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Lately, I've been working on some "classic" OpenGL programming within Jitter, and I've been using jit.gl.sketch t...
I'd like to share some really simple things that have worked for me that I hope you'll find useful, or that may provide a startin...
In this installment, we'll be working on some more advanced ninja tricks - creating the beginnings of a control/preset structure w...
In our last article, we began to create our processing system by putting the essential structure in place and adding our input han...
In this, the final episode of our guitar processing extravaganza, we are going to step away from making effects and focus on perfo...
At this point, we have a pretty useful guitar processing "rack", but it could use a little spice. This spice will come from two ad...
Between the tutorials, Jitter Recipes, and all of the example content, there are many Jitter patches floating around that each do ...
In the last article, we added some basic tonal effects: distortion/overdrive and EQ/filtering. This time, we will expand our virtu...
Now that I've got a nice generative patch and a way to hear it, I thought it'd be nice to make a few improvements and extensions t...
In the last article, we did a lot of setup - we got input/output handling in place, and added a compressor to the processing chain...
Last time out, we created the LFOur, a generative patch composed of a quartet of synchronized LFOs whose output we can use to make...
In an earlier article, Andrew Benson and Ben Bracken went through the process of connecting a guitar to a Max-based processing sys...
I'm personally a lot more interested in the ability to synchronize processes in Max using time values that resemble musical note v...
