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<SMALL>...<I>making Linux just a little more fun!</I></SMALL>
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<BIG><BIG><STRONG><FONT COLOR="maroon">Csound: An Interview with Dr. Richard Boulanger</FONT></STRONG></BIG></BIG>
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<STRONG>By <A HREF="../authors/baxter.html">Michael Baxter</A></STRONG>
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<p>
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Dr. Boulanger has been associated with Csound for a long time, and is
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the editor of The Csound Book (see resources), an excellent resource
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consisting of multiple contributions from the Csound community for
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learning and using Csound. In a chat with Dr. Boulanger,
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we provide perspective on one of the oldest C-based software sound
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synthesis environments. This in-depth interview complements Dave
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Phillips' recent article (see May 2003 LJ, page 80) about the newest
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Linux softsynth environments.
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<p>
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Q: Dr. Boulanger, thank-you for your time. Four years ago _Linux
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Journal_ ran an article by David Phillips on Csound on Linux. Could
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you describe some of the advances to Csound since that time?
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<p>
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A: As you know, Michael, Csound is arguably the most powerful
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cross-platform software synthesis and signal processing system
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available today. It's incredible, it continues to grow and improve,
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and most importantly, it's free! Although many commercial applications
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such as Max/MSP, PD, SuperCollider, Tassman, and Reaktor are getting
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closer and closer to Csound's programability, power and functionality,
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nothing comes close - especially given all the platforms and operating
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systems upon which one can run the very same Csound orchestras,
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scores, and instruments.
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<p>
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And you are right, I have been composing with, teaching with, and
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writing about this incredibly powerful and versitile program for over
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25 years now. I started studying at the MIT Experimental Music
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Studion in 1979 with Barry Vercoe. There I was doing sound design and
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composition using Barry's music11 program - essentially Csound for the
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PDP11 minicomputer. That very first music11 composition of mine -
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"Trapped in Convert" has been presented in concerts all over the world
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- including Alice Tully Hall in New York - quite a big deal for a then
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budding young composer! When I returned to the MIT Media Lab in 1986
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with my Computer Music Ph.D. in hand, I worked with Barry betatesting
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his new language - Csound. We would use "Trapped" to make sure that
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all the opcodes were working correctly.
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<p>
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In fact, the version of "Trapped in Convert" that people render and
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tweek today was the very first Csound piece. And what is so important to
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me is that this very same piece
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(http://csounds.com/compositions/colleaguezip/Trapped.zip) can be
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rendered and studied today using a version of Csound that runs on
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virtually any computer. Back in 1979, it took hours to render each sound
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and gesture, days to render each phrase and section, and weeks to
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render the entire four and a half minute piece - at 24K! Today, at
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44.1K, "Trapped in Convert" renders in realtime on virtually any PC.
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<p>
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For me, the ability to preserve the history of computer music
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composition and sound design is extremely important. Much of the music
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I composed using sequencers, synthesizers and MIDI equipment during the
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80's and 90's has been retired and lost when the gear was sold,
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broke-down, or the computers running early sequencers and sound editers
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were retired to the basement. Getting rid of an old computer usually
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meant tossing out your music too. Yet, the very fact that I can still
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render, "tweek," and teach with my old Csound pieces is a testament to
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Csound's greatness. For me at least, Csound has proven to be
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future-proof. In fact, since Csound is a direct decendent of the MusicN
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languages developed by Max Mathews at Bell Labs in the late 50's, the
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entire history of computer music research is preserved in this program.
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Many of the classic pieces and classic instrument design catalogs, by
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Risset for instance, have been totally reconstructed in Csound and can
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be rendered, studied, and modified to this day.
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<p>
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Since Dave Phillips' wonderful Linux Journal article on Csound, there
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have been a number of important milestones. Several Csound Books have
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been published - The Csound Book (MIT Press), Virtual Sound (ConTempo),
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and Cooking with Csound (AR Editions). The Csound Instrument Catalog
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has been released with thousands of models to study and modify. The
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quarterly Csound Ezine has been a regular source of inspiration and
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undertanding. Extensive Csound tutorials have been featured in Keyboard
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and Electronic Musician Magazines. In addition to The Csound mailing
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list, two new Csound mailing lists have been started - the csoundTekno
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list, and the csoundDeveloper's list. The international Csound
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community of Csound teachers, users, and developers has really grown and
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their cSounds have gone mainstream - featured in major Hollywood films
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(Traffic, Black Hawk Down, Narc), and an number of Computer Games. Dave
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Phillips himself has finished a wonderful book, "The Book of Linux Music
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and Sound" that features some wonderful stuff on Csound and related
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applications and utilities that is a real help for newcomers to the
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Linux audio world.
