CSOUND Português
LIVE EVENTS
The basic concept of Csound from the early days of the program is still valid and fertile because it is a familiar musical one. You create a set of instruments and instruct them to play at various times. These calls of instrument instances, and their execution, are called "instrument events".
Whenever any Csound code is executed, it has to be compiled first. Since Csound6, you can change the code of any running Csound instance, and recompile it on the fly. There are basically two opcodes for this "live coding": compileorc re-compiles any existing orc file, whereas compilestr compiles any string. At the end of this chapter, we will present some simple examples for both methods, followed by a description how to re-compile code on the fly in CsoundQt.
The scheme of instruments and events can be instigated in a number of ways. In the classical approach you think of an "orchestra" with a number of musicians playing from a "score", but you can also trigger instruments using any kind of live input: from MIDI, from OSC, from the command line, from a GUI (such as Csound's FLTK widgets or CsoundQt's widgets), from the API (also used in CsoundQt's Live Event Sheet). Or you can create a kind of "master instrument", which is always on, and triggers other instruments using opcodes designed for this task, perhaps under certain conditions: if the live audio input from a singer has been detected to have a base frequency greater than 1043 Hz, then start an instrument which plays a soundfile of broken glass...
Order of Execution Revisited
Whatever you do in Csound with instrument events, you must bear in mind the order of execution that has been explained in the first chapter of this section about the Initialization and Performance Pass: instruments are executed one by one, both in the initialization pass and in each control cycle, and the order is determined by the instrument number.
It is worth to have a closer look to what is happening exactly in time if you trigger an instrument from inside another instrument. The first example shows the result when instrument 2 triggers instrument 1 and instrument 3 at init-time.
EXAMPLE 03F01_OrderOfExc_event_i.csd
<CsoundSynthesizer> <CsOptions> -nm0 </CsOptions> <CsInstruments> sr = 44100 ksmps = 441 instr 1 kCycle timek prints "Instrument 1 is here at initialization.\n" printks "Instrument 1: kCycle = %d\n", 0, kCycle endin instr 2 kCycle timek prints " Instrument 2 is here at initialization.\n" printks " Instrument 2: kCycle = %d\n", 0, kCycle event_i "i", 3, 0, .02 event_i "i", 1, 0, .02 endin instr 3 kCycle timek prints " Instrument 3 is here at initialization.\n" printks " Instrument 3: kCycle = %d\n", 0, kCycle endin </CsInstruments> <CsScore> i 2 0 .02 </CsScore> </CsoundSynthesizer> ;example by joachim heintz
This is the output:
Instrument 2 is here at initialization.
Instrument 3 is here at initialization.
Instrument 1 is here at initialization.
Instrument 1: kCycle = 1
Instrument 2: kCycle = 1
Instrument 3: kCycle = 1
Instrument 1: kCycle = 2
Instrument 2: kCycle = 2
Instrument 3: kCycle = 2
Instrument 2 is the first one to initialize, because it is the only one which is called by the score. Then instrument 3 is initialized, because it is called first by instrument 2. The last one is instrument 1. All this is done before the actual performance begins. In the performance itself, starting from the first control cycle, all instruments are executed by their order.
Let us compare now what is happening when instrument 2 calls instrument 1 and 3 during the performance (= at k-time):
EXAMPLE 03F02_OrderOfExc_event_k.csd
<CsoundSynthesizer> <CsOptions> -nm0 </CsOptions> <CsInstruments> sr = 44100 ksmps = 441 0dbfs = 1 nchnls = 1 instr 1 kCycle timek prints "Instrument 1 is here at initialization.\n" printks "Instrument 1: kCycle = %d\n", 0, kCycle endin instr 2 kCycle timek prints " Instrument 2 is here at initialization.\n" printks " Instrument 2: kCycle = %d\n", 0, kCycle if kCycle == 1 then event "i", 3, 0, .02 event "i", 1, 0, .02 endif printks " Instrument 2: still in kCycle = %d\n", 0, kCycle endin instr 3 kCycle timek prints " Instrument 3 is here at initialization.\n" printks " Instrument 3: kCycle = %d\n", 0, kCycle endin instr 4 kCycle timek prints " Instrument 4 is here at initialization.\n" printks " Instrument 4: kCycle = %d\n", 0, kCycle endin </CsInstruments> <CsScore> i 4 0 .02 i 2 0 .02 </CsScore> </CsoundSynthesizer> ;example by joachim heintz
This is the output:
Instrument 2 is here at initialization.
Instrument 4 is here at initialization.
Instrument 2: kCycle = 1
Instrument 2: still in kCycle = 1
Instrument 4: kCycle = 1
Instrument 3 is here at initialization.
Instrument 1 is here at initialization.
Instrument 1: kCycle = 2
Instrument 2: kCycle = 2
Instrument 2: still in kCycle = 2
Instrument 3: kCycle = 2
Instrument 4: kCycle = 2
Instrument 2 starts with its init-pass, and then instrument 4 is initialized. As you see, the reverse order of the scorelines has no effect; the instruments which start at the same time are executed in ascending order, depending on their numbers.
