I've just programmed an algorithm for the create-library function, building up a complete set of all the mathematically possible tonalities.

They are organized by this way:

- Ditonic scales: 11

- Tritonic scales: 55

- Tetratonic scales: 165

- Pentatonic scales: 330

- Hexatonic scales: 462

- Heptatonic scales: 462

- Octatonic scales: 330

- Nonatonic scales: 165

- Decatonic scales: 55

- Undecatonic scales: 11

Total mathematical tonalities generated: 2046

Here comes an excerpt of the code (2275 lines):

;; Ditonic tonalities (11 scales)

;; ---------------------------------------------------------------

(create-tonality math-ditonic-1 '(0 1))

(create-tonality math-ditonic-2 '(0 2))

(create-tonality math-ditonic-3 '(0 3))

(create-tonality math-ditonic-4 '(0 4))

(create-tonality math-ditonic-5 '(0 5))

(create-tonality math-ditonic-6 '(0 6))

(create-tonality math-ditonic-7 '(0 7))

(create-tonality math-ditonic-8 '(0 8))

(create-tonality math-ditonic-9 '(0 9))

(create-tonality math-ditonic-10 '(0 10))

(create-tonality math-ditonic-11 '(0 11))

;; Tritonic tonalities (55 scales)

;; ---------------------------------------------------------------

;; Group 1 (width 2)

;; ----------------------------------------------

(create-tonality math-tritonic-1-1 '(0 1 2))

;; Group 2 (width 3)

;; ----------------------------------------------

(create-tonality math-tritonic-2-1 '(0 1 3))

(create-tonality math-tritonic-2-2 '(0 2 3))

;; Group 3 (width 4)

;; ----------------------------------------------

(create-tonality math-tritonic-3-1 '(0 1 4))

(create-tonality math-tritonic-3-2 '(0 2 4))

(create-tonality math-tritonic-3-3 '(0 3 4))

....

;; Undecatonic tonalities (11 scales)

;; ---------------------------------------------------------------

;; Group 1 (width 10)

;; ----------------------------------------------

(create-tonality math-undecatonic-1-1 '(0 1 2 3 4 5 6 7 8 9 10))

;; Group 2 (width 11)

;; ----------------------------------------------

(create-tonality math-undecatonic-2-1 '(0 1 2 3 4 5 6 7 8 9 11))

(create-tonality math-undecatonic-2-2 '(0 1 2 3 4 5 6 7 8 10 11))

(create-tonality math-undecatonic-2-3 '(0 1 2 3 4 5 6 7 9 10 11))

(create-tonality math-undecatonic-2-4 '(0 1 2 3 4 5 6 8 9 10 11))

(create-tonality math-undecatonic-2-5 '(0 1 2 3 4 5 7 8 9 10 11))

(create-tonality math-undecatonic-2-6 '(0 1 2 3 4 6 7 8 9 10 11))

(create-tonality math-undecatonic-2-7 '(0 1 2 3 5 6 7 8 9 10 11))

(create-tonality math-undecatonic-2-8 '(0 1 2 4 5 6 7 8 9 10 11))

(create-tonality math-undecatonic-2-9 '(0 1 3 4 5 6 7 8 9 10 11))

(create-tonality math-undecatonic-2-10 '(0 2 3 4 5 6 7 8 9 10 11))

Feel free to use it partially or integrally. This set is another way to the sublect, based on a mathematical approach. This systematic approach is completing the musical, cultural and subjective way, scales and modes are commonly considered. The many redundancies found in the usual approach is avoided here and I hope, it completes the excellent, very extensive, tonality-library found in Opusmodus.

If you are interested in more of my stuff, follow me on GitHub:

GitHub

collect-all-math-tonalities.lisp

I’m sharing my complete collection of sound sets for the Xsample Contemporary Strings and the entire Elastic Instruments Collection from the full package. These files are provided as-is. Feel free to adapt them to your specific needs, but please note that I won’t be able to make any modifications or improvements—I simply don’t have the time. I’m posting them here to help fellow users of the Xsample library.

