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Amsterdam Catalogue of Csound Computer Instruments v1.1

Date1998-09-30 08:23
Fromthreedegree
SubjectAmsterdam Catalogue of Csound Computer Instruments v1.1 
Where is.....

Amsterdam Catalogue of Csound Computer Instruments v1.1

any one know the new URL for this information???
 I can't seem to find a link that works!?
thanks, The New guy

BTW thanks for all the help.  This is a great way to share info.
which i really need!
Date1998-09-30 13:05
FromPiche Jean
SubjectRe: Amsterdam Catalogue of Csound Computer Instruments v1.1 
On Wed, 30 Sep 1998, threedegree wrote:

> Date: Wed, 30 Sep 1998 00:23:34 -0700
> From: threedegree 
> To: Csound List 
> Subject: Amsterdam Catalogue of Csound Computer Instruments v1.1 
> 
> Where is.....> 
> Amsterdam Catalogue of Csound Computer Instruments v1.1
> 
> any one know the new URL for this information???
>  I can't seem to find a link that works!?
> thanks, The New guy
> 


ftp://ftp.musique.umontreal.ca/pub/mirrors/accci


> BTW thanks for all the help.  This is a great way to share info.
> which i really need!
> 
> 
> 

_____________________________________________________________________________
                                                                   Jean Piche
                                                                Musique - UdM
                                                      pichej@ERE.Umontreal.ca



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Subject: notenumber to pan
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;I never came across this one, so in case anyone is thinking about
;{"notenumber" (here in cps) to panorama position}:
,this is a very easy way to get a full stereo image whithout having to 
add any special parameters
;**************************************************************************
**************************
;orchestra
sr = 44100
kr = 4410
ksmps = 10
nchnls = 2

	instr 1 


	 ipan =(.0005681*p4)  ;multiplier:"notenumber"(cps!) to pan / adapt for 
greater values:1/freq;(cps)
  a1 oscil 12000, p4, 1
  outs a1*ipan, a1*(1-ipan)

	 endin
;**************************************************************************
**************************
;score

f1 0 8192 10 1
i1 0 10 55
i1 0 10 110
i1 0 10 220 
i1 0 10 440	
i1 0 10 880	
i1 0 10 1760	

e


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test

===============================================================
Dr. Richard Boulanger
Professor - Music Synthesis Department
Berklee College of Music
1140 Boylston Street  - Boston, MA  02215-3693
Phone: (617) 747-2485   Fax: (617) 536-2257
===============================================================
rcb@media.mit.edu * rboulanger@berklee.edu* http://www.tiac.net/users/rcb
===============================================================




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To: CsoundList 
From: Richard Boulanger 
Subject: The Csound Book - Update
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Dear Reader of the Csound List,

I am happy to announce that:

The Csound Book is in production at MIT Press!  They will be showing the
pre-production version of the text at the Internation Computer Music
Conference this week.  I am sorry that it took me so long to get it to this
point but it turned out to be a larger than HUGE project.  As you all know,
Csound is a moving target.  And it practically killed me this past spring.
(In fact, my brain was bleeding and shifting shift and I ended up having
heart surgery. But I miraculously survived and managed to finish it  - with
a lot of help and prayers.)

So... after a summer of completely revising the text, correcting all the
figures and debugging all the instuments and code. (With the assistance of
John ffitch  (he lived at my place on weekends during the months of July
and August and Matt Ingals (over the internet) plus the slave labor of a
dedicated group of student assistants including Bobby Pietrusko, Samara
Krugman and Jacob Joaquin (all of whom lived with me for weeks at a time),
the final manuscript was delivered to MIT Press on August 25. (Doug Sery
actually drove to my home to pick it up because I could barely stand on my
feet.)

At the Press, they took a month to read it and gave it the go ahead last
friday (September 25).  They are fast-tracking the production and
publication there, which means I will be called upon for a final read/edit
in a week or so before they begin laying it out.  But it is in the works
now and will soon be in your hands.

So... The 800+ page textbook will include a full and newly revised and
edited reference manual plus 2 CD-ROMS. It will be available in May/June
1999.  Below is the table of contents for the Book (frozen in stone) and
the CD-ROM (still room for some changes here...)

