nafallon@vax1.tcd.ie (08/17/90)
In article <1990Jul31.220442.29402@astro.uucp>, james@astro.uucp (James McCartney) writes: > I posted a question a while back as to where I could ftp the latest > version of csound from. There is an older version on ucsd.edu, but I > need the newer version that can be compiled in THINK C. If there was > a response posted, I didn't see it -- sometimes news articles on this > machine are D.O.A (Deleted On Arrival) if it is too full, and there is > very little space here --- so please email. > Thanx, > james mccartney > james@astro.as.utexas.edu
leo@Tandem.COM (Leo Hejza) (10/17/90)
Thanks to all those who pointed me at the new version of csound which produces u-law sparc sound files directly. Now a couple of questions. Does a library of orchestra sounds exist anywhere. I'm mostly interested in traditional instrumental sounds. Any help will be appreciated. Next, I did my work in electronic music in grad school 16 years ago. There was no common FM systhesis done. Our sum total of digital was a 16 event sequencer on a Buchla synthesizer. Things were all analog. Advanced was an ARP 2600. Can anyone point me to some articals or papers which sxplain the rational behind FM systhesis. Also any other more current references would be appreciated.
kkrueger@zeus.unomaha.edu (01/05/91)
hmatisa@wpi.WPI.EDU (Huzrei M. Isa) writes: > In some FTP sites I found files with extension MOD (*.MOD). Are these sound > blaster or Adlib files? Are they music or voice files? If they are music > files, what program file do I have to get to play them? I am not aware of any .MODs, but I am aware of MOD. files (i.e., suffix as opposed to prefix). A MOD. file is an Amiga Sound/NoiseTracker music file. They are composed of both samples and music scores. To play these files, you will either need an Amiga (best choice ;) ) or a TrakBlaster (sp?) if you have a clone. These are very interesting music files and often have some very good music. As I said, I haven't heard of .MODs, but it is possible that they are some derivative of MOD. files. If not, maybe I answered someone else's question about what MOD. files are.
joelson@iccgcc.decnet.ab.com (04/05/91)
In article <4123.27fb5354@iccgcc.decnet.ab.com>, joelson@iccgcc.decnet.ab.com writes: > In article <1991Mar19.134336.23909@ircam.fr>, verin@ircam.fr (Nicolas Verin) writes: >> Could you please give the exact reference of the book and method to acquire >> perfect pitch? >> >> Thanks. > > I was born with perfect pitch - was able to play songs on the piano > I heard at the age of 3. I could identify all 88 keys on a piano > by the age of 6. Perfect pitch is similar to having color vision. > Just like a non-colorblind person can look at the sky and say it > is blue, I can listen to a note and automatically know what its tone > is. I am not a professional musician but I enjoy playing the piano and singing in choral groups. Perfect pitch is both good and bad... good - can tune an instrument, helps in music appreciation, can easily transpose music. bad - out-of-tune music in almost intolerable, it is difficult to sing in an out of tune choir or play an out of tune piano as I mentally have to translate each note. Gail Joelson 2183 Vernon Cleveland, OH 44118 (216)932-01127
ted@dgbt.doc.ca (Ted Grusec) (04/06/91)
One comment on this general thread on perfect pitch. Some people seem to think that way that we normally deal with visual color is analogous to perfect pitch. I don't think this is so. If I show you a "red", and then a slightly different shade of "red" at some time later, then you are not likely to be able to detect the difference between these two different "reds" without having both to compare. With perfect pitch, a person can detect a slight difference in pitch between two notes presented at different times without needing to have both present for comparison. Pigeons, and other birds, however, do have a "perfect color" sense that IS like perfect pitch, but that's another story.
gaspar@urz.unibas.ch (04/07/91)
In article <1991Apr6.004426.24266@dgbt.doc.ca>, ted@dgbt.doc.ca (Ted Grusec) writes: > One comment on this general thread on perfect pitch. Some people seem > to think that way that we normally deal with visual color is analogous > to perfect pitch. I don't think this is so. If I show you a "red", and > then a slightly different shade of "red" at some time later, then you > are not likely to be able to detect the difference between these two > different "reds" without having both to compare. Maybe not me, but maybe Monet could have done it... >With perfect pitch, a > person can detect a slight difference in pitch between two notes > presented at different times without needing to have both present for > comparison. Pigeons, and other birds, however, do have a "perfect > color" sense that IS like perfect pitch, but that's another story. I think it's very hard to compare perfect pitch to perfect colour sense, since the ear and the eye have very different capabilities. As someone already has pointed out the ear is capable to hear a range of up to 10 octaves, the eye about one! This makes it possible to us to hear all the overtones that enable us to distinguish vowels (understand language). When you play a chord to a person with a trained ear he/she will be able to tell you all the notes you played. If you mix yellow with blue colour then the eye can only see a green and is not able to see the two previous colours. On the other hand the eye is much better in geometrical resolution. And then a question I always was wondering about: if I see a red and you see the same red, who tells me if we see it the same way? laci
lucy@cdp.UUCP (04/08/91)
Jumping into the "perfect pitch" (I prefer "pitch memory") fray: >The ear is capable of hearing a range of up to 10 octaves. >This makes it possible to us to hear all the overtones that enable us >to distinguish vowels (understand language). Speaking as a person with the genuine article, if by that is meant that I've been able to name notes since age 5, I agree that the color analogy is not adequate. Notes never sounded like colors to me; in fact, they always sounded like vowels! I'd be curious to know more about this vowel-overtone relationship... Lucy