assume Kawai ran with
that technology for a while and improved it somewhat.
andy
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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
> >
>
>
>
> --
> Michael Gogin
77 467 386
> > fax +49 (0) 3677 467 4386
> > --
> > 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://mu
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
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Andy Farnell
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s. I think that task is overwhelming now.
If you look at the list on the right column of this page I think
you will realise we have no choice but to move for massive reform or
even abolition to remove whole swathes of the problem.
http://petition.eurolinux.org/
--
Andy Farnell
On
> > http://petition.eurolinux.org/
> ^ ^ ^
> Internet and mobile payment systems patents!
> Doesn't that harm every online business?
> I'm going to Patent paper money printing...
> : )
And you'll get it. If you paid the right people enough.
People who k
ndy
On Sun, 30 Jan 2011 02:43:26 +1100
"Ross Bencina" wrote:
> Hi Andy
>
> Andy Farnell wrote:
> > I don't want to open up a lengthy OT debate here. But
> > will reply privately to address some of your points in detail.
>
> Fair enough. I guess the ma
sense, but
> others might consider this legally-aided fairness that would otherwise
> probably not play out fairly in the market place.
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is brother
enjoying one, now all of sudden he wants one too.
Deferential, approval seeking, risk averse behaviour
= colloquially "bottom feeding".
On Sat, 29 Jan 2011 14:54:28 -0800
Nigel Redmon wrote:
> Good point, Andy. And I've heard historical examples of how
--
Andy Fa
meanings, and different meanings require different interpretations.
AXIOM: Ideas should not be patentable. Period.
Do I need to explain this?
On Sun, 30 Jan 2011 17:51:23 +1100
"Ross Bencina" wrote:
> Hi Andy
>
> I wish I were worthy of quoting Blaise Pascal here, but ins
r copyright
which would be sufficient for its commercial protection.
cheers,
Andy
On Tue, 1 Feb 2011 02:19:50 +1100
"Ross Bencina" wrote:
> Hi Andy
>
> Andy Farnell wrote:
> > AXIOM: Ideas should not be patentable. Period.
> >
> > Do I need to explain thi
All those inventors obtained patents, and here the system drove
forward innovation. Nobody tried to patent "the steam engine
principle" as they would today and hold the entire industrial
revolution to ransom.
all best,
Andy
--
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ed?
So, Ross, you are right, there are deeper, more troubling
questions on my mind, but I'd like to keep focus on the
software patent problem if we can, because many of us are
experts here and deserve to have something to say.
robert bristow-johnson wrote:
w/ respects,
andy--
--
Andy Far
On Mon, 31 Jan 2011 21:23:52 +
Richard Dobson wrote:
> On 31/01/2011 12:53, Andy Farnell wrote:
> Er, they aren't, and never have been.
Hey Richard,
Sure they "aren't allowed". But they de facto _have_ _been_
allowed, and that's why we're having
On Mon, 07 Feb 2011 02:29:29 +
Richard Dobson wrote:
> On 06/02/2011 18:53, Andy Farnell wrote:
> > Since there is nothing to divide the line between "this" virtual device
> The DX7 is an automaton. But in principle it can be modeled by a UTM.
> That does not mean
on means or tricks, so
> the whole path appears to work neutral.
>
> Theo Verelst
>
> --
> dupswapdrop -- the music-dsp mailing list and website:
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> links
> http://music.columbia.edu/cmc/music-
Thomas
> --
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> links
> http://music.columbia.edu/cmc/music-dsp
> http://music.columbia.edu/mailman/listinfo/music-dsp
--
Andy Farnell
--
dup
ious things were coming to fruition,
and 6 years further still having to work hard to push forward, but there's
an unmistakable trajectory to the project now.
I think there's a lull in music production, as an art, except on fringes
at present, and new opportunities for new synthesis methods
installations.
> > A Csound server is running
> > this installation http://www.flyndresang.no/en/om/ since 2006 and will
> > finish in 2016. Fairly impressive, even if I say so
> > myself!
> >
> > Victor
> > On 8 Feb 2011, at 20:55, Andy Farnell wrote:
&
nfo, 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
> >
> --
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lative
to one or another pre-assigned matrix of possibilkities, some
or other checklist. You have to say up front what counts as
a feature.
If you want to know if specific notes have been hit then a
filterbank method combined with zero detection will work pretty
quick.