Hope you like what you see.  Sorry for the wait.  But maybe there is time
for you to get your composition/tutorial finished and included on the
CD-ROM.  I'd love to hear from you.  Thanks for your patience and support.

I know Csound pretty well, but I can't tell you how much I have learned.
The contributing authors are the world's experts.  They are the greatest
teachers and have focused their work on their favourite subjects.  I can't
wait for it to be out. Every chapter is dripping with working instruments.
For the first time, I think, you can explore and learn computer music
synthesis, signal processing and sound design with your mind, your eyes,
your hands and your EARS.  It all runs!  And all the code is right there
for you to run on your own pc!  You're not just reading about it... Ever.
It is a perfect complement to the Road's Computer Music Tutorial. All the
theory is there and all of it runs here. Soon it will be all yours.

My thanks to the brilliant and dedicated contributions of all the members
of the Csound community.


RIchard Boulanger

===============================================================
Dr. Richard Boulanger
Professor - Music Synthesis Department
Berklee College of Music
1140 Boylston Street  - Boston, MA  02215-3693
Phone: (617) 747-2485   Fax: (617) 536-2257
===============================================================
rcb@media.mit.edu * rboulanger@berklee.edu* http://www.tiac.net/users/rcb
===============================================================




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To: CsoundList 
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Subject: The Csound Book - Table of Contents
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THE CSOUND BOOK
Perspectives in Software Synthesis, Sound Design, Signal Processing &
Programming

Edited by Richard Boulanger

I.	Preface - Max Mathews
II.	Foreword - Barry Vercoe
III.Introduction - Richard Boulanger
IV.	Acknowledgments - Richard Boulanger
V.	Dedication - to the memory of Dr. Robert L. Cooper

Software Synthesis

Csound Fundamentals

1.	Introduction to Sound Design in Csound - Richard Boulanger
2.	Understanding and Using Csound's GEN Routines - Jon Christopher
Nelson
3.	What Happens When You Run Csound - John ffitch
4.	Optimizing Your Csound Instruments - Paris Smaragdis
5.	Using Csound's Macro Language Extensions - John ffitch

Imitative Synthesis

6.	Designing Acoustically Viable Instruments in Csound - Stephen David
Beck
7.	Designing Legato Instruments in Csound - Richard Dobson
8.	Contiguous-Group Wavetable Synthesis of the French Horn in Csound -
Andrew Horner & Lydia Ayers
9.	FM Synthesis and Morphing in Csound: from Percussion to Brass -
Brian Evans
10.	Modeling "Classic" Electronic Keyboards in Csound - Hans Mikelson


Algorithmic Synthesis

11.	A Survey of Classic Synthesis Techniques in Csound - Rajmil
Fischman
12.	A Guide to FM Implementation in Csound - Russell Pinkston
13.	A Guide to Granular Synthesis in Csound - Allan S. C. Lee
14.	A Guide to FOF and FOG Synthesis in Csound - Michael Clarke
15.	Processing Samples with Csound's FOF Opcode - Per Byrne Villez

Mathematical Models

16.	A Look at Random Numbers, Noise and Chaos with Csound - John ffitch

17.	Constrained Random Event Generation and Retriggering in Csound -
Russell Pinkston
18.	Using Global Csound Instruments for Meta-Parameter Control - Martin
Dupras
19.	Mathematical Modeling with Csound: From Waveguides to Chaos - Hans
Mikelson

Signal Processing

Understanding Signal Processing through Csound

20.	An Introduction to Signal Processing with Csound - Erik Spjut
21.	Understanding Csound's Spectral Data Types - Barry Vercoe

Delay, Chorus, Reverberation and 3D Audio

22.	Using Csound to Understand Delay Lines and their Applications -
Russell Pinkston
23.	An Introduction to Reverberation Design with Csound - Eric Lyon
24.	Implementing the Gardner Reverbs in Csound - Hans Mikelson
25.	Csound-based Auditory Localization - David McIntyre and Eli Breder


Working with Csound's Signal Processing Utilities

26.	Convolution in Csound: Traditional and Novel Applications - Erik
Spjut
27.	Working with Csound's ADSYN, LPREAD and LPRESON Opcodes - Magdalena
Klapper
28.	Csound's Phase Vocoder and Extensions - Richard Karpen