Best regards,

Stéphane

XSample.zip

Currently, the majority of my VI sound sets are for key-switch based VIs (VSL, Kontakt etc) and these are all driven by OMN articulations linked to key switches in their sound-sets. I have found this to work very well and efficiently when composing with these VIs and also as a good way of experimenting with articulation mapping directly in OM. The convenience of this approach is one of the major strengths of initial compositional drafting in OM. I'm not particularly concerned with final score output so articulations for my needs are about practical results in audio output which I then render to sound files. OM scores are just one more tool to this end rather than an end in themselves, so format issues are not relevant to my needs (which they might be to other users) and so articulations in OMN forms are about sound file and sample control rather than score markings.

I have played around with a variety of soft synths that don't work with key switches and not been happy with how these integrate into my OM workflow - and so far have mainly been using them separately from my OM-driven workflow by combining OM-created MIDI files in a DAW (Reaper). Ideally I'd like to be able to work in a more unified way with my scripts driving VIs with sampler/synth sound sources also driven from scripting rather than overdubbed later in Reaper. Halion 7.1 looks like this will fit the bill given its extensive multi-timbral MIDI options. One option that I'm looking at is to replicate a workflow that I used in the 1990s when working with 'pure' MIDI sequencing driving hardware MIDI rack devices such as romplers and this has a certain appeal for a workflow in OM along with sample library VIs. However, since key switching is not really the optimum way to work with Halion, I'm looking for other possibilities. Program changes are one possible option and I'm aware that this is something that can be easily set up in a sound-set, even though I have not yet really used this option for my other VIs - but this may also not be the optimum way to work with software as flexible as Halion.

My most likely usage scenario is to have both small sample groups mapped into programs on a MIDI port/channel in Halion with larger audio files in other Halion programs on other ports/channels for overlaying re-synthesised/granulated processing of material alongside the VI outputs. I'd like to be able to trigger such material inside the OM script with a high degree of control rhythmically and to enable intricate and cohesive control over placement with the OMN forms in those scripts. 

I'm wondering whether anyone has successfully used Halion as a multi-timbral instrument driven by an OM sound set - and if so, whether you could share any useful information about how to create a soundset for Halion and what might be helpful to think about when putting an initial version together? Happy to share results as and when there is something to share myself!

bw 

Andrew

I have installed Opusmodus with 2 licences on 4 computers and want to use my libraries on my SynologyDrive in my Network in order to get them synced and up to date on every machine.

Therefore I placed it in my .../SynologyDrive/Opusmodus/Def-Libraries/Def-Library directory.

Isn't it necessary to place it in a User Source Folder?

What's the next step in order to tell Opusmodus how to find this path and accept it as its new system path?

I'm already using my libraries and they work well when installed in their dedicated folders.

Thanks for helping me to solve this very special problem

I'm creating an instrument library for all the VSL Woodwinds instruments. In several  DEF-SOUND-SET examples I have, I see different articulation combinations, but I don't know how to recall the without an error message. I've been only capable of using the OM articulation combinations, like "long+stacc", or "short+vib", ... etc. For example, how can I use in an OM score the "fl1-perf-marcato" articulation included in the following DEF-SOUD-SET?

(def-sound-set vi-flute1
               :supports-mts t
               :programs
  (:group perf-universal
          fl1-perf-leg-sustain (:key c2 cc1 30)
          fl1-perf-marcato     (:key c2 cc1 80)
          
          :group perf-trill-speed
          fl1-perf-legato-trill (:key cs2)
          
          :group articulation-combi
          fl1-staccato    (:key d2 :key c1  cc1 30)
          fl1-sus-vib     (:key d2 :key cs1 cc1 30)
          fl1-pfp-vib-3s  (:key d2 :key d1  cc1 30)
          fl1-fp-vib      (:key d2 :key ds1 cc1 30)
          fl1-flatter     (:key d2 :key e1  cc1 30)
          fl1-trill-1     (:key d2 :key f1  cc1 30)

Thanks!

My apologies if there is a better thread for this topic, but I am wanting to organize a composition to reference other files (one which will contain lists which are large enough to be unwieldy and the other for my functions).

