Gregory Taylor

BeweenTheTracks 2.jpg

You might be forgiven for looking at the cover of this book and figuring that it's a collection of writing about The Great Works (Why is it that the phrase "Selected Electronic Music" seem to imply that so effortlessly? The answer, of course, has to do with something implicit about who "they" are... you know. The ones making the decision).

But good news! Miller Puckette and Kerry Hagan’s book “

” is an interesting and useful way to imagine the start of a very different kind of discussion. The basic structure of the book is simple: a dozen authors each select a composer and a piece of electronic music that they think should be better known, and they mount a case for why they believe it to be so by looking at the compositions and their creators. In this case, this book will introduce you to the "they" making the selections, and "they" will tell you why you might have missed them along the way. Hey - new stuff to listen to that you may not have heard about!

On some level, the paradigm of “informed recommendation” doesn’t diverge much from what you do with your friends– you recommend things to others, and keep your eyes peeled for interesting work, while keeping an eye out for 

 of your recommending community seem to understand what you’re looking for or are likely to give you good or true advice (the ever-popular “trusted agents” they talk about weaponizing in Marketing 101).

 does a few other things for readers, as well and providing an interesting selection of composers and works (and machines) to check out.

If you don’t particularly identify as academic, this is as good look as any to investigate academic discourse and look at the way that people “inside the academic tent” talk about works, the composers who created them, and the cultural currents that they think help to explain why the persons and works they champion aren’t better well known or more celebrated.

I wouldn't be surprised to find that you may be introduced to composers whose work may surprise you in terms their work connecting to what you’re doing 

What emerges from the book’s individual chapters lays itself out along lines that seek examples of contemporary currents in the field in earlier exemplary works and lives that we may have passed over, as well as the sense that the persons the authors are geeking out about are doing things we’re 

As a reader, you emerge from the book with a sense of how – as scholars – they talk about the works themselves in addition to getting that all-important list of stuff to listen to. While a certain writerly academic tone appears throughout the book, it’s clear that these are works and persons the authors really care about, and that they think that the works themselves have something to show/tell us. It’s hard not to read a lot of this material and not hear the author whispering to you 

But back to the original version of the phrase "Selected Electronic Music" that you might have been suspicious of. I react that way often - the more traditional lists of "selected electronic music" sometimes seems to involve a kind of exclusion - dismissing or diminishing works/creators on the basis of race, sex, class, gender identity, cultural background, and so on (with just enough minority creators/works attempt to profess being “blind” on matters of the exclusionary criteria). To the extent that we're interested in being mindful of how questions of privilege have shaped our current shared culture by excluding work on those rubrics, the question that follows has to do with what we can practically do in terms of addressing that situation. I think that one of the ways that that process begins lies in the humble activity of hearing new things and finding out about new people.

In musical practice (even electronic music), we've got the idea of "the canon." In fact, 

 got a private personal canon of your own - works you like, or works you think are important. So do I.

But I'd argue that the larger canon is supposed to be something 

, a list which emerges from the community of people with shared interests. In a more perfect world, canons of the world of electronic music are somewhat more complicated lists that aren't supposed to rely so heavily on individual whim or desire - they're supposed to be the a kind of curated listening list that are the result of sustained conversations between multiple communities about electronic music and its practice.

But what if you wonder about who's making the exclusionary decisions? What can you do? After a pint or two and some shouting, how do you begin to create the world

Well, you can remain curious, listen widely, join the discussion, passionately engage and share more widely. in some crucial ways, I think that 

These are conversations worth having, and I think that Miller Puckette and Kerry Hagan have put together a kind of book I'd love to see in different guises, full of other authors inviting us to other banquets in other halls.

I'm sure that - like me - some of you might even have found yourself saying, "Huh. I wonder why I didn't see

?" I'd love to know who you'd like to see in a book like this, and my hope is that yours is just as inspiring a read as this one.

You might be forgiven for looking at the cover of this book and figuring that it's a collection of writing about The Great Works (Why is it that the phrase "Selected Electronic Music" seem to imply that so effortlessly? The answer, of course, has to do with something implicit about who "they" are... you know. The ones making the decision).