Modeling Commercial Signal Processing Applications

29.	Efficient Implementation of Analog Waveshaping in Csound - Michael
Pochino
30.	Modeling a Multi-Effects Processor in Csound - Hans Mikelson

Programming

Adding Opcodes

31.	Extending Csound - John ffitch
32.	Adding New Unit Generators to Csound - Marc Resibois

Appendix

1. List of Csound Book Instruments
2. Recommended Reading
3. Recommended Listening
4. The Csound Reference Manual - Barry Vercoe et. al
5. Error Messages
6. Formants Values
7. Sound Intensity Values
8. Pitch Conversion
9. Quick Reference
10. Index

===============================================================
Dr. Richard Boulanger
Professor - Music Synthesis Department
Berklee College of Music
1140 Boylston Street  - Boston, MA  02215-3693
Phone: (617) 747-2485   Fax: (617) 536-2257
===============================================================
rcb@media.mit.edu * rboulanger@berklee.edu* http://www.tiac.net/users/rcb
===============================================================




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THE CSOUND BOOK
Perspectives in Software Synthesis, Sound Design, Signal Processing &
Programming

Edited by Richard Boulanger

I.	Preface - Max Mathews
II.	Foreword - Barry Vercoe
III.Introduction - Richard Boulanger
IV.	Acknowledgments - Richard Boulanger
V.	Dedication - to the memory of Dr. Robert L. Cooper

Software Synthesis

Csound Fundamentals

1.	Introduction to Sound Design in Csound - Richard Boulanger
2.	Understanding and Using Csound's GEN Routines - Jon Christopher
Nelson
3.	What Happens When You Run Csound - John ffitch
4.	Optimizing Your Csound Instruments - Paris Smaragdis
5.	Using Csound's Macro Language Extensions - John ffitch

Imitative Synthesis

6.	Designing Acoustically Viable Instruments in Csound - Stephen David
Beck
7.	Designing Legato Instruments in Csound - Richard Dobson
8.	Contiguous-Group Wavetable Synthesis of the French Horn in Csound -
Andrew Horner & Lydia Ayers
9.	FM Synthesis and Morphing in Csound: from Percussion to Brass -
Brian Evans
10.	Modeling "Classic" Electronic Keyboards in Csound - Hans Mikelson


Algorithmic Synthesis

11.	A Survey of Classic Synthesis Techniques in Csound - Rajmil
Fischman
12.	A Guide to FM Implementation in Csound - Russell Pinkston
13.	A Guide to Granular Synthesis in Csound - Allan S. C. Lee
14.	A Guide to FOF and FOG Synthesis in Csound - Michael Clarke
15.	Processing Samples with Csound's FOF Opcode - Per Byrne Villez

Mathematical Models

16.	A Look at Random Numbers, Noise and Chaos with Csound - John ffitch

17.	Constrained Random Event Generation and Retriggering in Csound -
Russell Pinkston
18.	Using Global Csound Instruments for Meta-Parameter Control - Martin
Dupras
19.	Mathematical Modeling with Csound: From Waveguides to Chaos - Hans
Mikelson

Signal Processing

Understanding Signal Processing through Csound

20.	An Introduction to Signal Processing with Csound - Erik Spjut
21.	Understanding Csound's Spectral Data Types - Barry Vercoe

Delay, Chorus, Reverberation and 3D Audio

22.	Using Csound to Understand Delay Lines and their Applications -
Russell Pinkston
23.	An Introduction to Reverberation Design with Csound - Eric Lyon
24.	Implementing the Gardner Reverbs in Csound - Hans Mikelson
25.	Csound-based Auditory Localization - David McIntyre and Eli Breder


Working with Csound's Signal Processing Utilities

26.	Convolution in Csound: Traditional and Novel Applications - Erik
Spjut
27.	Working with Csound's ADSYN, LPREAD and LPRESON Opcodes - Magdalena
Klapper
28.	Csound's Phase Vocoder and Extensions - Richard Karpen

Modeling Commercial Signal Processing Applications

29.	Efficient Implementation of Analog Waveshaping in Csound - Michael
Pochino
30.	Modeling a Multi-Effects Processor in Csound - Hans Mikelson

