Internet Surfer 2.0/Internet Surfer 2.0 (Wayzata Technology) (1996).iso/pc/text/mac/faqs.396

Text File | 1996-02-12 | 28KB | 812 lines

Frequently Asked Questions (FAQS);faqs.396



---

2.3)        What are some other emailing lists relating to
            electronic and computer music?

Answer:
    The nextmusic list discusses NeXT-related topics, contact
[e-mail] for subscription information.

    There are the EMUSIC-L and EMUSIC-D lists; unfortunately, I've
forgotten their subscription info. All I know is I'm subscribed...
don't you hate that? I just know I would embarrass myself in front of
millions of BITNETters if I tried to ask...


---

2.4)        What are some other midi-file/software archives on the
            Internet?

Answer:

    Piet van Oostrum ([e-mail]) keeps a list of Internet
MIDI-related archives, available via ftp as
[e-mail]:MIDI/DOC/archives, and via a mail-server -
send mail to [e-mail] with the following contents:

BEGIN
PATH <a valid mail address to you>
HELP send MIDI/INDEX
END

Note: specify a correct address (e.g. [e-mail] or
[e-mail])


---

2.5)        How do I contact the editorial staff of Electronic
            Musician magazine?

Answer:

Date:         Thu, 19 Dec 1991 09:28:35 EST
From: Brian Adamson <[e-mail]>
Subject:      contacting Electronic Musician magazine
To: Multiple recipients of list EMUSIC-L <EMUSIC-L@AUVM>

   The Jan 1992 issue of Electronic Musician magazine tells
how to submit questions to the magazine via e-mail from
Internet.  (These questions are sometimes published in their
letters to the editor column).

   Simply e-mail to:

        [e-mail]      (their address on PAN)
--

                 Brian Adamson
                           NRL Code 5523
                 [e-mail]


3.0)     [Software]


3.1.0)        [Multi-platform]

---

3.1.1)            What is Smallmusic? What is the MODE?

Answer:

    Smallmusic is an abstract, object-oriented music
representation. An environment implementing it, called the Music
Object Development Environment (MODE) is available. It features
several novel and portable interfaces to musical structures and
hardware. It is written in ParcPlace Smalltalk, and is thus portable
between many platforms, including Suns, DECstations, HPs, IBM PCs, and
Macintoshes. It was designed and written by Stephen Pope
([e-mail]) and several others.

    You can obtain the MODE via ftp as
[e-mail]:pub/st80/MODE/.

    A work group has formed to discuss and develop this
object-oriented software system for music. The email address for the
group is [e-mail].  If you are interested in
joining the discussion, email [e-mail],
with the subject line "add me".


    Thanks,

    Craig Latta
    [e-mail]

***

    Smallmusic abstract

    This document describes an abstract object-oriented
representation for musical parameters, events and structures known as
the MODE music representation. In object-oriented software terms, the
representation is described in terms of software class hierarchies of
objects that share state and behavior and implement the description
language as their protocol. The author (and his collaborators by
implication) believe this representation, and its proposed linear
ASCII description in Smalltalk-80 syntax, to be well-suited as a basis
for concrete description languages in other syntaces, specially-
designed binary storage and interchange formats, and use within and
between interactive multi-media, hyper-media applications in several
possible domains.



---

3.1.2)            What is Keynote?

Answer:

    Keynote, a textual, graphical, and algorithmic music editor,
is available to Berkeley.EDU sites from xcf.Berkeley.EDU, under its
site license. Users at those sites may direct inquiries to
[e-mail]. Others may direct inquiries to the author,
Timothy Thompson ([e-mail]), via
[e-mail].

    A mailing list for discussions about Keynote has been created.
If you'd like to be added, send mail to [e-mail].
If you don't know what Keynote is, here's a short description:

    Keynote is an awk-like programming language and graphical editor
    for MIDI data, with both algorithmic and realtime applications.
    The graphical interface is based on only a few built-in functions -
    the entire user interface of a complete music editor (piano-roll
    style with pop-up menus) is written in Keynote itself, and is hence
    completely customizable and extensible by the user.  Although it
    works best on UNIX systems under the X Window System, Keynote is
    portable and runs on the Macintosh and Amiga.

    Discussion on the list will include availability and porting
issues, usage hints and tutorials, sharing of user experiences, and
discussion of further development.  An archive server has also been
set up to allow sharing of documentation, examples, and music.

