| jpff@maths.bath.ac.uk wrote:
> I too get an indexing overflow error with your example. The message
> means that the index which is calculated as an integer has changed
> value when the index is changed to a short index (a 16bit number of
> most machines). Indeed I get MIT Csound: 3.46 (May 17 1997)
> indx=-33196 (ffff7e54); (short)indx = 32340 (7e54)
> indexing overflow error
> so the negative number becomes positive and so it gives up.
> I will investigate further as soon as I get time.
So what is the index (what does it measure)? The example I provided
had recursion in it -- could that be the cause?
Stephen Brandon
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>David Hirst:
>>I have some very rough tools to do this on a Mac PPC, so if anyone else is
>>interested I can upload it to our ftp site.
>>
Yes please,and,could you post the full ftp site address please.
Keith Cross
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Subject: Re: amplitude response of tone & atone (cont)
To: Csound mailing list
Date: Tue, 20 May 1997 13:13:30 -0400 (EDT)
From: Eli Brandt
In-Reply-To: from "Trevor Baca" at May 20, 97 01:08:09 am
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Trevor Baca wrote:
> AMPLITUDE RESPONSE CURVE OF TONE
> |
> |
> |
> ouput |
> amp | /-------------\ <-------- just below input amp value (90-97%)
> values | / \
> | / \ N.B. the plateau isn't really flat;
> | / \ the slope of the rise gradually decreases
> |/ \
> -------------------------
> 0 sr/2 sr
First, don't bother trying to do anything above the Nyquist frequency, sr/2.
Ignoring the aliased half, this graph looks backwards. Hmm, maybe
you're running noise through the filter and plotting cutoff on the x-axis?
(A conventional amplitude response curve is a plot of a fixed filter's
response to various sinusoids.) If that's not it, I have no idea
what's going on. :-)
> (1) Why doesn't tone's passband allow the input signal to pass at 100%
> power? (With a noise input of 10000, the maximum output signal amp is
> ~9700).
Even an analog filter doesn't really have a perfectly flat passband
right out to the cutoff, and this is a digital approximation. If you
set Fc to 1kHz and run a 10-Hz sine, though, I bet you'll get pretty
near unity gain.
--
Eli Brandt | eli+@cs.cmu.edu | http://www.cs.cmu.edu/~eli/
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Date: Tue, 20 May 1997 19:45:59 +0200
From: Bernd Eggink
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Subject: Re: Linux Csound 3.46
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Dave Phillips wrote:
>
> Binaries and source for Linux Csound 3.46 are available at
>
> ftp://ftp.maths.bath.ac.uk/pub/dream/platforms/unix/Linux
but have no read permission...
Bernd
--
Bernd Eggink
Regionales Rechenzentrum der Universitaet Hamburg
eggink@rrz.uni-hamburg.de
http://www.rrz.uni-hamburg.de/eggink/BEggink.html
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To: csound@maths.ex.ac.uk
From: Richard Wentk
Subject: Re: Pitch loudness
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At 13:04 16/05/97 -0400, you wrote:
>
>This is the equal loudness problem. Take a look at the
>Fletcher-Munson equal loudness curves.
>
>Paul Koonce
>
>On Wed, 14 May 1997, Mike Chapman wrote:
>
>> Hi,
>>
>> When fading out on my mixing desk i think the bass fades quicker
>> than the trebble. Is there an equation / rule for this?
>>
>> A constant fade filter might be interesting.
>>
>> Bye.
And don't forget that the F-M curves refer to absolute level relative to
the threshold of hearing, and not arbitrary dB values. A true 'constant
fade' would have to take into account the volume setting and sensitivity of
the amplifier and speakers!
R.
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Date: Tue, 20 May 1997 15:58:41 -0700
From: Art Hunkins
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Subject: Score11 Substitute or Update?
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I have been using Score11, dated Nov. 1980, with updates to May 8, 1984,
as a score preprocessor for Csound. I've done this so as to
random-generate some parameter fields, particularly relating to start
time and duration. Score11 does not do this easily, to say the least.
There are also--in the 1980 version--some bugs (as with Rdeviation, the
End statement, non-repeating sets, and perhaps others). Generally,
Score11 is not at all flexible in its ability to handle random events,
particularly if they are interdependent in some way.
Does anyone know of a substitute or update? On this list a few days ago
a notice was posted regarding something similar for a PPC; but I'm into
IBM clones. Please help; I'm sure Richard Boulanger also is interested
in this for his new Csound book/CD. Several of my works require Score11
and I need to be able to send Boulanger a current status report on the
preprocessor or similar programs (particularly as it involves the
realization of my works). Otherwise he will just get the "old" version I
have.
