Let me know what you find in Max !
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Except that it only really makes sense when the processing is sample accurate, which is not the case with regular Max objects. You have to use externals or [gen~] and I’m not super fluent with it;
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Collision is quite nice, except on rare (random) occasions, it can completely explode and destroy your loudspeakers and ears. That’s why I’ve been avoiding it in a live situation.
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I just had a quick session with Reaktor Steam Pipe 2, and didn’t feel inspired at all. I wonder how different both are…
Not to completely detract from the topic here but: googling “karplus strong gen~” brought this up which I thought was pretty neat:
I’m pretty green with Max (but am completely obsessed currently) and even more novice at gen~, but this looks pretty simple. Obviously this is not as complex as the Steampipe.
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Loopop says the Reaktor version is “without LFOs or direct MIDI mapped matrix”. I bet there have been other refinements made with this hardware too.
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I think a strong feature added in with this is the ability to feed it an audio stream and physically model on that.
The two examples in the Loopop video, using the Obama speech and the drum solo show some of the advanced possibilities to use Steampipe as a sort of audio processing unit. This is all happening live, and with some fairly predictable and stable control, which ups it’s value. With some pre-planning this could be used in a DJ sort of setting, and as an alternative to something like a granular or DSP sort of live audio processor.
( Predictable and stable, so for instance although the Obama speech is highly processed the words are still very understandable, much more than with most vocoders, or granular processing as for instance. )
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Not got Ableton, have I…
And I don’t think they’ll be in a hurry to add that to the abl. Objects list in Max.
Cool if they did though.
Cool!
And yeah, no gen~ needed. It’s really simple in straight Max. But maybe we can move that side of the conversation over here?
Sorry for the derailment. I only meant to convey: this algorithm is so simple you can build it yourself. So we shouldn’t expect the Steampipe to be anything more than a really nice house for the kinds of sounds we’re used to hearing from “modeling synth” plugins.
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I’m really interested in this synth but the more I experiment with feedback loops and physmod in Bitwig, the more I think I don’t need it. You should try the grid in Bitwig, it’s easier than Max.
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Easier isn’t really the point.
I did look into bitwig, but the grid, as cool as it is, just doesn’t come close to what can be achieved with max.
I 100% agree with you. But if we talk specifically about feedback loops, karplus strong and physmod, I don’t think so though.
Sorry for the off topic.
Sound only video, presets using a Hydrasynth Deluxe as the controller. 37 minutes long.
Video from Ken Flux Pierce a product specialist at ASM.
ADDED :
Consider uniting the Steampipe with the ASM Hydrasynth Explorer. The Explorer can be used as a 37 mini key MPE controller, with extra MIDI CC outs, or as a versatile synth standalone. It is 55.6 cm ( 21.9 inches ) long next to the Steampipe at 45.5 cm ( 17.9 inches ). You could also set up patches with audio sent from the Explorer to the Steampipe ( though not the other way round ). Plus the Explorer is a good value making the combination, comparable to other keyboard polysynths.
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This instrument really interests me. The only physical modeling synth I’ve played with much is the VST Sculpture in Logic. What other physical modeling synths exist in hardware format?
Edit: after playing with the resonator synth on the Iridium today, I ended up creating a pretty cool sound from scratch, but I can’t say it has draw of this synth. It always seems “weak” to me. I can’t seem to pull much out of it.
There is a thread for that topic :
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As a fan of Reaktor, this new synth definitely intrigues me! But since I can do most type stuff on my current gear, will pass. Would still love to play one at a synth shop some day.
A potential buyer who is commenting on the lack of the stereo spread control present in the Reaktor software version of this synth.
Is that that thing where each voice is assigned a hidden pan position across the stereo field, so every time you play a note you don’t know which side it’ll be coming from? Erica really missed out… I’d have paid extra to have it removed! 
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