   ...Tim Thompson...AT&T Bell Laboratories/Holmdel/[e-mail]...

---

3.1.3)            Are there programs to convert back and forth
                between    human/filter-readable text and
                MIDI files? How do I get them?

Answer:

From: Piet van Oostrum <[e-mail]>
Subject:      Announcing MF2T/T2MF
To: Multiple recipients of list EMUSIC-L <EMUSIC-L@AUVM>

Two programs to manipulate standard midifiles.

mf2t is a program that reads a standard midifile (format 0 or 1) and
writes an ASCII representation of it that is both compact and easily parsable.

t2mf is the companion program that reparses the text representation
into a midifile.

Piet van Oostrum, Dept of Computer Science, Utrecht University,
P.O. Box 80.089, 2508 TB Utrecht, The Netherlands
email: [e-mail]

-----------------------------------------------------------------------
You can do with this program what you like, but if you think it is
useful I would appreciate if you send me some of your midifiles. Not
ones that I can find on the Internet. Please send them uu- or
btoa-encoded. Zoo and Arc archives (encoded) are also OK, Zip and
Lharc may be problematic.
------------------------------------------------------------------------

The text representation is chosen such that it is easily recognized and
manipulated by programs like sed, awk or perl. Yet it is also humanly
readable so that it can be manipulated with an ordianary text editor.

In this way you can make changes to your midifiles using these
powerful programs or even in Cobol :=). Or you can write
algorithmic compositions using a familiar programming language.

mf2t/t2mf is available via ftp at the sites returned by 'archie mf2t'
(see the entry on 'archie' above).

by mail-server:

send the following message to
[e-mail] (or uunet!mcsun!hp4nl!ruuinf!mail-server):

    begin
    path [e-mail] (PLEASE SUBSTITUTE *YOUR* ADDRESS)
    send MIDI/PROGRAMS/mf2t.zoo
    end

NOTE: *** PLEASE USE VALID INTERNET ADDRESSES IF POSSIBLE. DO NOT USE
ADDRESSES WITH ! and @ MIXED !!!! BITNETTERS USE [e-mail] ***

The path command can be deleted if we receive a valid from address in your
message. If this is the first time you use our mail server, we suggest you
first issue the request:
    send HELP
--
Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: [phone]   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   [phone]   Internet:  [e-mail]   (*`Pete')

---

3.1.4.0)        [CSound]

---

3.1.4.1)            What is CSound?


Answer:

Date:         Sat, 21 Mar 1992 10:36:00 LCL
From: [e-mail]
Subject:      csound


    csound is a comprehensive synthesis and processing package
written by Barry Vercoe at the Media Lab, MIT. It is written in more
or less portable C (although it does make use of one or two functions
which are not ANSI such as open(), close()), and will certainly run
well on any UNIX box i.e.  SUNs, VAXen, etc. It also runs on the
Macintosh under ThinkC 4.0. At the University of Birmingham we have it
running on Apollo Workstations, our IBM3090 mainframe, and an old
version also comes as part of York University's CDP (Composer's
Desktop Project).

    The latest version of csound not only has the usual modules
for processing and synthesis but also has those for doing FOF
synthesis (cf. CHANT), and for phase vocoding. There is also the
ability to take in standard MIDI files as score files, or (on speedy
machines) the ability to run csound in real time, and trigger events
from a MIDI stream.

    csound can output sound-files in AIFF format to be read by Mac
type things such as Sound Designer, and also: 8-bit signed character
samples, alaw samples, ulaw samples, short integers, long integers,
floats, with or without IRCAM (1K) headers. It can output files for
the NeXT to play too.

    The package is available via anonymous ftp to
ems.media.mit.edu in the /pub directory. Look at the README's for
details of what you need. The manaul is available as postscript.

    If anyone wants a copy of the IBM3090 version, they could
contact me directly.  Unfortunately the modified code is in a bit of a
mess at the moment as I am re-porting it for another version of C
(C370), but I have a running CSOUND MODULE.

    At Birmingham we run CSOUND on the IBM3090 for complex CPU
intensive stuff, and transfer it to an ATARI TT (30MHz) via an
ethernet connection. The ATARI runs CDP, and has a soundstreamer. We
are getting some more ethernet boards which will allow us to bring the
files into Sound Tools running on another ATARI (this will be a
massive kludge!). The transfer takes some time, but since something
which took a day to compute on a normal ATARI takes 20 minutes on the
IBM we're not complaining.

