| Richard Dobson
>BTW, I am a flute-player, and much as I am interested in wind controllers, I
>probably won't give up the flute - you get to ~feel~ the air much more with a
>flute, and with plain bamboo and wooden flutes it is possible to use all
>sorts of
>tricks such as fingered vibrato, slides, half-holing and so on - I can't
>imagine a
>wind controller of any design could really match that! Wind controllers
>are new
>instruments, with their own strengths, but they cannot ~replace~ quixotic
>physical
>instruments of metal, cane, wood and goldbeater-skin.
don't give up the flute. in fact consider using it as an alternative
controller as well. but please don't go discouraging our meta designers.
note that i mentioned being endeared to multiphonics on sax. but all those
pitch nuances, volume nuances, timbre nuances, dramatic and subtle
fingering effects, they can all be represented as ones and zero's. (the
proof of this is that they are pretty well captured by our primitive cd's).
now programming a working interface for all that half hole stuff, timbre
response to subtle physical changes in our bodies (mouth shape, epiglottis
position, hands, wind pressure, mouth pressure, hand pressure, angles of
hands and body) can't be too much more involved than calculating the
relative movement of all the planetary bodies in the space time continuum
now can it? and besides, the flute already exists, the goal should not be
to replace it exactly, but to learn from it. and let's start by trashing
midi.
you say "cannot." in ten years? one hundred years? a thousand? imagine
complete control over the way in which your instrument responds to such
subtle changes with programmable results! we are just beginning to see the
possibilities. god this is an exciting time to be a musician!
happy csounding!
tolve
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Date: Thu, 19 Mar 1998 11:21:21 -0500 (EST)
From: Keith Cowgill
To: csound mailing list
Subject: Digest question, w/ apology
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I apologize for asking this here, because I think it has been answered
before and I just didn't make a note of it.
Is there a way to get this list in digest form? If so, how? (Also, if
so, it might be a nice little information tidbit to shove into the FAQ...)
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From: J P Fitch
To: Keith Cowgill
Cc: csound mailing list
Subject: Re: Digest question, w/ apology
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Yes it is avail;able in digest form -- at least unofficially. The process
is you tell me, and I send a daily digest (software willing!)
==John ff
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From: rasmus ekman
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Subject: Re: instrument synthesis?
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tolve wrote:
>
> but all those ... dramatic and subtle effects, they can all be represented
> as ones and zero's. (the proof of this is that they are pretty well captured
> by our primitive cd's).
But to "represent pretty well" - relative to our very young recording
and record-listening practises - is still a far scream from "controlling"
or "modelling" as related to our (even younger) synthesizing and
synthesis-listening practises.
> now programming a working interface for all that half hole stuff, /etc.../
> and besides, the flute already exists, the goal should not be to replace
> it exactly, but to learn from it.
The point shouldn't be to replace anything at all! Imitation could be done
by any simpleton with a properly cross-indexed array of samples (kind of).
Now:
(1) Well, the interfaces must not be stupid. If there's a hole model, there
should be a slider (or float) for "covering" it, not a checkbox (or boolean).
(2) If there's a point in instrumental synthesis at all, it would be to
get a halfways decent imitation, but with controls for stretching the flute
in any dimension, and moving the holes around while playing - physically
"impossible" stuff can and should be done by synthesis.
The rest is just corporate attempts at replacing musicians, which succeed
to the point of
(a) putting a few people out of their jobs, and
(b) getting their kid cousins to spend a lot of money on the new music
and its instruments, which appear because
(c) the synthesis sucks as "representation" of instrumental music, but
(d) can be used for completely different aesthetical purposes.
(oh, and it takes musicians and composers to realise that potential,
so we're back before (a) now)
Regards,
re
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Date: Fri, 20 Mar 1998 09:23:40 +1100
To: oz-computer-music@latrobe.edu.au
From: David Hirst
Subject: La Trobe concert at MLC
Cc: cecdiscuss@concordia.ca, csound@maths.ex.ac.uk
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To those readers who may be in Melbourne this week-end:
There will be a concert of works by La Trobe Music staff and ex-postgrads.
Sunday, 22 March
Methodist Ladies College Auditorium
Barkers Road
Kew
5.00pm
Featuring performers:
Michael Kieran Harvey
Musicians from the David Chesworth Ensemble
Trish Anderson
Madeleine Flynn
David Hirst
Tim Humphries
Graeme Leak
Mardi McSullea
Nadim Sarraj
WOOF Percussion
and works by
Steve Adam
Trish Anderson
Stuart Campbell
David Chesworth
David Hirst
Neil Kelly
Stan Link
Allan Walker
Many of the works are for tape, tape and instrument(s), or live electronics.
Proceeds will be used for the Keep La Trobe Music fighting fund...
Hope to see some of you there..