Programming

Adding Opcodes

31.	Extending Csound - John ffitch
32.	Adding New Unit Generators to Csound - Marc Resibois

Appendix

1. List of Csound Book Instruments
2. Recommended Reading
3. Recommended Listening
4. The Csound Reference Manual - Barry Vercoe et. al
5. Error Messages
6. Formants Values
7. Sound Intensity Values
8. Pitch Conversion
9. Quick Reference
10. Index

===============================================================
Dr. Richard Boulanger
Professor - Music Synthesis Department
Berklee College of Music
1140 Boylston Street  - Boston, MA  02215-3693
Phone: (617) 747-2485   Fax: (617) 536-2257
===============================================================
rcb@media.mit.edu * rboulanger@berklee.edu* http://www.tiac.net/users/rcb
===============================================================




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Subject: The Csound Book: CD-ROMS - TOC
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THE CSOUND BOOK: CD-ROMS
USING CSOUND: RESEARCH, COMMERCIAL AND ARTISTIC APPLICATIONS

CD-ROM CHAPTERS

MIDI & REAL-TIME

1. An Introduction to MIDI Instrument Design in Csound - Richard Boulanger
2. Csound-based Microtonal Synthesis and Control with MIDI - Bill Alves
3. Real-time Synthesis in Csound with MIDI Control - Michael Berry
4. MIDI Instrument Designs for Real Time Performance - Gabriel Maldonado
5. Implementing MIDI Opcodes in Csound - Gabriel Maldonado

ALGORITHMIC COMPOSITION

6. An Introduction to Cscore - Archer Endrich
7. Algorithmic Score Generators - Michael Gogins

INTERFACE DESIGN

8. Creating and Using a Platform-Independent GUI for Csound in Java -
Michael Gogins
9. Cecilia: A Production Interface to Csound - Jean Pich=E9 & Alexandre Burt=
on

SONIFICATION

10. Audification of Heart Rhythms in Csound - Mark Ballora & Bruce Pennycook
11. Some "Golden Rules" for Designing Auditory Displays - Stephen Barrass
12. Using Csound for Sonification - David Rossiter

SOFTWARE SYNTHESIS, SIGNAL PROCESSING AND SOUND DESIGN

13. An Introduction to Sound Synthesis with Wavelet Packets - Pedro A. G.
Batista
14. Neural Processing in Csound - Pedro A. G. Batista
15. Tools for Heterodyne Data Manipulation - Fabio P. Bertolotti
16. NetSound: Structured Audio using Auditory Group Theory - Michael A. Case=
y
17. Analog Dreams: Modeling Commercial Synthesizers - Josep M Comajuncosas
18. Physical Models of Strings and Plates Using a Simplified Mass-string
Method - Josep M Comajuncosas
19. Wave-terrain Synthesis - Josep M Comajuncosas
20. Multi-band Processing with Time-varying Filters - Rajmil Fischman
21. Spatialization - Stereo And Ambisonic - Richard W.E. Furse
22. Designing Digital Butterworth and Chebyshev Filters - Themis Katsianos
23. Terrain-Mapping - Hans Mikelson
24. Three Modeling Approaches to Instrument Design - Eduardo Reck Miranda
25. The Design of Equalizers and Compressors for Studio Use - Erez Webman

ON COMPOSING WITH CSOUND

26. From Trapped in Convert to At Last Free: Composing with Csound &
Extended Csound - Richard Boulanger
27. (C)sound (Instruments) Design for Music - Joseph L. Anderson
28. Composing with Csound: Howl and Macchu Picchu - Riccardo Bianchini
29. Recontextualizing Ambient Music with Csound - Kim Cascone
30. Research to Programming to Composition: A Composer's Approach to
Working with Csound - Michael Clarke
31. Composing with Digital Editing Systems and Csound - Robert L. Cooper
32. Hearing the Mandelbrot Set: Composing Fractal Music with Csound - Brian
Evans
33. Four Csound Compositions: Via Creativa/Via Transformativa, Gifts, Lux
Hominum, Et Vitam Venturi III - Arthur B. Hunkins
34. Algorithmic Composition with Csound - Matt Ingalls
35. Composing With Csound: adeson TN - Magdalena Klapper
36. Composing With Csound: The Csound SuperSampler/Sequencer - James Mobberl=
ey
37. Composing with Csound:  Granular Strategies - Jon Christopher Nelson
38. On Composing The Impossible Planet - Luca Pavan
39. Extending Timbral Possibilities for Mixed Ensembles Using Extended
Techniques	 - Ileana Perez
40. Composing Invade Areas Where Nothing's Definite - Derek Pierce


