10 oscillator monomorphic additive synthesizer max patch

To address that problem, in this example we use the poly object to limit the number of note messages being sent to the synthesizer, so that the synth never gets more than one note message at a time. That can be a problem when you're making a monophonic synthesizer in MIDI, because the note-off message of the previous note will come after the note-on message of the new note, and could confusingly turn off the new note. Even if the player is not consciously thinking of playing legato, it's very likely that s/he will play the keyboard in that slightly-overlapping manner. More commonly, people play legato (the Italian word for 'tied', meaning connected), in order to get a smoother-sounding transition between notes, by pressing the key of a new note before releasing the key of the previously-played note. One not-so-obvious problem with designing a monophonic synthesizer is the fact that people usually don't play a keyboard in an idealized way, ending one note and then starting another.

Note-on velocity values in the range 1-127 are mapped to a range of decibels from -60 to 0, and those decibel values are then converted to linear amplitude values to scale the amplitude of the oscillator. This patch uses the MIDI key number (pitch) data byte to set the frequency of a sawtooth oscillator, and it uses the velocity data byte to set the amplitude of the oscillator. It's nearly identical to the even more bare-bones ' Overly simple MIDI synth' example, but with one improvement, the addition of the poly object, described below.

It works, but it could definitely be improved. This is a bare-bones monophonic MIDI synthesizer that uses the pitch and velocity information from incoming MIDI note messages to control the frequency and amplitude of a sawtooth waveform.

10 oscillator monomorphic additive synthesizer max patch