| i too in vitro but here goes...
you wrote:
>...Also, the manuals don't help
well not enough anyway.
>because I don't know the basics of Csound. I
>know how to use Virtual Waves because I know what it can do and I
>understand it, but Csound is entirely unknown to me. Apparently it
>generates the sound and the melody together, right? If there is a
>walkthrough available on the web (one that doesn't jump in directly to the
>orchestra commands), point me to it please. If anyone has the time, please
>e-mail me privately.
nah. let's try shouting from the rooftops. there just might be a thousand
lurkers out there who really want to know. first, how did you get here in
the first place without:
http://www.keyboardmag.com
Jan '97 issue carried tutorial and assorted info. I will take a stab at
presenting some at bottom here.
>It IS confusing, I have tried to get a hold of Csound but it seems like too
>much of a cult thing. It also seems (from what I can infer) that Csound is
>friendlier to UNIX and Power Mac than to the PC. Help me out here, I really
>want to see what it can do.
http://www.leeds.ac.uk/music/Man/c_front.html
And don't forget to download:
Amsterdam Catalogue of CSound Computer Instruments.
ok, so burn some incense as you open up this window wide so no text wraps
around. don't want to start new lines where they shouldn't be started. now
I just cooked this up tonight and it is only meant to supplement, or rather
present a slightly different view of, the information you will acquire via
the above.
first, a sample orc file. note that everything on the same line as a
semicolon, that follows the semicolon, is ignored by the program. that is
to say, it is only for explanation purposes. not even sure if this will
line up properly from my ppc to you. let me know. anyway, you should be
able to realign it with the help of again, the above websites, and that
semicolon rule. if anyone else out there spots anything dead wrong, or
would like to further elucidate, please speak loudly and slowly.
and now for the orc:
;following four lines are header information
sr=48000 ;sample rate
kr=4800 ;control rate
ksmps=10 ;control samples per period (divide sr by kr)
nchnls=1 ;number of channels (in this case mono)
;definition statement
instr 1 ;instrument 1
;result part of statement:
; action argument
; opcode amplitude attack total duration decay
k1 linen 20000, 5, p3, 5
;Above, duration p3 refers to value in 3rd field (or parameter) of
;instrument (i) statement in score.
;result
; action argument
;audio signal oscillator envelope pitch waveform
asig oscil k1, cpspch(p5), p4
;Above, envelope k1 refers to output of the opcode linen as defined
;in its argument.
;cpspch converts the pitch value found in the fifth parameter of the
;i statement in score to hertz.
;Finally, waveform p4 refers to the 4th parameter of f in score file.
out asig
;above output is audio signal
endin
;that's it!
..............................................
;OK now here's a sample score file, without which your instrument will
remain forever silent:
;function table statement
;activate GEN wait size of wavetable (resolution) GEN % of volume
f1 0 8192 10 1
;calls up instr 1 in orc wait duration (seconds) (p4) refers to f1
above pitch
i1 0 10 1
6
e
;all done!
>Thanks
>
>Dosvidanya
>
>END
>
>v.0.99
>ZMA
and at this point, that is practically the extent of my knowledge: and
already csound endows me with total control of envelopes with unlimited
stages and additive synthesis, and use of enharmonics. of course, as others
on this list are painfully aware, i'm still working on the envelope thing...
good luck. and don't forget to teach me whatever you learn!
yours,
tolve
Creative Dir: Audio
TAOHaus: theater artists' omnibus
Bowling Green Station
PO Box 1062
New York, NY 10274-1062
tlv@tuna.net
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