It’s not often Max is mentioned in The New Yorker. Last week, we were interested to read about Arto Lindsay’s “Encyclopedia of Arto” — drawn from previous solo works — and then excited to learn that he uses Max.
If you want to learn more about Arto Lindsay, watch him here.
Our friends Peter Dowling and Matt Jackson have teamed up as Surreal Machines, and today released a new Live pack called Dub Machines. This pack consists of two analog-inspired devices – Magnetic and Diffuse – that combine classic functionality with some modern tweakability. Dub Machines is available directly from the Ableton site.
Magnetic, on first viewing, will recall Space Echoes from times past, including the unique multi-head selection design that makes delay selection both intuitive and inspiring. Diffuse is less emulation than imagination, and features a delay-and-reverb network with massive feedback capabilities. Imagine some of the famous “Bloom” sounds of old digital hardware and you’ll be in the right neighborhood.
In addition to honoring the past, these two devices also provide some adventurous advanced options. Magnetic’s most impressive “non-vintage” function is the ability to change the processing chain, allowing you to swap the order of the reverb and echo for distinctly different sounds. A favorite Diffuse tweak is the ability to exceed 100% regeneration – at which point the internal feedback system comes alive with screams and moans.
As with all Max for Live devices, you can hit the edit button to see some clean and creative coding, much of which is accomplished using the Gen system. It’s not only educational to review Peter and Matt’s coding, but it also leaves the door open for modification. Much fun to be had…
Also, check into the Art + Music + Technology podcast this weekend for an interview with the Surreal Machines folks.
Two of my friends (and long-time Max users), Barry Threw and Meara O’Reilly have unveiled their new collaboration Frequent Sea at the Exploratorium’s Kanbar Auditorium in San Francisco. The sound installation was specially designed for the auditorium’s advanced Meyer Sound Constellation sound system.
Tuesdays, 2:00–5:00 p.m.
Fridays, 1:00–5:00 p.m.
First and third Sundays, 10:00 a.m.–5:00 p.m. (subject to change)
by Meara O’Reilly and Barry Threw
May 2–July 1, 2014
Most of the time we think of listening as a static act. Yet changing positions can greatly affect our perceptions of sound and space. A room’s architecture and its resonances can create radically different listening experiences in different places. And many of the principles of hearing that help us locate objects or navigate a space also influence how we hear music.
Specifically designed for the Kanbar Forum’s Meyer Sound Constellation acoustic system, Frequent Sea is a dynamic composition that visitors perceptually co-create by walking through the space and standing in various locations. As steady, pure tones are gradually introduced at different points around the room, increasingly complex polyrhythms and melodies emerge from the physical collision of sound waves in both space and ears, providing each listener with a singular, embodied experience.
Max developer Ian Headley recently shared a project he worked on with us. An artist and a musician met for the first time and became part of an immersive multimedia art piece. Take a look:
Visit Lincoln’s website featuring this and many other projects.
Good news, everyone: Mira 1.1.7 is out. Don’t forget to download an updated version of the Mira package for Max, in addition to the new version of the Mira app.
So what’s new in Mira 1.1.7? In a word, speed.
With this new version, we wanted to focus on stability and speed. We optimized the interface, which makes the whole application faster and more responsive. Loading a patch takes half as much time as it used to, and switching between patch tabs is faster too.