Thanks again.
Art Hunkins
UNCG Electronic Music Studios
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Date: Tue, 20 May 1997 17:06:46 -0700
From: Charles Baker
Message-Id: <199705210006.RAA26497@loki.filoli.com>
To: abhunkin@hamlet.uncg.edu
Subject: Re: Score11 Substitute or Update?
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I, too, was a loyal user of score11 (which of course, was a port of
Leland smith's original SCORE program). I still miss some familiar
features. But I have found CommonMusic (winner of the first international
computer music software competition, b.t.w.) to be a wonderful
score processor (it even comes with anither very powerful software
synthesis tool CommonLispMusic). It can output MIDI, csound, cmusic & "rt" (on NeXTs), and SGIMix (on SGI)..oh, and a very powerful music typesetting
language "CommonMusicNotation". Oh, and Cmix.
Well, you say, but I have old DOS boxes (my sympathies....).That's ok!
MIDI and csound output have worked in CommonMusic on DOS for a while (correct, Tobias?)! The CommonLisp interpreter/compiler is *in the public domain* (read:free...), and the only commitment you have to make is to learning the new and
pwerful syntax. PLEASE do yourself, and your students a favor:
Investigate CommonMusic!
You might consider moving those old DOS/Win3.1 boxes to LINUX, since a great
deal of the Computer Music world is going into SGIs, and a great deal of the
SGI based "X windows" dsoftware has and is being ported to LINUX...
not to mention that the O.S. if FREE!
And anyway, BillGates' O.S. is deeply inferior, and a sad statement as to
the power of capitalist monopolistic activity.
(Sorry, but I *truely* dislike the WEENDOWS monopoly.G*d , how I hate it!!
Notice how many UNIX tools have been ported to the box SO ONE CAN EVEN BEGIN TO CALL IT A DEVELOPEMNT ENVIROMENT!!!!!)
Please drop DOS!
OK, rant over...but you should STILL look at the award winning CommonMusic sofware! Even on DOS! and the price is still: free!
CharlieB
http://www.charlieb.com/
baker@ccrma.stanford.edu
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To: csound@maths.ex.ac.uk
From: Arne Hanna
Subject: Re: Score11 Substitute or Update?
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Charles wrote:
>The CommonLisp interpreter/compiler is *in the public domain* (read:free...),
The only Mac Lisp I know of that's free is, according to Jeremiah Thomas,
Xlisp-stat 3.5 (URL anyone?). I don't know if this is compatible with
Common Music.
Cheers
Arne
"...they have an undying thirst for the infinite."
Lautremont
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Date: Tue, 20 May 1997 20:09:30 -0700
From: Charles Baker
Message-Id: <199705210309.UAA20248@loki.filoli.com>
To: mogambo@real.net.au
Subject: Re: Score11 Substitute or Update?
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The only Mac Lisp I know of that's free is, according to Jeremiah Thomas,
Xlisp-stat 3.5 (URL anyone?). I don't know if this is compatible with
Common Music.
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Date: Tue, 20 May 1997 20:23:36 -0700
From: Charles Baker
Message-Id: <199705210323.UAA22036@loki.filoli.com>
To: mogambo@real.net.au
Subject: Re: Score11 Substitute or Update?
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Arrrgg....dumb terminal/and unfamialiar keybaord! Many apologies...
What I meant...
>The only Mac Lisp I know of that's free is, according to Jeremiah Thomas,
>Xlisp-stat 3.5 (URL anyone?). I don't know if this is compatible with
>Common Music.
Ah, no, it isn't, and neither is the shareware PowerLisp (although PowerLisp
seems a bit closer to CLTL2 than Xlisp.)
Sorry to mislead, but MCL (although ca.$500: anyone know current price?)
Is one of the best CommonLisp implementations around, so although there
is no free lisp for Mac, the Mac version of CommonMusic is the most
complete implementation around! It includes a nifty graphic UserInterface,
(for those who feel better that way...), and if you also have the (NOT FREE,
but excellent) Code Warrior C compiler, you can use CommonLispMusic with
CommonMusic.
The Clisp Common Lisp implementation is quite appealling to me, being free,
available for (sigh) DOS, and very stable. Y.M.M.V., this is all just my opinion, etc. etc. etc.