--
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--
dupsw
here for more info.
http://www.audiomostly.com/
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were somehow corrupted in the process
> 3. dc offset
> 4. phase issue
>
> Any insights would be helpful
> Thanks
> Eldad
>
>
> --
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te:
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> links
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> http://music.columbia.edu/mailman/listinfo/music-dsp
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These look really nice and affordable.
On Wed, 20 Apr 2011 08:12:06 -0700
Eric Brombaugh wrote:
> Microchip dsPIC
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Andy Farnell
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h
r.
Happy to hear some advice from anyone who has tried similar
in an educational setting.
cheers,
a.
On Wed, 20 Apr 2011 21:50:52 +0100
Gwenhwyfaer wrote:
> On 20/04/2011, Andy Farnell wrote:
> >[re dsPIC] These look really nice and affordable.
>
> They're even more af
mailing list and website:
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730
> > --
> > 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
&
cussions, I'd like to point the attention of a lot of people in the
> DSP corners of recreation and science, hobby and serious research to the
> general foundations for Sampling Theory and Digital Signal Processing
> and possibly information theory and filter knowledge.
--
Andy F
ng seriously into
> > the subjects over the years in the day.
> >
> > Theo.
> > --
> > dupswapdrop -- the music-dsp mailing list and website:
> > subscription info, FAQ, source code archive, list archive, book
> > reviews, dsp links
> > http://music.col
enough.
>
> It is.
>
> Add them.
>
>
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> dsp links
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> > http://music.columbia.edu/mailman/listinfo/music-dsp
>
> --
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&g
w.inf.u-szeged.hu/~tothl*
>
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> subscription info, FAQ, source code archive, list archive, book reviews, dsp
> links
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e easily.
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ies in the recording?
>
> We want to avoid listening to dozens of hours of recordings. Also, the
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ve, book reviews,
> > dsp links
> > http://music.columbia.edu/cmc/music-dsp
> > http://music.columbia.edu/mailman/listinfo/music-dsp
> > --
> > dupswapdrop -- the music-dsp mailing list and website:
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&
On Thu, 15 Sep 2011 16:05:52 +0100
Gwenhwyfaer wrote:
> A few points:
>
> On 12/09/2011, Andy Farnell wrote:
> >
> > If you are heading towards DX7 style FM then notice
> > that only two of the oscillators (2 and 6) can have
> > feedback, and that this is
edu/cmc/music-dsp
> http://music.columbia.edu/mailman/listinfo/music-dsp
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Sorry, I didn't read carefully the Windows
requirement.
On Fri, 16 Sep 2011 22:20:14 +0100
Andy Farnell wrote:
> Ardour
>
> http://ardour.org/
>
> a.
>
>
>
> On Fri, 16 Sep 2011 09:26:21 -0500
> Al Clark wrote:
>
> > We are working on a USB
175 ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2
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inks
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> http://music.columbia.edu/mailman/listinfo/music-dsp
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as that student.
I know that you share a passion for high standards and rigour.
A high appreciation of value differences would only make that
sweeter.
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Speed of development is an issue, as turning ideas into sound uses
considerable human cognition, echoic memory to listen, serial and
linguistics faculties to interpret, and then geometric mathematical
and procedural acrobatics to adapt the internal model. C gives great
flexibility and control, b
On Wed, Feb 22, 2012 at 09:18:11AM -0500, Michael Gogins wrote:
> I am writing an article about composing in C++ with the Csound API and
> CsoundAC, and I will try to get it published in the Csound Journal or
> elsewhere.
Definitely looking forward to that Michael.
--
dupswapdrop -- the music-dsp
> The problem with "plug unit generators languages" for me is that they
> privilege the process (network of unit generators) over the content
Some really interesting thoughts here Ross. At what level of
granularity does the trade-off of control, flexibility and
efficiency reach its sweet spot?
I
When the lovely people at MIT added some extra cool graphics to my book cover
I was initially dismayed to see the usual "funky oscilloscope trace" with a
blue tint, looking like an electric spark. But everyone I showed it to, my
friends and family all thought it was amazing and futuristic! So I
On Fri, Feb 24, 2012 at 01:21:05PM -0500, Charles Turner wrote:
> On Feb 24, 2012, at 1:05 PM, Andy Farnell wrote:
>
> > Some really interesting thoughts here Ross. At what level of
> > granularity does the trade-off of control, flexibility and
> > efficiency reach
On Sat, Feb 25, 2012 at 10:58:52AM +, Richard Dobson wrote:
> On 25/02/2012 09:40, Andy Farnell wrote:
> ..
