11:00 AM
Mark Ferguson
Processing Nature: Recordings, Random Number Generators and Real-Intrinsic-Extrinsic Perceptual Threads
Abstract. In this paper, I propose the concept of the real-intrinsic-extrinsic perceptual thread in acousmatic composition, which has become deeply intertwined with my wildlife sound recording practice and non-realtime use of Csound as a processing tool in the studio. The concept draws heavily from Denis Smalley's spectromorphological discourse regarding intrinsic-extrinsic threads and source-bonding, which is referenced throughout. Following a brief introduction and in an attempt to articulate my thoughts from a practical perspective, I discuss processing approaches for two, recently-completed acousmatic works, in which Csound's random number generating opcodes were employed to break apart natural source recordings and create complex, secondary source materials. I then proceed to break down and describe the real, intrinsic, and extrinsic thread components separately. The paper concludes with a brief summary of the concept and the role of Csound in its development, followed by a consideration of its apparent linear aspect and recent influence on technical recording methodologies.
Keywords: wildlife sound recording, nature, random number generator, non-realtime processing, acousmatic composition, methodology, spectromorphology.
11:30 AM
Gianni Della Vittoria
A Musical Score for Csound with Abjad
Abstract. This paper presents the advantages of using a traditional musical score to make music with Csound. After illustrating some alternative approaches, examines Abjad, a Python library for printing music through Lilypond, and explains the technique for linking Abjad to Csound. Since in order to compose a musical score of synthesizers it is necessary to manage complex envelopes, particular attention is paid to how to represent the envelope profiles of the various parameters on a score and how to interpret them in Csound. As the system is open to several possibilities, the choice is proposed that seems simpler and allows the user to see the envelope as a musical element to be set on a staff, providing a better overview of the whole composition.
Keywords: Score, Abjad, Python, Algorithmic composition, Lilypond
12:00 PM
Gleb Rogozinsky and Nickolay Goryachev
Modeling of Yamaha TX81Z FM Synthesizer in Csound
Abstract. The paper presents authors’ original method of hardware synthesizers and sound processing devices modeling, focusing on the Yamaha TX81Z FM synthesizer as an example. The Csound 6 is used for the software simulation of original TX81Z, which is 4-operator FM synthesizer from 1987, well-known for its peculiar C15 preset called Lately Bass, and total amount of 8 waveforms. The paper gives a review of the most prominent FM synthesizers, considering both hardware and software implementations, brief description of Yamaha TX81Z features, the review of modeling method used by authors, and analysis of modeling results. During the modeling, we measured and modeled DAC unit of TX81Z to achieve the same waveforms. It was done using MATLAB Filter Design Tool, prior to code the corresponding pair of LP and HP filters in Csound. After that step, we modeled oscillators and envelopes. The given figures show the comparison between original TX81Z recorded sound samples and ours Csound-based model.
Keywords: sound synthesis systems, modeling, Csound, FM synthesis
02:00 PM
Johann Philippe
MIUP Portable User Interface for Music
Abstract. This article presents graphical tools designed to work with Csound. First section introduces the context in which those tools were built. Then, second part presents MIUP, an open source graphical library designed to build audio softwares. Finally, last part describes jo tracker, a tracker software for Csound built with MIUP.
Keywords: MIUP, IUP, jo tracker, Csound, User Interface, Lua, C++
02:30 PM
Emiliano del Cerro
RED-TRATOS. Visual Art and Sound Art for the web
Abstract. "RED-TRATOS" is a work made for the web and is hosted by the CVC (Cervantes Virtual Center) belonging to the Cervantes Institute, an institution dependent on the Spanish Government. RED-TRATOS was designed as a mix of visual poetry and as Sound Art. The central part is dedicated to Cervantes and has audio files attached to the visual poem and plays with the name of Cervantes and with phonemes and syllables derived from his name.The work was a pioneer in the field of interactive sound art and visual art and was a key piece in the combination of both worlds for the net (net art).This paper will explain how the project was developed with information on the technology used in the digital signal process as well as the software needed to carry out the work. The main audio application used for audio was Csound, as well VRML, CORTONA, and Softimage for the visual aspects of the work.
Keywords: shynthesis, random distribution, net art, sampling,..
