Soft Synth?
I am in search of a soft synth for Mac OS X that takes input from msp that is not pete yandell's simpleSynth; but similar. simpleSynth crashes occasionally and has no way to save instrument sets.
Any suggestions?
thanks.
-oliver.
Csound~ is fun. There are opcodes in csound for using soundfonts.
Csound~ is rock steady. I use it in performance with out any problems.
-lcc
hi,
I have a midi file that has changing time signatures, but a consistent
bpm. how do I send detonate the bpm info so it will play the midi file
in time? it seems like that info isn't stored with the midi file
because it's playing the sequence too fast.
thanks, nick
fluidsynth~ works great. The sound track for our new film progeny was made
with it. The film on my web page.
Cheers,
Gary Lee Nelson
TIMARA Department
Oberlin College
www.timara.oberlin.edu/GaryLeeNelson
>I am in search of a soft synth for Mac OS X...
Hello,
This is my first post on this list
Oliver, a suggestion:
With the object fluidsynth~ (Peter Hanappe, Norbert Schnell, Roland Cahen)
I have built a standalone (MacOSX) application:
http://perso.orange.fr/Paresys/ARGO/AppFluidsynth.html
and a collective "ARGO FluidSynth v7 OSX", a module of my modular synthesizer "ARGO"
http://perso.orange.fr/Paresys/ARGO/Ex72.html
Hope this helps,
Gerard
thanks for the advice, i have just decided on using the "qtmusic" object, it is not the best, but it is exactly what i need for now. thanks.
Yes but "Bach is dead", and Xenakis half reBorn...
can be interesting to use that qtmusic , but, pitched, de=tempered,
as wave synthetiseur can replay any frequency, at any speed, not only
tempered .
some body now how to make glissandi with that virtual-midi-qt synth?
Need to re-inject ABCDEFG midi note into msp to generate a continuum
of frequency?
Or, I mised some steps?
It's to keep every body ignorant about Xenakis work, that midi scale
take place?
(see l'"UPIC" for eg, or try to dive in "theorie des cribles"
(Peano/Xenakis 1955)
It seem's so mutch people there have big respect for automatised
tempered musik>
Sumum of stupidity(commercialAndPerformative) is to generate tempered
musik from cellular automaton...
Your problem is to respect comon sens, what artist don't because they
can carry to show crasy...
pBaes
dizidentPatafizikLab
I'm not musician at hall, but, I feel to mutch pollution and
desinformation from tempered automatised musik.
if ftom and qtInstrument can understand float, and not only integer,
like mtof, then midi get like :12 "midiUnit" = 1200 cents, then, can
play a little with "theory of crible" concept...
need "Jack" to re-inject and pitch internal synth qt library?
Or i missed something?
pBaes
ditzidentPatafizikLab
www.laPoseLongue.org
PS: I have nothing to sell, and I don't care to who you, juste I want
progress in my personal understanding, but I want the world
collective understanding progress with me (Doxa, common sens, etc.)
than make people more stupid and more exploited, (even more
specialized but ignorant about other's knowledge...)
listen that:
http://perso.orange.fr/Paresys/ARGO/Ex59.html
and with "qtmusic":
http://perso.orange.fr/Paresys/ARGO/Ex61.html
Sumum of stupidity?
Gerard
Maybe the MIDI pitch bend messages is what you're looking for. See Max'
[bendin], [bendout] and [xbendin] [xbendout] objects.
And BTW, [ftom] understands floats.
p
_____________________________
Patrick Delges
Centre de Recherches et de Formation Musicales de Wallonie asbl
http://users.skynet.be/crfmw/max
On 7-Jun-2006, at 12:04, pascal baes wrote:
> I'm not musician at hall, but, I feel to mutch pollution and
> desinformation from tempered automatised musik.
MIDI can be stupid, but it doesn't have to be.
For that matter, the 12-tone tempered scale doesn't have to be stupid
either. There are still people doing creative things with tempered
materials.
I don't think we've reached the stage where we need to throw out the
baby with the bathwater. Yet.
-)
P.
-------------- http://www.bek.no/~pcastine/Litter/ -------------
Peter Castine +--> Litter Power & Litter Bundle for Jitter
iCE: Sequencing, Recording & |home | chez nous|
Interface Building for |bei uns | i nostri|
Max/MSP Extremely cool http://www.castine.de
http://www.dspaudio.com/
Did we find the new Zsolt ??
