Oh, by the way, as I said, usually, programmers work in partnership with composers, as the case above. Both worked together in the 80's at IRCAM (with max) and still do now in San Diego (with Pd).

but more than that, people don't go for this kind of thing if their interest is mostly synthesis. There are tons of synthesizers in the world, made by people who know all the DSP tricks (engeneers in fact). The cool thing about programng is that you can create new interactive stuff, controllers, tell me machine when to react and what to do if this and that... all in realtime, and then use it to control even a hardware synthesizer.

Here's an example, there are tons of Phase Vocoders, several plug ins, but none work in realtime. But actually, pd comes with a Phase Vocoder that was just about ready to be used live in realtime. So I tweaked it, I've been told these patces of mine look like ableton live... they use nothing but objects from Pd-Vanilla. Phase Vocoding Abstractions: [PVoc.pd] & [LPVoc.pd]

And I'm far from considering myself a "pd king", this is basic stuff for me...

cheers

Date: Thu, 25 Mar 2010 19:36:54 +0100 (CET)
From: colet.patrice@free.fr

hello,

In fact I've no clue about how max instrument patches sounds, only using it for livelooping, but I and other musicians like me didn't like the sonority of netpd for example, because rendered texture are poor, only one sytnh sound good (I don't remember which one), and once we've turned around all sonorities of this synth, there's not much things to play with.
I'm not blaming the great work of roman on netpd, but just demonstrate that in despite a lot of efforts to have tools for making music with pd, there's no way to make something smooth enough to be commercial, unless cheating with some steinberg or direct x stuff, of knowing by heart all the dsp tricks. Anyway, I'd like to hear something composed by a king of pd patches, for the fun.