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<p>
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In the last four years, there have been some incredibly developments to
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Csound by the key platform developers and maintainers. Barry Vercoe
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continues to develop proprietary versions of Extended Csound for embebed
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systems and Analog Devices DSP chips. Matt Ingalls continues to push the
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Macintosh versions of Csound in wonderful ways. His MacCsound has user
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defined GUI Widgets built into the launcher, support for instruments as
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plugins, and super clean MIDI (at last!). Even cooler, his csound~
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external for Max/MSP and PD essentially embed the entire Csound language
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into the Max/MSP/Jitter and PD/GEM graphical programming environments
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and thus add incredibly interactivity, estensive algorithmic
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capabilities, super MIDI, and multichannel/low-latency ASIO support to
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Csound on the Mac. Sound Designers and Composers such as Joo Won Park,
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Sean Meagher, and Takeyoshi Mori have developed wonderful real-time
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GUI-based applications such as CsoundMax, CsoundFX, and CsoundMixer.
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<p>
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Michael Gogins has been busy with CsoundVST, a version of Csound that
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runs as a VST plugin in Cubase and Nuendo for the PC. Most recently he
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completely embedded Csound into his algorithmic composition language
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SilenceVST that can run stand-alone or be hosted by the PC versions of
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Cubase or Nuendo. He has also done some extensive collaboration with
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Matt Ingalls to define a preliminary Csound API.
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<p>
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Gabriel Maldonado's CsoundAV for Windows has ASIO support and adds
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hundreds of openGL and GUI opcodes to the language. It is incredible to
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make audio instruments that communicate with GUI instruments all from
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the same Csound orchestra and all with the same exact syntax! A number
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of Csound's top sound designers such as Luca Pavan, Josep Comajuncosas,
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Oeyvind Brandtsegg, and Alessandro Petrolati have developed an arsenal
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of incredible GUI-based real-time applications, instrument, and effect
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collections.
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<p>
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Somewhat controversial and radically new and expanded Linux versions of
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Csound were developed by Maurizio Umberto Puxeddu (iCsound), and are
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currently under extensive development by Istvan Varga.
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<p>
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And behind the scenes, John ffitch, with some help and support of
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Richard Dobson, has been maintaining, improving, and extending Canonical
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Csound FOR ALL PLATFORMS! In fact, we are currently in an "opcode
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freeze" (no new opcodes) so that he can totally revise the core and
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support many of the innovations introduced by Varga, Ingalls, Gogins,
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and Maldonado while adding new levels of clarity and new functionality -
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such as plugin support, ASIO support, a new parser and much much more.
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(His most recent TODO list is posted in the news at cSounds.com.) For
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one thing, when ffitch is done, it should be easier for users to add
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opcodes of their own without having to recompile the entire program.
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<p>
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Of special note for all platforms is Steven Yi's inspired and inspiring
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"Blue" and "Patterns" composing and sound design environment. And also,
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the wonderful Csound FLTK signal processing and sound design front end
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"Cecilia" that has come to life in the windows version by Bill Beck and
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the improved Linux and osX versions by Stephan Bourgeois and
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Hans-Christoph Steiner.
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<p>
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I have forgotten to mention a ton of things like all the great new
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Csound editors and applets and all those free VST and DirectX plugins
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based on Csound Code - like he Delay Lama VST plugin and Dobson's new
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PVFX for Cakewalk's Project 5. What can I say? In four years, with ALL
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these incredible students, composers, teachers, developers on ALL thise
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platforms, with all these musical dreams and perspectives, what did you
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expect? All the new versions are great. All the new opcodes are great.
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All the new capabilities are great but honestly, I am thrilled by ALL
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the new Csound Music and the ways that Csound is being used by
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musicians. This is the big leap forward for Csound.
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<p>
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But wait one minute, have I left out all the dirt? All the name
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calling? All the childish bickering and mudsling? All the "my version
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is better than your version" stuff that you would expect from intensely
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competitive, young and arrogant musical programmers? Well, there has
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been four years of that too! (And you in the Linux community might be
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proud to know that most of the mud was over Linux versions of Csound!>
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And what has the result of those efforts been, you might ask? A lot of
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wasted time. A lot of deep wounds that may never heal. A lot of better
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versions of Csound - especially for Linux. And of course, a lot of
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casualties. Hundreds of newcomers and oldtimer have dropped out of the
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Csound community and abandoned working with Csound entirely because of
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all the negativity associated with it. I can't blame them. I'm getting
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a little tired myself of trying to teach and play music in a war zone.