In this first cycle, instrument 2 calls instrument 3 and 1. As you see by the output of instrument 4, the whole control cycle is finished first, before instrument 3 and 1 (in this order) are initialized.1 These both instruments start their performance in cycle number two, where they find themselves in the usual order: instrument 1 before instrument 2, then instrument 3 before instrument 4.
Usually you will not need to know all of this with such precise timing. But in case you experience any problems, a clearer awareness of the process may help.
Instrument Events From The Score
This is the classical way of triggering instrument events: you write a list in the score section of a .csd file. Each line which begins with an "i", is an instrument event. As this is very simple, and examples can be found easily, let us focus instead on some additional features which can be useful when you work in this way. Documentation for these features can be found in the Score Statements section of the Canonical Csound Reference Manual. Here are some examples:
EXAMPLE 03F03_Score_tricks.csd
<CsoundSynthesizer>
<CsOptions>
-odac
</CsOptions>
<CsInstruments>
;Example by Joachim Heintz
sr = 44100
ksmps = 32
nchnls = 2
0dbfs = 1
giWav ftgen 0, 0, 2^10, 10, 1, .5, .3, .1
instr 1
kFadout init 1
krel release ;returns "1" if last k-cycle
if krel == 1 && p3 < 0 then ;if so, and negative p3:
xtratim .5 ;give 0.5 extra seconds
kFadout linseg 1, .5, 0 ;and make fade out
endif
kEnv linseg 0, .01, p4, abs(p3)-.1, p4, .09, 0; normal fade out
aSig poscil kEnv*kFadout, p5, giWav
outs aSig, aSig
endin
</CsInstruments>
<CsScore>
t 0 120 ;set tempo to 120 beats per minute
i 1 0 1 .2 400 ;play instr 1 for one second
i 1 2 -10 .5 500 ;play instr 1 indefinetely (negative p3)
i -1 5 0 ;turn it off (negative p1)
; -- turn on instance 1 of instr 1 one sec after the previous start
i 1.1 ^+1 -10 .2 600
i 1.2 ^+2 -10 .2 700 ;another instance of instr 1
i -1.2 ^+2 0 ;turn off 1.2
; -- turn off 1.1 (dot = same as the same p-field above)
i -1.1 ^+1 .
s ;end of a section, so time begins from new at zero
i 1 1 1 .2 800
r 5 ;repeats the following line (until the next "s")
i 1 .25 .25 .2 900
s
v 2 ;lets time be double as long
i 1 0 2 .2 1000
i 1 1 1 .2 1100
s
v 0.5 ;lets time be half as long
i 1 0 2 .2 1200
i 1 1 1 .2 1300
s ;time is normal now again
i 1 0 2 .2 1000
i 1 1 1 .2 900
s
; -- make a score loop (4 times) with the variable "LOOP"
{4 LOOP
i 1 [0 + 4 * $LOOP.] 3 .2 [1200 - $LOOP. * 100]
i 1 [1 + 4 * $LOOP.] 2 . [1200 - $LOOP. * 200]
i 1 [2 + 4 * $LOOP.] 1 . [1200 - $LOOP. * 300]
}
e
</CsScore>
</CsoundSynthesizer>
Triggering an instrument with an indefinite duration by setting p3 to any negative value, and stopping it by a negative p1 value, can be an important feature for live events. If you turn instruments off in this way you may have to add a fade out segment. One method of doing this is shown in the instrument above with a combination of the release and the xtratim opcodes. Also note that you can start and stop certain instances of an instrument with a floating point number as p1.
Using MIDI Note-On Events
Csound has a particular feature which makes it very simple to trigger instrument events from a MIDI keyboard. Each MIDI Note-On event can trigger an instrument, and the related Note-Off event of the same key stops the related instrument instance. This is explained more in detail in the chapter Triggering Instrument Instances in the MIDI section of this manual. Here, just a small example is shown. Simply connect your MIDI keyboard and it should work.
EXAMPLE 03F04_Midi_triggered_events.csd
<CsoundSynthesizer>
<CsOptions>
-Ma -odac
</CsOptions>
<CsInstruments>
;Example by Joachim Heintz
sr = 44100
ksmps = 32
nchnls = 2
0dbfs = 1
giSine ftgen 0, 0, 2^10, 10, 1
massign 0, 1; assigns all midi channels to instr 1
instr 1
iFreq cpsmidi ;gets frequency of a pressed key
iAmp ampmidi 8 ;gets amplitude and scales 0-8
iRatio random .9, 1.1 ;ratio randomly between 0.9 and 1.1
aTone foscili .1, iFreq, 1, iRatio/5, iAmp+1, giSine ;fm
aEnv linenr aTone, 0, .01, .01 ; avoiding clicks at the note-end
outs aEnv, aEnv
endin
</CsInstruments>
<CsScore>
f 0 36000; play for 10 hours
e
</CsScore>
</CsoundSynthesizer>
Using Widgets
If you want to trigger an instrument event in realtime with a Graphical User Interface, it is usually a "Button" widget which will do this job. We will see here a simple example; first implemented using Csound's FLTK widgets, and then using CsoundQt's widgets.