But good news! Miller Puckette and Kerry Hagan’s book “Between the Tracks” is an interesting and useful way to imagine the start of a very different kind of discussion. The basic structure of the book is simple: a dozen authors each select a composer and a piece of electronic music that they think should be better known, and they mount a case for why they believe it to be so by looking at the compositions and their creators. In this case, this book will introduce you to the "they" making the selections, and "they" will tell you why you might have missed them along the way. Hey - new stuff to listen to that you may not have heard about!

On some level, the paradigm of “informed recommendation” doesn’t diverge much from what you do with your friends– you recommend things to others, and keep your eyes peeled for interesting work, while keeping an eye out for which of your recommending community seem to understand what you’re looking for or are likely to give you good or true advice (the ever-popular “trusted agents” they talk about weaponizing in Marketing 101).

At its best, Between the Tracks does a few other things for readers, as well and providing an interesting selection of composers and works (and machines) to check out.

If you don’t particularly identify as academic, this is as good look as any to investigate academic discourse and look at the way that people “inside the academic tent” talk about works, the composers who created them, and the cultural currents that they think help to explain why the persons and works they champion aren’t better well known or more celebrated. 

I wouldn't be surprised to find that  you may be introduced to composers whose work may surprise you in terms their work connecting to what you’re doing right now. What emerges from the book’s individual chapters lays itself out along lines that seek examples of contemporary currents in the field in earlier exemplary works and lives that we may have passed over, as well as the sense that the persons the authors are geeking out about are doing things we’re very much interested in in the present age.

Three of the chapters expand the notion of authorship - worthy works from that move from the notion of a single creator to more complex interactions: Juliana Snapper’s careful look at precisely how much more Cathy Berbarian contributed to Luciano Berio’s Visages than is commonly thought, the manner in which Anne La Berge distributes and shares compositional responsibility with her performers, and Laura Zattra’s look at Teresa Rampazzi locating authorship within the collective in which she worked (It’s great to see Teresa Rampazzi’s work with the NPS receive some well-deserved attention. If you haven’t encountered the releases of her tape music on the Die Schachtel label, you’re in for a treat).

The early rise of interest in algorithmic composition figures strongly in the chapters by Margaret Schedel (on Bülent Acel), Jøran Rudi (Knut Wiggen and the MusicBox at EMS studios in Stockholm) and David Rosenboom (Salvatore Martirano’s Sal-Mar Construction). It’s interesting to note the way that the authors separate out the notion of algorithmic composition from the context of the Modernism that was the dominant paradigm of the time, and the interplay between available technologies and how they shaped compositional practice (which appear in all three of these essays) – Miller Puckette’s essay on the sense in which Charle Dodge’s explorations of the then-new technologies of speech synthesis at Bell Labs actually created the sound of the Speech Songs itself (this chapter was my personal favorite).

The phonographically and site recording-inclined reader will have a chance to discover Valentina Bertolani’s discussion of how Gayle Young’s work involved the soundscape itself and its physical features as the material for instrument making. Leigh Landy’s inviting analysis of Hildegard Westerkamp’s Beneath the Forest Floor written for a decidedly nonspecialist audience does a great job of inviting you not only to listen, to invites you to think along with the author about questions of form and assembly. Yvette Janine Jackson’s article on Cairo-based soundscape composer Jacqueline George considers how the soundscape tradition can be extended into questions of narrative and the use of environmental sound to engage social issues as well as creating a world for the listener to explore.

In a world in which we are increasingly aware of the need to consider questions of cultural and gender identities, Between the Tracks gives us two great introductions by Kerry Hagan and Marc Battier that focus on the work of two Asian composers – Unsuk Chin and Zhang Xaiofu, respectively - whose approaches to identifying with Western musical traditions (or not doing so) and their own Asian heritage are quite different (Kerry Hagan further instructively discusses Unsuk Chin’s work in terms of her gender identity as well, which I appreciated).

As a reader, you emerge from the book with a sense of how – as scholars – they talk about the works themselves in addition to getting that all-important list of stuff to listen to. While a certain writerly academic tone appears throughout the book, it’s clear that these are works and persons the authors really care about, and that they think that the works themselves have something to show/tell us. It’s hard not to read a lot of this material and not hear the author whispering to you “You’ve got to hear this….” to you conspiratorially.

