Although there are an increasing number of graphical "front-ends" for the language, you typically design and modify your patches using a word processor. Usually, you create two text files - a .orc (orchestra) file containing the "instruments," and a .sco (score) file containing the "notes."
In Csound, the complexity of your patches is limited by your knowledge, interest, and need, but never by the language itself. For instance, a 22,050 oscillator additive synthesizer with 1024 stage envelope generators on each is merely a copy-and-paste operation. The same goes for a 1 million voice granular texture! Have you ever dreamed of sounds such as these? Well in Csound you can. And in Csound these dreams can come true!"
"Csound was originally written at MIT by Barry Vercoe, based on his earlier system called Music 11, which in its turn followed the MUSIC-N model initiated by Max Mathews at the Bell Labs. It is free software, available under the LGPL. Its development continued throughout the 1990s and 2000s, led by John ffitch at the University of Bath. The first documented version 5 release is version 5.01 on 2006.03.18. Many developers have contributed to it, most notably Istvan Varga, Gabriel Maldonado (who developed a variant of the system, CsoundAV, which includes image and graphics processing extras), Robin Whittle, Richard Karpen, Michael Gogins, Matt Ingalls, Steven Yi and Victor Lazzarini."
Csound Graphical Interfaces:
"Csound 5.04 has been released, along with its usual bundle of new features and bug fixes. I've been experimenting a bit with the OSC (Open Sound Control) support in this release, thanks especially to a unique program called IanniX."
"Its Web page describes IanniX as "a graphical editor of multidimensional and multi-formal scores, a kind of poly-temporal meta-sequencer", based on ideas first articulated and presented by composer Iannis Xenakis in his UPIC system of music composition software. IanniX presents the user with a canvas upon which various graphic shapes and designs act as control elements for external synthesizers."
"I've also been working with Ã˜yvind Brandtsegg's superb ImproSculpt, my favorite Csound interface. ImproSculpt is especially designed for live performance, with user-controllable modules for pitch-tracking, pattern sequencing, soundfile granulization, and many other useful effects and functions."
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Page last modified on Monday 05 of January, 2009 20:50:33 CET by .
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