FLTK Button
This is a very simple example demonstrating how to trigger an instrument using an FLTK button. A more extended example can be found here.
EXAMPLE 03F05_FLTK_triggered_events.csd
<CsoundSynthesizer>
<CsOptions>
-odac
</CsOptions>
<CsInstruments>
;Example by Joachim Heintz
sr = 44100
ksmps = 32
nchnls = 2
0dbfs = 1
; -- create a FLTK panel --
FLpanel "Trigger By FLTK Button", 300, 100, 100, 100
; -- trigger instr 1 (equivalent to the score line "i 1 0 1")k1, ih1 FLbutton "Push me!", 0, 0, 1, 150, 40, 10, 25, 0, 1, 0, 1
; -- trigger instr 2
k2, ih2 FLbutton "Quit", 0, 0, 1, 80, 40, 200, 25, 0, 2, 0, 1
FLpanelEnd; end of the FLTK panel section
FLrun ; run FLTK
seed 0; random seed different each time
instr 1
idur random .5, 3; recalculate instrument duration
p3 = idur; reset instrument duration
ioct random 8, 11; random values between 8th and 11th octave
idb random -18, -6; random values between -6 and -18 dB
aSig poscil ampdb(idb), cpsoct(ioct)
aEnv transeg 1, p3, -10, 0
outs aSig*aEnv, aSig*aEnv
endin
instr 2
exitnow
endin
</CsInstruments>
<CsScore>
f 0 36000
e
</CsScore>
</CsoundSynthesizer>
Note that in this example the duration of an instrument event is recalculated when the instrument is initialised. This is done using the statement "p3 = i...". This can be a useful technique if you want the duration that an instrument plays for to be different each time it is called. In this example duration is the result of a random function'. The duration defined by the FLTK button will be overwritten by any other calculation within the instrument itself at i-time.
CsoundQt Button
In CsoundQt, a button can be created easily from the submenu in a widget panel:
In the Properties Dialog of the button widget, make sure you have selected "event" as Type. Insert a Channel name, and at the bottom type in the event you want to trigger - as you would if writing a line in the score.
In your Csound code, you need nothing more than the instrument you want to trigger:
For more information about CsoundQt, read the CsoundQt chapter in the 'Frontends' section of this manual.
Using A Realtime Score
Command Line With The -L stdin Option
If you use any .csd with the option "-L stdin" (and the -odac option for realtime output), you can type any score line in realtime (sorry, this does not work for Windows). For instance, save this .csd anywhere and run it from the command line:
EXAMPLE 03F06_Commandline_rt_events.csd
<CsoundSynthesizer>
<CsOptions>
-L stdin -odac
</CsOptions>
<CsInstruments>
;Example by Joachim Heintz
sr = 44100
ksmps = 32
nchnls = 2
0dbfs = 1
seed 0; random seed different each time
instr 1
idur random .5, 3; calculate instrument duration
p3 = idur; reset instrument duration
ioct random 8, 11; random values between 8th and 11th octave
idb random -18, -6; random values between -6 and -18 dB
aSig oscils ampdb(idb), cpsoct(ioct), 0
aEnv transeg 1, p3, -10, 0
outs aSig*aEnv, aSig*aEnv
endin
</CsInstruments>
<CsScore>
f 0 36000
e
</CsScore>
</CsoundSynthesizer>
If you run it by typing and returning a command line like this ...
... you should get a prompt at the end of the Csound messages:
If you now type the line "i 1 0 1" and press return, you should hear that instrument 1 has been executed. After three times your messages may look like this:
CsoundQt's Live Event Sheet
In general, this is the method that CsoundQt uses and it is made available to the user in a flexible environment called the Live Event Sheet. Have a look in the CsoundQt frontend to see more of the possibilities of "firing" live instrument events using the Live Event Sheet.2
By Conditions
We have discussed first the classical method of triggering instrument events from the score section of a .csd file, then we went on to look at different methods of triggering real time events using MIDI, by using widgets, and by using score lines inserted live. We will now look at the Csound orchestra itself and to some methods by which an instrument can internally trigger another instrument. The pattern of triggering could be governed by conditionals, or by different kinds of loops. As this "master" instrument can itself be triggered by a realtime event, you have unlimited options available for combining the different methods.
Let's start with conditionals. If we have a realtime input, we may want to define a threshold, and trigger an event
- if we cross the threshold from below to above;
- if we cross the threshold from above to below.
In Csound, this could be implemented using an orchestra of three instruments. The first instrument is the master instrument. It receives the input signal and investigates whether that signal is crossing the threshold and if it does whether it is crossing from low to high or from high to low. If it crosses the threshold from low ot high the second instrument is triggered, if it crosses from high to low the third instrument is triggered.
