Mark,

Csound has what are called "p-fields" in the score file, and the first 3 are
always:
1) instrument number,
2) on time in seconds, and
3) duration in seconds.

p4 and above are user-definable, so they can access any variable within your
instrument that you care to control from the score during a rendering, including
for example pitch, amplitude, panning, filter cutoff, etc...since there is no
effective limit to the number of p-fields, the sky is the limit, and this all
really depends on the design of the instrument being accessed.

I should also mention at this point that I have a frontend to CSound that I've
written in Python for microtonal composition that addresses the specific needs
of a composer frustrated by MIDI; I'll announce it on the list shortly in the
future, be on the lookout...

RE: MIDI, in spite of it's limitations, it's an understood standard, as well as
having the advantage of efficiently capturing realtime expression data,
expressivity being hard to sculpt, although not altogether impossible, in a
non-MIDI, non-realtime scenario like typing text, etc. Besides, MIDI tends to
have similar limitations to the acoustic keyboard instruments that it was
decended from, like limited keys, etc, and that never stopped clever folks from
doing microtonal music from within those limits!

Best,
Aaron


In tuning@yahoogroups.com, "Mark" <equiton@...> wrote:
>
> I was playing with csound last night.
>
> I understand a bit more now. Not quite algorythmic but I suspect note
parameters can be used in the oscillators not just to set pitch
duration/loudness info but panning placement?
>
> I know this is all off topic. But one thing I need to look up is the format of
the scala scl files.
>
> will have another go over the weekend.
>
> Mark
>
> --- In tuning@yahoogroups.com, "monz" <joemonz@> wrote:
>