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An Interview with Giorgio Sancristoforo

By Marsha Vdovin |

Giorgio Sancristoforo is a very enthusiastic artist, musician, audio engineer and software developer based in Milan, Italy. Giorgio incorporates Max/MSP into all his projects whether they are his interesting audio applications that sell for a modest price or his more artistic projects such as sound design for a large-scale composition culled from the sounds of [...]

An Interview with Ali Momeni

By Darwin Grosse |

Long-time Max user, artist, and educator Ali Momeni discusses his current projects including Minneapolis Art on Wheels and the Spark Festival. Ali shares how he got involved with Max and shares his latest work with us.

Summer Max Workshop for High-School Students

By Lilli Wessling Hart |

For the first time, we are offering a three-day Max workshop only for high school students ages 15-18. It will take place at the Cycling ’74 office in San Francisco, July 27-29 (10:30am-3:30pm).

Max Workshop in Los Angeles

By Lilli Wessling Hart |

Our next Max workshop will be held in Los Angeles, CA, and is strictly for beginners. This workshop is specifically for new users of Max or Max for Live, and is intended to provide an introduction to Max, MSP, and Jitter together as a unit in the context of Max and Max for Live.

An Interview with Elise Baldwin

By Marsha Vdovin |

Elise Baldwin is an intermedia artist that works with music and projections. I find her work to be both fragile and dense, inspiring me creatively on several levels. She creates music that interacts with both live and recorded video.

An Interview with Chris Coleman

By Darwin Grosse |

Artist and educator Chris Coleman is recognized in the Max community for his work on Maxuino, a Max interface to the popular Arduino microcontroller board. When I spoke with him, Chris also discussed his early sculpture work, teaching, collaborations, and how Max/MSP and Arduino fit into the evolving landscape of electronic media tools and practices.

LFO Tutorial 7 (Rattle and Hmmm)

By Gregory Taylor |

A simple truth emerges from the practice of writing Max patches like the Max for Live device we’ve been working on: The trajectory of “finishing” your Max patch is something you approach on an asymptotic curve – you approach being “done,” but never quite reach it. This tutorial is an attempt to honor that curve [...]

Demystifying Expressions in Jitter

By Andrew Benson |

One of the most feared and respected objects in the Jitter collection, jit.expr arrived on the scene as part of Jitter 1.5. In some circles, there is a belief that harnessing its power will bring you great powers and enable you to achieve untold wonders. The fact is, jit.expr is a really amazing tool, but [...]

Sound On Sound Reviews Max for Live

By Lilli Wessling Hart |

In this review, Nick Rothwell explains Max for Live in terms of what the addition of Max offers to Live users. He also shares his perspective on what Live offers to Max users, something that is less commonly discussed.

LFO Tutorial 6 (Live if you want it)

By Gregory Taylor |

Since a lot of people are interested in what the process of porting a Max patch for use in Max for Live looks like, I thought I’d take this tutorial as an opportunity to go over the steps I used to take my waveplayah patch and to convert it to a Max for Live device [...]

Software Release: Max 5.1.3

By Lilli Wessling Hart |

Max 5.1.3 was released on 9 February 2010. - Read the release notes - Download Max 5.1.3

LFO Tutorial 5 (LFO Child Slight Return)

By Gregory Taylor |

A while back, I wrote a series of four tutorials based around the idea of how you could generate and organize variety in Max patches. I wrote them first and foremost because that idea of generating and organizing variety by some means other than random numbers or noise sources has been an interest of mine [...]

EM Reviews Max for Live

By Lilli Wessling Hart |

In this article, Jim Aikin reviews the new add-on product to Live, developed by Ableton and Cycling ’74, with a detailed account of his experience. In you are new to Max for Live, this is a helpful introduction before downloading the demo and trying it out yourself.

An Interview with Stretta

By Marsha Vdovin |

Matthew Davidson aka Stretta is a talented guy. He’s an accomplished graphic artist and video producer/editor but we talked to him about his music. Stretta’s music is lush, modest and dreamy in the tradition of Brian Eno but it definitely has character of its own. Stretta comes from a tradition of modular synthesis that led him to discover Max/MSP.

Cycling ’74 at the 2010 NAMM Show

By Lilli Wessling Hart |

Cycling ’74 and 85,000 of its closest friends will spend the weekend at the NAMM Show in Anaheim. We are sharing booth 6314 with Ableton and offering personal demos of our recently-released product Max for Live. On stage, Vlad Spears will also give daily presentations of Max for Live.

A Video Processing Device for Max for Live

By Andrew Benson |

While many people are looking at Max for Live as a great way to integrate their favorite hardware controllers, build really unique effects, and add variety to their productions, I was eager to explore what could be done with video inside of Max for Live.

The Edit Button Has Been Pressed

By Andrew Benson |

Even before the Max for Live beta was opened up to the public, a community of testers was hard at work putting Max for Live through its paces. The integration of Max into the Ableton Live environment opened up a whole spectrum of possibilities that many users hadn’t even considered until now, and it didn’t [...]

An Interview with Robert Henke

By Marsha Vdovin |

Robert Henke is a brilliant electronic musician who records and performs under his own name and also as Monolake. His music has been described as minimalist yet complex techno with an architectural sound. For me, his music is very spatial and multi-dimensional.I find it takes me on an extraordinary journey through space and time, similar to a great work of fiction. Henke recently said, "The last century was about the creation of electronic music. This century is about performance."

Making Connections: Camera Data

By Andrew Benson |

Coming up with ways to get information about the physical world into Max is one of the most fun aspects of working with the software. Whether it is for video processing, sound creation, or any other type of output, physical interactions provide a space for much more interesting relationships to develop. Unfortunately, many ways to get this information into Max require the user to get comfortable with connecting wires to circuit boards and understanding basic (and sometimes not-so-basic) electr...

Pamela Z’s Presentation from Expo ’74

By Cycling '74 |

In her first years of using Max, Pamela Z was able shed the hardware weight by building her own instrument in Max. Take a look inside her Max instrument and her custom controllers during this presentation from Expo '74.

The Video Processing System, Part 4

By Andrew Benson |

In this installment of the Video Processing System, we're going to tackle two big hurdles that Jitter users often find themselves coming up against. The first thing we will add is an improved, high performance video player module based around the poly~ object. This will allow us to load a folder full of videos and switch between them quickly and efficiently. The other module we will add is a simple recording module to capture our experiments. Since we are using Open...

Creating a “Sketchpad” for jit.gl.sketch

By Darwin Grosse |

Lately, I've been working on some "classic" OpenGL programming within Jitter, and I've been using jit.gl.sketch to do that work; it is very close to the OpenGL syntax that you find in most books, and is fairly forgiving in terms of incoming data type. However, I got very tired of editing message boxes once the programs got a little bigger, but I wanted replaceable parameters like you get with a message box.

Max for Live Presentation at Expo ’74

By Darwin Grosse |

In this presentation, I spoke directly to people that were already familiar with Max, explained some of the details of working within the Live environment, and provided some tips about how to design an effective Live device. Hopefully this will whet your appetite for working with the Max/Live combo!

A Video and Text Interview with Alex Stahl

By Marsha Vdovin |

Alex Stahl is a veteran collaborator and this has never been more evident than in his collaboration with Composer Paul Dresher for the opera Schick Machine. As Robert Henke pointed out in the recent Max/MSP/Jitter Conference, Expo '74, many of us spend years working on the same Max patch. Alex Stahl has spent years developing the Max/MSP patches that are at the core of Schick Machine. Along the way he's developed skills that landed him a fascinating job at Pixar Studios. Collaboration can be qui...
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