EXAMPLE 03F07_Event_by_condition.csd
<CsoundSynthesizer>
<CsOptions>
-iadc -odac
</CsOptions>
<CsInstruments>
;Example by Joachim Heintz
sr = 44100
ksmps = 32
nchnls = 2
0dbfs = 1
seed 0; random seed different each time
instr 1; master instrument
ichoose = p4; 1 = real time audio, 2 = random amplitude movement
ithresh = -12; threshold in dB
kstat init 1; 1 = under the threshold, 2 = over the threshold
;;CHOOSE INPUT SIGNAL
if ichoose == 1 then
ain inch 1
else
kdB randomi -18, -6, 1
ain pinkish ampdb(kdB)
endif
;;MEASURE AMPLITUDE AND TRIGGER SUBINSTRUMENTS IF THRESHOLD IS CROSSED
afoll follow ain, .1; measure mean amplitude each 1/10 second
kfoll downsamp afoll
if kstat == 1 && dbamp(kfoll) > ithresh then; transition down->up
event "i", 2, 0, 1; call instr 2
printks "Amplitude = %.3f dB%n", 0, dbamp(kfoll)
kstat = 2; change status to "up"
elseif kstat == 2 && dbamp(kfoll) < ithresh then; transition up->down
event "i", 3, 0, 1; call instr 3
printks "Amplitude = %.3f dB%n", 0, dbamp(kfoll)
kstat = 1; change status to "down"
endif
endin
instr 2; triggered if threshold has been crossed from down to up
asig poscil .2, 500
aenv transeg 1, p3, -10, 0
outs asig*aenv, asig*aenv
endin
instr 3; triggered if threshold has been crossed from up to down
asig poscil .2, 400
aenv transeg 1, p3, -10, 0
outs asig*aenv, asig*aenv
endin
</CsInstruments>
<CsScore>
i 1 0 1000 2 ;change p4 to "1" for live input
e
</CsScore>
</CsoundSynthesizer>
Using i-Rate Loops For Calculating A Pool Of Instrument Events
You can perform a number of calculations at init-time which lead to a list of instrument events. In this way you are producing a score, but inside an instrument. The score events are then executed later.
Using this opportunity we can introduce the scoreline / scoreline_i opcode. It is quite similar to the event / event_i opcode but has two major benefits:
- You can write more than one scoreline by using "{{" at the beginning and "}}" at the end.
- You can send a string to the subinstrument (which is not possible with the event opcode).
Let's look at a simple example for executing score events from an instrument using the scoreline opcode:
EXAMPLE 03F08_Generate_event_pool.csd
<CsoundSynthesizer>
<CsOptions>
-odac
</CsOptions>
<CsInstruments>
;Example by Joachim Heintz
sr = 44100
ksmps = 32
nchnls = 2
0dbfs = 1
seed 0; random seed different each time
instr 1 ;master instrument with event pool
scoreline_i {{i 2 0 2 7.09
i 2 2 2 8.04
i 2 4 2 8.03
i 2 6 1 8.04}}
endin
instr 2 ;plays the notes
asig pluck .2, cpspch(p4), cpspch(p4), 0, 1
aenv transeg 1, p3, 0, 0
outs asig*aenv, asig*aenv
endin
</CsInstruments>
<CsScore>
i 1 0 7
e
</CsScore>
</CsoundSynthesizer>
With good right, you might say: "OK, that's nice, but I can also write scorelines in the score itself!" That's right, but the advantage with the scoreline_i method is that you can render the score events in an instrument, and then send them out to one or more instruments to execute them. This can be done with the sprintf opcode, which produces the string for scoreline in an i-time loop (see the chapter about control structures).
EXAMPLE 03F09_Events_sprintf.csd
<CsoundSynthesizer>
<CsOptions>
-odac
</CsOptions>
<CsInstruments>
;Example by Joachim Heintz
sr = 44100
ksmps = 32
nchnls = 2
0dbfs = 1
giPch ftgen 0, 0, 4, -2, 7.09, 8.04, 8.03, 8.04
seed 0; random seed different each time
instr 1 ; master instrument with event pool
itimes = 7 ;number of events to produce
icnt = 0 ;counter
istart = 0
Slines = ""
loop: ;start of the i-time loop
idur random 1, 2.9999 ;duration of each note:
idur = int(idur) ;either 1 or 2
itabndx random 0, 3.9999 ;index for the giPch table:
itabndx = int(itabndx) ;0-3
ipch table itabndx, giPch ;random pitch value from the table
Sline sprintf "i 2 %d %d %.2f\n", istart, idur, ipch ;new scoreline
Slines strcat Slines, Sline ;append to previous scorelines
istart = istart + idur ;recalculate start for next scoreline
loop_lt icnt, 1, itimes, loop ;end of the i-time loop
puts Slines, 1 ;print the scorelines
scoreline_i Slines ;execute them
iend = istart + idur ;calculate the total duration
p3 = iend ;set p3 to the sum of all durations
print p3 ;print it
endin
instr 2 ;plays the notes
asig pluck .2, cpspch(p4), cpspch(p4), 0, 1
aenv transeg 1, p3, 0, 0
outs asig*aenv, asig*aenv
endin
</CsInstruments>
<CsScore>
i 1 0 1 ;p3 is automatically set to the total duration
e
</CsScore>
</CsoundSynthesizer>
In this example, seven events have been rendered in an i-time loop in instrument 1. The result is stored in the string variable Slines. This string is given at i-time to scoreline_i, which executes them then one by one according to their starting times (p2), durations (p3) and other parameters.