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<p>
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(At csounds.com you can find yesterday and today's Csound News with
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links to the various tools and utilities that have been developed in the
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past 4 years. Also, you will find links to the Csound Mailing List
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archive where you can re-live the "War over the Future of Csound" and
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the vicious and childish debates over "Who Deserves to Be the Supreme
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Ruler of Csound.")
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<p>
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Q: My impression would be that the rising computational power of
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commodity PC platforms in recent years has benefited Csound more than
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the declining cost of DSP microprocessors. Would you agree, and can
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you comment?
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<p>
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A: For several years, I worked with Barry Vercoe and a team of
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developers (including Barry's son Scotty - I was Scotty's Csound
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Teacher!) on a project at Analog Devices to develop and commercialize
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a version of Csound built around their SHARC DSP chip. At that time,
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this was the way to go. For some applications it still is. Barry, in
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fact, continues to develop and advance such a system. And although it
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was a thrill to be part of that team and make a version of Csound that
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was fast, clean, and commercially oriented, I prefer Native Csound,
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public Csound, Canonical Csound. At Analog Devicest, we innovated
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like crazy - streamlining and restucturing the language to make it
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much more efficient, but all this cost some of the generality. We
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would come up with the best way to do things. What I love about
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Canonical Public Csound is that there are so many ways of working. So
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many of the developers, sound designers, teachers, composers have
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added features that we didn't have at Analog Devices. Moreover, their
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unique work and original designs, showed me how to a new way of doing
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things and helped me understand things. Even though we had built an
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amazing system there, a commercially viable version of Csound, I still
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preferred working with John ffitch, Matt Ingalls, Michael Gogins,
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Richard Dobson, and Gabriel Maldonado to add and improve a version of
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Csound that everyone could use for free.
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<p>
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Four years ago, real-time MIDI control did work in Csound and realtime
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audio was supported too, but neither worked well. At that time, no
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version of Csound worked as cleanly and straightforwardly as most
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commercial hardware and software tools. (In fact, I left most of the
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MIDI and Real-time Audio chapters out of "The Csound Book" because those
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aspect of the language were in such flux at the time that most of what
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we were writing was about all the little kluges and tricks you would
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have to use to get real-time MIDI and Real-Time Audio to work.) Today,
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with improved MIDI and Audio in ALL versions of Csound, with inexpensive
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Multi-channel USB and FireWire Interfaces, with fast PC/Macintosh
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laptops and cheap/fast desktops, we finally have everything we need for
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Csound to take the stage alongside any commercial hardware or software
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synthesizer - and you are starting to see a lot of this - a lot of
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people performing with Csound and doing interactive Sound Design,
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Phrase-Sampling, etc.
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<p>
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Q: One of the issues confronting a new user these days is that Csound
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continues to have a batch-oriented syntax. While front ends help, this
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syntax is sometimes a step backward for someone already used to
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object-oriented languages who'd really like use Csound directly. Could
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you describe the feeling within the Csound community about changing or
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not changing Csound's syntax?
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<p>
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A: I don't speak for the community. It is wonderfully rich and
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diverse, and that means that there are way too many desires, demands,
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expecations, biases, and prejudices. Then there are all the platform
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and OS wars to deal with too. As you might well imagine, the hackers
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want it one way; the composers want it another; performers, producers,
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sound designers want it yet another. Csound is what it is. It is
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easy to learn, it is easy to expand, it is easy to personalize, and it
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is a wonderful way to learn about synthesis, and signal processing.
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<p>
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I want Csound to work well. So that nothing is lost, I want it to be
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100% backward compatible. At the same time, I want the real-time MIDI
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and real-time Audio to be comparable to that supported by any of today's
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commercial applications. On each hardware platform and under each
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operating system, I want to see Csound integrate seemlessly with other
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MIDI and audio applications. Today and into the distant future, I want
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Csound to be a free, powerful, expandible, and generally useful tool for
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everyone.
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<p>
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I want Csound to work as a plug-in/audio-unit, and I want Csound
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instruments to compile as plugins and audio-units. (We are getting close
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to this.) I can tell you that John ffitch and other key develors are
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currently working to make the core more solid and transparent and to
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make it easier to communicate with the core. There is work on the API
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that will allow users to simply plug in shareware/freeware/proprietary
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opcodes and libraries. We are very close to that even now.