Approaching this with ADSF would have me creating a system to load.

Something like:

(defsystem "composition-lisp"
  :description "composition-lisp: Tom trying to organize and load multiple files."
  :version "0.0.1"
  :author "Tom Tolleson <tom@example.com>"
  :licence "Public Domain"
  :depends-on ("optima.ppcre" "command-line-arguments")
  :components ((:file "/common-lisp/composition-lisp/composition-lisp.ads")
               (:file "macros" :depends-on ("packages"))
               (:file "hello" :depends-on ("macros"))))

However, I'm wanting to do things in the most simple way possible and I'm sure I've missed it. I'm happy to delete this and repost as a comment in a more appropriate thread if needed.

Thanks,

THT

Is there any templates for Garritan Jazz and Big Band 3 ?

Some lisp files with correct keyswitches for this ?

Best,

Julio

I want to set the vibrato amount of the string library I use for ps to 0.

Its on cc21.

I can't figure out in which form I have to put it in the Def-Instrument-Sets file:

          :v1 (:layout treble-layout
                       :port "OM-VE1"
                       :channel 12
                       :controllers (21 '(0))  ;this does not work
                       :sound 'sq-sf
                       :volume 127)

thanks for help!

best  ole

Did anyone of you already look into the rather new IRCAM Solo Instruments 2 by UVI? That might be nice to control from within Opusmodus with its wide range of extended techniques available. From what I can tell from the videos, this seems to be a clear improvement over the former version and also conTimbre in terms of sounds and playability. Anyone already tried it?

UVI IRCAM Solo Instruments 2 - Avant-Garde Solo Instrument Collection

WWW.UVI.NET

---

16 instruments, 550+ playing techniques, experience unparalleled depth and detail with classical and avant-garde articulations recorded at IRCAM Labs

Some videos that give some impression: 

https://www.youtube.com/watch?v=AFNzya5iOUc&vl=en
https://www.youtube.com/watch?v=ugMPNtWtLvk
 

Some review:

https://soundbytesmag.net/review-ircam-solo-instruments-2-from-uvi/

Very basic question:

I use some old VSL sample .gig files with gplayer.

I really like this libraries and the way it sounds.

The combination patches alternate sounds via keyswitches in the lower range of keyboard (or the upper range in some instruments).

Something like:

C normal sound

C# pizz

D marcato etc

Can I use this keyswitches in the OMN lingo, without having to send the midi note itself to activate the keyswitch, something like:

(marcato e c4 d4 s legato fs4 g4 cs5 eb5 )

Opusmodus will send the keyswitches as a hidden midi note in the expression ?

All the best,

Julio

The Controllers group is missing but I'll be able to implement that part soon. Need a better understanding of what it's supposed to do and will start testing the output so far.

VSL has created Sibelius specific presets for Vienna Instruments which are meant to be used in conjunction with the Sibelius Sound Set. The converter I wrote converts these Sibelius Sound Set XML files into Opusmodus sound files that will work with those same Sibelius presets for Vienna Instruments. They won't work with the standard VSL presets but as far from what I understand now those Sibelius specific Sound Set formats & presets are very useful for Opusmodus too. 

You don't have to have Sibelius in order to use these Opusmodus sound sets. I just use the word Sibelius to make clear that the Vienna Instruments Sibelius presets shall be used.

Any suggestions are more than welcome.

(see post below for the latest version of the sound sets.)

here's the VSL Syncron-ized Special Edition Plus Soundset.

All the best !

Stéphane

VSL-SynchronSpecial-Edition.lisp

The problem I am facing is that I need to constantly combine multiple of such articulations in a single note. For example, I may need to specify that the right hand stops playing on the manual I (one articulation), that it instead plays on manual II and III coupled (two further articulations) and which stop combinations to use for those manuals (two more articulations). So, in this example we have five articulations on a single note, and each needs to send a specific MIDI event. Such an occurrence is something completely normal in organ literature. In OMN, this could be written, e.g., as follows using my sound set shown in the post linked below. 

