THAT ALL MAY BE ONE for CsoundAV (2003) Arthur B. Hunkins "That all may be one, even as thou, Father, in me and I in thee; that they also may be one in us." John 7:21 "For this is why we were born: Men, all men, belong to each other, and he who shuts himself away diminishes himself, and he who shuts another away from him destroys himself." Howard Thurman, The Search for Common Ground "In Louisville, at the corner of Fourth and Walnut, in the center of the shopping district, I was suddenly overwhelmed with the realization that I loved all those people, that they were mine and I theirs, that we could not be alien to one another even though we were total strangers. It was like awaking from a dream of separateness." Thomas Merton, Conjectures of a Guilty Bystander To Richard Boulanger - in appreciation of his friendship and support, and in gratitude for his unending devotion and commitment to the Csound community GENERAL That All May Be One is a meditative solo performance piece for Windows-based computer running CsoundAV. It exists in three basic monaural versions - all indicated by "solo" in their file name and differing only in their performance method: "solo.csd" requires no MIDI hardware; "solom.csd" requires an external MIDI bank of eight sliders or rotary knobs; "soloma.csd" necessitates a ninth controller to manipulate amplitude manually (notably the opening and closing fades). There are stereo variants for each of these: "stsolo.csd," "stsolom.csd" and "stsoloma.csd." They add a modest circulating pan, but otherwise are identical to their monaural counterparts. All versions use a bank of sliders or rotary pots to create slowly evolving color changes over a pedal tone which is present throughout. Indeed, the piece can be said to consist of a single "note" with ever-evolving changes in harmonic content. The computer required for performance must be running a version of Windows - 95B or higher. (With Windows 95 you must be sure that OpenGL has been installed.) The program that executes the selected .csd file is Gabriel Maldonado's CsoundAV, v0.043 or higher. Prior to performance, be sure to close as many programs running in your Windows taskbar as possible. This will minimize any chance of audio breakup. (Depending on your system, there is a good possibility of disaster otherwise.) The monaural versions of That All May Be One lend themselves well to multi- speaker sound diffusion. The stereo versions do not. Duration is a minimum of 5 1/2 minutes. SETUP The performer downloads and installs the current version of Maldonado's CsoundAV from http://www.csounds.com/csoundav . The file to download is named CsoundAV_Win.exe . Please be aware that a *graphics tablet* version of this composition, indicated by a final "G" in the filename, requires the *very latest* v0.0432 CsoundAV. (For more about "G" versions of this piece, see the end of these instructions.) This latest v0.0432 may be available *only* at the URL above. To run CsoundAV (and this composition), click on the program icon, and on the popup window that appears, type the name of the desired .csd performance file into the Orc field. Alternately, drag the .csd file onto the window. Click OK, and the performance window for the piece will appear. When you run any performance file, you will be queried (via pop-up window) to specify a Portaudio OUT Device number (-+P#), and if MIDI controllers are involved, a MIDI In Device number (-+K#). Once you determine appropriate device ID's for your setup, you may add them to your CsOptions flags (as, for example, -+K0 and -+P8). (These flags are located toward the beginning of the .csd text file. You can edit them in any text editor, including Windows' Notepad.) Doing so will thereafter happily bypass the device selection process. For any problems, please consult Maldonado's CsoundAV Manual, also downloadable at http://www.csounds.com. This HTML manual comes as a zipped archive named CsoundAV_Manual.zip. See particularly its sections entitled Special Command Line Flags and Command Line Hints. (Command line flags are the same as CsOptions flags.) DIRECTSOUND If your system software includes *DirectSound*, slider/pot response time (latency) will improve substantially. DirectSound is present by default in systems running Windows 98SE and above. You also need a DirectSound driver for your soundcard. Any recently-manufactured stereo soundcard will install DirectSound drivers; "legacy" (ISA) soundcards will not. DirectSound drivers (or multichannel ASIO drivers - see below) may be available on your system. On the Portaudio OUT Device Select popup window, you'll see any and all DirectSound and ASIO (in addition to MME) drivers listed. Specify one of the DirectSound (or ASIO) numbers; if it works, add this number to your -+P flag (as, for example, -+P5). With DirectSound or ASIO, interacting with the subtle timbral changes should prove considerably more feasible. (DirectSound and ASIO are *particularly* sensitive to any running programs in the taskbar; be sure to close as many as possible.) Please note that a native *ASIO* driver is required for quad versions. Hint: If you are still having a problem getting clean, click-free sound, run a *MIDI* version of this work (it is less demanding