For over 25 years, Csound has been a staple in the computer music community. In September of 2011, the first International Csound Conference was held in Hanover, Germany at the Hochschule für Musik, Theater und Medien Hannover, and organized by Joachim Heintz. This gathering of members of the Csound community was filled with a diverse range of speakers and participants from all over the world. (A conference report, written by Kita Toshihiro, was presented at the Asia Computer Music Project 2011 Conference.) It was a fantastic event that very much brought together the past, present, and future of the community all together.
Since the conference, development on Csound has become very active, and I believe 2012 will be a very exciting year for both Csound itself and the members of the community. Hopefully this issue's articles will inspire you in your own work, as it has for my own. All best!
Issue 16 of Csound Journal continues to demonstrate the many creative uses of Csound. In this issue Giorgio Zucco writes about using the csound~ Max for Live object to build his Ableton Live audio track plug-in for exciting resonances. Brian Carty includes two articles in this issue. In one article he describes and explains his new opcodes, introduced in Csound 5.15, for binaural reverb which continue advancements based upon the Head Related Transfer Function. In a second article, also in this issue, Brian writes about his Python application to audition dynamic multi-channel audio scenarios using headphones. Andreas Russo's article, in this issue, is about an audio/MIDI routing system for Logic and Csound using Soundflower and the OS X Inter-Application Connection driver. Finally my own article is concerning interfacing with a possibly lesser used Csound Utility, Cscore.
We hope you enjoy reading the articles in this issue, and look forward to your submissions for the next Csound Journal.