Robert Dow, Department of Music, Barber Institute of Fine Arts, Edgbaston,
            Birmingham, B15 2TT, UK

[e-mail]1        (JANET - address in uk order)



Date: Wed, 8 Apr 1992 19:16:10 -0500
From: NeXTmusic Mailing List <[e-mail]>
Subject:  Snd v1.2 released
Reply-To: [e-mail] (Pete Yadlowsky)


Snd is a NeXTStep interface to an enhanced version of Vercoe's csound (v2.0).
Other audio-related applications are also supported, to the effect of providing
a general, integrated computer music production environment. Like its
forebears, v1.2 offers on-line documentation, easy access to and management of
the various file types, push-button control and execution of csound and other
applications, csound output signal scaling and remote-host csound execution.

Here's what's new:

    - inline signal limiting (csound); eliminates signal clipping
      without having to post-scale an entire floating-pt soundfile
      (linear post-scaling is still available)
    - internal speaker control
    - 'lisp' file type, knowledge of Paul Lansky's rt.driver
    - 'Windows' menu entry
    - simpler access to csound manual
    - various minor improvements and fixes

Where: uvaarpa.acc.virginia.edu:/pub/next/Apps/Snd/Snd1.2.tar.Z

    - Pete


Peter M. Yadlowsky              |         Laden e-mail runs
Academic Computing Center       | Bumbling, creaking through the net
University of Virginia          |         Sysadmins tremble.
[e-mail]                |                      - after Buson



---

3.1.4.2)            What are the requirements of CSound?

Answer:

The requirements for CSound are somewhat flexible.  I actually compiled a
Mac + (MPW) version of CSound 2-3 years ago, but it took about 8 hours to
make 80 seconds worth of sound!  I suggest you use a system with hardware
floating point and a 32-bit processor (Any Mac II with FPU, a NeXT, Indigo).
As far as memory requirements, that depends on how big your gen function
tables will be.  The same with hard disk size.  If you want to make a
10 minute stereo piece at 44.1K sample rate, you will need 106 megabytes
of disk space.  (10.6 Megs per stereo minute at 44.1K, 11.6 at 48K).
So the answer is...  use as big of a system as you can buy or borrow.


---

3.1.4.3)            Is there a tutorial on CSound?

Answer:

Date: Fri, 7 Aug 92 10:41:46 GMT-0800
From: [e-mail]
Subject: Re: ... Electronic and Computer Music FAQ ...

    Beyond the CSound manual, there is little to help you unless
you take a course in computer music (summer courses, at CCRMA, UIUC,
Brooklyn College, etc.)

--
Greg Sandell
Research Fellow, Center for New Music and Audio Technologies (CNMAT)
[e-mail] or [e-mail]


---

3.1.5)            Where can I get recordings of electronic music?

Answer:

Date:         Wed, 20 Nov 1991 13:37:30 EST
From: The Radio Gnome <[e-mail]>
Subject:      Mail order sources for EM
To: Multiple recipients of list EMUSIC-L <EMUSIC-L@AUVM>

Hi,

     Below are some of the places I order/have ordered from along with
some short descriptions.

     Any word of new releases by Georges Boutz or Thom Brennan?


Alcazar              Heavier emphasis on the folk/newage end of things.
Box 429
South Main ST
Waterbury, VT 05676             800-541-9904

Wayside Music          Lots of rare/unusual stuff as well as some
Box 6517               pressings on their own Cuneiform label.
Wheaton, MD 20906-0517

Eurock Distribution    A one person show (Archie Patterson)
Box 13718
Portland, OR 97213

Lotus Records          Carried a lot of rarities.  Last ordered from them
23 High Street         in 1985.
Newcastle-under-Lyme
Staffordshire ST5 1QZ
Great Britain

Mirage Music           Martin Reeds venture.  Used to carry Mark
612 Southmead Road     Shreeves early cassette only releases.
Filton                 Also good cassettes by Ian Boddy and Steve Frost.
Bristol BS12 7RF
Great Britain

Backroads Distribution    More Newagey type stuff but extensive inventory.
417 Tamal Plaza           Also carry New Albion and Erdenklang Labels.
Corte Madera, CA 94925    800-825-4848

Generations Unlimited       They carry David Prescotts tapes and some
199 Strathmore #5           good stuff by Jorge Thomasios
Brighton, MA 02135-5210