on system resources). Also, at the slight sacrifice of some high frequency content, you can try halving the values for sr and ksmps (also at the top of your .csd file) to 22050 and 10 respectively. (You cannot use ASIO drivers at these rates.) Otherwise, you may need a faster computer. PERFORMANCE All sliders are initially set to zero. Except for (st)soloma.csd, performance is begun by clicking on the Start/Stop button, after making certain performance choices available in the window. (It is ended by clicking on the same button.) With (st)soloma.csd, opening and closing the amplitude fader starts and ends the performance. The durations of these fades are preset on the counters available (1-12 seconds each). In (st)soloma.csd, however, since the MIDI amplitude slider or pot performs the opening and closing fades, these versions do not have preset fader timings. Note that the *only* controls that can be varied *during performance* are the sliders/rotary pots. All others are set prior to performance. Overall amplitude is moderate. Level remains unchanged throughout the composition, except for the "framing" fades. (As higher harmonics are added via the sliders/pots, the perceived volume will rise; be sure that this rise is modest by limiting the number of sliders simultaneously active.) There are two other "presets": one is basic pitch; choices are within the approximate range of C2 to F2, the default being D2. The other is modulation/pan rate (pan applying only to stereo editions). The modulation rate, variable from .25 to .5 Hz, can be heard most clearly in the opening basic sound; it's a repeating amplitude and tone color pattern that gives a kind of "heart pulse." In stereo, this pattern corresponds (and is synched) to an eight-times longer circular pan between speakers. (All these effects - particularly the pan - are fairly subtle.) The opening crescendo is with the basic tone only - no "tone color" sliders/ pots are open. The closing diminuendo can be either: a) the same basic tone as the opening; b) the basic tone with small amounts of tone color sliders/ pots 1 and/or 2 open; or c) basic tone with small to moderate amounts of sliders/pots 7 and/or 8 (the latter gives a "higher/lighter" concluding tone color option). The bank of eight sliders/pots controls the tone color of the sustained note by varying the modulation index of eight frequencies related integrally to the base pitch. These frequencies progress from low to high, with the highest numbered controllers giving the highest harmonics. The ratio of these frequencies to the base are: 1, 1.5, 2, 2.5, 3, 3.5, 4 and 5. Those with .5 generate a sonority that includes the pitch an octave or two below the base, and are thus particularly rich. Use these (numbers 2, 4 and 6) sparingly. During the fades, tone color is not changed; otherwise, tone color sliders/ pots are slowly in motion throughout the piece - usually one at a time (*always* singly, of necessity, with (st)solo.csd). It is not necessary to use all the sliders, nor is it necessary to use their entire range. Indeed, it is appropriate mostly to stay in their low- to mid-range. Move the pots slowly to emphasize the harmonics as they gradually emerge and recede. Pay particular attention to the harmonic cancellations you come across. (Since there may be considerable response latency - up to a second or so, moving too fast may bypass color and amplitude changes that need to be heard and dwelt upon.) SPECIAL INSTRUCTIONS FOR (ST)SOLOM.CSD AND (ST)SOLOMA.CSD These versions require external MIDI controller hardware. The set of 8 (or more) sliders or rotary pots (continuous controllers) needed by these versions are found on a variety of MIDI devices, including keyboards. Most of these devices are dependent on serial MIDI interfaces, usually found on sound cards. Some more recent MIDI controllers incorporate *USB* interfaces, and so are particularly appropriate for use with laptop computers (which normally lack MIDI interfaces). (St)soloma.csd requires one additional slider or pot on the external MIDI device - to work as a volume fader. This can be part of the larger bank, or a separate controller, such as a data entry, modulation or volume control. The performance file assumes that all required sliders/pots are set to function as continuous controllers, and to output values 0-127 on channel 1 - all of which is usually true by default. In some cases, nothing will have to be programmed into the MIDI device; the default configuration will work when the number of the first controller of the bank of eight is entered on the performance screen. (The performer must consult the device documentation to learn the default number of the first controller in the bank. Multiple numbering sequences are often available as "presets.") Controller numbers for banks are often consecutive, in at least some preset option. If no such configuration is available, you'll have to program the controllers manually to be consecutive. (Also be sure that they all transmit on channel 1.) All MIDI versions provide for two additional controller configurations that may be rarely encountered. 