CD-ROM MUSIC

COMPOSITIONS

Hiway 70 - Bill Alves
Swarm - Tim Barras
Cymbolic & Perks - Robert L. Cooper
Leap Frog - Steven Curtin
Drums and Different Canons - John ffitch
Vim - Elizabeth Hoffman
Life Studies 3, 4 & 5 - Richard Karpen
Six - Larry Shertzer
Spare Luxury One - Robin Whittle
Reteplas & Mir - Sal Sofia

STUDENT COMPOSITIONS

Berklee Students of Richard Boulanger

Eloy Anzola, David Bax, Michael Jude Bergeman, John Burkhardt, Jean-Luc
Cohen, Tobias Enhus, Jacob T. Joaquin, Samara Krugman, John Lamar, Matthew
Mariano, Jason McClinsey, Jen Scaturro, Jeremy Zuckerman, Yevgen Stupka

Louisiana State University Students of Stephen Beck

Michael Alderson, Michael Blandino, John Endicott, Aaron Johnson, William
Price, Charles Urban

Glasgow Students of Eduardo Reck Miranda

Stuart Brow, Susanne Hein, Kenny McAlpine, Mark Newton, Neal Wade


CD-ROM RESOURCES

TUTORIALS

The Original Csound Toots - Richard Boulanger
Boulanger Tutorials in HTML & JAVA - Robert L. Cooper
Introducing Csound - Hans Mikelson
Exploring Csound - Jacob T. Joaquin
Getting Started with Csound - Roger King
A Semester of Csound: Class Notes - Jon Christopher Nelson
An Introduction to Csound - Eric L. Singer

INSTRUMENT ANTHOLOGIES & LIBRARIES

The Boulanger Anthology - Richard Boulanger
The Amsterdamn Catalog of Computer Instruments - John-Philipp Gather
The Harrington Anthology of DX-FM Instruments - Jeff Harrington
The Lyon Anthology - Eric Lyon
The Mikelson Anthology - Hans Mikelson
Selections from the Risset Catalog - Jean-Claude Risset
The Smaragdis Anthology - Paris Smaragdis
Selections from the Rossing Psychoacoustic CD in Csound - David Sumy
The Varo Anthology of DX-FM Instruments - Jonathan Varo

CSOUND APPLICATION

Csound for LINUX
Csound for Macintosh
Csound for PC

THE CSOUND SOURCE CODE

CSOUND FRONT-ENDS & UTILITIES

Cecilia - Alexandre Burton & Jean Piche
Cmask - Andre Bartetzki
CsEdit - Roger Klaveness
Csounder - Dustin Barlow & Tim Milek
DrawSound - Brian Fudge
Grainmaker - Jon Christopher Nelson
GranSynth - Gregory Hainsworth
Hydra - Malte Steiner
MaxEdit - John Burkhardt
MIDI2CS - Rudiger Boormann
Pv2Pict - Roger Klaveness
ScorePlot - Fabio P. Bertolotti
Silence - Michael Gogins
SoftSamp - Dustin Barlow & Tim Milek
Space - Richard Furse
VisOrc - David Perry
WCshell - Riccardo Bianchini
WebSynth - Eric Lyon

CSOUND REFERENCE MATERIALS

The Csound FAQ - Rasmus Ekman, Marc Resibois &Tolve
The Public Csound  HTML Manual - Jean Piche & John ffitch
Contributors List, Photos & Biographies

BONUS TRAX: EXTENDED CSOUND

Performing With MIDI and Extended Csound - Scotty Vercoe
Analog Devices' Extended Csound HTML Documentation - Scotty Vercoe, Rick
Goldberg, Lee Ray
The Analog Devices Extended Csound Manual - Barry Vercoe