'((q c4 -I+II5+III6+II+III))

Now, my only problem is that whenever there are two articulations combined for a single note, where each should output its own MIDI event, Opusmodus always only outputs just one of these MIDI events. I confirmed this by checking the resulting MIDI events both in an exported MIDI file and with a realtime MIDI monitor (https://www.snoize.com/MIDIMonitor/). Note that my setup works with other software (notation software and DAWs), as they allow for having multiple articulations allocated to a single note outputting separate MIDI events. 

Is this perhaps somehow possible with Opusmodus as well?

Best,

Torsten

PS: I realise that Opusmodus does send multiple MIDI events if multiple MIDI events are explicitly specified for a single articulation, as in the "VSL Cello Solo" file. However, I cannot really explicitly define all the possible articulation combinations as individual articulations instead, as what would result in an impractical large number of them. There are currently individual 48 articulations (for an organ with three manuals and 10 preset combinations each), and these articulations can be combined in various ways in pairs, triplets, quadruples etc., which would result in an impractically huge number of articulations to define. 

PPS: One potential workaround for some situations would be to instead allocate some of these articulations to rests immediately preceding the notes for which they are needed, but that is not possible either, because custom articulations cannot be added to rests. Instead, additional notes are added. 

PPPS: For completeness: a related post.

Now, I might be simply missing something obvious here (e.g., a typo), but I keep getting error messages like the following when evaluating my sound set below this message, but I cannot find out what I am doing wrong. 

> Error: In sound set grandorgue-organ, program ped, there is no controller named: cc20

Can anyone perhaps see what I am missing here? Thanks a lot! 

Best,

Torsten

(def-sound-set GrandOrgue-organ
  :programs
  (:group couplers           
          Ped (cc20 127)
          -Ped (cc20 1)
          I (cc21 127)
          -I (cc21 1)
          II (cc22 127)
          -II (cc22 1)
          III (cc23 127)
          -III (cc23 1)
          G_C (cc30 127)

   ;; sends program change messages to switch combinations for a certain division 
   :group combinations 
          P_1 1
          P_2 2
          P_3 3
          P_4 4
          P_5 5
          P_6 6
          P_7 7
          P_8 8
          P_9 9
          P_10 10

          I_1 21
          I_2 22
          I_3 23
          I_4 24
          I_5 25
          I_6 26
          I_7 27
          I_8 28
          I_9 29
          I_10 30
          
          II_1 41
          II_2 42
          II_3 43
          II_4 44
          II_5 45
          II_6 46
          II_7 47
          II_8 48
          II_9 49
          II_10 50

          III_1 61
          III_2 62
          III_3 63
          III_4 64
          III_5 65
          III_6 66
          III_7 67
          III_8 68
          III_9 69
          III_10 70
      )
          
 :controllers
  (:group Default-Settings
          Pitch               0
          Velocity-XF         2
          Volume              7
          Pan                10
          Expression         11
          Reverb-Dry/Wet     14
          Reverb-On/Off      15
          Slot-XF            20
          Start-Scaler       21
          Master-Attack      22
          Master-Release     23
          Master-Filter      24
          Delay-Scaler       25
          Tuning-Scaler      26
          Humanize           27
          Velocity-XF-On-Off 28
          Rsamp-On-Off       29
          Dynamics-Scaler    30

   :group Pedal
          Pedal                  64  ; not 'Ped'
          Sustain                64
          Sost-Ped               66
          Sostenuto              66
          Una-Corda              67
          Soft-Pedal             67
      
          :group Matrix
          cc1 1
          
  ))

vsl_se_presets.opmo

Does Opusmodus perhaps send any MIDI message at the end of realtime output that could cause this?

Stephane, do you also have this problem?

Thanks!

EDIT: Meanwhile found a workaround: the problem only happened with Play in standalone mode. When using Play within a DAW such as Logic it works fine. Strange...

Best,

Torsten

I am curious to know if anyone has imported any/all of the currently existing scala scales into OM.

Is it possible to automate the process of importing all the tunings just because dealing with both the .scl format and the number of available tunings can get tedious. 

Anyway, I ran into a few general questions and minor issues.
 

