The computational power of today's computers brings the most powerful signal processing and synthesis tools into the home studio. For less than $2000 you can have the equivalent of the IRCAM ISPW or a NeXT running “SynthBuilder” on your battery powered PPC or PC Laptop, and all the “essential” software tools and utilities can be had commercially at low cost or are freely available over the Internet. Thus we are seeing that independent composers and freelance artists are seeking out this software, and placing demands on the designers for ease of use and general utility. This paper concentrates on one of the remaining problems which limits the widespread use of the technology, and that is the complexity in specifying every feature of a composition, and in particular describing the detailed timbral evolution of each note. We explore the new facilities in Csound which address this problem.
|Title of host publication||Proceedings, International Computer Music Conference 1998 (ICMC '98)|
|Publisher||International Computer Music Association and University of Michigan|
|Number of pages||4|
|Publication status||Published - Oct 1998|
Boulanger, R., & ffitch, J. (1998). Teaching software synthesis through Csound's new modelling opcodes. In M. Simoni (Ed.), Proceedings, International Computer Music Conference 1998 (ICMC '98) (Vol. 1998, pp. 121-124). International Computer Music Association and University of Michigan.