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A Video Interview with Ali Momeni, Composer & Researcher

By Lilli Wessling Hart |

Controller workshop: From do-it-yourself tablas (with sponges!) to the Lemur. Watch Ali's video.

A Video Interview with Christopher Willits, Musician

By Lilli Wessling Hart |

Creating the personal instrument. Watch Christopher's video.

A Video Interview with David Tinapple, Video Artist

By Lilli Wessling Hart |

On visual programming for visual media. Watch David's video.

A Video Interview with John deKron, Media & Video Artist

By Lilli Wessling Hart |

Controlling a Media Facade: The Bix Simulator and VJ software ES-X. Watch John's video.

A Video Interview with Angela Lorenz, Graphic Designer

By Lilli Wessling Hart |

Automated design and visuals.Watch Angela's video.

A Video Interview with Barney Haynes, Media Artist & Educator

By Lilli Wessling Hart |

Installation and Performance Fabricating the interfaced machine. Watch Barney's video.

An Interview With David Wessel

By Gregory Taylor |

David Wessel is Professor of Music at the University of California, Berkeley where he directs the Center for New Music and Audio Technologies (CNMAT). Wessel worked at IRCAM between 1979 and 1988; his activities there included starting the department where Miller Puckette first began working on Max on a Macintosh. Since Wessel's arrival in Berkeley over ten years ago, CNMAT has been actively involved in teaching Max/MSP as well as developing freely available Max-based software projects. In this ...

An Interview With Carl Stone

By Gregory Taylor |

San Francisco resident Carl Stone has composed electro-acoustic and computer music exclusively since 1972. He has been commissioned to compose and perform his works in the United States, Canada, Europe, Asia, Australia, South America and the Near East. In this 1999 interview with Gregory Taylor, Stone talks about his methods for composing with new technologies and the artistic implications of sampling.

An Interview With John Eichenseer

By Gregory Taylor |

jhno, a.k.a. John Eichenseer, is the culprit responsible for many of the plug-ins in the Pluggo collection. A musician and programmer living in San Francisco since 1994, jhno can be found DJing chill rooms in the bay area as well as experimenting with live collaborations in the diverse local scene. In this 1999 conversation with [...]

An Interview With Andrew Schloss

By Ben Nevile |

With a set of experiences that includes playing with Tito Puente, touring with Peter Brook's theatre ensemble in the 70s, and recently playing percussion with Rickie Lee Jones for the opening of the Experience Music Project in Seattle, it's clear that Andrew Schloss has been all over the map for the past 30 years. In the mid-80s, shortly after discovering the radio drum, an electronic instrument created at Bell Labs, he went to IRCAM where Miller Puckette and David Wessel introduced him to Max. ...

An Interview With Bob Ostertag

By Gregory Taylor |

Bob Ostertag is a music school dropout who has since performed all over the world and has collaborated with the likes of John Zorn, Fred Frith, drag diva Justin Bond, and the Kronos Quartet. In this interview he describes his creative process and what inspires him to design his technological instruments.

An Interview With Luke DuBois

By Gregory Taylor |

Luke DuBois is a teacher at Columbia University in New York City, and a member of the famous Freight Elevator Quartet, whose "Fix It In Post" CD is making waves as the first release on the C74 record label. In this conversation with Gregory Taylor, Luke shares stories of synthesizer part scrounging, the early days of the Freight Elevator Quartet, and some of his most inspiring students' projects.

An Interview With Amnon Wolman

By Ben Nevile |

Amnon Wolman creates music with technology and for instruments with two distinctive features: first, a subtle and complex relationship with popular culture and second, a concern for the dramatic nature of sonic evolution. His first release on the c74 record label is "Dangerous Bend." In this conversation with Ben Nevile, Wolman discusses his romantic compositional techniques and reveals the unusual nature of his introduction to computer-based music...

An Interview With Kim Cascone

By Ben Nevile |

Kim Cascone has worked as a synth tech, edited music for David Lynch films, founded San Francisco's first ambient electronic music label, and helped design new systems of audio for video games. In this conversation with Ben Nevile, Cascone discusses his electronic history, his interest in genetic algorithms, and a fresh compositional direction that he calls "New Density".

An Interview With William Kleinsasser

By David Zicarelli |

In the last 20 years William Kleinsasser has received national and international recognition in competitions, conferences and festivals by pushing technology to its limits. The c74 CD Available Instruments showcases the composer's ability to adapt digital technology to the orchestral environment. In this interview with David Zicarelli, Kleinsasser discusses the fundamental challenges facing computer music, and connects the dots between yesterday's tape music and his modern interactive compositi...

An Interview with Barney Haynes

By Ben Nevile |

Barney has been working in the fields of reactive installation and invasive media for 10 years.

InVeSTigations (part 4)

By Lilli Wessling Hart |

In this tutorial, we'll add some interesting new bells and whistles to VST hosting and take a look at how you can begin to visually simplify your Max patches, even as they become more complex.

InVeSTigations (part 3)

By Lilli Wessling Hart |

In this tutorial, we'll look at a new message to the vst object that lets us load plug-ins without interrupting our audio, and take a look at a novel way to mix the outputs of several VST plug-ins.

InVeSTigations (part 2)

By Lilli Wessling Hart |

One quick way to start having fun with Max is to use the vst~ object to host audio plug-ins or VST instruments; you can load plug-ins you already have (or find some free plug-ins) and get a little experience with using Max to send messages to them while you gather the courage to write your own audio processing patches or virtual synths.

InVeSTigations (part 1)

By Lilli Wessling Hart |

One quick way to start having fun with Max is to use the vst~ object to host audio plug-ins or VST instruments; you can load plug-ins you already have (or find some free plug-ins) and get a little experience with using Max to send messages to them while you gather the courage to write your own audio processing patches or virtual synths.

How do I turn that text stuff into a patch?

By Lilli Wessling Hart |

How do I turn that text stuff into a patch?

The Poly Papers (part 1)

By Lilli Wessling Hart |

One of the more difficult things for many beginning Max/MSP users is dealing with polyphony. So I thought I'd write up a few articles about the poly~ object, and help take some of the heat off of a new user's head.

Things OTHERS wish people had told THEM

By Gregory Taylor |

When I started this series of short "advice" pieces to Max/MSP/Jitter beginners, I also decided to ask a number of my friends and colleagues about what their ideas of what good advice might be so that you won't be left with just my admittedly biased advice set...

Things I wish HAD existed (so that people could have told me about them)

By Lilli Wessling Hart |

You, the beginner, are living in a golden age. There are three things out there in the world that didn't exist when I was a beginner that will improve the quality of your Maxing life. Oh, wait--four things... this column is number four. :-)