Request: the stacc and stacs articulations affect the played duration of notes, but the articulations leg and tenuto do not – they all take the full note value/length, while I would expect leg to be slightly longer, and tenuto slightly shorter. Is it perhaps possible to change that somehow? Also, the articulations marc and mart shorten the note duration, while they should better increase the velocity value, should they not?

Bug: At end of a score the sound (e.g., reverb tail) is abruptly switched off. A workaround is to add a rest at the end of the score, but ideally this would be solved otherwise.

Question: Why are keyswitches in def-sound-set examples defined with two keys? I found out that in that case both keyswitches are sent – why would you do that? I suggest this should be documented in the examples to avoid misunderstanding. 

Thanks!

Torsten

;;;---------------------------------------------------------
;;; VIENNA INSTRUMENTS - UPRIGHT BASS
;;;---------------------------------------------------------

;; Patches, keyswitches and controllers change events.
(def-sound-set VSL-Upright
               :programs
  (:group Short-and-Long-Notes
          pizz-staccato           (cc1 0 :key f7 :key c1 :key a0)
          pizz-sustain-novib      (cc1 0 :key f7 :key cs1 :key a0)
          pizz-snap               (cc1 0 :key f7 :key d1 :key a0)
          pizz-portato-short      (cc1 64 :key f7 :key c1 :key a0)
          pizz-sustain-vib-light  (cc1 64 :key f7 :key cs1 :key a0)
          pizz-damp               (cc1 64 :key f7 :key d1 :key a0)
          pizz-portato-long       (cc1 127 :key f7 :key c1 :key a0)
          pizz-sustain-vib        (cc1 127 :key f7 :key cs1 :key a0)
          pizz-muted              (cc1 127 :key f7 :key d1 :key a0)
          
          :group Legato-Performances
          pizz-perf-legato        (cc1 0 :key e7 :key c1 :key a0)
          pizz-perf-legato-ghost  (cc1 0 :key e7 :key cs1 :key a0)
          pizz-perf-gliss         (cc1 64 :key e7 :key d1 :key a0)
          pizz-perf-gliss-slow    (cc1 127 :key e7 :key c1 :key a0)

          :group Repetitions
          pizz-perf-rep-leg-novib (cc1 40 :key fs7 :key c1 :key a0)
          pizz-perf-rep-por-sl    (cc1 40 :key fs7 :key cs1 :key a0)
          pizz-perf-rep-por-fa    (cc1 40 :key fs7 :key d1 :key a0)
          pizz-perf-rep-leg-vib   (cc1 80 :key fs7 :key c1 :key a0)

          :group Upbeats
          pizz-ub-a1-80           (cc1 0 :key g7 :key c1 :key a0)
          pizz-ub-a1-100          (cc1 0 :key g7 :key cs1 :key a0)
          pizz-ub-a1-120          (cc1 0 :key g7 :key d1 :key a0)
          pizz-ub-a1-140          (cc1 0 :key g7 :key ds1 :key a0)
          pizz-ub-a2-80           (cc1 64 :key g7 :key c1 :key a0)
          pizz-ub-a2-100          (cc1 64 :key g7 :key cs1 :key a0)
          pizz-ub-a2-120          (cc1 64 :key g7 :key d1 :key a0)
          pizz-ub-a2-140          (cc1 64 :key g7 :key ds1 :key a0)
          pizz-ub-a3-80           (cc1 127 :key g7 :key c1 :key a0)
          pizz-ub-a3-100          (cc1 127 :key g7 :key cs1 :key a0)
          pizz-ub-a3-120          (cc1 127 :key g7 :key d1 :key a0)
          pizz-ub-a3-140          (cc1 127 :key g7 :key ds1 :key a0)
    
          :group FX
          slides                  (:key gs7 :key c1 :key a0)
          finger-stop             (:key gs7 :key cs1 :key a0)
          body-noises             (:key gs7 :key d1 :key a0)
          arco-sustain-fx         (:key gs7 :key ds1 :key a0)
   )
  
  :controllers
  (:group Default-Settings
          Pitch               0
          Velocity-XF         2
          Volume              7
          Pan                10
          Expression         11
          Reverb-Dry/Wet     14
          Reverb-On/Off      15
          Slot-XF            20
          Start-Scaler       21
          Master-Attack      22
          Master-Release     23
          Master-Filter      24
          Delay-Scaler       25
          Tuning-Scaler      26
          Humanize           27
          Velocity-XF-On-Off 28
          Rsamp-On-Off       29
          Dynamics-Scaler    30

          :group Pedal
          Ped                64
          
          :group Matrix
          cc1                 1
          
  )
)

 In this example we use the 'VSL Prepared Piano' instrument.

