Steinberg's Virtual Studio Technology (VST) is an interface for integrating software audio synthesizer and effect plugins with audio editors and hard-disk recording systems. VST and similar technologies use Digital Signal Processing to simulate traditional recording studio hardware with software. Thousands of plugins exist, both commercial and freeware, and VST is supported by a large number of audio applications. The technology can be licensed from its creator, Steinberg.
VST instruments include software simulation emulations of well-known hardware synthesizer devices and samplers, emulating the look of the original equipment and its sonic characteristics. This enables VSTi users to use virtual versions of devices that may be otherwise difficult to obtain.
VST instruments require notes to be sent via MIDI in order to output audio, while effect plugins process audio data (some effect plugins do require a MIDI input too though, for example they might use MIDI sync to modulate the effect in sync with the tempo). MIDI messages can often also be used to control parameters of both instrument and effect plugins. Most host applications allow the audio output from one VST to be routed to the audio input of another VST (known as chaining). For example, output of a VST synthesizer can be sent to a VST reverb effect for further processing.
The VST interface specification was updated to version 2.0 in 1999. One of the additions was the ability for plugins to receive MIDI data. This allowed for the introduction of VSTi (Virtual Studio Technology Instrument) format plugins. VST Instruments can act as standalone software synthesizers, samplers or drum machines.
Neon was the first available VST Instrument (included with Cubase VST 3.7). It was a 16-voice, 2-oscillator virtual analog synthesizer.
The VST interface specification was updated to version 2.4 in 2006. Changes included the ability to process audio using 64 bit precision.
The VST interface specification was updated to version 3.0 in 2008. Changes included:
The VST interface specification was updated to version 3.5 in February, 2011. Changes included, among others, Note Expression where "each individual note (event) in a polyphonic arrangement can contain extensive articulation information, which creates unparalleled flexibility and a much more natural feel of playing."
VST instruments generate audio. They are generally either virtual synthesizers or samplers. Some, such as Native Instruments' Pro-53, specifically recreate the look and sound of famous synthesizers from years past (in this case, the Prophet-5).
VST effects, such as reverb and phaser effects, process audio input. Other monitoring effects provide visual feedback of the input signal without processing the audio. Most hosts allow multiple effects to be chained.
VST MIDI effects process MIDI messages prior to routing the MIDI data to other VST instruments or hardware devices; for example, to transpose or create arpeggios.
There are also stand-alone "dedicated hosts" whose sole purpose is to serve as a host for the VST plugins rather than as an extension of their sequencing or audio capabilities. These are usually optimized for live performance use, with features like fast song configuration switching. Examples of popular dedicated VST host software include:
VST plugins can be hosted in incompatible environments using a translation layer, or shim. For example, FL Studio fundamentally supports only its own internal plugin architecture, but a native "wrapper" plugin exists that can, in turn, load VST plugins, among others. As another example, FXpansion offers a VST to RTAS (Real Time AudioSuite) wrapper (allowing VST plugins to be hosted in the popular Pro Tools digital audio workstation), and a VST to Audio Units wrapper (allowing VST plugins to be hosted in Apple Logic Pro Digital Audio Workstation).
Audio data can also be sent over a network using appropriate software, allowing the main host to run on one computer and VST plugins to run on peripheral computers.
Steinberg Cubase VST introduced two file formats for storing presets: an FXP file stores a single preset, while an FXB file stores a whole bank of presets. These formats have since been adopted by many other VST hosts, although Cubase itself switched to a new system of preset management with Cubase 4.0.
Many VST plugins have their own method of loading and saving presets, which do not necessarily use the standard FXP/FXB formats.
There are several ports available, such as a Delphi version by Frederic Vanmol, a Java version from the jVSTwRapper project at Sourceforge, and two .NET versions — Noise and VST.NET; this open source project also includes a framework which makes creating VST plugins easier and result in more structured code. VST.NET also provides support for writing managed host applications with a managed class that allows loading an unmanaged Plugin. A notable language supporting VST is Faust considering that it is especially made for making signal processing plugins, often producing code faster than hand-written C++.
In addition, Steinberg have developed the VST GUI, which is another set of C++ classes, which can be used to build a graphical interface. There are classes for buttons, sliders and displays etc. Note that these are low level C++ classes and the look and feel still have to be created by the plugin manufacturer.
A large number of commercial and open-source VSTs are written using the Juce C++ framework instead of direct calls to the VST SDK, because this allows multi-format (VST, AudioUnit and Real Time AudioSuite) binaries to be built from a single codebase.
Category:Music software plugin architectures
bg:VST da:Virtual Studio Technology de:Virtual Studio Technology es:Virtual Studio Technology fr:Virtual Studio Technology ko:VST it:Virtual Studio Technology he:VST hu:VST nl:VST ja:Virtual Studio Technology no:Virtual Studio Technology pl:VST pt:Virtual Studio Technology ru:Virtual Studio Technology sv:Virtual Studio Technology tr:VST uk:Virtual Studio TechnologyThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 33°51′35.9″N151°12′40″N |
---|---|
birth name | Giuseppe Domenico Scarlatti |
birth date | October 26, 1685 |
birth place | Naples, Kingdom of Naples |
death date | July 23, 1757 |
death place | Madrid, Spain }} |
He became a composer and organist at the royal chapel in Naples in 1701. In 1704, he revised Carlo Francesco Pollarolo's opera Irene for performance at Naples. Soon after, his father sent him to Venice; no record exists of his next four years. In 1709 he went to Rome in the service of the exiled Polish queen Marie Casimire, where he met Thomas Roseingrave. Scarlatti was already an eminent harpsichordist: there is a story of a trial of skill with George Frideric Handel at the palace of Cardinal Ottoboni in Rome where he was judged possibly superior to Handel on that instrument, although inferior on the organ. Later in life, he was known to cross himself in veneration when speaking of Handel's skill.