But back to the original version of the phrase "Selected Electronic Music" that you might have been suspicious of. I react that way often - the more traditional lists of "selected electronic music" sometimes seems to involve a kind of  exclusion - dismissing or diminishing works/creators on the basis of  race, sex, class, gender identity, cultural background, and so on (with just enough minority creators/works attempt to profess being “blind” on matters of the exclusionary criteria). To the extent that we're interested in being mindful of how questions of privilege have shaped our current shared culture by excluding work on those rubrics, the question that follows has to do with what we can practically do in terms of addressing that situation. I think that one of the ways that that process begins lies in the humble activity of hearing new things and finding out about new people.

In musical practice (even electronic music), we've got the idea of "the canon." In fact, you've got a private personal canon of your own - works you like, or works you think are important. So do I. 

But I'd argue that the larger canon is supposed to be something shared, a list which emerges from the community of people with shared interests. In a more perfect world, canons of the world of electronic music are somewhat more complicated lists that aren't supposed to rely so heavily on individual whim or desire - they're supposed to be the a kind of curated listening list that are the result of sustained conversations between multiple communities about electronic music and its practice.

But what if you wonder about who's making the exclusionary decisions? What can you do? After a pint or two and some shouting, how do you begin to create the world you'd like to see? 

Well, you can remain curious, listen widely, join the discussion, passionately engage and share more widely. in some crucial ways, I think that Between the Tracks does just that. 

It's a collection of essays that are aimed at talking about influence on a broader community rather than publication numbers or more common indices of "success."

They're essays about the continued development of a field that connect the past through the present (that stuff you're working on now) toward a shared future. Rather than mere museum pieces, they point toward something

They're essays that search for the less well-known but nonetheless substantial contributions to the shared conversation of culture, and advocate passionately for them.

These are conversations worth having, and I think that Miller Puckette and Kerry Hagan have put together a kind of book I'd love to see in different guises, full of other authors inviting us to other banquets in other halls. 

I'm sure that - like me - some of you might even have found yourself saying, "Huh. I wonder why I didn't see <enter your own composer/work here>?" I'd love to know who you'd like to see in a book like this, and my hope is that yours is just as inspiring a read as this one.

BeweenTheTracks.jpg

Miller Puckette and Kerry Hagan’s edited volume “Between the Tracks” is an interesting and useful way to imagine a very different kind of book than the usual listing of canonical electronic music works.  It’s a book that will send you off to seek out new work, provide a chance to consider who else might not be on the list of “the great works” in the field, and make implicit invitation to imagine who you yourself might add to the book’s contents.

book-review-between-the-tracks-musicians-on-selected-electronic-music-puckette-hagan

Thanks Gregory, as usual, I love your articles. :-) This sounds like a great book and I will be ordering it, thanks for letting us know about it. For those reading this who are tantalized by the prospect of discovering new (to them) electronic composers, I am also really enjoying the most recent from Curtis Roads, "Composing Electronic Music", which also has a wonderful listening list and snippets on the web site.

Book Review: Between the Tracks: Musicians on Selected Electronic Music

RobG

Hi all - I'm not sure if this is possible, although from experience in Max, most things are...

I want to import a waveform, from a graphic (jpeg, tiff...), into buffer~ - so that I can use it as an oscillator in cycle~. I've attached an example graphic I would like to use. I'm guessing I'll need to remove the orange grid before I do anything, leaving the black waveform!

I'm looking at something analogous to Xenakis' UPIC system which allowed graphic waveforms to be used for any audio parameter - frequency, various envelopes, modulators etc., in a self-similar way.

Cardio_Waveform.jpg

Hi all - I'm not sure if this is possible, although from experience in Max, most things are...
I want to import a waveform, from a graphic (

importing-a-waveform-from-a-graphic-into-buffer~


jit.matrix can be read out using the "getcell" command and numbers can be written to a buffer~ using peek~.

the rest is range scaling and some patience. ;)


Thanks for this Roman. I'm not getting anything meaningful out of jit.matrix, although I can display the image quite happily and unpack the data [unpack cell 0 0 val 0 0 0 0]. I just can't put that into a buffer~, or a jit.buffer~/jit.peek~. I've also had a look at table and itable but that's not happening either... I have converted the images into BW, leaving only the waveform.

