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23 March 2008
- 23:1823:18, 23 March 2008 diff hist +11 TOOT 14 No edit summary
- 23:1723:17, 23 March 2008 diff hist +1 TOOT 14 No edit summary
- 23:1623:16, 23 March 2008 diff hist +919 N TOOT 14 New page: Throughout these TOOTS, separate score and orchestra files were used. However, today it is probably more common to write a single Unified Csound code file, called a CSD. If we look again a...
- 23:0923:09, 23 March 2008 diff hist +27 Csound TOOTS →The TOOTS themselves
- 23:0823:08, 23 March 2008 diff hist +16 Csound →Tutorials
- 23:0723:07, 23 March 2008 diff hist +4 Csound TOOTS →Introduction
- 23:0423:04, 23 March 2008 diff hist +99 Csound TOOTS →Suggestions for further study
- 23:0323:03, 23 March 2008 diff hist −2 Csound TOOTS →Suggestions for further study
- 23:0323:03, 23 March 2008 diff hist +1,329 Csound TOOTS →When things go wrong
- 22:5922:59, 23 March 2008 diff hist +1,309 Csound TOOTS →The TOOTS themselves
- 22:5722:57, 23 March 2008 diff hist +2,244 TOOT 13 No edit summary current
- 22:5622:56, 23 March 2008 diff hist −6 TOOT 13 No edit summary
- 22:5622:56, 23 March 2008 diff hist +1,422 N TOOT 13 New page: For our final instrument, we will employ three unique synthesis methods: Physical Modeling, Formant-Wave Synthesis, and Non-linear Distortion. Three of Csound's more powerful unit generato...
- 22:5422:54, 23 March 2008 diff hist +34 Csound TOOTS →The TOOTS themselves
- 22:5322:53, 23 March 2008 diff hist +3,459 N TOOT 12 New page: This is by far our most complex instrument. In it we have designed the ability to store pitches in a table, and then index them in three different ways: 1) directly, 2) via an lfo, and 3) ... current
- 22:5222:52, 23 March 2008 diff hist +34 Csound TOOTS →The TOOTS themselves
- 22:5122:51, 23 March 2008 diff hist +35 TOOT 11 →Score Sections current
- 22:4922:49, 23 March 2008 diff hist −3 TOOT 11 →Ramping
- 22:4822:48, 23 March 2008 diff hist +4 TOOT 11 →Carry
- 22:4722:47, 23 March 2008 diff hist +51 TOOT 11 No edit summary
- 22:4622:46, 23 March 2008 diff hist +7,691 TOOT 11 No edit summary
- 22:4622:46, 23 March 2008 diff hist +187 N TOOT 11 New page: We now use a plucked string instrument to explore some of Csound's score preprocessing capabilities. Since the focus here is on the score, the instrument is presented without explanation.
- 22:3922:39, 23 March 2008 diff hist +38 Csound TOOTS →The TOOTS themselves
- 22:3822:38, 23 March 2008 diff hist +2,022 N TOOT 10 New page: The following instrument uses the Csound rand unit to produce noise, and a reson unit to filter it. The bandwidth of reson will be set at i-time, but its center frequency will be swept via... current
- 22:3722:37, 23 March 2008 diff hist +33 Csound TOOTS →The TOOTS themselves
- 22:3622:36, 23 March 2008 diff hist +3,233 N TOOT 9 New page: In the previous example you may have noticed the soundin source being "cut off" at ends of notes, because the reverb was insidethe instrument itself. It is better to create a companion ins... current
- 22:3422:34, 23 March 2008 diff hist +37 Csound TOOTS →The TOOTS themselves
- 22:3322:33, 23 March 2008 diff hist +2,018 N TOOT 8 New page: Now instead of continuing to enhance the same instrument, we will design a totally different one. In it we'll read a soundfile into the orchestra, apply an amplitude envelope to it, and ad... current
- 22:3222:32, 23 March 2008 diff hist +24 Csound TOOTS →The TOOTS themselves
- 22:3122:31, 23 March 2008 diff hist +2,554 N TOOT 7 New page: Now we will add the ability to do a linear crossfade between any two of our four basic waveforms. We will employ our delayed vibrato scheme to regulate the speed of the crossfade. == orch... current
- 22:3022:30, 23 March 2008 diff hist +26 Csound TOOTS →The TOOTS themselves
- 22:2922:29, 23 March 2008 diff hist +3,927 N TOOT 6 New page: The first character in a score statement is an opcode, determining an action request; the remaining data consists of numeric parameter fields (p-fields) to be used by that action. So far w... current
- 22:2722:27, 23 March 2008 diff hist +21 Csound TOOTS →The TOOTS themselves
- 22:2622:26, 23 March 2008 diff hist 0 TOOT 5 No edit summary current
- 22:2622:26, 23 March 2008 diff hist +2,047 N TOOT 5 New page: To add some delayed vibrato to our chorusing instrument we use another oscillator for the vibrato and a line segment generator, linseg, as a means of controlling the delay. linseg is a k-r...
- 22:2522:25, 23 March 2008 diff hist +24 Csound TOOTS →The TOOTS themselves
- 22:2422:24, 23 March 2008 diff hist −4 TOOT 4 →score current
- 22:2322:23, 23 March 2008 diff hist +8 TOOT 4 →score
- 22:2322:23, 23 March 2008 diff hist +1,658 N TOOT 4 New page: Next we'll animate the basic sound by mixing it with two slightly de-tuned copies of itself. We'll employ Csound's cpspch value converter which will allow us to specify the pitches by octa...
- 22:2222:22, 23 March 2008 diff hist +26 Csound TOOTS →The TOOTS themselves
- 22:2022:20, 23 March 2008 diff hist +1,722 N TOOT 3 New page: Although in the second instrument we could control and vary the overall amplitude from note to note, it would be more musical if we could contour the loudness during the course of each not... current
- 22:1922:19, 23 March 2008 diff hist +26 Csound TOOTS →The TOOTS themselves
- 22:1822:18, 23 March 2008 diff hist +1 Csound TOOTS →Introduction
- 22:1822:18, 23 March 2008 diff hist +2 TOOT 2 No edit summary current
- 22:1622:16, 23 March 2008 diff hist +1,242 N TOOT 2 New page: The first instrument was not interesting because it could play only one note at one amplitude level. We can make things more interesting by allowing the pitch and amplitude to be defined b...
- 22:1422:14, 23 March 2008 diff hist +1 Csound TOOTS →The TOOTS themselves
- 22:1422:14, 23 March 2008 diff hist +24 Csound TOOTS →The TOOTS themselves
- 22:1322:13, 23 March 2008 diff hist 0 Csound TOOTS →The TOOTS themselves
- 22:1122:11, 23 March 2008 diff hist +1 TOOT 1 →score current
- 22:1122:11, 23 March 2008 diff hist +1 TOOT 1 →orchestra