| Msg gives me 30 characters in the index. Emacs gives me 22
characters. I do rather object to losing 8 characters of that.
Of course when I read the mail I get all characters but I can filter
and annotate on anything, and do.
==John
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Date: Mon, 16 Mar 1998 07:15:56 -0800
From: "Jim Stevenson Ph.D"
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To: csound@maths.ex.ac.uk, sachs@bull.cs.williams.edu
Subject: Re: title could be like that : [csound]
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It would sure help if all you folks who tell us how to set mail filters
would say for which mail program they work.
Or is there a filter that works with all mail programs?
There is way too much unnecessary nested quoting, especially on this thread.
When you answer this post, I doubt that it adds to the picture to quote me
at all.
Thanks.
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Date: Mon, 16 Mar 1998 09:52:06 -0600
To: csound@maths.ex.ac.uk
From: =cw4t7abs
Subject: Re: title could be like that : [csnd]
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1
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id ; Mon, 16 Mar 98 09:42:41 -0600 (CST)
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From: Boothe/Duncan
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Subject: Re: Yet another version
References:
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jpff@maths.bath.ac.uk wrote:
>
> Message written at 16 Mar 1998 10:53:50 +0000
>
> in to never-ending quest to get it right I have placed versions on
> 3.477 on the servers. Windows, Consolew and DOS, and Irix4 are
> certainly there by teh time this message is sent. Sources as well.
Greetings Csound Gurus-
What is the general practice for updating the mirror in Montreal?
Although I'm fairly sure the problem is at this end (somewhere), I
always have better luck with downloads from Montreal, especially during
high traffic periods. I notice that the latest versions are not there
yet. Realizing that this very latest was only posted about 5 hours ago,
I'm not complaining, merely inquiring.
Thank you.
-David M. Boothe
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In-reply-to: <350D1D05.18043B30@ere.umontreal.ca> (message from Jean Piche on
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Subject: Re: Utils: Manual missing options
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The -G option in pvanal is to latch the graphics so it only updates
the display parameters every 200 cycles. Otherwise it had a dendancy
to resize too often.
Sorry if I was too obscure.
==John ff
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The -G option in pvanal is to latch the graphics so it only updates
the display parameters every 200 cycles. Otherwise it had a dendancy
to resize too often.
Sorry if I was too obscure.
==John ff
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Date: Mon, 16 Mar 1998 09:21:34 +0000
From: Charles Baker
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Subject: Re: distortion
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Pedro Batista wrote:
> Ola everyone
>
> Is there a way to simulate distortion using csound? My knowledge on the
> innings of distortion are very limited, but I believe it comes from boosting
> a signals level until it clips. The cliping would have to be forced with
> csound, by perhaps something like this:
> asig = (asig > ithreshold ? ithreshold : asig)
> Can someone be so kind as to explain the basic method, if any, for
> achieving that with csound?
> Thanks in advance as always
> pedro
One way to do a "digital clip" is with waveshaping...use a shaping function
that looks something
like:
_
_/
or better yet, gereate a function like that, then filter it to 1/4-1/3 nyquist
frequency (much nicer sound)..I'm sure there are better distortion algorithms,
this is just off the top of my head.
CharlieB
--
*********************************************
Charlie Baker baker@charlieb.com
"when everything isn't roses, you don't get
any headroom" - Thomas Dolby "New Toy"
*********************************************
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Date: Tue, 17 Mar 1998 09:42:08 +1100
To: Pedro Batista
From: David Hirst
Subject: Re: distortion
Cc: csound@maths.ex.ac.uk
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>>
>>
>> Ola everyone
>>
>> Is there a way to simulate distortion using csound? My knowledge on the
>> innings of distortion are very limited, but I believe it comes from boosting
>> a signals level until it clips. The cliping would have to be forced with
>> csound, by perhaps something like this:
>> asig = (asig > ithreshold ? ithreshold : asig)
>> Can someone be so kind as to explain the basic method, if any, for
>> achieving that with csound?