The first important step is preprocessing, indeed.
When you have "around one" black cell per column, and maybe normalized values (only 0/255) in your matrix, then you can go to reading/writing.
A pseudo algorithm could be:
for each column:
  - i = 0;
  - while cell[i] == 255 (white) do nothing
  - write i*(scaling-factor) in buffer (that's only when you get out of the while loop, i.e. when you read a "black" pixel, i.e. an "on" pixel in your scenario)
I'd try the "for each column" with [uzi], the "while loop" maybe with just and increment and a [sel] object, TBD.


not sure what was the cleanest way to program it, but in the given image i would

1. load it in a matrix and convert it to greyscale

2. read out vertical lines from that picture and bring them in the form of a list

3. check which list element is the darkest

you will not come around to get used to topics like "working with lists", "range mapping" and the sampling theorem (the forum is full of this stuff and so is the in-application search) in order to optimize it until it sounds halfway right to your ears, but it is doable.

of course you should not expect too much, because the resolution of this image will be like a 0,3 khz SR in terms of audio.


Thanks for this guys. It's looking pretty ugly for what I'm trying to achieve. I thought, years ago, there used to be a piece of software that allowed you to do this (it wasn't a Max external) but I can't for the life of me, remember what is was - or I dreamt it up! I've got it into the matrix. I need to work on the resolution. But haven't quite got it into a buffer properly yet. Getting there though.

Importing a waveform, from a graphic, into buffer~

Ben Bracken

Max 7 is not fully compatible with Mojave, and as such we recommend that users wait to upgrade to the latest Mac OS (10.14) until we are able to fix the issues we are seeing.

Thanks for your patience while we work on this!

Max 7 is not fully compatible with Mojave, and as such we recommend that users wait to upgrade to the latest Mac OS (10.14) until we are abl

max-7-mojave-compatibility-mac-os-10-14

I updated and take the opportunity to make a  Clean installation formatting the drive, now I can not authorize max :(

Now, patience is the key, thanks for the future update

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https://luckypatcherforios.co/: Lucky Patcher is one of the leading tools that crack gaming apps and provides unlimited access to resources. This made it not only famous in just Android but also in iOS and other platforms.

Who needs Mojave? Wasn't High Sierra disaster enough...;-)
Old time experience: Never upgrade earlier than 3-6 months after release - and only if you cannot live without some of the new features. As long older versions are supported you are safe to stay with them.... El Capitan is stable and supported...;-)
Mostly its the other way around! You cannot live with your working tools... Think twice before you upgrade, never upgrade without having a time machine backup!


Exact STEFANTIEDJE ! I just format again and went back to High Sierra, at least i had the time machine backup!

 Stability without frustration and frights.

Mojave fresh install + new max 8 fresh install
so far working fine.  fast loading and jitter is a bit more easy on the cpu.


ok too late for me... no idea why I decided to upgrade. 
Any suggestion of what is not compatible. I would need to downgrade depending on this.


So far our major compatibility problems relate only to TouchBar MacBookPros.  On these systems,  when running Max 7, the embedded web browser is unable to run, which means no authorization window, package manager,  file browser, or reference viewer. 

If you don't have a TouchBar MacBookPro, you might be fine, but we can't guarantee it. 

I'd recommend using Max 8 if you have Mojave, which in our tests so far, have uncovered no major OS specific issues. 

Does it mean that there will be no update?

This is not marketing, it's a blow and a scam for all those who trusted Cycling74 and bought Max 7.

is there a way to run Max8 in 32 bits in Mojave ?

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http://wallpaperhd.online/s/1440x2880


@Paolo We are sympathetic to your frustration.

We actually see this as Apple's bug. Perhaps Apple will solve this crash in their supporting libraries related to the TouchBar and legacy software, and perhaps it may be included in a forthcoming Mojave update. We will be following up with Apple with a clear and isolated bug report in the near future. 

