Opcodes Overview Signal Generators Additive Synthesis/Resynthesis Basic Oscillators Dynamic Spectrum Oscillators FM Synthesis Granular Synthesis Hyper Vectorial Synthesis Linear and Exponential Generators Envelope Generators Models and Emulations Phasors Random (Noise) Generators Sample Playback Soundfonts Scanned Synthesis Table Access Wave Terrain Synthesis Waveguide Physical Modeling Signal Input and Output File Input and Output Signal Input Signal Output Software Bus Printing and Display Sound File Queries Signal Modifiers Amplitude Modifiers and Dynamic processing Convolution and Morphing Delay Panning and Spatialization Reverberation Sample Level Operators Signal Limiters Special Effects Standard Filters Specialized Filters Waveguides Waveshaping and Phase Distortion Instrument Control Clock Control Conditional Values Duration Control Statements FLTK Widgets and GUI controllers FLTK Containers FLTK Valuators Other FLTK Widgets Modifying FLTK Widget Appearance General FLTK Widget-related Opcodes Instrument Invocation Program Flow Control Real-time Performance Control Initialization and Reinitialization Sensing and Control Stacks Sub-instrument Control Time Reading Function Table Control Table Queries Read/Write Operations Table Reading with Dynamic Selection Mathematical Operations Amplitude Converters Arithmetic and Logic Operations Comparators and Accumulators Mathematical Functions Opcode Equivalents of Functions Random Functions Trigonometric Functions Linear Algebra Opcodes. The Csound Command Order of Precedence Description of the command syntax Csound command line Command-line Flags (by Category) Csound Environment Variables Unified File Format for Orchestras and Scores Description Example Command Line Parameter File (.csound6rc) Score File Preprocessing The Extract Feature Independent Pre-Processing with Scsort Using Csound Csound's Console Output How Csound works Amplitude values in Csound Real-Time Audio Realtime I/O on Linux Mac OSX Windows Realtime I/O with JACK Connection Kit Optimizing Audio I/O Latency Configuring Syntax of the Orchestra Orchestra Header Statements Instrument and Opcode Block Statements Ordinary Statements Types, Constants and Variables Variable Initialization Expressions Directories and Files Nomenclature Orchestra Macros Named Instruments User Defined Opcodes (UDO) Vectors and Arrays Function Syntax in Csound6 UDP Server The Standard Numeric Score Preprocessing of Standard Scores Carry Tempo Sort Score Statements Next-P and Previous-P Symbols Ramping Score Macros Multiple File Score Evaluation of Expressions Strings in p-fields Front Ends Building Csound Csound Links II. I only included the combinations that seem to be most likely, if you prefer something not mentioned here, let us know using the comments for this blog post.Table of Contents Preface Preface to the Csound Manual History of the Canonical Csound Reference Manual Copyright Notice Getting Started with Csound What's new in Csound 6.16.0 I. I setup a poll again so that you can judge for yourself, and also see what others say. Depending on the speakers or the listening situation, sometimes this one sounds best, and then again another one. I must say that after listening to so many pickup versions, it is not easy to judge which one is best. I compared a few licks with Mark’s original, using the guitar track that came available with the Guitar Hero game. If you have questions about the setup and effects and such, refer to the last blog post. Maybe I should have used an amp and mics to get a more authentic sound, this way Mark’s version always sounds much better (well, his would still sound better if I had used an amp anyway □ ). I recorded the guitar directly into the desk, using the same setup as the last time. This way I could emulate sounds that Mark might have created with both Fender pickups or with his DiMarzio FS-1. I used the same Japanese Strat copy with the Sultans pickguard with VFS-1 pickups. With today’s blog post I want to have a closer look at some details of that sound: I recorded a video to compare lots of different pickup combinations, and to compare 009 to 008 strings. A few days ago I wrote a blog post in which I compared the first Sultans of Swing solo played with 010 strings and with 009 strings.
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