> And the harsh truth is that no competing search engine will succeeed
> unless its name works well as a verb.
Astute. Maybe the duck is doomed already. Unless it becom
uot; in the process. Or am I missing something?
>
> On 2/25/12, Charles Turner wrote:
> > On Feb 25, 2012, at 6:34 AM, Andy Farnell wrote:
> >
> >> And whereas I do agree with Pierre Boulez here, maybe it
> >> is misguided to turn to reductionism and simplicity
Hi Charles,
> The book collects his Darmstadt lectures from 1954-56
Yes, that era fits better with the ideas conveyed. thanks
for the clear up.
> Isn't the point not to take sides, but recognize the tension?
Definitely. You are absolutely right. That was where I was headed
with my remarks.
>
On Sun, Feb 26, 2012 at 09:11:10AM -0500, Brad Garton wrote:
> On Feb 26, 2012, at 5:13 AM, Richard Dobson wrote:
>
> > It is rather more flexible than Max/MSP, say, because you can if you want
> > to run a single-sample vector, whereas MSP has always been fixed to a
> > 64-sample block size.
>
Me too, Some great Steve Hillage like moments in that.
On Sun, Feb 26, 2012 at 10:52:12AM +0100, Emanuel Landeholm wrote:
> > http://music.columbia.edu/~brad/music/mp3/Rough_Raga_Riffs.mp3
>
> This. I just listened to it and it put me in a good mood!
> --
> dupswapdrop -- the music-dsp ma
As_101]
Obviously this requires one to think about difficult problems where
control and signals are closely coupled in subtly different ways for
each language.
best,
Andy
On Sun, Feb 26, 2012 at 09:47:45AM -0500, Brad Garton wrote:
> On Feb 26, 2012, at 9:38 AM, Andy Farnell wrote:
>
>
On Sun, Feb 26, 2012 at 04:01:52PM +, Richard Dobson 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
Hi Ross
> Hi Andy,
> Some comments, and questions for clarification...
> > There is_always_ an audio signal but there are sometimes no control
> > messages
> >
> > Control messages are computed on a block boundary
> Given this formulation, that the control message scheduler is only
> pumped o
> On 28/02/2012 00:43, Michael Gogins wrote:
> ..
> >
> >What I would dearly love to hear in this discussion is how Csound can
> >be improved to facilitate the creation of music, from people who do
> >use software to compose and create their music. Or how some other
> >software might be better, for
On Tue, Feb 28, 2012 at 11:04:45AM +, Richard Dobson wrote:
> So, one way and another, "Computer music" is so laden with
> definitions and qualifications as to have lost all definition -
> using it gives the listener no real information.
And yet, if I were to say to you about such and such a
Thanks John,
These are all very useful. Some of them, the last three, I have
used before to create timeouts, The others I should pay more
attention to.
Apparently not covered by these:
I would like a mechanism, not sure whether this would be an opcode or
a general (global) language feature,
On Tue, Feb 28, 2012 at 12:00:54PM -0800, Nigel Redmon wrote:
> wiring CMOS buffer outputs to their own inputs (perhaps through a resistor
Using inverter gates is an old trick for making very cheap
oscillators. With some cells arranged to give you 6v and a
bit of wire attached to the output pin
On Tue, Feb 28, 2012 at 03:16:14PM -0500, Adam Puckett wrote:
> Andy,
>
> there's an opcode called active that does what you want 'numalloc' to do:
>
> http://csounds.com/manual/html/active.html
Thanks Adam! That's a big help to some of my projects, I'll
take a look at it.
cheers,
Andy
--
dups
Some great points of advice for any site there!
Would jump in but my PHP skills are rotten.
Possibly a job for a web student over summer?
On Wed, Apr 11, 2012 at 01:50:55PM -0600, Roberta wrote:
> I'm a little late to the party but
--
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su
Thanks for this Vadim, it looks like an amazing compendium
and well structured for students to learn from.
