Soft Synth?


    Jun 05 2006 | 4:04 am
    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.

    • Jun 05 2006 | 4:12 am
      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
    • Jun 05 2006 | 6:03 am
      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
    • Jun 05 2006 | 1:07 pm
      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
    • Jun 06 2006 | 9:56 am
      >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
    • Jun 07 2006 | 6:28 am
      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.
    • Jun 07 2006 | 9:36 am
      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
    • Jun 07 2006 | 10:04 am
      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...)
    • Jun 07 2006 | 10:40 am
    • Jun 07 2006 | 10:47 am
      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
    • Jun 07 2006 | 11:24 am
      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/
    • Jun 07 2006 | 10:47 pm
    • Jun 08 2006 | 8:10 am
      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|
    • Jun 08 2006 | 8:26 am
      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
    • Jun 08 2006 | 9:34 am
      > 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
    • Jun 08 2006 | 12:55 pm
      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
    • Jun 09 2006 | 5:30 am
      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
    • Jun 09 2006 | 5:38 am
      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
    • Jun 09 2006 | 5:52 am
      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
    • Jun 09 2006 | 8:20 am
      >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...
    • Jun 09 2006 | 9:36 am
      > 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. :)
    • Jun 09 2006 | 1:45 pm
      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
    • Jun 12 2006 | 7:09 am
      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
    • Jun 12 2006 | 7:11 am
      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
    • Jun 12 2006 | 10:32 am
      > 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
    • Jun 12 2006 | 12:46 pm
      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
    • Jun 12 2006 | 3:16 pm
      > 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! > > > :-]
    • Jun 12 2006 | 4:27 pm
      >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