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<p>
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For new users, there is plenty of graphically-oriented, user-friendly
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"Instant Csound" stuff starting to emerge because of the fact that there
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are so many ways today of working with Csound graphically, intuitively,
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transparentily, and immediately. In fact, you never need to know or
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care that Csound is under the hood! Cecilia was always an excellent
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model for this "type" of user, and it is now much improved. You can
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certainly expand that sytem by adding modules of your own (but you might
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not need to given that it is so extensive already!) Should you want to
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make your own graphical front-end for Csound, that is also getting
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easier than ever. Given the GUI capabilities in Matt Ingalls MacCsound
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and the GUI tools in Cycling74's Max/Msp/Jitter for Macintosh os9 and
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osX; and Miller Puckette'ss PD for Windows and Linux that both embed the
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entire Csound language as a single external object by Matt Ingalls; and
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given the excellent and extensive FLTK support of Gabriel Maldonado's
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CsoundAV for Windows, (opcodes now added to Istvan Varga's
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DeveloperCsound for Linux).
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<p>
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Csound is not C. At first glance, it looks like a programming language
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with all that text, numbers, and cryptic variable names. But, it
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doesn't take a musician very long to realize that the 500+ opcodes are
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simply modules that they can patch together with variables. Yes, at the
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lowest (and most powerful) level, Csound is text-based, but in less than
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an afternoon and some of my original Csound Toots or Chapter 1 from "The
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Csound Book," virtually anyone can figure out how to work with Csound
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and begin to harness it's power. If you are an intuitive,
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"production-oriented" musician that wants to turn knobs, make noises,
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mangle the noise you made by turning more knobs, etc. without having a
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clue, the Csound is NOT for you. Csound requires that you know
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something about software synthesis, digital audio, and signal
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processing. If you know something, and know how to use Csound, it is
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not too difficult for you to design Csound for Dummies Applications and
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Utilities which hide Csound entirely from the tweeker - I mean
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power-user.
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<p>
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Q: Many in the Linux community care quite a bit about software
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licensing. It appears that Csound is licensed under research-only
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terms that some may find too restrictive. For instance, one can fix a
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bug, or add a feature in their own copy, but redistribution with
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changes would evidently be prohibited. Is there some reason that the
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Csound license is set up this way, instead of having features that
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typify open source licenses?
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<p>
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A: I can tell you this, that it is not Barry Vercoe's intent for
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Csound to be restricted in any way. For "education and research"
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purposes, one can do whatever they want with Csound. Distribution
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seems to be one of the thorny issues. Regarding distribution, John
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ffitch, maintainer of the Canonical Csound at Bath University, and
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cSounds.com have permission from MIT and Barry Vercoe personally to
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distribute Csound. Furthermore, I have permission to distribute
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Csound on the CDROMS of "The Csound Book" and "The Csound Instrument
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Catalog." How can I help the developers to distribute their versions?
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Well, I personally pay for webspace for ALL the key developers so that
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they can distribute their versions of the program through cSounds.com.
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There really is not anyone creating free versions of Csound that is
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not currently able to do what they are doing or what they want to do.
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Selling music and samples made with Csound is also OK with Barry
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Vercoe and MIT. Of course, selling Csound is not. MIT has sold rights
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to develop commercial applications with Csound to Analog Devices and
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some other companies and so they have some vested interest in
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protecting those contracts and rights.
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<p>
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Still, we all wish that Csound was totally free, or that the ambiguities
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in the licence could be clarified. I am happy to report that Barry and
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I have been meeting about this very topic in the past few weeks. I have
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been presenting him with the viewpoints of each of the core developers -
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what they want to do with Csound, and what wording of the current
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license prevents them from taking Csound in this or that direction.
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During our last meeting, he contacted MIT's lawyers and we have arranged
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to meet with them when Barry returns from Russia and India where he is
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doing Media Lab work and Csound work. Hopefully these meetings will
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result in a new licence or some new wording that will encourage future
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developers in their efforts to improve and extend the language.
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<p>
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Q: Csound seems like a very nice interdisciplinary tool for students,
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bridging across multiple subjects like music, sound, psychoacoustics,
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and DSP. What have been some of your best experiences with Csound in
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the University setting?
