Conference napalm::commusic_v1

    For anyone interested I have the CSOUND distribution as a
    compressed tar file in:
    
    	aino::/pub/csound210688.tar.Z
        
    
    Rgds,
    
    Timo

    For what it's worth, a Unix O/S (Minix) is available for the ST. Don't
    know if it would support this or not. 

-b

    Re: .-1
    
    To me the biggest problem here is not the O/S. I'm currently
    using an IBM PC/AT clone running UNIX System V as my music
    computer - i.e. MIDI sequencing. What's needed is an audio 
    quality ADC/DAC system and a fast disk - and both cost like
    hell! 
    
    There's a good stereo ADC/DAC system for the AT-bus (and for 
    Q-BUS and some others) available from Micro Technology Unlimited. 
    It has a maximum sample rate of 48Khz, 7th order elliptical
    input and output filters, internal buffering etc. The only sad 
    thing about it is that it costs around $4000.

    The second requirement, a fast disk (for direct-to-disk recording),
    could be filled by a SCSI or an ESDI winchester, but they aren't
    cheap either - at least compared to the standard ST-interface disks
    for AT's.
     
    I'm waiting for the DAT-recorder boom to bring the prices of audio 
    ADC's down, but then again it might take too long. (I'm allready 
    counting my money :-)) However, once the initial investment is
    done it's cheaper to write a c-program for, say compressing
    than purchase a rack mount device for that purpose.
     
    Anyway it's nice to know that there are allready plenty of free
    software for digital audio processing once you get the required
    hardware. I will focus on CMIX and CMUSIC next.    
    
    Timo
    

    I've used CSOUND in two computer music courses at Princeton. Its
    easy and powerful. Depending on the complexity of the instruments
    you define, it can take a long time to run. For example, a piece
    which contained church bells realized by additive synthesis took
    11 hours to process for 6 minutes of output. I still love it though.
    DM

    re: .-1
    
    Hmmm... that doesn't sound too interactive. :-)  On which machine?
    Did it have any floating point accelerator?  Gosh, you'd need a
    Crey XM-P for it... just like for creating animation. How about
    the performance on an average 3 min. piece? 
    
    Do you have any tapes of the pieces you created? That would make
    a nice contribution to a COMMUSIC tape.
    
    Timo 
    
    

    Boy, I'd like to see a port of this to the Mac II, using the stereo
    D to A.  
    
    	Eirikur  (Yes, I got on the mailing list)
    

    Re: .-1
    
    -> Boy, I'd like to see a port of this to the Mac II, using the stereo
    -> D to A.  

    I'm pretty sure CSOUND builds on Mac II under A/UX with no modifications.  
    It uses no heavily U*IX implementation specific system calls or
    other features. Note that CSOUND does not include a 'play' or 'rec'
    commands because their implementation are completely dependent on the 
    ADC's and DAC's used. They assume you either write your own or have
    received them along with your ADC/DAC system. (Fortunately 'play'
    and 'rec' are fairly easy to write.) 
    
    Do you own a Mac II?
     
    Timo
    

    No, I have a Mac+ with a 68020.  I do have a Mac II at work, though.
    It doesn't have AUX, since the license price bugged my management.
    
    	Eirikur
    

    re: .5
    You're right, it's not too interactive. The machine we used was
    a MicroVax running Ultrix. I guess I should have mentioned that
    the 11 hr. run was done in the background, and the class assignment
    was due the next day so the CPU was being pushed to its limit. A
    foreground run with no one else on the system would have been much
    faster, but still not interactive I'm sure! The way CSOUND works
    is basically like this:
    After defining your orchestra (a file with all the instruments your
    piece uses) and your score, you execute a "perf" command (short
    for performance) which reads the files and for each sample computes
    the binary code to be played and writes it to disk. This is the
    time consuming number crunching part which depends on the complexity
    of your instruments and the sampling rate. When this is done, you
    execute a "play" command which reads the perf output, sends it to
    a DAC and plays your piece. 
    About the COMMUSIC tape: the first course I took (taught by Paul
    Lansky) was purely a synthesis course, ie. the object was not to
    make a piece, it was to make some noise. The second course (taught
    by James Dashow) was a composition course where the object was to
    "create a piece with no tonality and no melody". I suppose it might
    make interesting listening, unfortunately I left the PCM tape in
    storage at school. I have an audio copy of it on conventional cassette
    and if this is okay then I'd love to contribute it. Keep in mind
    that I am a summer intern and will be leaving the last week in August.
    Please send me e-mail about getting it included. (I'd like to listen
    to some of the past COMMUSIC tapes also, if possible).
    			Thanks,
    				Darryle

Sounds a lot like the old MUSIC4 program written at Bell Labs to run on
the IBM 7094.

    re .10: Very perceptive. Actually, if I remember correctly, it is
    based on MUSIC 11 and was written by Barry Vercoe.

    From USENET, some stuff about "LPC" which can be interfaced with
    CSound, apparently to allow sampling/resynthesis type of manipulations
    on NeXT computers.
    
    
    
    Sender: news@murdoch.acc.Virginia.EDU
    Organization: University of Virginia, Charlottesville
 
....the release of LPC, a NeXT adaptation of Paul Lansky's
linear predictive analysis and pitch tracking programs.
LPC reads a NeXT or CSound-NeXT format soundfile and produces
a data file which codes the sound in terms of its time-varying
formant characteristics and the RMS levels of a residual excitation
signal. To resynthesize the audio signal, this LPC-derived dynamic
filter is excited with a spectrally rich driver, such as
white noise or a pulse train, though many interesting effects can
be produced with other types of signals. Also, there is a pitch
tracking utility which produces data that may be merged with
the LP analysis data. This pitch information may then be used
to control the pitch of the driving signal during resynthesis. 
 
CSound (Barry Vercoe's software synthesis system) provides signal
modification units which read LPC analysis files and resonate
specified signals through the LP-encoded filters. CSound has also
been ported to the NeXT. The next release of CSound-NeXT (sigh) will
have hooks for launching and communicating with LPC-NeXT, thus
adding another application to the CSound-NeXT integrated tool set.
Due out shortly.
 
CSound-NeXT and LPC-NeXT are both NeXTStep applications, meaning
that their front ends are built on the NeXT graphic user interface
for clear, intuitive interaction.
 
For a detailed explanation of the workings of linear predictive
analysis, try "Computer Music" by Dodge and Jerse. Hal Chamberlin's
"Musical Applications of Microprocessors" also has a few paragraphs
on this.
 
ftp:
	uvaarpa.acc.virginia.edu:/pub/next/Apps/LPC.tar.Z
	uvaarpa.acc.virginia.edu:/pub/next/source/LPC-source.tar.Z
 
Piece-wise uuencoded mailings can be arranged for those who do not have
ftp access.
	
Pete Yadlowsky
Academic Computing Center
University of Virginia
pmy@Virginia.EDU
 
 
--
Peter M. Yadlowsky		| "Pay no attention to that man
Academic Computing Center	|	behind the curtain!"
University of Virginia		|
pmy@Virginia.EDU		|

    I would like to get a copy of the Csound sources on the AINO:: machine,
    but the read protection is not set correctly.  I tried sending some
    mail to the root account but it seems not to have been received.
    
    Does any here know who I should contact to get the file set so that
    it is readable?  The file is:
      AINO::/kits/3rd-party/src/csound210688.tar.Z  -rw-r-----
    
    Thanks.

    You could try decwrl::"ttl@sti.fi" for Timo LEHTINEN the author of .0.
    He has access to AINO::
    
    -Pasi-