Is there a vst synth in 64 Bit like logics sculpture?(Windows 7)

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IMHO that's probably the only synth somebody should bother to make an AU to VST wrapper for. :P

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It's not an au though

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Oh, whoops. I thought Logic only loads AUs, no?

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EvilDragon wrote:IMHO that's probably the only synth somebody should bother to make an AU to VST wrapper for. :P
You forget the Sinevibes stuff and Audiospillage, oh and probably Air Windows. :P

And Structure is Logic internal, not an AU ;)

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EvilDragon wrote:Oh, whoops. I thought Logic only loads AUs, no?
It's not a third-party plugin, it's part of Logic.

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Well, shucks then! :D

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One friend was provocating me with some presets he have made in sculpture to show me how REAL it sounds and how many variety sculpture has! Jut because I have decided me one day against logic and apple...

Yes you can do very very much with it! :(

And chromaphone and prism is to special and nothing against sculpture. The real strenght of sculpture is the modulation system with the many materials and exciters and the lack of CPU usage...

maybe one day we become such a VST....

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crazyfiltertweaker wrote:And chromaphone and prism is to special and nothing against sculpture. The real strenght of sculpture is the modulation system with the many materials and exciters and the lack of CPU usage...

maybe one day we become such a VST....
One of the peculiarities of Sculpture is that it allows you to "invent" materials. It is not attached to a specific physical model, it is a real (and, AFAIK, the only one) physical modeling "synthesizer", because you can even "synthesize" the physical model.

Look at this excerpt of a review published in SOS: -> http://www.soundonsound.com/sos/apr10/a ... p_0410.htm

"By moving the ball in the material section, you can immediately get a feel for what kind of basic timbres Sculpture is capable of generating. Confusingly, Apple calls the modelled generating parameter a 'String', even though it can be used to generate blown and metallic timbres as well. More helpfully, though, they have labelled the four corners of the Material box with useful indications of the type of timbre you can expect to hear, so you can listen to the raw modelled sounds if you drop the joystick ball into each. Like all of Logic Pro's parameters, the ball's position can be automated, which provides a simple way to move between quite different timbres as a song progresses. Moving the ball around the 'X' and 'Y' axes of the Material square modifies the stiffness, damping and harmonic content of the modelled 'string'..."

And take a look at this description took from the Sculpture manual. Even discounting the understandably slightly hyped language, this is na accurate description, IMO:

"Sculpture uses a method of synthesis called component modeling. This approach to tone generation enables you to create a virtual model of an acoustic instrument, such as a violin or cello. Components such as the length of the neck, the material the instrument is made of—wood or metal, for example—the diameter, tension, and material of the strings—nylon or steel, for example—and the size of the instrument body can be modeled.

In addition to the physical properties of the instrument, you can determine how and where it is played—softly bowed, or plucked, on top of a mountain or under the sea. Other aspects such as finger noise and vibrato can also be emulated. You can even hit your instrument’s strings with a stick, or emulate dropping a coin onto the bridge, if desired.

Sculpture is not limited to recreating real-world instruments. You are free to combine components in any way, leading to bizarre hybrids such as a six-foot-long guitar with a bronze bell for a body—played with a felt hammer.

If you need to create an endlessly evolving texture for a film soundtrack, or the perfect spaceship take-off sound, Sculpture is quite up to the job.

More traditional synthesizer tones can also be created in Sculpture. These will benefit from the modeling process itself, which tends to add a level of richness and an organic quality to sounds. The end result will be lush, warm pads, deep and round synthesizer basses, and powerful lead sounds.

Like a real instrument, Sculpture generates sounds by using an object—such as a fingertip, wind, drumstick, or violin bow—to stimulate another object—such as a guitar string or reed."


This is what I don't find, AFAIK, in other physical modeling synths, and what makes Sculpture so special.
Fernando (FMR)

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fmr wrote:
crazyfiltertweaker wrote:And chromaphone and prism is to special and nothing against sculpture. The real strenght of sculpture is the modulation system with the many materials and exciters and the lack of CPU usage...

maybe one day we become such a VST....
One of the peculiarities of Sculpture is that it allows you to "invent" materials. It is not attached to a specific physical model, it is a real (and, AFAIK, the only one) physical modeling "synthesizer", because you can even "synthesize" the physical model.

Look at this excerpt of a review published in SOS: -> http://www.soundonsound.com/sos/apr10/a ... p_0410.htm

"By moving the ball in the material section, you can immediately get a feel for what kind of basic timbres Sculpture is capable of generating. Confusingly, Apple calls the modelled generating parameter a 'String', even though it can be used to generate blown and metallic timbres as well. More helpfully, though, they have labelled the four corners of the Material box with useful indications of the type of timbre you can expect to hear, so you can listen to the raw modelled sounds if you drop the joystick ball into each. Like all of Logic Pro's parameters, the ball's position can be automated, which provides a simple way to move between quite different timbres as a song progresses. Moving the ball around the 'X' and 'Y' axes of the Material square modifies the stiffness, damping and harmonic content of the modelled 'string'..."

And take a look at this description took from the Sculpture manual. Even discounting the understandably slightly hyped language, this is na accurate description, IMO:

"Sculpture uses a method of synthesis called component modeling. This approach to tone generation enables you to create a virtual model of an acoustic instrument, such as a violin or cello. Components such as the length of the neck, the material the instrument is made of—wood or metal, for example—the diameter, tension, and material of the strings—nylon or steel, for example—and the size of the instrument body can be modeled.