1) ALL CONTROLLERS USE THE SAME CHANNEL, BUT NOT #1: Locate the line toward the beginning of the performance file - "#define CHAN #1#", and change the channel number to the one you need (from 2-16) with any text editor, such as Notepad. (This revision is active until you change it again.) Note that the "#" characters around the channel number must remain. 2) EACH CONTROL (of a hardware bank of 8-16) USES A UNIQUE CHANNEL, BUT WITH (channel volume) CONTROLLER #7: For this situation, either the overall Amplitude Controller # box (when applicable) or the Bank 1 1st Controller box on the performance screen includes a special, coded controller number. To enable this layout: For the Amp Controller #, select 128; for Bank 1 1st Controller #, select -1. All controllers will now be on consecutive channels, starting with the Banks, then the Amp Controller, and lastly any other individual controllers. For (st)soloma.csd, determine the number of the ninth controller from the documentation, and enter it on the performance window as well. The composition's default value is controller 1, which is the modulation wheel on MIDI keyboards. The keyboard volume control (controller 7 - which sometimes doubles as the data entry slider) or an extra slider/pot in the controller bank may also be appropriated. In the latter case, the controller number can often be determined from that of the first slider/pot in the bank. Finally, for (st)solom.csd, there is a second option for starting and stopping. Instead of clicking the on-screen checkbox, one can press any available MIDI button that can send a MIDI on and off message on channel 1. (This is the equivalent of holding down any key on a MIDI keyboard - which, if desired, can substitute as a Start/Stop control.) This may be a more convenient way for the performer to handle the beginning and end of performance, as there would then be no necessity actually to "perform" on the *computer*. (Note that the extra MIDI slider used in (st)soloma.csd also provides for a "computer-independent" performance.) When multiple buttons are available, program one with the "Start" message, another with "Stop." Using a single button for "Start/Stop Fundamental" (Note On/Off) will require holding the button down during much of the performance, unless the button can be set to "toggle" between On and Off (which is preferable). The appropriate SysEx MIDI data string for Note On, channel one is (in hex) "90 00 01"; for Note Off, "90 (or 80) 00 00". (Buttons on the Peavey PC 1600[x] can be programmed with these MIDI messages, for example.) Otherwise, "NoteOn" event type can be selected, along with any note name or number with a positive velocity value - channel 1. (If required, "NoteOff" with same note name/number, or "NoteOn" with same note name/number *and velocity equals zero* - also channel 1 - terminates the event. "Press/release" buttons do this automatically.) SPECIAL INSTRUCTIONS FOR (ST)SOLO.CSD The eight tone-color sliders in (st)solo.csd are on-screen, and operated with the mouse (one at a time) - optionally assisted by the cursor-left and -right keys. Controls are selected by clicking on their handles (anywhere - the value won't change). They then can be dragged at the desired speed to a new value, or the cursor-left or -right keys can be held down to move them. There is another option as well: directly clicking the mouse on a new slider value. Upon doing this, the sonority will uniformly glide to its new setting at the rate set by the preselected Glide Time (permitted range: 1-10 "seconds"). The Glide Time represents approximately *half* the number of seconds it takes to go from one value to the next. ET UNAM - SIMULTANEOUS PERFORMANCE WITH MATER/GRATIA (DOUBLE BASS) Et Unam for double bass and CsoundAV (2003) is actually a simultaneous performance of two pieces: Mater/Gratia - Meditation for Holy Week (1999) for double bass, and That All May Be One. There are separate performance instructions for this combined work. The computer portion of Et Unam exists in monaural versions only. Its .csd filenames all include the word "bass." These versions with double bass do not lend themselves to sound diffusion. ADDENDUM: VERSIONS THAT USE A KORG KAOSS PAD (OR X/Y CONTROLLER) AS SECOND MIDI CONTROLLER Solo4mK and solo4maK are two additional versions that duplicate solom and soloma - except that they use a Korg KAOSS Pad to create quad movement/ placement from the originally mono signal. (They thus require an ASIO driver.) Either a KAOSS Pad 1 or 2 will work (and in exactly the same way). The KAOSS Pad is a control surface that consists of two contiguous MIDI controllers, one representing the x coordinate, the other the y. The Pad's default controller numbers 12 and 13 are also default for these versions. (Be sure to configure the Pad to transmit *only* x- and y-axis touch panel messages - on channel 1.) The first controller number is preset in the on- screen window prior to performance. IMPORTANT: As part of initial setup (once the run has started), touch the pad in the *topmost center position*; this will place the initial sound front-and-center. The Pad is performed either by dragging a finger over the surface, or by simply touching the pad in different positions. In the latter case especially, the Pan Lag Factor control is crucial. This control is both preset on-screen to an initial desired value, and varied during performance. Activity on the KAOSS Pad can be intermittent; the only requirement is that perceived spatial movement not be sudden or jerky. Also, the KAOSS Pad can optionally be assigned to a second performer. Since Csound currently only permits a single MIDI input, the two MIDI outputs must be combined into one. Three methods are available: 1) The simplest method is available whenever one of the MIDI devices has a MIDI Thru or MIDI In connector that will accept input from the other device. For this to work, the receiving device must also be capable of *MIDI merge*; some devices have this capability, others don't. Unfortunately, neither of the KAOSS models do, so this feature must be offered by your *other* MIDI device. 