On Fri, May 25, 2012 at 10:54:25AM +0200, Vadim Zavalishin wrote:
> Hi all
>
> This is kind of a cross-announcement from KVRAudio, but since there
> are probably a number of different peopl
IIRC William Brent made some good "Timbre Stamp" externals for Pd
based on Paul Brosiers libaubio and other decomposition and feature
extraction. Much of that does the things Robert mentions.
There are simple first order things like pitch and amplitude
Complex aggregate things like roughness/harm
You could write this in a jiffy with libsndfile or something right.
Andy
On Fri, Jun 08, 2012 at 01:22:59PM -0700, Linda Seltzer wrote:
> Does anyone know of a tool that converts a .wav file into wave extensible
> format with the PCM subtype rather than the IEEE floating point subtype?
>
> Lin
I would second that. My research in the 1990s led to the same conclusion,
in essence the parametric space is vast while the perceptually useful space
is very small and sparsely dotted around in the param space.
Upshot: needle in a haystack
Andy
On Wed, Jun 13, 2012 at 10:13:03AM +0100, Dan S
> > Upshot: needle in a haystack
> i dunno about that. at least for classifying isolated musical
> notes, you'll do better than needle in haystack by representing
> notes broken down into parameter "trajectories" (for lack of a
> better word) that include amplitude, pitch, and various
> timber-r
On Thu, Jun 14, 2012 at 05:50:59PM +1000, Ross Bencina wrote:
> On 14/06/2012 5:29 PM, Andy Farnell wrote:
> >Maybe this isn't the same hazard of dimensionality that Dan
> >warns us of... I'm saying the space is definitely_warped_
> >with big areas of nothingness
Another take that comes to mind from servo/control electronics,
is that the ramp and the hysteresis don't have to be considered
as separate blocks. Instead of a 'hard' hysteresis like schmitt
trigger, followed by a linear ramp or LPF, make the rate of change
of gain proportional to some function ab
All I can think is that hammered strings are a gift when it
comes to transient detection, so you should be able to
do quite nice digital processing of dulcimer. Especially
with a multi channel 'pickup per sting'
cheers,
Andy
On Thu, Jul 05, 2012 at 01:07:52AM +0430, Sajjad Abdoli wrote:
> Dear
I'm posting this to one or two lists, please excuse
me if you've seen it already
Some relevant new academic positions for comp music and DSPers
Cheers,
Andy
FW:
---
Regards,
Mark
###
Music research at Aalborg University, with support from the Obel Fam
How do you develop code for these Eric? What is your toolchain?
best
Andy
On Tue, Sep 25, 2012 at 09:43:09AM -0700, Eric Brombaugh wrote:
> The STM32F4 series parts are cheap, fast, powerful for their class.
> Not really on par with the Cortex A8 and Atom machines but great for
> embedded.
>
>
Great to see prof Mark Plumbley talking some sense to the train wreck of the
present
academic trajecory in those slides.
On Fri, Oct 19, 2012 at 05:52:09PM +0100, Luis Figueira wrote:
> Dear MUSIC-DSP list members,
>
> we'd like to let you know that the handouts, slides and other materials
On Sat, Oct 20, 2012 at 04:17:29PM +0100, Victor Lazzarini wrote:
> What do you mean?
In Mark's slides.
The case for proper publication, documentation, open access and intellectual
honesty.
The values that most of us old beards consider to be the foundation of _real_
science.
Or are you askin
On Sat, Oct 20, 2012 at 03:25:29PM -0400, Michael Gogins wrote:
> Please if you write code as part of your research, use C or C++ as
> these are the standard systems programming languages for commercial,
> government, and scientific research in critical and numerical systems.
Space is often a li
Hi Robert,
Not sure I can help because I am not a Mac user, but I do use Octave
and Gnuplot fairly regularly.
I wonder is there systematic change in the way Mac supports X graphics?
One thought, I stopped using environment variables with Gnuplot
and always use a .gnuplot config (according t
Any other comments in defence, cos I'm sitting here with my money
about to invest. :/
Andy
On Fri, Oct 26, 2012 at 12:12:23PM -0700, Eric Brombaugh wrote:
> I've been discussing this Adapteva outfit's Kickstarter with a bunch
> of other embedded processing / ASIC / DSP guys and it just doesn't
Wonderful news.
Occam, that brings back some memories from CS class.