First the keyswitches sound set:

(def-sound-set VSL-Prepared-Piano-KS
   :programs
  (:group Main
          chain                (:key c7  :key a0)
          double-screw         (:key cs7 :key a0)
          harmoinic            (:key d7  :key a0)
          harmoinic-secco      (:key ds7 :key a0)
          foil                 (:key e7  :key a0)
          glass                (:key f7  :key a0)
          stick                (:key fs7 :key a0)
          stick-roll           (:key g7  :key a0)
          glissandi            (:key gs7 :key a0)
   )
  
  :controllers
  (:group Default-Settings
          Pitch               0
          Velocity-XF         2
          Volume              7
          Pan                10
          Expression         11
          Reverb-Dry/Wet     14
          Reverb-On/Off      15
          Slot-XF            20
          Start-Scaler       21
          Master-Attack      22
          Master-Release     23
          Master-Filter      24
          Delay-Scaler       25
          Tuning-Scaler      26
          Humanize           27
          Velocity-XF-On-Off 28
          Rsamp-On-Off       29
          Dynamics-Scaler    30

          :group Pedal
          Ped                64
          Sost-Ped           66
          Una-Corda          67
          
          :group Matrix
          cc1                 1
          ))

Here is the Program Changes sound set:

(def-sound-set VSL-Prepared-Piano
   :programs
  (:group Main
          chain                (cc101 0)
          double-screw         (cc101 15)
          harmoinic            (cc101 29)
          harmoinic-secco      (cc101 43)
          foil                 (cc101 57)
          glass                (cc101 71)
          stick                (cc101 85)
          stick-roll           (cc101 99)
          glissandi            (cc101 113)
   )
  
  :controllers
  (:group Default-Settings
          Pitch               0
          Velocity-XF         2
          Volume              7
          Pan                10
          Expression         11
          Reverb-Dry/Wet     14
          Reverb-On/Off      15
          Slot-XF            20
          Start-Scaler       21
          Master-Attack      22
          Master-Release     23
          Master-Filter      24
          Delay-Scaler       25
          Tuning-Scaler      26
          Humanize           27
          Velocity-XF-On-Off 28
          Rsamp-On-Off       29
          Dynamics-Scaler    30


          :group Pedal
          Ped                64
          Sost-Ped           66
          Una-Corda          67
          
          :group Matrix
          cc101             101))

Please note that if you want to use the full range of the piano you will have to set the keyswitch range outside the range of the piano or set Program Changes to switch between Patches.

Lors d'une recherche dans la librairie d'Opusmodus, il me semble que j'avais trouvé toute la liste des accords en notation "jazz" en Do pouvant-être associée au mot clé :rotate pour les renversements. Mais je ne la retrouve plus. Aurais-je confondu avec le document "Accords noms" qui propose une liste plus limitée d'accords ? 

Merci d'avance.

Didier 

Hello,
During a search in the library of Opusmodus, I think I found the whole list of rating chords "jazz" in C that can be associated with the keyword :rotate to inversion/rotation. But I found the most. Would I confused with the document "Accords noms" which offers a more limited list of chords?
Thank you in advance.

PS : Sorry for my bad english. 

In the documentation for DEF-SCORE, there is a nice example of using Reaktor. Where can I find more information on this? I do not understand the :controllers option given in that example.

Regards,

Rangarajan

I have a rather simple question:

Inside a DEF-SCORE, when I use :sound 'gm, is it possible to define the program by number  instead of the name, e.g. using 1 or 001 instead of :program 'acoustic-grand-piano?

thanks!

ole