Introduction to Csound 5.

Slides:



Advertisements
Similar presentations
Sound Synthesis Part II: Oscillators, Additive Synthesis & Modulation.
Advertisements

INVERTERS (DC-AC Converters).
Simple FM Instruments John Chowning's FM Designs as shown in Dodge, Computer MusicJohn Chowning's FM Designs as shown in Dodge, Computer Music brass-like.
The Csound Score a group of function tables and list of note statementsa group of function tables and list of note statements combining score with orchestra.
HasSound: Generating Musical Instrument Sounds in Haskell Paul Hudak Yale University Department of Computer Science Joint work with: Matt Zamec (Yale ‘00)
Digital Sound Representation & Introduction to Software Synthesis Electronic Music Studio TU Berlin Institute of Communications Research
IntroductionIntroduction Most musical sounds are periodic, and are composed of a collection of harmonic sine waves.Most musical sounds are periodic, and.
Frequency Modulation related to musical vibratorelated to musical vibrato Vibrato - Periodic variation of frequencyVibrato - Periodic variation of frequency.
Unit Generators and V.I.s Patches are configurations of V.I.s Both Patches & Virtual Instruments can be broken down into separate components called Unit.
Comb Filters Good model for exponentially decaying echoesGood model for exponentially decaying echoes impulse input: output: (scaling factor =.9)
Physics 1251 The Science and Technology of Musical Sound Unit 1 Session 8 Harmonic Series Unit 1 Session 8 Harmonic Series.
ReverbReverb Reverberation is made up of many reflections.Reverberation is made up of many reflections. Reverb simulation is more complex than the filters.Reverb.
Oscillator Algorithm. L-1 SI PHS Sampling Increment (determines frequency) Phase Count (0 ≤ PHS < L) Waveform Table 0 Output.
SamplingSampling plays back samples of the original tone.plays back samples of the original tone. For simple decaying tones (e.g., piano, harp, marimba,
The Csound Orchestra semi-colon begins a commentsemi-colon begins a comment Csound ignoresCsound ignores everything on the line after the semi-coloneverything.
Additive Synthesis Any periodic waveform can be expressed as the sum of one or more sine wavesAny periodic waveform can be expressed as the sum of one.
Parameter (p) Variables contain the score parameter values for each notecontain the score parameter values for each note allow score to control orchestraallow.
PH 105 Dr. Cecilia Vogel Lecture 13. OUTLINE  Timbre and graphs:  Time graph  Spectrum graph  Spectrogram  Envelope  scales  units  interval factors.
1 Manipulating Digital Audio. 2 Digital Manipulation  Extremely powerful manipulation techniques  Cut and paste  Filtering  Frequency domain manipulation.
Music Processing Roger B. Dannenberg. Overview  Music Representation  MIDI and Synthesizers  Synthesis Techniques  Music Understanding.
Harmonics and Overtones Waveforms / Wave Interaction Phase Concepts / Comb Filtering Beat Frequencies / Noise AUD202 Audio and Acoustics Theory.
EE2F2 - Music Technology 8. Subtractive Synthesis.
Spectrum Analysis Sound AnalysisSound Analysis What are we going to do?What are we going to do? Record a soundRecord a sound recorded sound analog-to-digital.
Equalization Changing the curve. What is an EQ? An Equalizer –Is generally a frequency-specific amplifier –Is made up of filters (passive or active) –Is.
Square wave Fourier Analysis + + = Adding sines with multiple frequencies we can reproduce ANY shape.
The Spectrum Jean Baptiste Fourier ( ) discovered a fundamental tenet of wave theory All periodic waves are composed of a series of sinusoidal.
The Spectrum n Jean Baptiste Fourier ( ) discovered a fundamental tenet of wave theory n All periodic waves are composed of a series of sinusoidal.
Harmonics, Timbre & The Frequency Domain
Synthesis Basics (1) Analog Synthesis Intro to Digital Oscillators.
ACOUSTICS AND THE ELEMENTS OF MUSIC Is your name and today’s date at the top of the worksheet now?
Dual-Channel FFT Analysis: A Presentation Prepared for Syn-Aud-Con: Test and Measurement Seminars Louisville, KY Aug , 2002.
COSC 1P02 Introduction to Computer Science 4.1 Cosc 1P02 Week 4 Lecture slides “Programs are meant to be read by humans and only incidentally for computers.
By Van Bucsko May 7, Intro – What is SAOL? SAOL is a standard programming language that specifies sound as a computer program that generates audio.
Csound. a language for describing sound. General History. Developed by Barry Vercoe at MIT. Extended by too many people to mention. Based initially on.
Signals CY2G2/SE2A2 Information Theory and Signals Aims: To discuss further concepts in information theory and to introduce signal theory. Outcomes:
Subtractive Sound Synthesis. Subtractive Synthesis Involves subtracting frequency components from a complex tone to produce a desired sound Why is it.
Chapter 12 The Principles of Computer Music Contents Digital Audio Processing Noise Reduction Audio Compression Digital Rights Management (DRM)
Chapter 21 Musical Sounds.
EQUALIZATION E.Q.. What is equalization? The manipulation of tone by increasing or decreasing frequency ranges with tone controls, filters or equalizers.
Harmonic Series and Spectrograms BY JORDAN KEARNS (W&L ‘14) & JON ERICKSON (STILL HERE )
Chapter 2 Fundamentals of Data and Signals
CHAPTER 4 COMPLEX STIMULI. Types of Sounds So far we’ve talked a lot about sine waves =periodic =energy at one frequency But, not all sounds are like.
Digital Oscillators. Everything is a Table A table is an indexed list of elements (or values) A digital oscillator or soundfile is no different.
Digital Oscillators. Everything is a Table A table is an indexed list of elements (or values) A digital oscillator or soundfile is no different.
Basic Acoustics. Sound – your ears’ response to vibrations in the air. Sound waves are three dimensional traveling in all directions. Think of dropping.
Things that make strange noises. October 27, 2004
Harmonics Ben Kemink.
Harmonic Distortion Analyzer, Wave Analyzer and Function Generator
MECH 373 Instrumentation and Measurements
ppt 0n phase Shift Oscillator
ALTERNATING CURRENT AND VOLTAGE
Aim: Standing Wave Lab Draw the 1st, 2nd, 3rd and 4th Harmonic for a Standing Wave! I will randomly call people up to the board to draw their waves!
Pitch.
Figure Hz sine wave to be sampled.
Net 222: Communications and networks fundamentals (Practical Part)
UNIT-8 INVERTERS 11/27/2018.
Mark Sayles, Ian M. Winter  Neuron 
Joe Blubaugh Diana Mui David Sutherland Matthew Swallow
Frequency Modulation 2.
Speech Pathologist #10.
Wavetable Synthesis.
All-Pass Filters.
Frequency Modulation.
Homework: pg. 119 #3,4; pg. 122 #6-8 3.) A. Judy’s bone density score is about one and a half standard deviations below the average score for all women.
Sampling.
Lecture 7: Spectral Representation
Introduction to Csound 2.
Introduction to Csound 4.
The frequency (Hertz) of a sound
Geol 491: Spectral Analysis
Presentation transcript:

