The Faust-STK is a set of instruments written in the FAUST programing language. Most of them are based on physical models from the Synthesis ToolKit and the program SynthBuilder. A few new nonlinear waveguide physical models using nonlinear passive allpass filters are also implemented. Thanks to the different FAUST architecture, these instruments can be used in most of the music sound synthesis program (CSOUND, MaxMSP, PureData, SuperCollider, VST plug-ins, etc.) or can be compiled as standalone applications (Qt or GTK interface with JackAudio, CoreAudio or Ladspa, etc.).


The Faust-STK is now part of the Faust distribution and can be found in the /examples/faust-stk folder.

Available Instruments

Wind Instruments

String Instruments

Keyboard Instruments

Percussion Instruments


How does it work?

Instruments from the Faust-STK can be compiled with any of the FAUST architecture using make files. Moreover, the recently developed OSC support for FAUST makes it possible to control the generated instruments with OSC (Open Sound Control).

Here's a snapshot of the jack-QT application generated by FAUST from clarinet.dsp:

and here's a PureData patch using a faust2pd multi-voice synthesizer created from harpsi.dsp:

Audio Examples

Turkish March(W.A. Mozart): A simple example that uses the harpsichord (harpsi.dsp) with a midi file of Mozart's Turkish March. The harpsichord has a 8 voices polyphony thanks to A. Graef's faust2pd.

Take Five (P. Desmond): In this example a midi file of P. Desmond's Take Five is used with the piano (piano.dsp) and the clarinet (blowHole.dsp).

Muñeira (Traditional Spanish Song): This examples uses gesture following datas recorded by E. Maestre (MTG, Barcelone) to drive the bowed string physical model (bowed.dsp).


The Faust-STK is developed in the frame of the ASTREE project supported by the Agence Nationale de Recherche (ANR-08-CORD-003) at Stanford's CCRMA (Center for Computer Music Research in Music and Acoustics) and at CIEREC ( Center Interdisciplinaire d'Etude et de Recherche sur l'Expression Contemporaine).