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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From: tolve
Subject: mod index
Date: Thu, 19 Mar 1998 17:40:12 -0500
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regarding FM spectrum (# of sidebands)
p229 Curtis Roads Computer Music Tutorial pub MIT.
index of modulation I is defined as
I=D/M
where D is the amount of frequency deviation (in Hz).
if D is 100 Hz and Modulator M is 100 Hz, then the index of modulation is 1.0.
fine, I is determined by two frequency values.
but then he goes on to say:
"because the bandwidth increases as the index of modulation increases, FM
can simulate an important property of instrumental tones. Namely, as the
amplitude increases, so does the bandwidth."
huh? who said anything about amplitude? suppose he means that amplitude
must be somehow indexed to a change in pitch of the modulator to achieve
this affect?
could someone please clarify? and how does csound deal with this?
tolve
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Date: Thu, 19 Mar 1998 15:37:49 -0800
From: Erik Spjut
Subject: Re: mod index
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At 5:40 PM -0500 3/19/98, tolve wrote:
>regarding FM spectrum (# of sidebands)
>p229 Curtis Roads Computer Music Tutorial pub MIT.
>"because the bandwidth increases as the index of modulation increases, FM
>can simulate an important property of instrumental tones. Namely, as the
>amplitude increases, so does the bandwidth."
If your modulation index control signal (which should be at sr not kr
regardless of what stupid things foscil does) tracks with your note
envelope (something you have to arrange e.g. afmindex = aenv*0.001) then
the harmonic content increases as the volume increases. Of course, you can
have seperate mod-index and amplitude envelopes, but then you have to
decide in what fashion the harmonic content should change over time.
-------------------------------------------------------------------------------
Erik Spjut (rhymes with cute) - Acting Director,The Center for Design Education
and/or Associate Professor of Engineering
Harvey Mudd College, Claremont, CA 91711 USA
Erik_Spjut@hmc.edu Ph & Voice mail (909) 607-3890 Fax (909) 621-8967
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From: Charles Baker
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hmmm....
> regarding FM spectrum (# of sidebands)
> p229 Curtis Roads Computer Music Tutorial pub MIT.
>
> index of modulation I is defined as
>
> I=D/M
> where D is the amount of frequency deviation (in Hz).
> if D is 100 Hz and Modulator M is 100 Hz, then the index of modulation is 1.0.
>
> fine, I is determined by two frequency values.
>
that's actually the "carrier to modulator ratio", not "Index of
Modulation" , which *is* a amplitude multiplier.
Fun thing is, you can crank that Index puppy up & down all you want,
and it will not affect the amplitude of the output (modulated carrier)
waveform. It just "spreads out" or "re-distributes" the carrier waves
energy in a pattern determined by the carrier to mod ratio, the index of
mod,
the sample rate , the original waveforms, and the math functions known
as "bessel functions" . A very good intro for musicians to these
concepts, (although one that had many typos) was the John Chowning
(father of audio FM synth) book printed by Yamaha...also out of print, I
bet...sheesh, these days I feel so old...
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: Thu, 19 Mar 1998 22:28:37 -0500
From: Brandon Nelson
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Subject: Re: Mac Csound 3.47
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David Madole wrote:
>
> >
> > I can't get many older orcs to work with the most recent perf3.47 on the Mac.
> > How do I revert to using an older version of perf?
> >
>
> What is happening?
>
Well, sometimes it hangs, sometimes it makes weird sounds, which is why I
wanted to go back to 3.46 but I didn't know how to get CSound to use the older
version of Perf (hence the original question).
Brandon
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Date: Thu, 19 Mar 1998 20:05:42 -0800 (PST)
From: Qian Chen
Subject: Re: sound synthesis languages?
To: Larry Troxler
Cc: Csound
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Agree...
Qian Chen
---Larry Troxler wrote:
> IMHO, languages are the least of my worries when venturing into the
> Ircam site. this site has to be one of the least intuitive computer
> music sites I have ever laid eyes on!! It is very difficult to find
what
> you are looking for, even when you know it is there somewhere.
>
> -- Larry Troxler -- lt@westnet.com -- Patterson, NY USA --
>
>
>
_________________________________________________________
DO YOU YAHOO!?
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To: Charles Baker , Mark Ballora ,
Erik Spjut , csound@maths.ex.ac.uk
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From: tolve
Subject: mod index
Date: Fri, 20 Mar 1998 00:29:34 -0500
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had to read your answers a couple of times, but seems that all of them, and
the book are correct, although they sound different. interesting.
thanks guys!
tolve
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From: Roger Klaveness
To: csound
Subject: mod index
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>had to read your answers a couple of times, but seems that all of them, and
>the book are correct, although they sound different. interesting.
>
>thanks guys!
>tolve
>
>
>
Maybe I'm wrong, but........
After thinking a little about it it seems to me that the amount of frequency
deviation (D)
is the same as the amplitude of the modulator.
So I think the book is rigth, if one asumes that the amplitude of the
modulator follows the
amplitude of the instrument.
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Roger Klaveness
roger@apas.no
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