Hi, The issue of preserving musical works and equipment is indeed very important and is a challenge for Faust.
In 2008-2010 we incorporated in the compiler the possibility to automatically generate the mathematical description of the computations performed by a Faust program (faust2mathdoc) see https://hal.archives-ouvertes.fr/hal-02158742/file/astree-icmc2010.pdf. At the Linux Audio Conference 2010, Sampo Savolainen presented a very nice emulation of the Yamaha YC 20 written in Faust ( http://lac.linuxaudio.org/2010/recordings/day1_1215_Emulating_a_Combo_Organ.ogv ) In France, Alain Bonardi and Laurent Pottier have worked a lot on these issues and recreated a number of historical pieces in Faust. Recently João Svidzinski and Vincent Tiffon have published an analysis of "Songes" by Jean-Claude Risset with codes in Faust: (we) are very happy to announce the publication of the analysis of > Jean-Claude Risset's Songes (1979) in the IRCAM Analyzes portal > (unfortunately only available in French at the moment) . This is a long > piece of work initially started with the participation of the composer > himself before his death in 2016. This analysis allows the reader to get > inside the code itself and discover Risset's world. This is a real > immersion in computer music of the 1970s. > https://brahms.ircam.fr/analyses/Songes/ So yes, this question is very important and I think it could be one of the themes of IFC 2022! Yann Le lun. 26 avr. 2021 à 15:26, Giuseppe Silvi via Faudiostream-users < faudiostream-users@lists.sourceforge.net> a écrit : > Dear Robert, > > I don't know the logic schematics you are speaking about, so I can't > define my experience coherent as you require. But you have used some terms > care to me: "open source" and "history alive". So I think it could be an > exciting project to be shared with a community, merging experiences. Here > you can find the SEAM project I founded: > > https://github.com/s-e-a-m > http://seam-world.slack.com/ > > SEAM is a small community, and (thanks to the Faust qualities) there are > some history pieces alive. (Reverbs are pieces of interest, like an entire > musical composition, like many other things): > > If You have the pleasure to share something with us, maybe we can discuss > the experience we have to help you. Nevertheless, even if you create your > repository with some materials, I will look inside it and consider how I > can help. > > I think it is a fascinating matter. > > PS. the shortest answer to both your questions is yes. > > Kind Regards > Giuseppe Silvi > > > > > On 24 Apr 2021, at 16:08, Robert-André Vettel <ra.vet...@live.de> wrote: > > > > Dear all, > > > > since I'm going to get into quite a bit of detail, I'll start with the > tl;dr first :D > > • has anyone experience with electronic logic circuits and might > help me to analyse and understand some schematics? > > • is it possible to port an existing digital circuit (consisting > of a clock, timing signals, counters, latches and memory read/writes) into > Faust? > > Now for the long version: > > In 2019 I was fortunate enough to acquire an old Ursa Major Stargate 323 > hardware reverb from the institute of musicology at the JGU Mainz (thanks > Albert!). Ursa Major was founded by Christopher Moore and is mostly know > for the Space Station Delay, which some industry professionals still swear > by. The Stargate 323 Reverb is an evolution of the Space Station delay > algorithms. Since those reverbs are very rare and no official digital > emulations exist, I want to try and help keeping this piece of reverb > history alive . > > > > To be clear: I'm talking about straight up reverse-engineering here. If > the moderators think this is something that shouldn't be discussed publicly > on this list, please let me know. The Ursa Major brand was sold to AKG in > 1986 and no products have been released under this brand since then. As far > as I know all related patents have expired. Christopher Moore previously > continued working under the brand name Seven Woods Audio, but the website > is not available anymore and the domain name is now for sale. I also want > to make this project completely open source and do not have any commercial > intentions. > > > > While the reverb algorithms are proprietary, the digital circuit design > is fairly simple by today's standards. Ursa Major was a small company and > inside is just a lot of 8bit EPROMS, Latches, Counters etc. all clocked by > an 8Mhz ceramic oscillator. No CPU or proprietary silicon whatsoever. > Because the entire circuit structure is completely humanly readable, my > idea is to just "port" the digital circuit into modern software instead of > trying to approximate the algorithms. So far I have made quite some > progress in understanding and analysing the digital circuit components. The > official service manual is incredibly detailed and I have also dumped the > contents of all eeproms. But I'm just a hobbyist and if I want this project > to succeed, I'm going to need help. Which brings me back to my initial > questions and this mailing list :) > > > > I'm happy to hear any questions/ideas/etc.! > > > > Best, > > Robert > > > > _______________________________________________ > > Faudiostream-users mailing list > > Faudiostream-users@lists.sourceforge.net > > https://lists.sourceforge.net/lists/listinfo/faudiostream-users > > > > _______________________________________________ > Faudiostream-users mailing list > Faudiostream-users@lists.sourceforge.net > https://lists.sourceforge.net/lists/listinfo/faudiostream-users >
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