Hey, dissident de la pataphysique, use Rtcmix~ scores and pitches; you
can generate way beyond a quarter-tone, and it sounds really great. Or
forget about midi. Build your own resonance model. Leave xenakis resting
in peace.
cheers
f.e
f.e chanfrault | aka | personal computer music
> >>>>>> http://www.personal-computer-music.com
> >>>>>> |sublime music for a desperate people|
It's not because Bach is dead that his music isn't unexcelled. We've
been suffering 50 last years of annoying non-music, made without soul
and worse, without dick. It's like claiming Robbe-Grillet is a savior in
2006. Indeed, outside Butor, Duras, Perec, Roubaud, better go back to a
good "tempered" novel :-)
Especially in France, so-called "intellectuals" did some sort of
macCarthy's witch hunt, litteraly destroying every composer who dare
doing tempered music. To provide what ? Manoury ? Dusapin ? Lachenmann ?
hi hi hi ...
Remember Boulez said once, everybody will whistle dodecaphonic music in
the street. Ha ha ha. And now, partly because of his fault, they whistle
Britney Spears instead.
f.e
> Remember Boulez said once, everybody will whistle dodecaphonic music
> in the street. Ha ha ha. And now, partly because of his fault, they
> whistle Britney Spears instead.
Not to be flamebait, but what percentage of the population heard
Beethoven's music in his day? I'm not certain that Classical music was
necessarily popular music in the sense that we think of it. Bach
might have been lost to history if it weren't for Mendelssohn's
resurrection of Bach's St. Matthew Passion. (at that time 99% of all
music in concerts was new music. If there's something to be nostalgic
for as a composer, it's that!)
Yes, there was an awful lot of dogma posited regarding dodecaphonic
music. On the other hand, I've also heard plenty of neo-tonal
sentimental crap as well (I'm looking at you, Mr. Del Tredici). If you
want to make an omelette, you've got to break some eggs. Personally,
I'd rather hear a failed experiment than another "String Quartet in D
minor Opus 1" from one of my students, mainly because the first one is
more likely to force them to step out of their sphere of experience
than the second one, and I think that's important for learning. (the
same way you study Palestrina style counterpoint even if you write
non-tonal music)
Peter McCulloch
Peter McCulloch wrote:
>> Remember Boulez said once, everybody will whistle dodecaphonic music
>> in the street. Ha ha ha. And now, partly because of his fault, they
>> whistle Britney Spears instead.
>
> Not to be flamebait, but what percentage of the population heard
> Beethoven's music in his day?
I'm sure more than we think. Problem is i often understand why "common"
people (in the sense of Pulp's song) dislike contemporary music when
it's 90% redone experiences (we have done all with instruments, i f i
may say) that have no sense at all : caricatural horns & trumpets shots,
obligatory dissonant and quicky themes, etc...
> I'm not certain that Classical music was necessarily popular music
> in the sense that we think of it. Bach might have been lost to
> history if it weren't for Mendelssohn's resurrection of Bach's St.
> Matthew Passion. (at that time 99% of all music in concerts was new
> music. If there's something to be nostalgic for as a composer, it's
> that!)
>
> Yes, there was an awful lot of dogma posited regarding dodecaphonic
> music. On the other hand, I've also heard plenty of neo-tonal
> sentimental crap as well (I'm looking at you, Mr. Del Tredici). If
> you want to make an omelette, you've got to break some eggs.
> Personally, I'd rather hear a failed experiment than another "String
> Quartet in D minor Opus 1" from one of my students,
I agree, but what about music that is not anti-tonal nor
anti-anti-tonal ? Boulez, again, wrote we must not leave behind 2000
years of music history just because we've discovered something new...
> mainly because the first one is more likely to force them to step out
> of their sphere of experience than the second one, and I think that's
> important for learning. (the same way you study Palestrina style
> counterpoint even if you write non-tonal music)
Palestrina is perfect for writing non-tonal music : at least they learn
structure :-)
f.e
Sorry for coming late to this exeptionel interesting thread...
pascal baes wrote:
> Yes but "Bach is dead", and Xenakis half reBorn... can be interesting
> to use that qtmusic , but, pitched, de=tempered, as wave synthetiseur
> can replay any frequency, at any speed, not only tempered . some body
> now how to make glissandi with that virtual-midi-qt synth? Need to
> re-inject ABCDEFG midi note into msp to generate a continuum of
> frequency?
All Midi ceneterd synths are par default event centered. And the BIG
difference between Xenakis and the (still) traditional way of composing,
is that he crossed the border to the continuum. This is a completely
overseen fact.
Yes you can "bend" the use of Midi synthesizers to achieve this: By
defining events which have continuous parts inside the synth (certainly
none of the existing GM synths should be considered), but you are always
forced into a way of thinking based on events.
Better you pull out the full potential of Max and create your own UPIC.