Instead of collecting all score lines in a single string, you can also execute them inside the i-time loop. Also in this way all the single score lines are added to Csound's event pool. The next example shows an alternative version of the previous one by adding the instrument events one by one in the i-time loop, either with event_i (instr 1) or with scoreline_i (instr 2):
EXAMPLE 03F10_Events_collected.csd
<CsoundSynthesizer>
<CsOptions>
-odac
</CsOptions>
<CsInstruments>
;Example by Joachim Heintz
sr = 44100
ksmps = 32
nchnls = 2
0dbfs = 1
giPch ftgen 0, 0, 4, -2, 7.09, 8.04, 8.03, 8.04
seed 0; random seed different each time
instr 1; master instrument with event_i
itimes = 7; number of events to produce
icnt = 0; counter
istart = 0
loop: ;start of the i-time loop
idur random 1, 2.9999; duration of each note:
idur = int(idur); either 1 or 2
itabndx random 0, 3.9999; index for the giPch table:
itabndx = int(itabndx); 0-3
ipch table itabndx, giPch; random pitch value from the table
event_i "i", 3, istart, idur, ipch; new instrument event
istart = istart + idur; recalculate start for next scoreline
loop_lt icnt, 1, itimes, loop; end of the i-time loop
iend = istart + idur; calculate the total duration
p3 = iend; set p3 to the sum of all durations
print p3; print it
endin
instr 2; master instrument with scoreline_i
itimes = 7; number of events to produce
icnt = 0; counter
istart = 0
loop: ;start of the i-time loop
idur random 1, 2.9999; duration of each note:
idur = int(idur); either 1 or 2
itabndx random 0, 3.9999; index for the giPch table:
itabndx = int(itabndx); 0-3
ipch table itabndx, giPch; random pitch value from the table
Sline sprintf "i 3 %d %d %.2f", istart, idur, ipch; new scoreline
scoreline_i Sline; execute it
puts Sline, 1; print it
istart = istart + idur; recalculate start for next scoreline
loop_lt icnt, 1, itimes, loop; end of the i-time loop
iend = istart + idur; calculate the total duration
p3 = iend; set p3 to the sum of all durations
print p3; print it
endin
instr 3; plays the notes
asig pluck .2, cpspch(p4), cpspch(p4), 0, 1
aenv transeg 1, p3, 0, 0
outs asig*aenv, asig*aenv
endin
</CsInstruments>
<CsScore>
i 1 0 1
i 2 14 1
e
</CsScore>
</CsoundSynthesizer>
Using Time Loops
As discussed above in the chapter about control structures, a time loop can be built in Csound either with the timout opcode or with the metro opcode. There were also simple examples for triggering instrument events using both methods. Here, a more complex example is given: A master instrument performs a time loop (choose either instr 1 for the timout method or instr 2 for the metro method) and triggers once in a loop a subinstrument. The subinstrument itself (instr 10) performs an i-time loop and triggers several instances of a sub-subinstrument (instr 100). Each instance performs a partial with an independent envelope for a bell-like additive synthesis.
EXAMPLE 03F11_Events_time_loop.csd
<CsoundSynthesizer>
<CsOptions>
-odac
</CsOptions>
<CsInstruments>
;Example by Joachim Heintz
sr = 44100
ksmps = 32
nchnls = 2
0dbfs = 1
seed 0
instr 1; time loop with timout. events are triggered by event_i (i-rate)
loop:
idurloop random 1, 4; duration of each loop
timout 0, idurloop, play
reinit loop
play:
idurins random 1, 5; duration of the triggered instrument
event_i "i", 10, 0, idurins; triggers instrument 10
endin
instr 2; time loop with metro. events are triggered by event (k-rate)
kfreq init 1; give a start value for the trigger frequency
kTrig metro kfreq
if kTrig == 1 then ;if trigger impulse:
kdur random 1, 5; random duration for instr 10
event "i", 10, 0, kdur; call instr 10
kfreq random .25, 1; set new value for trigger frequency
endif
endin
instr 10; triggers 8-13 partials
inumparts random 8, 14
inumparts = int(inumparts); 8-13 as integer
ibasoct random 5, 10; base pitch in octave values
ibasfreq = cpsoct(ibasoct)
ipan random .2, .8; random panning between left (0) and right (1)
icnt = 0; counter
loop:
event_i "i", 100, 0, p3, ibasfreq, icnt+1, inumparts, ipan
loop_lt icnt, 1, inumparts, loop
endin
instr 100; plays one partial
ibasfreq = p4; base frequency of sound mixture
ipartnum = p5; which partial is this (1 - N)
inumparts = p6; total number of partials
ipan = p7; panning
ifreqgen = ibasfreq * ipartnum; general frequency of this partial
ifreqdev random -10, 10; frequency deviation between -10% and +10%
; -- real frequency regarding deviation
ifreq = ifreqgen + (ifreqdev*ifreqgen)/100
ixtratim random 0, p3; calculate additional time for this partial
p3 = p3 + ixtratim; new duration of this partial
imaxamp = 1/inumparts; maximum amplitude
idbdev random -6, 0; random deviation in dB for this partial
iamp = imaxamp * ampdb(idbdev-ipartnum); higher partials are softer
ipandev random -.1, .1; panning deviation
ipan = ipan + ipandev
aEnv transeg 0, .005, 0, iamp, p3-.005, -10, 0
aSine poscil aEnv, ifreq
aL, aR pan2 aSine, ipan
outs aL, aR
prints "ibasfreq = %d, ipartial = %d, ifreq = %d%n",\
ibasfreq, ipartnum, ifreq
endin
</CsInstruments>
<CsScore>
i 1 0 300 ;try this, or the next line (or both)
;i 2 0 300
</CsScore>
</CsoundSynthesizer>
Which Opcode Should I Use?
