MCCs 2

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MCCs 2- Musique Concrète for Csound

Software for music composition with Csound

Version 2.1

Windows command prompt


=== MCCs - MUSIQUE CONCRÈTE for Csound ===

Version 2.1

A Csound Score Generator for Windows Command Prompt


(C) Copyright 1997-2015 Luca Pavan


-Language: English
-OS: Microsoft Windows (it runs in Windows Command prompt).
-It does not require the knowledge of Csound language.
-Input is a mono soundfile (.wav) and output a stereo soundfile.
-It is possible to compose whole pieces of music with Csound.
-Unlimited number of notes in the score.
-Sound synthesis includes: grains, time warping, filtering, ring
 modulation, echo, flanger, delay, local reverberation, global
-It can generate tonal or microtonal music.
-It allows to change the input soundfile in the same score.
-It allows to create rythmic loops of sounds or chords.
-It generates scores which work with Csound from version 4.19.
-It allows to have randomized parameters or ramps with interpolation.
-It generates a log file with all the score settings.


Csound, developed by Barry Vercoe and others at the Massachussets Institute of Technology (Boston, MA), is one of the most popular programs for sound synthesis, used by many composers and researchers in the world. Csound is a free software and can be downloaded on the Internet.

Musique concrete (concrete music) is a term invented by the French composer Pierre Schaeffer in the first half of 20th century, to define a kind of music done with recorded sounds coming from the "real world". These recordings were subjected to various manipulations, to create sound materials for musical works. Musique concrete, at the beginning, was realized with analogic equipment (in the early 1950s the tape recorder was adopted in this field) and the main techniques to make this music were cut and splicing, change of tape speed, tape delay,
tape loops etc. In USA this kind of music was called "tape music".
With the evolution of new technologies these techniques are today available with digital equipments. Csound achieves the same results that Schaeffer obtained in his studio with the manipulation of analogic tapes, and much more. Csound works by a digital process and in this way the opportunities of sound manipulation are strongly increased.

MCCs comes from the idea to help composers working with informatic technologies. The goal of MCCs is the generation of scores that work with digital recorded sounds. The composer can interact with a simple interface, assigning the parameters to the composition; he has the opportunity to use some Csound capabilities without knowing Csound itself. The program automatically generates the orchestra file and the score file. Later these files can be processed with Csound. The composer can select among several options: granular synthesis of the input soundfile, time warping, filtering (with a 2nd order passband
filter), ring modulation, echo, flanger, delay, local reverb and global reverb. These sound manipulations can be carried out separately or contemporarily.
There are various default options and the possibility to assign aleatory values to many parameters.


MCCs (originally written in Borland Pascal 7.0, now in Borland C++)generates text format scores [.sco] for Csound synthesis. MCCs generates, with the score, also an orchestra file [.orc]. To obtain a processed score Csound is required in your Hard Disk.

MCCs accepts as input mono soundfiles [.wav]. You have to answer
several questions to set the parameters of the score. Some general options are possible, one by one or simultaneously (in this case the time for synthesis is longer). The file you get after the synthesis will be a stereo soundfile.

Near each question a unity of measurement is specified in square brackets, like this:

[Hz] = Hertz
[s] = seconds
[ms] = milliseconds

To use this program is good to have some knowledge of sound synthesis techniques, or the results could be different from what the user expects. It is better to know what is a flanger or a delay, and the difference between local reverberation and global reverberation for a good sound spatialization.
If someone needs to have a basic knowledge about these techniques,
I suggest to read this:

C. Dodge & T. A. Jerse, "Computer Music - Synthesis,
Composition, and Performance", Schirmer Books, 1985, New York.

To get your personal copy of MCCs 2 email a message to

with subject "MCCs 2" and with text "I would like to receive a copy of MCCs 2", then read the message in reply with instructions.

                                    © 2001 Luca Pavan