The Music Suite Ltd       Carry the complete Adrian Wagner Collection.
Glanyrafon House          Also check out 3 Men Underground.
Cenarth - Newcastle Emyln
Dyfed SA38 9JN
Great Britain

Perry Thompson          He sent me his cassette Sleeping Giants for
70 Sproul Rd.           free.  Its very Burmer-esque.
Malvern, PA 19355

Charles Cohen       Ask about his "Darwin in Chains" cassette and
Box 181             the unreleased(?) "Swizzle Stick"
Riverton, NJ 08077

George Wallace  c/o         All three of his releases are MUSTS in
Larger than Life Music      any EM collection.  Start with Communion.
10 Belmont Sq.
Doylestown, PA 18901

Jesse Clark             His latest, Locked in Heaven is his best, but
710 Eton-Adelphia Rd.   earlier releases are also good, especially
Freehold, NJ 07728      "CAMELIA"

"She has learned that short ideas repeated massage the brain" - Robert Ashley


---

3.1.6)            Is there PostScript code available for generating
                guitar scales?

Answer:

    Yes, via ftp as:

    [e-mail]:misc/netjam/lib/scales.ps.mail

---

3.1.7)            Where can I get online guitar tablature?

Answer:

    James Bender ([e-mail]) maintains an ftp archive of
guitar tablature, at ftp.nevada.edu(131.216.1.11).

---

3.1.8)            What is Midi2TeX, and how can I get it?

Answer:

Date: Wed, 5 Aug 92 10:47 MET
From: [e-mail]
Subject: MIDI2TeX V 1.1 uploaded


     Recently I have finished version 1.1 of the MIDI2TeX translator.
Instead of sending it by e-mail to all users I now have uploaded the
complete package (PC and ST) on ftp site

                obelix.icce.rug.nl

directory :     pub/erikjan/MIDI2TeX

Download st_m2t11.arc for the ST and pc_m2t11.exe for the PC. The file
m2tex11.inf contains some general information about the package.

I encourage everybody to transfer the package to other (more general) ftp
sites. If you do, please inform me where you uploaded it and in what
directory.

For those of you who do not have ftp access I am still willing to send the
new version by e-mail. Please e-mail your request. It may take one or two
weeks before you receive the package by e-mail.


                                        Hans Kuykens

---

3.2.0)        [UNIX]

---

3.2.1)*            What is MusicTeX, and how can I get it?

Answer:

Date: Mon, 5 Oct 1992 14:35:00 +0100
From: Werner Icking <[e-mail]>

    MusicTeX is a TeX-based music typesetter. It consists of
TeX-macros and special music-fonts for 300dpi printers (100dpi, 240dpi
are available, too); the MetaFont-source is included. It's capable of
printing scores of up to nine voices. The documentation contains a
ready-to-print dvi-file musicdoc.dvi and a lot of examples, most of
them by Daniel Taupin, the author of MusicTeX.

    MusicTeX is available at a lot of servers ('archie musictex'
-- see entry on archie for details) but at most sites you will find
out-of-date versions because Daniel Taupin continuously enhances
MusicTeX :-). Actual versions can be found at:
  ftp.gmd.de [129.26.8.90]: music/musictex/musictex.zip ... musicpk.zip
  rsovax.ups.circe.fr [130.84.128.100]: anonymous.musictex musictex.zip ...
The latter is the author's ftp-site.

Good TeX-knowledge is a good basis for using MusicTeX with it's own fonts.

Werner ([e-mail])                MusicTeX-author: [e-mail]



Date: Tue, 27 Oct 92 15:51:55-0100
From: [e-mail]

TeX (and LaTeX) is a Public Domain typesetting system written by
D. Knuth, that has been implemented on `almost all' operating systems
(including DOS and OS/2: namely emTeX).  Refer to the FAQ posting in
comp.text.tex for the necessary info for those who are not yet familiar
with TeX.

MusicTeX actually consists of a set of macros on top of TeX.
It is written by D. Taupin ([e-mail]), who is a
professional musician.  It enables you to write music scores
having a very professional look.  It is available via anonymous
ftp from rsovax.ups.circe.fr (130.84.128.100) [.musictex]
and also from many archive sites distributing TeX.

MusicTeX provides for practically all possible situations, including
multiple instruments each with multiple bars, and also for transposition.