In addition to the physical properties of the instrument, you can determine how and where it is played—softly bowed, or plucked, on top of a mountain or under the sea. Other aspects such as finger noise and vibrato can also be emulated. You can even hit your instrument’s strings with a stick, or emulate dropping a coin onto the bridge, if desired.

Sculpture is not limited to recreating real-world instruments. You are free to combine components in any way, leading to bizarre hybrids such as a six-foot-long guitar with a bronze bell for a body—played with a felt hammer.

If you need to create an endlessly evolving texture for a film soundtrack, or the perfect spaceship take-off sound, Sculpture is quite up to the job.

More traditional synthesizer tones can also be created in Sculpture. These will benefit from the modeling process itself, which tends to add a level of richness and an organic quality to sounds. The end result will be lush, warm pads, deep and round synthesizer basses, and powerful lead sounds.

Like a real instrument, Sculpture generates sounds by using an object—such as a fingertip, wind, drumstick, or violin bow—to stimulate another object—such as a guitar string or reed."


This is what I don't find, AFAIK, in other physical modeling synths, and what makes Sculpture so special.
Nice one - exactly how I feel about it. Just a pity that Apple have not updated it for yonks (not even for high res displays), it's the main reason I bought Logic.

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fmr wrote:
crazyfiltertweaker wrote:And chromaphone and prism is to special and nothing against sculpture. The real strenght of sculpture is the modulation system with the many materials and exciters and the lack of CPU usage...

maybe one day we become such a VST....
One of the peculiarities of Sculpture is that it allows you to "invent" materials. It is not attached to a specific physical model, it is a real (and, AFAIK, the only one) physical modeling "synthesizer", because you can even "synthesize" the physical model.

Look at this excerpt of a review published in SOS: -> http://www.soundonsound.com/sos/apr10/a ... p_0410.htm

"By moving the ball in the material section, you can immediately get a feel for what kind of basic timbres Sculpture is capable of generating. Confusingly, Apple calls the modelled generating parameter a 'String', even though it can be used to generate blown and metallic timbres as well. More helpfully, though, they have labelled the four corners of the Material box with useful indications of the type of timbre you can expect to hear, so you can listen to the raw modelled sounds if you drop the joystick ball into each. Like all of Logic Pro's parameters, the ball's position can be automated, which provides a simple way to move between quite different timbres as a song progresses. Moving the ball around the 'X' and 'Y' axes of the Material square modifies the stiffness, damping and harmonic content of the modelled 'string'..."

And take a look at this description took from the Sculpture manual. Even discounting the understandably slightly hyped language, this is na accurate description, IMO:

"Sculpture uses a method of synthesis called component modeling. This approach to tone generation enables you to create a virtual model of an acoustic instrument, such as a violin or cello. Components such as the length of the neck, the material the instrument is made of—wood or metal, for example—the diameter, tension, and material of the strings—nylon or steel, for example—and the size of the instrument body can be modeled.

In addition to the physical properties of the instrument, you can determine how and where it is played—softly bowed, or plucked, on top of a mountain or under the sea. Other aspects such as finger noise and vibrato can also be emulated. You can even hit your instrument’s strings with a stick, or emulate dropping a coin onto the bridge, if desired.

Sculpture is not limited to recreating real-world instruments. You are free to combine components in any way, leading to bizarre hybrids such as a six-foot-long guitar with a bronze bell for a body—played with a felt hammer.

If you need to create an endlessly evolving texture for a film soundtrack, or the perfect spaceship take-off sound, Sculpture is quite up to the job.

More traditional synthesizer tones can also be created in Sculpture. These will benefit from the modeling process itself, which tends to add a level of richness and an organic quality to sounds. The end result will be lush, warm pads, deep and round synthesizer basses, and powerful lead sounds.

Like a real instrument, Sculpture generates sounds by using an object—such as a fingertip, wind, drumstick, or violin bow—to stimulate another object—such as a guitar string or reed."


This is what I don't find, AFAIK, in other physical modeling synths, and what makes Sculpture so special.

Please!

Dont do that!

I know, but dont be kind like my friends ok? ;)

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I bought a used MacBook real cheap because of this synth. It's a hidden gem. I'd loooooooooove a Windows port, but I know that won't happen unless someone breaks into Apple's headquarters and steals the source codes.

(No, this was not an encouragement for any of you people to resort to crime.) ;)

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I'm pretty sure there are a few alternatives to this dated physical modelling logic synth on Win. :D
Whoever wants music instead of noise, joy instead of pleasure, soul instead of gold, creative work instead of business, passion instead of foolery, finds no home in this trivial world of ours.

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murnau wrote:I'm pretty sure there are a few alternatives to this dated physical modelling logic synth on Win. :D
No! There is really nothing like it! Some other physical modelling tools might be better in some special areas but the whole thing is just one of the most amazing sound design tools.
It's also very light on cpu while doing magic things :D
I would pay the price of Logic again for a version 2.0 of it.

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murnau wrote:I'm pretty sure there are a few alternatives to this dated physical modelling logic synth on Win. :D
It might be old, but it's certainly not "dated"

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I would love to see them merge it with Alchemy

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