03:30 PM
Philipp Henkel
Implementing Günter Steinke's Arcade in Csound
Abstract. This paper is about the process of implementing the live-electronics of the solo cello and electronics piece ”Arcade” by Günter Steinke. We will discuss problems that occurred during the process of implementation and how we approached the transfer of the electronic procedures that were originally on big hardware machines to the Csound programming environment. The main focus of this paper also discusses the possibilities of the Csound FrontEnd CsoundQt, that we mainly used for the performance with its GUI capabilities.
Keywords: CsoundQt, Live-electronic, Instrument, Hannover, Incontri, FMSBW, Günter Steinke, Arcade
04:00 PM
Pablo Zinemanas, Martín Rocamora and Luis Jure
Improving Csound's Ambisonic decoders
Abstract. This paper describes the efforts we devoted to improve Ambisonic decoders in Csound. Current version of the existing opcode, namely bformdec1, has some limitations that should be surpassed in order that the decoders better fulfill the Ambisonic criteria. In particular, the implemented decoders have no nearfield compensation and do not use a different decoding matrix for low and high frequencies. These issues are addresses in a new implementation of the opcode, namely bformdec2, that also adds some features, such as additional loudspeaker array configurations (rectangle, hexagon) and a binaural output for headphones.
Keywords: Ambisonic decoder, HOA, Csound
05:00 PM
WORKSHOP: Tarmo Johannes
CsoundQT and Csound HTML
10:00 AM
Stefano Cucchi and Daniele Cucchi
Preliminary study for a chorus opcode
Abstract. In this paper we submit the hypothesis of a new “chorus”opcode in Csound. We wrote a simple program in matlab language witch generate random values read by Csound in a further step. These values are used to modify the original playback speed of an audio file. Good choice is to use white sequence of uniform distribuited samples filtered by 1-pole system to obtain low-pass behaviour. Some considerations about amplitude distribution of results and proposals to manage it will be done.
Keywords: Chorus, New opcode, Asynchronous playback, Variable delay, Random speed, Random, Noise.
12:00 PM
Conor Walsh and Rory Walsh
Digital Signal Processing Techniques Used to Model the Ibanez Tube Screamer Guitar Pedal
Abstract. This paper aims to provide a basic overview of methods used in replicating analogue distortion units, using the Csound audio programming language. A key focus will be on the TS-9 Tube Screamer (TS) analog overdrive guitar pedal by Ibanez. Although lacking in the complex theoretical analysis seen in typical digital audio effects papers, it is hoped that enough information is provided for beginners who wish to begin their own journey into the world of digital emulations of hardware devices.
Keywords: Csound, Analogous Distortion, Emulation
03:00 PM
Simone Scarazza
Synthesis by Parametric Design
Abstract. As a composer I started my research aiming at developing a relationship between the graphic elements and the sound ones. Particularly I focused on the possibility to employ in the sound synthesis, processes and concepts belonging to Parametric Design used in computer graphics. Thanks to this study I built up a kind of library consisting of several models useful for the composition and source of stimulus to master the research toward a graphic approach. In this paper it will shown an example trough Csound.
03:45 PM
James Edward Cosby
iVCS3 Programming and Control Voltage storage and transmission using standard audio files
Abstract:
1. To Show how CV Signals can be encoded using Audio Samples and stored within a standard “.wav” File to be used to expand the sonic possibilities of iVCS3 and equivalent hardware...
2. To show Examples of iVCS3 Programming including the transmission
of CV Signals over Audio busses within iOS showing the Control of another iSO Synth using APEMatrix for the audio bus connection.
Show the use of CV Audio Files to add highly programmable enveloping to iVCS3 patches...
Keywords: iVCS3, Control Voltages, Audio Files, Sound Design, Modular Synthesis.
04:15 PM
Jon Nelson
MVerb: A Modified Waveguide Mesh Reverb Plugin
Abstract. MVerb is a plugin that is based on a modified five-by-five 2D waveguide mesh developed in Csound within the Cabbage framework. MVerb is highly flexible and can generate compelling and unique reverberation effects ranging from traditional spaces to infinite morphing spaces or the simulation of metallic plates or cymbals. The plugin incorporates a 10-band parametric EQ for boundary reflection control and delay randomization to create more unusual effects.
Keywords: Reverberation, Effects Plugin, Physical Modeling, Waveguide, Scattering Junction, Csound, Cabbage.