PS: for those non-lispers "CLTL2" refers to Guy Steele's "Common Lisp the Language 2nd ed., the de facto definition of the CommonLisp language. Also the
best written technical language spec. I have ever (had to) read. (Which, admittedly isn't saying much...).
And I still say to the teacher from UNCG (lovely area there...had a friend who taught Guitar there as a"visiting artist"..now's he's a early musician in London:
all things change....)
GO TO LINUX!!! (a real O.S....)
Okokokokok]
;-)
PAX
CharlieB
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References: Conversation with last message <199705201713.SAA08600@hermes>
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To: Csound Mailing List
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From: Hans Mikelson
Subject: Re: amplitude response of tone & atone (cont)
Date: Tue, 20 May 97 21:40:24 PDT
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Greetings,
Wouldn't it be possible to use numerical methods to "solve" the filter =
differential equation given a continuous differentiable input function =
X, and differential equation somewhat as follows?:
a1Y+a2Y'+a3Y"=3Da1X+a2X'+a3X"
Use one of the usual methods (Runge-Kutta etc.) to solve this. I would =
imagine you could obtain as good of an approximation of an analog filter =
as you could get with a sample of an analog filter. Of course it would =
be numerically intensive but possibly useful for rendering. My problem =
has been coming up with a decent differentiable function X for approximat=
ing a sawtooth, square, etc. I'm considering splines or sums of sine/cos=
ine.
I'm in the process of doing some more work with filters and have been hav=
ing some success with getting a more analog sound by "enveloping" the =
resonance so it doesn't jump up so suddenly.
I'll keep playing. Filters are cool. You can do a lot with them. Extra=
ct the resonance portion and waveshape-it, envelope it, and pitch shift =
it, FM it, etc. Theres lots of room for playing with filters.
Don't worry too much about getting the "perfect" response. Just play and=
try and get something that sounds good. Of course it depends on the app=
lication. For music making the more unusual things may sound more intere=
sting. For scientific purposes you had better study the limitations of =
the filter you are dealing with before drawing conclusions.
I did some updates to my instrument web site:
http://discover.discover-net.net/~hljmm/csound/
Cheers,
Hans
| | | \ | / Hans P. Mikelson
| __ | __/ | \ | hljmm@discover-net.net
|__ |__ |__ |__ \_ |__ http://discover-net.net/~hljmm/
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To: csound@maths.ex.ac.uk
From: gREG mCcOURT
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Regarding impulse responses for use with convolve:
Q.1 What is the best source for an impulse signal when taking
the impulse response of:
a) An electronic device (like a reverb unit, etc)?
b) An natural acoustic space (like a cave, concert hall,
etc)?
Q.2 If an impulse signal x[n] is put into a system (electronic
device or natural acoustic space) and the measured (recorded)
output y[n] is the convolution of the impulse x[n] with the
response of the system, then doesn't y[n] contain the spectral
elements of the initial impulse x[n] as well? Wouldn't another
signal p[n] when convolved with the y[n] impulse response also be
indirectly convolved with the initial impulse signal x[n]?
If this is so, wouldn't the resulting impulse response measurment
need some kind of de-convolution in order to seperate out the
excitation signal from the true impulse response of the system,
the later being what is kept and used to convolve other signals
with?
I am looking at some theory lit. on homomorphic filters for
cepstrum analysis and deconvolution and the above thoughts
occured to me. There is an example of application to vocal
sounds where homomorphic processing is used to seperate out the
vocal cord excitation signal from the impulse response of the
vocal tract. Isn't this the same situation as the one above?
Anyone have any enlightning comments?
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Date: Tue, 20 May 1997 21:09:02 -0700
From: Chris &/or Rebecca
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Subject: Generating Score Files-midi2cs, etc.
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I'm new to this group. I have Csound running on a clone 486 dx33 with
8mb of ram, and am using the Windows 3.1 version with great success.
Before trying out Csound most of my music was done with Cakewalk and a
bank of commericial synths.
I'm interested in porting my Midi compositions to Csound as well
directly generating score files with one or more of the programs out
there. I have a couple of questions about this:
1) I found midi2cs on the net and have used this to convert my midi
compositions to score files. Is there a similar program that would run
on my system which would allow more sophisticated conversion ( say
controller 16 converted to p4 ) or is this somehting I am going to have
program myself? If there is nothing availble, is the code for midi2cs
available so that I could start with that as a basis?
2) I know there a lot of different ways to generate score files. What
are you using and why? Which are good for algorithmic composition?
Which are best for generating more conventional music?