Csound users are often confused about the variety of opcodes available to trigger instrument events. Should I use event, scoreline, schedule or schedkwhen? Should I use event or event_i?
Let us start with the latter, which actually leads to the general question about "i-rate" and "k-rate" opcodes.3 In short: Using event_i (the i-rate version) will only trigger an event once, when the instrument in which this opcode works is initiated. Using event (the k-rate version) will trigger an event potentially again and again, as long as the instrument runs, in each control cycle. This is a very simple example:
EXAMPLE 03F12_event_i_vs_event.csd
<CsoundSynthesizer> <CsOptions> -nm0 </CsOptions> <CsInstruments> sr=44100 ksmps = 32 ;set counters for the instances of Called_i and Called_k giInstCi init 1 giInstCk init 1 instr Call_i ;call another instrument at i-rate event_i "i", "Called_i", 0, 1 endin instr Call_k ;call another instrument at k-rate event "i", "Called_k", 0, 1 endin instr Called_i ;report that instrument starts and which instance prints "Instance #%d of Called_i is starting!\n", giInstCi ;increment number of instance for next instance giInstCi += 1 endin instr Called_k ;report that instrument starts and which instance prints " Instance #%d of Called_k is starting!\n", giInstCk ;increment number of instance for next instance giInstCk += 1 endin </CsInstruments> <CsScore> ;run "Call_i" for one second i "Call_i" 0 1 ;run "Call_k" for 1/100 seconds i "Call_k" 0 0.01 </CsScore> </CsoundSynthesizer> ;example by joachim heintz
Although instrument "Call_i" runs for one second, the call to instrument "Called_i" is only performed once, because it is done with event_i: at initialization only. But instrument "Call_k" calls one instance of "Called_k" in each control cycle; so for the duration of 0.01 seconds of running instrument "Call_k", fourteen instances of instrument "Called_k" are being started.4 So this is the output:
Instance #1 of Called_i is starting!
Instance #1 of Called_k is starting!
Instance #2 of Called_k is starting!
Instance #3 of Called_k is starting!
Instance #4 of Called_k is starting!
Instance #5 of Called_k is starting!
Instance #6 of Called_k is starting!
Instance #7 of Called_k is starting!
Instance #8 of Called_k is starting!
Instance #9 of Called_k is starting!
Instance #10 of Called_k is starting!
Instance #11 of Called_k is starting!
Instance #12 of Called_k is starting!
Instance #13 of Called_k is starting!
Instance #14 of Called_k is starting!
So the first (and probably most important) decision in asking "which opcode should I use", is the answer to the question: "Do I need an i-rate or a k-rate opcode?"
i-rate Versions: schedule, event_i, scoreline_i
If you need an i-rate opcode to trigger an instrument event, schedule is the most basic choice. You use it actually exactly the same as writing any score event; just separting the parameter fields by commas rather by spaces:
schedule iInstrNum (or "InstrName"), iStart, iDur [, ip4] [, ip5] [...]
event_i is very similar:
event_i "i", iInstrNum (or "InstrName"), iStart, iDur [, ip4] [, ip5] [...]
The only difference between schedule and event_i is this: schedule can only trigger instruments, whereas event_i can also trigger "f" events (= build function tables).
