this
moment's exact speed of sound) room delay sphericalization opcode that would
provide time/space equalization relative to sonic event projectors and ALL
listeners AND players  of any given Performance
Space.  Rectangular cube or  relative to desired sound
event's localization space/time coordinates determine where in the event
horizon said sonic events occur relative to the listening environs filtered
through the human filters AND the physical filters presented by the
intrusion of humans in this pure sonic space I have envisioned for the
simple 'Playing of OUR music."

Thank You for listening, if you didn't bail a long time ago that is.  ;-)

ricardo madgello
out on this one....


but, wait!, there's more.....  


-> DVD standard enhanced to allow 32 min. channels @ 192KHz PCM or no-loss
equivalent w/ compression.
-> A drive that can handle that throughput.

->A card that can handle 8 -> 32 discrete mono channels out to at least
96KHz D/A.
(Recordings will still sound better with effective re-sampling.  The wait is
for D/A that can ...)

======================
Let's take a vote now.

You're totally free to knock me from the list.
I can guaranty that I'll be whining about these csound 'deficiencies' until
you do, implement them, or I take the 'three freaking years it takes to get
to this level....'

I have just revealed my whole insanity.

mwuh