2) This method is the most universal, and will work as long as you can get both MIDI signals into your computer. Download (http://www.midiox.com) and install both MidiOx and MidiYoke. These utilities are free, and simple to use. They combine two or more MIDI data streams and present them to Csound as a single MIDI input. (MidiOx does many other fascinating things too - for example, enabling the *computer keyboard* to generate MIDI data.) The key (in MIDI Yoke) is to specify the MIDI devices you wish to combine, as "MIDI *Inputs*," and MIDI Yoke Junction 1 as the "MIDI *Output*." Then, in Csound, select MIDI Yoke Junction 1 as your MIDI *In* device. 3) The third option applies only when both devices use 5-pin DIN (traditional MIDI) connectors and cables: a simple, self-powered MIDI Merge/ Thru box with at least two MIDI inputs and one MIDI output. A few of these diverse boxes even adapt MIDI output to USB. Finally, *any* MIDI device that comprises two continuous controllers (with successive numbers) could substitute for the KAOSS Pad in these versions. In particular, a simple X/Y joystick will work well - especially if not spring- loaded. To convert joystick data to MIDI (which is required), run the handy (and free) MIDI Joystick v1.1 utility (by Hubi!) found at: http://members.magnet.at/hubwin/midi.html (MDJSTK11.ZIP). Set the X and Y axes for Channel 1 and Controllers 12 and 13 (or whatever pair of numbers you want to specify under "KAOSS 1st Cont #"). Select MIDI Yoke Junction 1 as "Out". Whatever spatial controller you use, be sure that sound starts in the front- and-center position, and moves smoothly throughout performance. OTHER KAOSS PAD SUBSTITUTES - THE "G" VERSIONS Solo4mG and solo4maG are basically "poor person's KAOSS Pad substitutes" that duplicate the KAOSS Pad versions described above. They should be selected only when a KAOSS Pad is unavailable and quad panning is desired. Suffice it to say that you will find the KAOSS Pad versions to be far more user-friendly and intuitive. (This is probably true of the X/Y joystick option as well.) The "G" stands for "graphics," and these versions are performable by any graphics pad, preferably in "pen mode." They will also work, however, in "mouse mode," or indeed (when pressed into service) with *any mouse or touchpad* as spatial controller. (Since none of these controllers involve MIDI, MidiOx and MidiYoke are not required.) The following recommendations/ instructions apply: 1) The "G" versions require CsoundAV v0.0432 or later. 2) Screen resolution must be one of the following: 640x480, 800x600, 1024x768 or 1152x864 (note that these are all 4:3 aspect ratios). The default resolution for "G" version performance is 800x600. ("G" versions are the only ones for which screen resolution is an issue.) If you prefer any *other* screen resolution, you must edit your .csd file by substituting the corresponding screen *width* as the init value for *giwidth* shortly after the beginning of the CsInstruments section. (Specify screen width only, not height.) 3) In Taskbar Properties, uncheck "Always on top" (and "Auto hide"). (Right-click on taskbar, choose "Properties.") 4) With graphics pad, "Pen mode" is recommended (and full-screen window). 5) All on-screen controls are *preset* in these versions. Only event "Start(/Stop)" boxes/buttons are clicked during actual performance. 6) When using a pen, set the tip feel/response to as firm as possible. This will help avoid unwanted clicks on the numerous controls present in the performance window. For the same reason, use a very soft touch when tapping the window (in contrast to dragging) during performance. 7) Avoid the extreme top and bottom of the performance window: a) the top title bar is inactive (watch out where you enter and leave it), and you can easily drag/reposition the window; b) the bottom edge is likewise (dangerously) draggable, so you can inadvertently either resize the window or minimize it (by clicking on what's below). Any of these occurrences can be fairly disastrous. 8) Before beginning, set the pointer at the top of screen, center (but not in the title bar!) This will produce initial sound front-and-center. 9) In performance, be careful to move only the pointing device (pen, mouse, touchpad) you intend. Remember that all these devices are simultaneously active. 10) In other respects, proceed as for the KAOSS Pad versions. 11) The KAOSS Pad and its "substitutes" *always* operate on channel one.