Both, schedule and event_i have a restriction: they are not able to send strings in the parameter fields p4, p5, ... So, if you execute this code ...
schedule "bla", 0, 1, "blu"
... you will get this error message in the console:
ERROR: Unable to find opcode entry for 'schedule' with matching argument types:
Found: (null) schedule SccS
scoreline_i is designed to make this possible. It takes one or more lines of score statements which follow the same conventions as if written in the score section itself.5 If you enclose the line(s) by {{ and }}, you can include as many strings in it as you wish:
scoreline_i {{
i "bla" 0 1 "blu" "sound"
i "bla" 1 1 "brown" "earth"
}}
k-rate versions: event, scoreline, schedkwhen
If you need a k-rate opcode to trigger an instrument event, event is the basic choice. Its syntax is very similar to event_i, but as described above, it works at k-rate and you can also change all its arguments at k-rate:
event "i", kInstrNum (or "InstrName"), kStart, kDur [, kp4] [, kp5] [...]
Usually, you will not want to trigger another instrument each control cycle, but based on certain conditions. A very common case is a "ticking" periodic signal, whichs ticks are being used as trigger impulses. The typical code snippel using a metro and the event opcode would be:
kTrigger metro 1 ;"ticks" once a second if kTrigger == 1 then ;if it ticks event "i", "my_instr", 0, 1 ;call the instrument endif
In other words: This code would only use one control-cycle per second to call my_instr, and would do nothing in the other control cycles. The schedkwhen opcode simplifies such typical use cases, and adds some other useful arguments. This is the syntax:
schedkwhen kTrigger, kMinTim, kMaxNum, kInsrNum (or "InstrName"), kStart, kDur [, kp4] [, kp5] [...]
The kMinTim parameter specifies the time which has to be spent between two subsequent calls of the subinstrument. This is often quite useful as you may want to state: "Do not call the next instance of the subinstrument unless 0.1 seconds have been passed." If you set this parameter to zero, there will be no time limit for calling the subinstrument.
The kMaxNum parameter specifies the maximum number of instances which run simultaneously. Say, kMaxNum = 2 and there are indeed two instances of the subinstrument running, no other instance will be initiated. if you set this parameter to zero, there will be no limit for calling new instances.
So, with schedkwhen, we can write the above code snippet in two lines instead of four:
kTrigger metro 1 ;"ticks" once a second schedkwhen kTrigger, 0, 0, "my_instr", 0, 1
Only, you cannot pass strings as p-fields via schedkwhen (and event). So, very much similar as described above for i-rate opcodes, scoreline fills this gap. Usually we will use it with a condition, as we did for the event opcode:
kTrigger metro 1 ;"ticks" once a second
if kTrigger == 1 then
;if it ticks, call two instruments and pass strings as p-fields
scoreline {{
i "bla" 0 1 "blu" "sound"
i "bla" 1 1 "brown" "earth"
}}
endif
Recompilation
As it has been mentioned at the start of this chapter, since Csound6 you can re-compile any code in an already running Csound instance. Let us first see some simple examples for the general use, and then a more practical approach in CsoundQt.
compileorc / compilestr
The opcode compileorc refers to a definition of instruments which has been saved as an .orc ("orchestra") file. To see how it works, save this text in a simple text (ASCII) format as "to_recompile.orc":
instr 1 iAmp = .2 iFreq = 465 aSig oscils iAmp, iFreq, 0 outs aSig, aSig endin
Then save this csd in the same directory:
EXAMPLE 03F13_compileorc.csd
<CsoundSynthesizer> <CsOptions> -o dac -d -L stdin -Ma </CsOptions> <CsInstruments> sr = 44100 nchnls = 2 ksmps = 32 0dbfs = 1 massign 0, 9999 instr 9999 ires compileorc "to_recompile.orc" print ires ; 0 if compiled successfully event_i "i", 1, 0, 3 ;send event endin </CsInstruments> <CsScore> i 9999 0 1 </CsScore> </CsoundSynthesizer>
If you run this csd in the terminal, you should hear a three seconds beep, and the output should be like this:
SECTION 1:
new alloc for instr 9999:
instr 9999: ires = 0.000
new alloc for instr 1:
B 0.000 .. 1.000 T 1.000 TT 1.000 M: 0.20000 0.20000
B 1.000 .. 3.000 T 3.000 TT 3.000 M: 0.20000 0.20000
Score finished in csoundPerform().
inactive allocs returned to freespace
end of score. overall amps: 0.20000 0.20000
overall samples out of range: 0 0
0 errors in performance
Having understood this, it is easy to do the next step. Remove (or comment out) the score line "i 9999 0 1" so that the score is empty. If you start the csd now, Csound will run indefinitely. Now call instr 9999 by typing "i 9999 0 1" in the terminal window (if the option -L stdin works for your setup), or by pressing any MIDI key (if you have connected a keyboard). You should hear the same beep as before. But as the recompile.csd keeps running, you can change now the to_recompile.orc instrument. Try, for instance, another value for kFreq. Whenever this is done (do not forget to save the file) and you call again instr 9999 in recompile.csd, the new version of this instrument is compiled and then called immediately.