(Its still on my todo list, but as we do have the original here... ;-)
> Or, I mised some steps? It's to keep every body ignorant about
> Xenakis work, that midi scale take place? (see l'"UPIC" for eg, or
> try to dive in "theorie des cribles" (Peano/Xenakis 1955) It seem's
> so mutch people there have big respect for automatised tempered
> musik> Sumum of stupidity(commercialAndPerformative) is to generate
> tempered musik from cellular automaton... Your problem is to respect
> comon sens, what artist don't because they can carry to show crasy...
I stopped using synths that I didn't create myself for quite a long time
(and was tweaking the DX 7 a lot).
I am missing nothing at all...
I'd love to hear your "show crasy"...
Stefan
--
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com
pascal baes wrote:
> if ftom and qtInstrument can understand float, and not only integer,
> like mtof, then midi get like :12 "midiUnit" = 1200 cents, then, can
> play a little with "theory of crible" concept...
ftom does understand float, but Midi doesn't....
(I made a little cent to frequency abhaXion "ctof" to achiev this)
My way to let Midi instruments play quarter notes or 16th notes: send
any detuned part to a seperate Midichannel with a perfectly set
pitchbend information. Unfortunately its very dependent on the synth, as
you have to set the range of the pitchbend in the synth correctly.
Stefan
--
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com
f.e wrote:
> Remember Boulez said once, everybody will whistle dodecaphonic music in
> the street. Ha ha ha. And now, partly because of his fault, they whistle
> Britney Spears instead.
The fault was not the not so important meaning of a specific composer,
the fault was to give one composer all the power to kill the rest.
In the end its a political question and not so much an aesthetical.
A composer/musician does need a distinct taste. And also the need for a
perspective which is "different" than that of others.
I always thought the concept of dodecaphonic music was weak (why not
19-phonic or x-phonic), but that Schoenberg invented a completely new
set of rules was something new at his time. Sticking to it seems as
limiting as sticking to any other rule, but if I stick to something
existing, I'd prefer the strongest set of rules I know, but thats a
matter of taste (and cultur)...
Stefan
--
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com
>pascal baes wrote:
>>if ftom and qtInstrument can understand float, and not only
>>integer, like mtof, then midi get like :12 "midiUnit" = 1200 cents,
>>then, can play a little with "theory of crible" concept...
>
>ftom does understand float, but Midi doesn't....
>(I made a little cent to frequency abhaXion "ctof" to achiev this)
>My way to let Midi instruments play quarter notes or 16th notes:
>send any detuned part to a seperate Midichannel with a perfectly set
>pitchbend information. Unfortunately its very dependent on the
>synth, as you have to set the range of the pitchbend in the synth
>correctly.
>
>Stefan
sorry, I have no time to continue that discution this week; because I
must remove my collection of dead-media from a dead-factory on the
way to be distroyed(16mm editing table, atlas, steinbek...etc).
but that question can stay floating, "inactual"(Nietzsche) and out of
time ( categorie hors temps: Xenakis)
I din't succes to past in Unicode that Xenakis notation
example...(Union,Intersection, Complementary ,underscore...)next week
peraps
there some common scale (octaviante) in cent (extract from
StandardPackages Miscellaneous Music, in Mathematica )
PythagoreanMajor {0,204,408,498,702,906,1110,1200}
MeanMajor {0,193.2,386.3,503.4,696.6,889.7,1082.9,1200}
MeanChromatic
{0,76,193.2,310.3,386.3,503.4,579.5,696.6,772.6,889.7,1006.8 ,1082.9,1200}
JustMajor {0,204,386.4,498,702,884.4,1088.4,1200}
TemperedMajor {0,200,400,500,700,900,1100,1200}
TemperedChromatic {0,100,200,300,400,500,600,700,800,900,1000,1100,1200}
QuarterTone
{0,50,100,150,200,250,300,350,400,450,500,550,600,650,700,75 0,800,850,900,950,
1000,1050,1100,1150,1200}
PythagoreanChromatic
{0,24,90,114,204,294,318,384,408,498,522,588,612,702,798,816 ,906,996,1020,
1086,1110,1200}
MeanMinor {0,193.2,310.3,503.4,696.6,772.6,1006.8,1200}
SixthTone
{0,33,66,100,133,166,200,233,266,300,333,366,400,433,466,500 ,533,566,600,633,
666,700,733,766,800,833,866,900,933,966,1000,1033,1066,1100, 1133,1166,1200}
JustMinor {0,204,315.6,498,702,813.7,996.1,1200}
TemperedMinor {0,200,300,500,700,800,1000,1200}
i like also to use 2^(i/13) (was considered as satanist music in midlle age)
see you again when i can sit again in front of my desk, than run in
the dust to save dead-media...