Now, I just hope the Parallela can deliver better than the
Raspberry Pi did. In my rather frank opinion, the Raspberry Pi
has been horribly, horribly managed and stands as a model of
an inherent tension in crowd driven project
On Mon, Dec 10, 2012 at 01:39:48PM +1100, Ross Bencina wrote:
> avoid any loss of precision due to truncation... etc. There is also
> arbitrary precision arithmetic if you don't want to throw any bits
> away.
This seemed most pertainent to Alessandro's requirement that N was unknown
and might be
I have noticed Ross, that I tend to seek out music that reflects
an already emerging emotion, such that the music then precipitates
a physiological emotion. If I am in the mood to be excited by
Bizet or the Furious Five MCs, then Radiohead or Gorecki
cannot sadden me. And conversely. The longer I
Hi Mathieu,
I think, as research goes, you've struck gold.
It might not serve the immediate goals, or feel like it right
now, but frequently where you encounter strong opinions in a line of
enquiry it verifies the work has value, although you may need to look hard at
what that value is.
Wi
Of the many directions I have discussed with my masters and
doctoral students it's possible to see a breakdown into several
categories with some overlap into HCI, CG, SID and DSP.
The application of a given synthesis method to a specific class
of sounding object.
Behavioural or interaction models
Since the problem with HTML is on the sender/input side
(some people being unable _not_ to send HTML, and text/plain
being a subset of the HTML) then it's likely a procmail
filter in mailman can make life easier for more senders
without pissing off the established readers who use text
only capabil
On Mon, Oct 20, 2014 at 10:00:13AM -0700, Ethan Duni wrote:
> Meanwhile, I'll point out that it's been a long time since anybody on this
> thread has even attempted to say anything even tangentially related to
> music dsp.
The first thing that came to my mind after seeing Peter's image
processi
k
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lumbia.edu/cmc/music-dsp
> > http://music.columbia.edu/mailman/listinfo/music-dsp
>
> --
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playable.
>
> Peter
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-
s. here's one with
> less context..
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t case.
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Andy Farnell
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ink that's the claim by vinyl lovers. A better test would be
> acoustic instruments, including orchestra and voice. We know what those sound
> like in the absence of any recording, so you're left with comparing
> reproductions, CD and vinyl.
>
>
> On Nov 28, 201
>
>
>
>
>
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On Sun, 28 Nov 2010 17:24:41 -0500
Stephen Sinclair wrote:
> On Sun, Nov 28, 2010 at 4:05 PM, Andy Farnell
> wrote:
> >
> > And surely that comparison, between any two
> > sources, regardless of their measurable quality, would
> > remain valid? It doesn't ma
On Mon, 29 Nov 2010 13:12:11 -
"Dave Hoskins" wrote:
> And it had approx. 20,000 components in the thing!
> Dave.
And they built the early ones by hand.
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Andy Farnell
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o you tend to master differently at the intro than
the outro - that must have influenced a lot of music.
a.
On Mon, 29 Nov 2010 15:33:46 +0100
David Reaves wrote:
> until it reaches its extremes digital does not 'strain' to reproduce its
> signal
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Andy Farnell
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make them seem louder (integration
effect).
On Mon, 29 Nov 2010 17:04:16 -0600
Stephen Blinkhorn wrote:
> Not loud/soft passages as such but the individual
> attacks of percussion or acoustic instruments which seem to contain
> more detail on vinyl.
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Andy Farnell
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Thanks for sharing these thoughts Robert.
On Mon, 6 Dec 2010 03:38:28 -0500
robert bristow-johnson wrote:
> This is a continuation of the thread started by Element Green titled:
> Algorithms for finding seamless loops in audio
>
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Andy Farnell
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Andy Farnell
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> View this message in context:
> http://old.nabble.com/Writing-a-piano-simulation-software-tp30412931p30412931.html
> Sent from the Music-DSP mailing list archive at Nabble.com.
>
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-johnson wrote:
>
> On Nov 29, 2010, at 8:30 AM, Andy Farnell wrote:
>
> >
> > On Mon, 29 Nov 2010 13:12:11 -
> > "Dave Hoskins" wrote:
> >
> >> And it had approx. 20,000 components in the thing!
> >> Dave.
> >
> >
&
eover.org/Audio/index2.html
>
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-
Old-skool method, but effective: If you build an environemnt by
issuing connections on command line you can replay them from a script.
I have successfully used simple script command to capture
a command line history and then use it to start-up a project again.
Andy
On Tue, May 10, 2016 at 02:26
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