All of your comments will be greatly appreciated.
Chris Strelioff
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From: Alan Peevers
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Date: Tue, 20 May 1997 21:34:02 -0700
In-Reply-To: gREG mCcOURT "" (May 21, 10:57am)
References:
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Hi Greg,
1a) If you have the luxury of a digital input to your reverb unit, then a TRUE
impulse (fullscale for exactly 1 sample, and zero everywhere else) is the ideal
input to measure the impulse response of the reverb. In fact, that is the
definition of impulse response. Then, your probe signal will not color
subsequent inputs, since you really have the impulse response.
1b) In the real world, impulses are not ideal, since they have relatively
little energy (-> noisy measurements). Therefore, you want to use a signal
which has more power, but shares the spectral properties (i.e. 'whiteness') of
an impulse. For that, you can use Maximal Length Sequences, which have
autocorellation sequences that are an impulse over the duration of the signal.
They can be synthesized using linear feedback shift registers. They are also
used to provide dither in d-a convertors.
Your reasoning seems sound throughout question 2. Deconvolution is a Difficult
Problem!
Regards,
Alan Peevers
--
DSP Research Engineer
Joint E-mu/Creative Technology Center
tel: (408) 439-0305
fax: (408) 439-0392
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From: Dave Perry
To: csound@maths.ex.ac.uk
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Subject: Looking for Beta testers
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Hi all,
I am a looking for people who can give some of their time to test new
software I have developed as part of my masters degree. The program
'Visual Orchestra' is a sound development environment/interface for CSound
and includes several key features.
Instant .ORC view, you can quickly spot-check the progress of a sound in
the traditional format.
Hassle free compilation and auditioning of instruments. If you have a
version of CSound with real time audio out the process of testing and
modifying an instrument is even quicker.
Device Designer, although the program comes with blueprints of many of
the popular UG's you can easily edit and create additional units and pass
them to others via the net.
All graphical design environment
Output in both WAV and ORC formats
---
If you are interested and have a copy Windows95 installed on your system
drop me a line via E-Mail and I will let you know the FTP location of the
program.
Thanks
Dave Perry
MA Electro Acoustics
also...Anglia Polytechnic University Music Department
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From: Tobias Kunze
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In-Reply-To: mogambo@real.net.au (Arne Hanna) "Re: Score11 Substitute or Update?" (May 21, 11:40am)
References:
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To: Arne Hanna , csound@maths.ex.ac.uk
Subject: Re: Score11 Substitute or Update?
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| >The CommonLisp interpreter/compiler is *in the public domain*
(read:free...),
|
| The only Mac Lisp I know of that's free is, according to Jeremiah Thomas,
| Xlisp-stat 3.5 (URL anyone?). I don't know if this is compatible with
| Common Music.
it is not. The CM home page
http://ccrma-www.stanford.edu/CCRMA/Software/cm/cm.html
lists all current (and known) LISP/platform combinations for CM. The only
supported LISP on the mac (and in fact one of the best LISP implementations
available) is Digitool's mcl. It's almost free ($90, i believe) for
people in academia, though.
-Tobias
--
______________________________________________________________________
Tobias Kunze t@kunze.stanford.edu
CCRMA, Stanford University http://www.stanford.edu/~tkunze
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From: Tobias Kunze
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Date: Tue, 20 May 1997 22:32:44 -0700
In-Reply-To: baker@filoli.com (Charles Baker) "Re: Score11 Substitute or Update?" (May 20, 8:23pm)
References: <199705210323.UAA22036@loki.filoli.com>
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To: Charles Baker , mogambo@real.net.au
Subject: Re: Score11 Substitute or Update?
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| the Mac version of CommonMusic is the most complete
| implementation around!
sorry for catching up with email one at a time ...
It depends. MCL is the LISP environment that is probably
integrated best with the OS. Which, of course, is the downside :)
If you are willing to put up with the Mac's idiosyncracies
and if you don't really depend on sound synthesis, it is a
very good choice.
There is also Franz's Allegro Common Lisp, running on UNIX
boxes--not as OS-dependent as MCL, but in certain areas clealy
of more strength, albeit expensive. They offer a *free* (!!)
LINUX version, though, so if you're more into sound processing,
whether csound or cmusic of cmix or clm, get a LINUX box. If
you have some cash to spare, though, an SGI will make you happier.
-Tobias
--
______________________________________________________________________
Tobias Kunze t@kunze.stanford.edu
CCRMA, Stanford University http://www.stanford.edu/~tkunze
|