To give you greater context, we have put some effort to see if the problem is easily solvable on our end, and so far it is not. Any fixes imagined on our end so far require modernizing the Chromium Embedded Framework and the application interaction with it. That option isn't even possible for 32bit binaries any more as the last version of a 32bit supported Chromium Embedded Framework  was 3-4 years ago. This is to say, if we did do the work to update a 64-bit only version of Max 7, it would not solve one of the main advantages of using Max 7 over Max 8 which is it being the last 32-bit version of Max. 

In the meantime, I would like to point out that you do have the option of running older versions of the Macintosh operating system with older versions of Max software, rather than using Apple's Mojave. You may also have success running Max 7 or other legacy software inside a VM like Parallels, VMWare, or VirtualBox(free), though that route may face other issues. 

"if we did do the work to update a 64-bit only version of Max 7, it would not solve one of the main advantages of using Max 7 over Max 8 which is it being the last 32-bit version of Max."

Software legacy, we are talking about software that came out weeks ago... and the beta was available when even Max 7 was in force, things should have been done there.
The argument of the advantage of the 32 bits could be resolved by allowing version 7.3.5 to be 32 bits and the next one that solves these problems for the user should be only and with a notice that indicates only 64 bits.

This would be to respect their users and not treat them like fools who manipulate according to their needs.

Just to clarify, Max 7.3.5 was released over 6 months ago, and as far as we know it still works great on all systems except TouchBar MacBookPros running Mojave.

All customers who have purchased Max 7 in the past 10 months, receive an update to Max 8 for free, which is pretty reasonable from our standpoint. 

Sorry for the hassle to those users who  have upgraded to Mojave on TouchBar MBPs and have to deal with this inconvenience. 

Just as a side note, I am happily running Max 4.6.3 on Sierra!
A general note again: I f you want to run old software you should run an older OS...
I haven't read about important changes for musical applications in Mojave. What does Mojave promise for making people upgrade? Is it important at all? I have no idea...
I am afraid of the next version which will kill all 32-bit apps for no good reason... 
As with Lion they just threw out Rosetta, keeping those who cared on Snow Leopard for a very long time. And it was a lot of hassle for those who didn't know that a good part of programs that used to work just stop working. Though Snow Leopard server does run fine and efficient in VMware or Parallels and probably will do so for some more deacdes...
I once set up a brand new Mac with Parallels going into full screen mode on start. It was booting faster two operating systems than any Mac from 2011 would be able to boot into Snow Leopard alone...; - ) 
Now of course most programs require at least El Capitan, a few Sierra... To be on either OS X would be save for some years at least I guess... And after that, depending on your use of older software you would have to switch to virtual machines (which are up 95% as efficient as the native versions on then probably much faster hardware...)


Thank you for sharing valuable information. Nice post. I enjoyed reading this post.
540x960 HD Wallpapers 

<it is well known that apple  offer a free update regularly>
It is well known for ages that Apple doesn't care a shit if a "free" update breaks working setups, the first versions of OS X are more like public betas...
<and now we could be left without update>
Well, you have at least the option for an upgrade and Joshua explained why an update cannot be done easily. It seems its Apples fault, which is extremely likely, and we do not know if this will be addressed by Apple ever...
If you upgraded too early, I hope you learned a lesson... Obviously you bought Max 7 more than 10 months ago and don't care about the additional features and overall enhanced stability of Max 8. Why do you care about the enhancements of OS X more than those of Max? Just because they are "free"? There ain't no such thing as a free lunch...
Btw. If you made a Timemachine Backup, which is one genius technology of Apple, Windows users can only dream of, you can easily go back! If you didn't, another lesson learned...


  Why do you care about the enhancements of OS X more than those of Max? 

i bet most people who already upgraded to 10.14 do not even care about its "enhancements", they have other reasons to do something  that unprovoked. :)

10.14´s main features seem to be a dark color scheme, the option to separately select an accent color, and that screenshots now can go/stay in RAM/clippoard.

i have all of that since MacOS 7.6 - or in other words: since 22 years.

most other new things are releated to "iphone", "stock exchange" or "apple store" which do not exsist in my household, or are simply a reintroduction of features which were already present in lion and mountain lion but then were stolen from us with 10.9.

the usefulness of metal 2 for composing music has yet to be proven, and while it might theoretically be great for video people, it is probably not so great for GL programmers atm.

when 10.15 comes out, which will ban 32 bit code, 10.14 might have a point, but compared to 10.6 it does not.