TeX is definitely NOT a WYSIWYG (WhatYouSeeIsWhatYouGet) text processor;
this also applies to MusicTeX.  Consequently, typing in the music can be
rather painful, especially when you are a beginner.
An example: to typeset (quarter)e (eighth)c (eighth)d (bar),
you have to type \Notes \qu e\cu c\cu d\enotes\barre

For people having Midi, the program Midi2TeX (see Q: What is Midi2TeX)
is probably very useful, because it converts Midi output files to
MusicTeX syntax.

To use MusicTeX, you need a TeX implementation.  For DOS, this is freely
available via anonymous ftp from rusinfo.rus.uni-stuttgart.de (129.69.1.12)
in ./soft/tex/machines/pc/emtex and also from other ftp servers.
Documentation is available in both German and English.
You can also request the package from the author, Eberhard Mattes;
send eMail to him ([e-mail]) for more info.

Finally, I should also mention the existence of MuTeX, written by
Andrea Steinbach and Angelika Schofer. It is less powerful than MusicTeX.
(See, e.g., the remark on MuTeX in this FAQ under NexT).
It is available via anonymous ftp from, e.g., ymir.claremont.edu
(134.173.4.23) in [anonymous.tex.music.mtex].

Hope this is of any use to the musicians on the net.


                                 Peter Vanroose
                                 Electrotechnical Department, ESAT
                                 K.U. Leuven, Belgium.
                                 [e-mail]
                                 tel.    [phone]

---


3.3.0)        [NeXT]

---

3.3.1)            What are some currently available sound editors for
                the NeXT?

Answer:

Date: Sat, 21 Mar 1992 18:25:21 -0600
From: NeXTmusic Mailing List <[e-mail]>
Subject: Sound Editors
From: "Paul Lansky" <[e-mail]>


In a previous post there was some discussion of Soundworks
and a reference to some of the sound editors on the princeton
server.  I thought I would clear up some confusion by posting
a list of everything I know about available sound editors

1) Soundworks: available from Metaresearch.
           Has some great features, but a new version
          is forthcoming which should be much better

2) Edsnd: by Jamie pritchard, at pub/music at princeton.edu
          based on the original soundeditor by
              lee boynton, with cut/paste, fft and spectral
              views added.

3) Edsnd2: by Jamey Pritchard, at princeton.edu
              Comes up with a time-line instead of a soundview
              and you can then select any portion to view.
              I added a marker system which can be saved
              as a simple ascii file, and can cue arbitrary
              sections of a soundfile.  Quite useful for
          parsing soundfiles.  I used this and RT
          exclusively to prepare a 20 minute piece
          by Steve Mackey for CD.  We never touched
          his original soundfiles.

4) edsndP: by Stephen Master, at princeton.edu
              This is a rewrite of the original edsnd using
              Metaresearch's dataController and dataView objects.
              It is very fast, and has lots of neat features.
              I think it is the best one so far, although it
              could use a marker system. The appended "P" is
          a long story which I'll tell privately to anyone
          who really wants to know.

5) SE: The IRCAM signal editor, available at ccrma-ftp.stanford.edu
              This has some really incredible features.  It has to
              be seen to be believed.  It is a different approach
              than all the others, but it can be quite useful.
              Its main drawback at the moment is that it only
              accepts mono files.

7 Spectro: by Perry cook, available at stanford
        does "waterfall plots" of spectra
        Emulates a Hewlett-Packard spectrum analyzer.

8) Sonogram: a very nice grey-scale spectral analyzer, available
        on most of the archive sites.

-------------------
sort of signal editors

9)Ein:    at Princeton, by me and Ken Steiglitz
        dsp scratch pad, with spectral, fft and soundviews

10) RT:     at Princeton, by me and Kent Dickey
        real-time mixer and editor. Pete Yadlowsky
        added a very nice lisp front end.

-------------------
forthcoming commercial software

11) Holstein, from Stealth Technology. The Stealth DAI 2400 is the
digital audio interface, and the ADA1800 is the A-D-A plus digital
audio interface.  Don't know anything about it

12) Singular Solutions updates.  Don't know anything about it

-----------------------------

I'm sure I've left out a few. Someone please complete
the list.  (I'd be glad to store all these at Princeton.)
While these programs do a lot, there are still a lot of
things we could use.  It would be interesting to discuss
these things here. (for example: it might be nice to have a
scrubbing routine that would allow you to rock back and forth
the way we used to do with tape-heads (ouch)) (I'd also love
a visual editor for RT).

Paul Lansky


---

3.3.2)            What is MixView, and how can I get it?

