On 27/02/2012 20:35, Ross Bencina wrote:
On 27/02/2012 3:58 AM, Andy Farnell wrote:
For my sonification work for LHCsound, I used Perl to parse data
> files and generate Csound scores, simply because it is a task Perl
> is canonically optimised to do and scripts can be run up very
> quickly.
Just a quick +1 for Perl as an event generator in cooperation
with Csound, especially if the project involves any kind of
network processing.
Just a quick -1 for the whole idea of orchestra vs. score and using text
as an intermediate encoding for high-bandwidth control data.
Any particular reason why? It's not so far removed from the idea of
one synthesis patch + many different MIDI inputs to use it. Of course
some people deplore the whole idea of MIDI, but they probably also
deplore 12-note octaves and indeed the whole concept of notes. It may be
as reasonable a position as any other; but that means that employing
MIDi is a reasonable position too.
Most score text isn't used "as an intermediate encoding for
high-bandwidth control data" but as a note list.It is really pretty
object-oriented. MIDI has an upper limit of approx one event per
millisecond. A Csound score has no such limit - it's granularity is
ultimately set by the value of ksmps. There is also nothing "special"
about text - it is a possible representation of a stream of values. In
the old days, all audio processes in (say) the CARL system piped audio
data as text values from one program to another; i.e. at the sample
rate. It just happened to use text. I think we also need to know what
you classify as "high-bandwidth control data", if (presumably) something
other than a stream at the audio sample rate.
I am getting the sense that these are philosophical principles rather
than heuristic technical ones.
Richard Dobson
--
dupswapdrop -- the music-dsp mailing list and website:
subscription info, FAQ, source code archive, list archive, book reviews, dsp
links
http://music.columbia.edu/cmc/music-dsp
http://music.columbia.edu/mailman/listinfo/music-dsp