BONUS TRAX: FROM THE CSOUND BOOK

HTML Reference Manual - Richard Boulanger & Jacob T. Joaquin
HTML Chapter 1. Introduction to Sound Design in Csound (with links to
manual and audio clips) - Richard Boulanger
Chapter Instruments - Code and Audio Clips
Contributors List, Photos & Biographies

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
Dr. Richard Boulanger
Professor - Music Synthesis Department
Berklee College of Music
1140 Boylston Street  - Boston, MA  02215-3693
Phone: (617) 747-2485   Fax: (617) 536-2257
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
rcb@media.mit.edu * rboulanger@berklee.edu* http://www.tiac.net/users/rcb
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D




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From: Hans Mikelson 
To: Csound 
Subject: Anyone going to ICMC?
Date: Wed, 30 Sep 1998 14:21:08 -0500
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Hi,

I'll be visiting the ICMC on Friday evening through Saturday.  Will any
other Csounders be there?

Bye,
Hans Mikelson



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From: Tobiah 
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To: SONICMAN , 
    Csound Mailing List 
Subject: Re: Waveform Ftable Cookbook Numerical???
References: <360E74A1.4E4DB86A@worldnet.att.net>
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The function that you use to generate a wave form for
an oscillator has very little to do with its sounding
like a particular real instrument.  It is the time
varying aspects of the sound that make it recognizable
as one instrument or another.  

By far the most important of these characteristics is that 
of the attack envelope, and of the timbre changes of the
sound during this period.  Try this: sit at a keyboard that
is capable of imitating other instruments.  Play one or
more notes with the volume control turned off, and then 
immediately raise the volume after about .5 seconds have
gone by.  The sound's identity will be largely missing.

Toby

		-There otta be a law-

SONICMAN wrote:
> 
> Hello,
> 
>     We all know that the Ftable .....10 1 = a sine wave and I know the
> square, and saw numbers, but does any one have or know of the correct
> book, or www site that has a LARGE variety of these numbers?
> 
> i.e. approximations of; a trumpet, white noise, violin, distorted
> guitar???
> 
> Thank you fellow Csounders,
> Marcus
> 
>


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Date: Tue, 22 Sep 1998 15:32:42 -0700 (PDT)
From: Michal Seta 
Subject: Re: Midi file/instrument mapping
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---jpff@maths.bath.ac.uk wrote:
> References:  <199809142224.PAA25798@mail2.sirius.com>
> 
> Yes, instrunment n goes to chanel n unless massign is used to change
> the mapping.  There is a rumour that massign does not work though...
			

		(sorry for the late post)

The rumor is true.
However, I've noticed that all instruments were picking up all
channels (running Csound 3.485 (?) on PowerMac).

Sometimes, however, events sent on chanel 10 were not picked up... 
weird.



Q:

anyone tried to run Csound/cecilia on MkLinux (PowerMacs of course). 
I'm planning to do some benchmarks comparing MacOS performance with
MkLinux.  That is onceI get Csound running fine in Linux.....



Mike

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Date: Wed, 23 Sep 1998 05:03:57 -0700 (PDT)
From: Koen Dejonghe 
Subject: Re: C++Sound
To: Eric Scheirer 
Cc: csound@maths.ex.ac.uk, jpff@maths.bath.ac.uk, 
    koen.dejonghe@be.origin-it.com
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Eric,

You wrote:
> format of SAOL.   I attach the by-the-spec SAOL version of
> this orchestra for comparison -- the similarities to your 
> design are remarkable!  The only real design difference
> is that the orchestra and score are separated in SAOL as
> in Csound.
> 

I think there is an advantage in writing the score as part of the
execution of the program (orc). 
In the score file, all parameters are static, they are hardcoded. If
they would be part of the program, then you could generate them on the
fly, dynamically. (Of course, now with CSound/SAOL you can write a
small C or Perl program that generates this kind of sco files for you.)