The other possibility to recompile code by using an opcode is compilestr. It will compile any instrument definition which is contained in a string. As this will be a string with several lines, you will usually use the '{{' delimiter for the start and '}}' for the end of the string. This is a basic example:
EXAMPLE 03F14_compilestr.csd
<CsoundSynthesizer>
<CsOptions>
-o dac -d
</CsOptions>
<CsInstruments>
sr = 44100
nchnls = 1
ksmps = 32
0dbfs = 1
instr 1
;will fail because of wrong code
ires compilestr {{
instr 2
a1 oscilb p4, p5, 0
out a1
endin
}}
print ires ; returns -1 because not successfull
;will compile ...
ires compilestr {{
instr 2
a1 oscils p4, p5, 0
out a1
endin
}}
print ires ; ... and returns 0
;call the new instrument
;(note that the overall performance is extended)
scoreline_i "i 2 0 3 .2 415"
endin
</CsInstruments>
<CsScore>
i1 0 1
</CsScore>
</CsoundSynthesizer>
As you see, instrument 2 is defined inside instrument 1, and compiled via compilestr. in case you can change this string in real-time (for instance in receiving it via OSC), you can add any new definition of instruments on the fly. But much more elegant is to use the related method of the Csound API, as CsoundQt does.
Re-Compilation in CsoundQt
(The following description is only valid if you have CsoundQt with PythonQt support. If so, your CsoundQt application should be called CsoundQt-d-py-cs6 or similar. If the "-py" is missing, you will probably not have PythonQt support.)
To see how easy it is to re-compile code of a running Csound instance, load this csd in CsoundQt:
EXAMPLE 03F15_Recompile_in_CsoundQt.csd
<CsoundSynthesizer> <CsInstruments> sr = 44100 nchnls = 1 ksmps = 32 0dbfs = 1 instr 1 a1 poscil .2, 500 out a1 endin </CsInstruments> <CsScore> r 1000 i 1 0 1 </CsScore> </CsoundSynthesizer>
The r-statement repeats the call to instr 1 for 1000 times. Now change the frequency of 500 in instr 1 to say 800. You will hear no change, because this has not been compiled yet. But when you now select the instrument definition (including the instr ... endin) and then choose Edit -> Evaluate selection, you will hear that in the next call of instrument 1 the frequency has changed. (Instead of selecting code and evaluation the selection, you can also place the cursor inside an instrument and then choose Edit -> Evaluate section.)
You can also insert new instrument definitions, and then call it with CsoundQt's Live event sheet. You even need not save it - instead you can save several results of your live coding without stopping Csound. Have fun ...
Links And Related Opcodes
Links
A great collection of interactive examples with FLTK widgets by Iain McCurdy can be found here. See particularily the "Realtime Score Generation" section. Recently, the collection has been ported to QuteCsound by René Jopi, and is part of QuteCsound's example menu.
An extended example for calculating score events at i-time can be found in the Re-Generation of Stockhausen's "Studie II" by Joachim Heintz (also included in the QuteCsound Examples menu).
Related Opcodes
event_i / event: Generate an instrument event at i-time (event_i) or at k-time (event). Easy to use, but you cannot send a string to the subinstrument.
scoreline_i / scoreline: Generate an instrument at i-time (scoreline_i) or at k-time (scoreline). Like event_i/event, but you can send to more than one instrument but unlike event_i/event you can send strings. On the other hand, you must usually preformat your scoreline-string using sprintf.
sprintf / sprintfk: Generate a formatted string at i-time (sprintf) or k-time (sprintfk), and store it as a string-variable.
-+max_str_len=10000: Option in the "CsOptions" tag of a .csd file which extend the maximum string length to 9999 characters.
massign: Assigns the incoming MIDI events to a particular instrument. It is also possible to prevent any assigment by this opcode.
cpsmidi / ampmidi: Returns the frequency / velocity of a pressed MIDI key.
release: Returns "1" if the last k-cycle of an instrument has begun.
xtratim: Adds an additional time to the duration (p3) of an instrument.
turnoff / turnoff2: Turns an instrument off; either by the instrument itself (turnoff), or from another instrument and with several options (turnoff2).
-p3 / -p1: A negative duration (p3) turns an instrument on "indefinitely"; a negative instrument number (p1) turns this instrument off. See the examples at the beginning of this chapter.
-L stdin: Option in the "CsOptions" tag of a .csd file which lets you type in realtime score events.
timout: Allows you to perform time loops at i-time with reinitalization passes.
metro: Outputs momentary 1s with a definable (and variable) frequency. Can be used to perform a time loop at k-rate.
follow: Envelope follower.
- This has been described incorrectly in the first two issues of this manual.^
- There are also some video tutorials: http://www.youtube.com/watch?v=O9WU7DzdUmE http://www.youtube.com/watch?v=Hs3eO7o349k http://www.youtube.com/watch?v=yUMzp6556Kw^
- See chapter 03A about Initialization and Performance Pass for a detailed discussion.^
- As for a sample rate of 44100 Hz (sr=44100) and a control period od 32 samples (ksmps=32), we have 1378 control periods in one second. So 0.01 seconds will perform 14 control cycles.^
- This means that score parameter fields are separated by spaces, not by commas.^