> there some common scale (octaviante) in cent (extract from
> StandardPackages Miscellaneous Music, in Mathematica )
ah, very nice. i like to use a format: note.cent :in float form for
representation *within* the tuning system, and use a javascript for the
computation. i use frequency for data storage. this allows a drop-in /
loadable pitch translator that does not need a standardized format -
either lists (such as yours) or the math will work.
this is one of the greatest benefits of the new javascript facility in
max. in this case, it allows users even of standalone software to
supply their own tunings because they can take the tuning definition
template i supply and use that to create their own in a text editor, and
then these are automatically added to the available tunings. and of
course none of these need to make sense from a traditional tuning
perspective - definitions can be arbitrary or algorithmic.
essentially javascript in max allows a more user-defined, open-ended
capability, far more flexible and friendly than anything else out there.
it supplies a passable workaround for the missing standardized and
open max file format. all sorts of interesting things become both
possible and easy.
of course from a security perspective it's horrifying, but i don't
particularly care in this case. :)
Some hardware synths have tuning tables too. In the early 90's I was
teaching in Taiwan in a room full of SY77's. I wrote a set of abstractions
that use sysex messages to program the tuning tables. The first two inlets
of SY77tuner are the midi key I want to play and the pitch I want to hear
including a fractional part. I've still got the abstractions and would be
happy to share if anyone would like to see and example.
Cheers,
Gary Lee Nelson
TIMARA Department
Oberlin College
www.timara.oberlin.edu/GaryLeeNelson
pascal baes wrote:
> i like also to use 2^(i/13) (was considered as satanist music in midlle
> age)
Middle age? that was way before the advent of equal tempered scales...
Where did you hear about that?
I used 2^(i/19) as it fits better to the ovetone row that 12-tone equal
tempered, but with a computer it isn't really necessary to get into
compromises...
Stefan
--
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com
Gary Lee Nelson wrote:
> Some hardware synths have tuning tables too. In the early 90's I was
> teaching in Taiwan in a room full of SY77's. I wrote a set of abstractions
> that use sysex messages to program the tuning tables. The first two inlets
> of SY77tuner are the midi key I want to play and the pitch I want to hear
> including a fractional part. I've still got the abstractions and would be
> happy to share if anyone would like to see and example.
Yes, I achieved the aforementioned 19-tone scale with an TX 802.
(Still have it, anyone interested?...)
Stefan
--
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com
> For that matter, the 12-tone tempered scale doesn't have to be stupid
> either. There are still people doing creative things with tempered
> materials.
>
> I don't think we've reached the stage where we need to throw out the
> baby with the bathwater. Yet.
welcome to the MAXimum ivory tower party.
they ask for a replacement for the simplesynth audiounit
and we recommend them to use the csound~ object and
question the 12-tone scale.
this is not very helpful!
everyone knows that when you want to make music you need
at least 8 capybaras with lemurs attached!
-110
Again...fluidsynth~
Free
General midi
Reads sound fonts
Safely 12-tone
Output to MSP
Cheers,
Gary Lee Nelson
TIMARA Department
Oberlin College
www.timara.oberlin.edu/GaryLeeNelson
> welcome to the MAXimum ivory tower party.
>
> they ask for a replacement for the simplesynth audiounit
> and we recommend them to use the csound~ object and
> question the 12-tone scale.
>
> this is not very helpful!
> everyone knows that when you want to make music you need
> at least 8 capybaras with lemurs attached!
>
>
>
:-]
>pascal baes wrote:
>>i like also to use 2^(i/13) (was considered as satanist music in midlle age)
>
>Middle age? that was way before the advent of equal tempered scales...
>Where did you hear about that?
I said stupid...
I said wrong by speak too quick
but can be burn for that...
I confuse with
"Triton" scale (crible from tempered) was bad connoted I think is 3
black 3 white in piano?
>I used 2^(i/19) as it fits better to the ovetone row that 12-tone
>equal tempered, but with a computer it isn't really necessary to get
>into compromises...
>
>Stefan
>
>--
>Stefan Tiedje------------x-------
>--_____-----------|--------------
>--(_|_ ----|-----|-----()-------
>-- _|_)----|-----()--------------
>----------()--------www.ccmix.com
there i try again to send eg of Xenakis crible notation:(can express
any scale by logic operation)
i would like make some thing in max about it...
there ( glued gif image of math notation)
game majeur from 1/4 ton crible:
subscript is rest of modulo(classe residuelle):eg: (2 subscrip 1 mean 1,3,5...;
2 subscrip 0 mean 0,2,4,6...)
overscript ---bar is complementary part [Not]
V is union U
N is intersection
logical expression
I want try to rewrigth that way to construct list in max,
if some one already did?
Pascal