In Rome, Scarlatti composed several operas for Queen Casimira's private theatre. He was Maestro Di Cappella at St. Peter's from 1715 to 1719. In 1719 he travelled to London to direct his opera Narciso at the King's Theatre.
According to Vicente Bicchi (Papal Nuncio at the time), Domenico Scarlatti arrived in Lisbon on 29 November 1719. There he taught music to the Portuguese princess Maria Magdalena Barbara. He left Lisbon on 28 January 1727 for Rome, where he married Maria Caterina Gentili on 6 May 1728. In 1729 he moved to Sevilla, staying for four years and gaining a knowledge of flamenco. In 1733 he went to Madrid as music master to Princess Maria Barbara, who had married into the Spanish royal house. The Princess later became Queen of Spain, and as a result Scarlatti remained in the country for the remaining twenty-five years of his life, and had five children there. After the death of his first wife in 1742, he married a Spaniard, Anastasia Maxarti Ximenes. Among his compositions during his time in Madrid were a number of the 555 keyboard sonatas for which he is best known.
Scarlatti befriended the castrato singer Farinelli, a fellow Neapolitan also enjoying royal patronage in Madrid. The musicologist Ralph Kirkpatrick acknowledged that Farinelli's correspondence provides "most of the direct information about Scarlatti that has transmitted itself to our day." Domenico Scarlatti died in Madrid, at the age of 71. His residence on Calle Leganitos is designated with a historical plaque, and his descendants still live in Madrid.
performed on a harpsichord by Martha Goldstein | |||
performed on a harpsichord by Martha Goldstein | |||
performed on a piano by Raymond Smullyan | |||
performed on a spinet by Ulrich Metzner | |||
performed on a piano by Veronica van der Knaap | |||
Musical Instrument Digital Interface>MIDI rendition | |||
performed on a piano by Raymond Smullyan | |||
performed on a piano by Raymond Smullyan |
Only a small fraction of Scarlatti's compositions were published during his lifetime; Scarlatti himself seems to have overseen the publication in 1738 of the most famous collection, his 30 Essercizi ("Exercises"). These were rapturously received throughout Europe, and were championed by the foremost English writer on music of the eighteenth century, Dr. Charles Burney.
The many sonatas which were unpublished during Scarlatti's lifetime have appeared in print irregularly in the two and a half centuries since. Scarlatti has, however, attracted notable admirers, including Frédéric Chopin, Johannes Brahms, Béla Bartók, Dmitri Shostakovich, Heinrich Schenker, Vladimir Horowitz, Emil Gilels, Arturo Benedetti Michelangeli, and Marc-André Hamelin.
Frédéric Chopin, as a piano teacher, notably wrote:
Scarlatti's 555 keyboard sonatas are single movements, mostly in binary form, and mostly written for the harpsichord or the earliest pianofortes. (There are four for organ, and a few for small instrumental group). Some of them display harmonic audacity in their use of discords, and also unconventional modulations to remote keys.
Other distinctive attributes of Scarlatti's style are the following:
The harpsichordist Ralph Kirkpatrick produced an edition of the sonatas in 1953, and the numbering from this edition is now nearly always used – the Kk. or K. number. Previously, the numbering commonly used was from the 1906 edition compiled by the Neapolitan pianist Alessandro Longo (L. numbers). Kirkpatrick's numbering is chronological, while Longo's ordering is a result of his grouping the sonatas into "suites". In 1967 the Italian musicologist Giorgio Pestelli published a revised catalogue (using P. numbers), which corrected what he considered to be some anachronisms. See for a list converting Longo, Kirkpatrick and Pestelli numbers of Scarlatti's sonatas.
Aside from his many sonatas he composed a quantity of operas and cantatas, symphonias, and liturgical pieces. Well known works include the Stabat Mater of 1715 and the Salve Regina of 1757 that is thought to be his last composition.
Category:Baroque composers Category:Italian composers Category:Italian harpsichordists Category:Composers for harpsichord Category:Opera composers Category:People from Naples Category:1685 births Category:1757 deaths
ar:دومينيكو سكارلاتي an:Domenico Scarlatti be:Даменіка Скарлаці bs:Domenico Scarlatti bg:Доменико Скарлати ca:Domenico Scarlatti cs:Domenico Giuseppe Scarlatti da:Domenico Scarlatti de:Domenico Scarlatti es:Domenico Scarlatti eo:Domenico Scarlatti fa:دومنیکو اسکارلاتی fr:Domenico Scarlatti gl:Domenico Scarlatti ko:도메니코 스카를라티 hy:Դոմենիկո Սկարլատի hr:Domenico Scarlatti id:Domenico Scarlatti it:Domenico Scarlatti he:דומניקו סקרלטי ka:დომენიკო სკარლატი la:Dominicus Scarlatti lv:Domeniko Skarlati hu:Domenico Scarlatti mk:Доменико Скарлати nl:Domenico Scarlatti ja:ドメニコ・スカルラッティ no:Domenico Scarlatti nn:Domenico Scarlatti oc:Domenico Scarlatti pl:Domenico Scarlatti pt:Domenico Scarlatti ro:Domenico Scarlatti qu:Domenico Scarlatti ru:Скарлатти, Доменико scn:Duminicu Scarlatti simple:Domenico Scarlatti sk:Domenico Scarlatti sl:Domenico Scarlatti sh:Domenico Scarlatti fi:Domenico Scarlatti sv:Domenico Scarlatti tr:Domenico Scarlatti uk:Доменіко Скарлатті zh-yue:史卡拉第 zh:多梅尼科·斯卡拉蒂
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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