05:00 PM
WORKSHOP: Steven Yi
Live Coding + Web Csound
10:00 AM
Leonardo Foletto
Kairos - a Haskell Library for Live Coding Csound Performances
Abstract. Kairos is a library for the Haskell programming language designed to live code patterns of Csound score instructions to be sent to a running UDP server of a pre prepared Csound orchestra.
Keywords: Live Coding, Csound, Haskell
11:00 AM
Tobias Bercu
The Hex System: a Csound-based Augmentation of Hexaphonic Guitar Signal
Abstract. The aim of the Hex system has been to create new guitar effects using Csound processing of hexaphonic guitar audio, and to present these effects to the user in a format that allows playing the instrument to meld with playing the effects. Processing one’s guitar signal with a laptop or a desktop opens many doors, but can also be cumbersome. The Hex system is meant to provide guitarists a smaller and more liberated DSP apparatus that feels more like an augmentation of the instrument itself than a separate module. The Hex system processes audio via a Raspberry Pi running Csound. Using the Pi’s onboard wifi, the system accepts control from TouchOSC, so that parameters can be adjusted in real-time from a nearby smartphone. It is intended for this smartphone to be attached to the guitar adjacent to the pickup and tone controls. The Raspberry Pi and its audio hat are housed in a small box, and this container is roofed by footswitches used to engage and disengage effects.
Keywords: Csound, real-time guitar effects, DSP, hexaphonic, Raspberry Pi
11:30 AM
Fabio De Sanctis De Benedictis
Algorithmic Composition with Open Music and Csound: two examples
Abstract. In this paper, after a concise and not exhaustive review about GUI software related to Csound, and brief notes about Algorithmic Com- position, two examples of Open Music patches will be illustrated, taken from the pre-compositive work in some author’s compositions. These patches are utilized for sound generation and spatialization using Csound as synthesis engine. Very specific and thorough Csound programming examples will be not discussed here, even if automatically generated .csd file examples will be showed, nor will it be possible to explain in detail Open Music patches; however we retain that what will be described can stimulate the reader towards further deepening.
Keywords: Csound, Algorithmic Composition, Open Music, Electronic Music, Sound Spatialization, Music Composition
03:00 PM
Alex Hofmann, Sebastian Schmutzhard, Gokberk Erdogan, Vasileios Chatziioannou and Montserrat Pamies-Vila
An opcode implementation of a finite difference viscothermal time-domain model of a tube resonator for wind instrument simulations
Abstract. This paper presents an opcode for Csound, that is based on a physical time-domain model of a closed-open tube resonator which is capable of simulating wind instruments like clarinets or saxophones. The tube model hereby considers sound radiation parameters as well as viscothermal losses that occur inside the tube. The model was implemented in C++ using the Csound Plugin Opcode Framework. The resontube opcode allows users to provide complex geometries for the model construction in k-time together with arguments for sound radiation and pick-up position. The opcode is published together with its source code as a git repository including documentation and examples.
Keywords: csound, opcode, physical model, resonator, tube
06:30 PM
Show & Tell, Italian Synthesizers exhibition by
Acusmatiq-MATME
The Italian Synth Museum is an event/exhibition that is held yearly in Macerata, Italy. The exhibition collects rare vintage instruments from the early electronic era up to the beginning of digital computing and beyond. The collection includes the first programmable drum machine, world-renowned Elka Synthex and obscure synthesizers such as the CRB Oberon. Besides the exhibition, seminars, workshops and concerts are hosted in the venue, to gather insightful knowledge and anecdotes from those who made the history of electronic music and inspire the audience. The upcoming edition (October 18th - November 2nd), will host a workshop devoted to the computer music era in Italy, with academic speakers and developers of the MARS workstation, successor of Ircam's 4I, developed by Bontempi-Farfisa at the IRIS center in Paliano, Italy.
The event is organized by the Acusmatiq MATME association with the help of institutions and several historical experts.
Acusmatiq-MATME
Born from the experience of the Acusmatiq festival (held in Ancona since 2005), Acusmatiq-MATME is a non-profit cultural organization devoted to the promotion of electronic music, the musical instruments industry and its history, with reference to the Marche region and its heritage. The organization acts as link and coordinator with other associations to produce exhibitions, festivals, performances and studies related to electronic music instruments and contemporary practices in electronic music. Part of its mission is the production of audiovisual and written documents to preserve and share knowledge related to this vast field.
Among its founders and present members there are artists, institutions, researchers, developers, collectionists and companies representatives.