Answer:

Date: Mon, 16 Sep 91 15:39:51 PDT
From: [e-mail] (Douglas Scott)
To: [e-mail]
Subject: mixview version 3.2 now available

Greetings to you all on my mixview mailing list.  The
newest version of mixview, my X - based soundfile
editor/processor, is now available on a new anonymous
ftp site where I now work:  foxtrot.ccmrc.ucsb.edu
(128.111.92.30), as pub/mixview-v3.2.tar.Z.  [Version 3.1
was withdrawn -- 3.0 was the most recent distribution].

The new version features a record command (for those of
you running it on NeXTs), plus a play command that allows
you to stop the play at any point.  As soon as I hear that
there is still interest, I will activate and debug the
record command for those of you working on
SparcStations.

Anyone who needs the source mailed via uucp, let me know.

As usual, please let me know if you wish to be removed from
my mailing list.


Douglas Scott                              [phone]
Center for Computer Music Research and Composition
University of California, Santa Barbara
Internet: (NeXTMail ok)   <[e-mail]>


---

3.3.3)            What is DU", and how can I get it?

Answer:

Date: Tue, 11 Jun 91 11:05:54 PDT
From: [e-mail]
To: [e-mail]
Subject: DUB: Mixing and overdubbing in real time

Comrades:

Let's make a deal.  I have written "DUB," an application that mixes
together multiple sound files on the fly and overdubs (records) at
the same time.  It's ugly but it works but it's UGLY.  I'm not proud
of it.  The user interface is the worst thing I've written since I
quit programming in BASIC over two decades ago.

The good things about DUB:  It mixes together N "playlists" on the
fly.  A playlist is a sequence of non-overlapping sounds.  The
DACPlayer object is pretty clean, the DSPRecorder object (and
attendant dspRecorder.asm code) knows how to drive the Ariel digital
mic at different sampling rates.  It records at the same time that it
plays back.

The bad things about DUB:  There's no real user interface.  The sound
file names that it opens to play are hardwired in the source code.
The sound file that it records into is similarly hardwired.  You have
to launch it from a shell (or more often a debugger) in the directory
that contains the sound files "track1.snd," "track2.snd," etc.  There
are features that the low level code supports (dynamic gain control,
setting the duration of the sounds) that the user interface doesn't
exploit.

DUB does useful things that many NeXT sound and music aficionados
have asked about, but my pride prevents me from distributing it
broadly in its current ugly state.  So let's make a deal: I will give
the project folder (source code, IB.proj, etc) if you agree to the
following:
    * You must be able to receive (and send) NeXT mail attachments.
      (That's how we'll communicate.)
    * You will implement a "safe and sane" user interface for Dub.
    * You already know NeXTstep programming and won't ask me lots
      of questions (I'm perpetually swamped at work, and I may not
      have much time to answer your questions.)
    * You will send me the finished application in source form.
    * You will allow me to put the finished application in source
      form on the archive servers.
    * Most importantly, you won't laugh at me or malign me in public
      for writing such a mean user interface.

If you can agree to all the above, and you're interested in helping
the rest of the NeXT community make beautiful music on the NeXT, I
want to hear from you.

Thanks!

- Robert Poor
  NeXT Developer Marketing
  [e-mail]


---

3.3.4)            What is RT, and how can I get it?

Answer:

Date: Mon, 15 Jul 91 15:17:12 PDT
From: [e-mail]
To: [e-mail]
Subject: Real time sound mixer

A new real time sound mixing program from Paul Lansky on the net...

conrad

From: [e-mail] (Paul Lansky)
Subject: Real time sound mixer
Date: 14 Jul 91 15:26:45 GMT

I have placed a real-time sound mixing program, RT,  in
pub/music/NeXTrt.tar.Z at princeton.edu.  This was
written by me and Kent Dickey, and essentially allows you
to play arbitrary segments of up to 32 different soundfiles
in 8 tracks, as if they were notes, overlapping, panning,
enveloping and even pitchshifting them.  The limitation on
the system is essentially disk throughput, which seems to
allow you to do about 450k bytes per second.  This means
you can mix two 44k stereo files, 2 22k stereo and one 44k
stereo, etc, at a time.  A really nice feature of the program
is that you can play different channel formats and different
sampling rates at the same time!  If you overload the system
there will be interruptions, but you can also write the mix out
to disk.


I *think* it is fairly robust now, and easy to use.  I have

not placed it in the archives since I want to keep tinkering
with it, and so want to keep it in reach.