Introduction to Csound 5

Parameter (p) Variables contain the score parameter values for each note allow score to control orchestra p1 — always the instrument number p2 — always the start time p3 — always the duration in some effects, such as reverb, lengthening p3 allows the sound to die away before cutting it off p3 = p3 + iring user defines the other parameter fields

Labels signposts directing Csound to the right place in the orchestra NOT variables can start with any character - BUT don't start labels with "p," "g," "i," "k" and "a" — these reserved letters begin variable names end with colon may have their own line or may precede an operation line label: result opcode argument1, argument2, ...

goto Statements tell the program to go to one of the labels usually in if statements. if ifreq > 300 goto label

The Function Statement f1 — wavetable number 1 the "1" used by oscili in sinewave.orc 0 — load at time zero 16385 — load with 16385 points number of points in wavetable must be a power of 2 512, 1024, 2048, 4096, 8192, 16384 OR (a power of 2) + 1 513, 1025, 2049, 4097, 8193, 16385

The Function Statement a lower number of points = faster wavetable loading (draft) a higher number of points = better sound quality (finished) 10 — fill the table with a (group of) harmonic [ii:18] sine waves

The Function Statement After the "10," each number indicates the strength of that harmonic number for example, the single number "1" indicates that this is a sine wave — only the first harmonic partial (fundamental) Spectral Snapshot of Wavetable No. 1

The Function Statement oscili statement takes values from this waveform for each tone, oscili repeats this waveform at frequency of the tone example: 440 times per second for A4

Amplitude Envelope fades in and out as shown in figure note statement sets the attack time of each note to .1 seconds the decay time to 1.4 seconds

Review Question The line of code in the box is: A. a tempo statement B. a note statement C. the end of the score file D. a function statement E. none of the above

A Global Frequency Factor ; freqfactor.orc ; name of orchestra sr=22050 ; sampling rate kr=2205 ; control rate ksmps=10 ; samples/control per. nchnls=1 ; 1 channel playback ;----------------------------------------------------- gifreq = 2 ; make all notes octave higher instr 1 ; sine wave or whatever ... ifreq = p5 * gifreq out asig ; output signal endin ; end of instrument

[ii:80] A Global Frequency Factor ; freqfactor.sco - use with freqfactor.orc ; waveform for oscillator - 10 sine waves f1 0 16385 10 10 9 8 7 6 5 4 3 2 1 ;p1 p2 p3 p4 p5 p6 p7 ; st dur amp freq attck dec i1 1 1 5000 440 .1 .7 end

Function Statement defines the wavetable f1 - wavetable number 1 (the "1" used by oscili in sinewave.orc) 0 - load the wavetable at time 0 16385 - load the wavetable with 16385 points

Function Statement f1 0 16385 10 10 9 8 7 6 5 4 3 2 1 gen 10 - each number indicates the strength of that harmonic number wavetable f1 uses the first 10 harmonics the harmonics are in consecutive order the first harmonic has a strength of 10 the second harmonic has a strength of 9 normalization all the harmonics are normalized so that the peak amplitude of the waveform is 1 Use -10 instead of 10 to skip normalization

Amplitude (p4) relative amplitudes of 10 harmonics in function table

Review Question Which function statement can represent the spectrum shown in the figure: A. f1 0 16385 10 1 2 3 4 5 6 7 8 9 10 B. f1 0 16385 10 10 9 8 7 6 5 4 3 2 1 C. f1 0 16385 10 1 1 1 1 1 1 1 1 1 1 D. f1 0 16385 10 1 0 1 0 1 0 1 0 1 0 E. none of the above