E.g. you could write something like this:

main ()
{
   int i;
   
   InitCSound (16000, 1000, 1);
   ftSine = gen (0, 4096, 10, 1);
   
   for (i=0, i < 9, i++) 
   {
      Toot4 (i, 1, 75, (8 + i * .01), .1, (10 - i)*.1);
   }
}

Kind regards,

==
Koen Dejonghe
QAD Service Line
Origin International Competences & Alliances 
http://www.origin-it.com
+32 2 712 3668


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From: Koen Dejonghe 
Subject: Re: C++Sound
To: Eric Scheirer 
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    koen.dejonghe@be.origin-it.com
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Eric,

You wrote:
> format of SAOL.   I attach the by-the-spec SAOL version of
> this orchestra for comparison -- the similarities to your 
> design are remarkable!  The only real design difference
> is that the orchestra and score are separated in SAOL as
> in Csound.
> 

I think there is an advantage in writing the score as part of the
execution of the program (orc). 
In the score file, all parameters are static, they are hardcoded. If
they would be part of the program, then you could generate them on the
fly, dynamically. (Of course, now with CSound/SAOL you can write a
small C or Perl program that generates this kind of sco files for you.)

E.g. you could write something like this:

main ()
{
   int i;
   
   InitCSound (16000, 1000, 1);
   ftSine = gen (0, 4096, 10, 1);
   
   for (i=0, i < 9, i++) 
   {
      Toot4 (i, 1, 75, (8 + i * .01), .1, (10 - i)*.1);
   }
}

Kind regards,

==
Koen Dejonghe
QAD Service Line
Origin International Competences & Alliances 
http://www.origin-it.com
+32 2 712 3668


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From: Yair Kass 
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Hi,
    It is said that the sliderX opcode is much more usefull,
    when using a bunh of MIDI controllers, than using seperate
midictrlX's or midicX's.
    Can anyone share his experience with this ?

    Thnx,
            Yair



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Date: Thu, 01 Oct 1998 11:53:08 +0100
From: Richard Dobson 
Organization: Composers Desktop project
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To: Koen Dejonghe 
CC: Eric Scheirer , csound@maths.ex.ac.uk, 
    csound@maths.ex.ac.uk
Subject: Re: C++Sound
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I think, depending on your system, and your needs, there are advantages in both.
For example, in Extended Csound running on the ADI card, it is possible to send
a score line to a running orchestra in real-time, for immediate or deferred
performance ( I gather this is also possible in some of the public versions
too). This can also be done programmatically, as the ADI libraries include
functions to send score lines, for algorithmic composition and performance. And,
logically, the ~orchestra~ is mostly fixed, whereas a variety of scores may use
it. The reverse is less usually true. 

The main thing I think is to be clear about what programming level you are
working at. At the lowest level, the orchestra and score are distinct, separate
entities. At a higher level, they have a clearly defined communication protocol
(In Csound, it is one-way - the orchestra does not talk back to the score, as
such). 

At a higher level still, there is no reason why you should not write a wrapper
program which integrates both orchestra and score - a sort of
'composer+conductor+performer+instrument-maker' object. A bit like some modern
MIDI synths, in fact!


Richard Dobson


Richard Dobson

Koen Dejonghe wrote:
> 
> Eric,
> 
> You wrote:
> > format of SAOL.   I attach the by-the-spec SAOL version of
> > this orchestra for comparison -- the similarities to your
> > design are remarkable!  The only real design difference
> > is that the orchestra and score are separated in SAOL as
> > in Csound.
> >
> 
> I think there is an advantage in writing the score as part of the
> execution of the program (orc).
> In the score file, all parameters are static, they are hardcoded. If
> they would be part of the program, then you could generate them on the
> fly, dynamically. (Of course, now with CSound/SAOL you can write a
> small C or Perl program that generates this kind of sco files for you.)
> 
> E.g. you could write something like this:
> 
> main ()
> {
>    int i;
> 
>    InitCSound (16000, 1000, 1);
>    ftSine = gen (0, 4096, 10, 1);
> 
>    for (i=0, i < 9, i++)
>    {
>       Toot4 (i, 1, 75, (8 + i * .01), .1, (10 - i)*.1);
>    }
> }
> 
> Kind regards,
> 
> ==
> Koen Dejonghe
> QAD Service Line
> Origin International Competences & Alliances
> http://www.origin-it.com
> +32 2 712 3668
> 
> _________________________________________________________
> DO YOU YAHOO!?
> Get your free @yahoo.com address at http://mail.yahoo.com