>> Thanks in advance as always
>> pedro
>
You should be able to get harmonic distortion using Waveshaping (ie
Non-linear distortion) - requires knowledge of Chebychev Polynomials etc
-see Csound manual & Dodge & Jerse book.
You can also get some nice distorted input sound using FM, ie Frequency
Modulation of a complex waveform rather than sinewave. The amount of
distortion then becomes controllable using modulation index.
cheers
David
David Hirst
Senior Lecturer
Music Dept
La Trobe University
Bundoora, Vic 3083
AUSTRALIA
ph +61-3-9479 1502
Fax +61-3-9479 3651
Check out the online contemporary music journal:
http://farben.latrobe.edu.au/mikropol
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Date: Mon, 16 Mar 1998 22:39:41 -0600
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From: =cw4t7abs
Subject: Re: dis.tort.i\o \n
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>just off the top of 1 databasz.
Distortion
By applying some nonlinear processing to your Sounds, you can add extra
harmonics to the output,
making it spectrally richer. This is the technique behind things like
frequency modulation, ring modula-tion,
waveshaping, and even cranking your guitar amp beyond the range where it
has a linear response
- all in an effort to broaden the spectrum and avoid those pure, yet
boring, sine waves.
Waveshaping
The key to producing distortion in a signal is to process it in a nonlinear
way. Demonstrate this to yourself
right now by opening up WS distortion. A Waveshaper uses the value of its
Input as the index into the
wavetable named in ShapingFunction.
Try out a linear shaping function by setting the ShapingFunction parameter
to FullRamp. FullRamp
is a straight line from -1 up to 1. To see FullRamp, hold down the Command
or Control key and click
the disk button next to the ShapingFunction field; FullRamp looks like a
straight line. Now select WS
distortion, and choose Oscilloscope from the Info menu. Use a MIDI keyboard
to play the harp sample
and look at the waveform.
Next, try changing the ShapingFunction to WinSine4. Hold down the Command
or Control key and
click the disk button in order to see what the WinSine4 wavetable looks
like; this is definitely not a
straight line. Then select WS distortion and choose Oscilloscope from the
Info menu. Play some low
notes on the MIDI keyboard and look at the difference in the shape of the
waveform being displayed on
the oscilloscope.
Clipping
Waveshapers are not the only way to apply a nonlinear process to a signal.
One really simple way is to
simply turn it up too loud. This clips the signal, and introduces sharp
edges (and thus new harmonics) in
the waveform where before there were only smooth curves.
Take a look at sub-fundamental distortion. Notice that your sound here is
fed into a Gain and that the
Gain is set to 10. Select the Gain, choose Oscilloscope from the Info menu,
and watch what happens to
the shape of the waveform as you increase the !Volume fader. This clipped
signal is fed into LPF which
filters out all but the lowest frequencies. Try playing sub-fundamental
distortion and adjusting !Volume.
For complex signals, clipping introduces distortion products that are below
the fundamental as well as
above the fundamental of the signal.
Frequency Modulation
The reason that frequency modulation (FM) can be used to synthesize complex
tones is that it, too, is a
nonlinear process and adds extra harmonics where there were none before. In
Kyma, you can use any
Sound as an FM modulator, including samples or the live input. Try playing
Harp FM; this uses a Celtic
harp sample as the modulator on a sine wave oscillator. The higher the
modulation index, the more har-monic
distortion is introduced.
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Date: Tue, 17 Mar 1998 04:05:04 -0800 (PST)
From: Qian Chen
Subject: sound synthesis languages?
To: Csound
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Hi there,
I understand that all of us in this mailing list are Csounders. But
Sometimes I could read something about other sound synthesis
languages, such as Cmix, Ceicilia etc. Is there any other sound
synthesis language? Could someone explain me the comparison of those
languages, since I know very little about other languages except
Csound. Furthermore, what is the best and the worst of Csound?
Regards
Qian Chen
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