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<p>
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A: Csound is the ultimate educational platform for students of
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Computer Music. In The Csound Book, every bit of synthesis and signal
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processing theory are supported and illustrated by complete and fully
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working Csound instruments that can be edited and expanded and fully
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explored by the student. I have been teaching Csound to undergraduate
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Music Synthesis and Music Production and Engineering Majors at the
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Berklee College of Music for 18 years. For the past four years, I have
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been teaching Csound to graduate students at NYU. I have given Csound
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workshops and seminars in Eastern Europe, Western Europe, and
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Southeast Asia. I use Csound in my DSP classes both at Berklee and NYU
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and in my Max/MSP classes as well. Currently, we are developing a set
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of Psychoacoustic tools for Music Therapy students at Berklee and I am
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about to introduce a whole new area at cSounds.com developed by my son
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Adam (a student of Scotty Vercoe!)
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<p>
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Csound has always been an excellent tool for teaching and learning
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synthesis, acoustics, and signal processing. The Csound Book reveals
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virtually all the industry secrets. When my students get Csound into a
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major motion pictures or major telivision programs because of the Csound
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gigs with Media Ventures or Machinehead; when my students get Csound
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into Video Games because of their Csound gigs with Lucas Arts, and
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Dreamworks; when my students do Csound work for Rock Stars like Trent
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Reznor, Aphex Twin (Richard James), DJ Spooky; when my students get jobs
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in Add Agencies, Jingle Houses, and Recording Studios and Csound gets
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into national ads with voice talents like Jamie Lee Curtis; when my
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students get gigs at Cakewalk, MOTU and other software companies because
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they know and work with Csound; when my students publish thier own
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Computer Music Books in Korea; when Csound compositions by my students
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win national and international competitions; when Csound helps my
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students get into graduate schools; when my students find ways a making
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Csound work in their musical toolkit, these are some of the most
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gratifying things about teaching Csound.
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<p>
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Hearing that computer music professors and students from all over the
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world are using Csound and using The Csound Book is really great,
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because Csound is really great - and getting better all the time. It
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|
is gratifying to know that my work has been helpful and inspiring to
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them. Max Mathews, the father of computer music is a good friend and
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mentor to both Barry Vercoe and I. His MusicV program inspired Barry
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to develop Csound and his book "The Technology of Computer Music"
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inspired me to write "The Csound Book." Barry's son Scotty was my
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|
student. My oldest son Adam, a Music Therapy major at Berklee, was
|
|
Scotty Vercoe's student. Today Adam Boulanger is building tools for
|
|
his own Psychoacoustic research in Csound and through his research
|
|
tools, introducing Csound to the Music Therapy community. I guess I am
|
|
most psyched about the fact that the future of Csound is in the hands
|
|
of some great students including Barry Vercoe's and my own very
|
|
talented sons.
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<p>
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In the year I was born, 1956, Max Mathews (the father of computer music)
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|
had a dream and began to realize it in his MusicN languages. He passed
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|
the torch to Barry Vercoe and their light inspired a nineteen year old
|
|
composer and electronic musician named Richard Boulanger. I am trying
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|
to pass along what I have learned from them and what I have learned from
|
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my brilliant students and colleagues. I hope it helps, and I hope that
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something I have said in this interview inspires some of your readers to
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check out Csound Today.
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<p>
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RESOURCES
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|
<p>
|
|
Csound web site
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|
<br>http://csounds.com
|
|
<p>
|
|
Dave Phillips Article:
|
|
<br>http://www.linuxjournal.com/article.php?sid=3187
|
|
<p>
|
|
"The Csound Book: Perspectives in Software Synthesis, Sound Design,
|
|
Signal Processing, and Programming."
|
|
<br>Edited by Richard Boulanger
|
|
<br>The MIT Press
|
|
<br>Cambridge, Massachusetts
|
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<br>London, England
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<br>ISBN 0-262-52261-6
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<!-- *** BEGIN author bio *** -->
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<P>
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<P>
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<!-- *** BEGIN bio *** -->
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<P>
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<img ALIGN="LEFT" ALT="[BIO]" SRC="../gx/2002/note.png">
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<em>
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</em>
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<!-- *** BEGIN copyright *** -->
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<hr>
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<CENTER><SMALL><STRONG>
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Copyright © 2003, Michael Baxter.
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Copying license <A HREF="../copying.html">http://www.linuxgazette.com/copying.html</A><BR>
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Published in Issue 96 of <i>Linux Gazette</i>, November 2003
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</STRONG></SMALL></CENTER>
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