<when 10.15 comes out, which will ban 32 bit code, 10.14 might have a point, but compared to 10.6 it does not.>
Well, with 10.6 I would ban the internet, but as Max 8 has a minimum requirement of 10.11 and needs a connection every 6 month to check if the authorization is valid it might be a bit too dated...
I know you still run 4.6...;-)
At the moment 10.11 and 10.12 have a good point. 10.13 brought the introduction of APFS (For quite a while we can happily live without) and might be even less stable than 10.14.... I will wait quite a while before I even would start to test it. Too much precious software running here...


yes of course, if you always want to the latest software, you can not use an OS (and hardware!) which is 10 years old. it is more clever to combine things  the other way round .

but when talking max, max7 for example - which was  the newest version until last week - works just fine on 10.7 (and i think it should on 10.6 too, which is far more lightweight)

actually i develop mostly on 410, and a bit of 633. 

these are the only versions i legally own - and OSX PPC was completely unusable for multimedia anyway IMO. 

sometimes i am amazed how most max4 things still work in later versions. and i really hope it stays like that with max 8 (which i cant really test right now because i dont have the OS for it)


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We've released Max 7.3.6 for Mac only:
https://cycling74.com/downloads/older 

This should fix the authorization/CEF-related issues on TouchBar MacBook Pro running Mojave. All other Mac users can remain using Max 7.3.5, as there are no other changes.

Upgraded to Mojave.. started Max8. Crashes. Checked the internet, and now I know why. I guess I'll just have to wait.

Actually, we currently have no open issues with Mojave and Max 8. Could you please contact support with your crashlog and support info. Thanks!

hi! Ik checked again, now it works... Mojave & MAx8... Maybe it was a Reboot I did, or a glitch in the Matrix.  ☺ 

Got it, it's when my AirPods are connected! I'll send you the debug info.

Air Pods? That expensive toy you'll definitely loose while running? (My ears have a form which spits out any Apple ear plug always...; - )

Any chance my Max 5.1.9 will work with Mojave?

to everybody telling people that it´s their own fault if they upgrade the OS early - my story: macbook pro late 2012 not working anymore. repair not cost effective. had to get a new macbook pro - it comes with Mojave. checked if I could downgrade but if it works, it looks like a hassle and time consuming, time that I don´t have in the middle of  a production.
so am I stupid for upgrading to mojave that I didn´t want in the first place? el capitan was running bomb proof since years for me. 

I´ve installed max/msp 7.3.6: max authorization window opens, but at first couldn´t type my username and password or click, no effect. clicking on "Continue" did work with an error statint that the username is not correct or something like that.
BUT: then typing worked, entered my data, logging is fine, max 7 authorized on my new laptop.
thanks to cycling for fixing it! 

Max 7 is not running on my iMac 2014 with 10.14.6. Already tried Max 7.3.5 and 7.3.6. Thanks for the help!

Same problem here. 
I am in contact with cycling support, they try to find a solution. If you need v7 64 bit, you can strip the 32 bit code with this command (if you have installed Max v8, rename the Max v7 to Max7 and you get a Max7-64bit version, this will start, at least on my computer. 
ditto --arch x86_64 /Applications/Max7.app /Applications/Max7b64.app

But the 32bit version still crashes, but I needed it for 32bit externals.
Anybody have a solution?

Changing the name file did not work (I don't have Max8, but I do have Ableton Live 10 with Max4Live). The command to change to 64-bit worked. Thanks!

good. The renaming of Max to Max 8 (or Max 7) is only needed when you install Max v8 and Max v7 in your application-folder....because installing Max v7 is installed as "Max" and Max v8 is installed" as "Max". If you don´t rename one Max app you will overwrite it...

I' ve read the first comment in this thread

"  Max 7 is not fully compatible with Mojave, and as such we recommend that users wait to upgrade to the latest Mac OS (10.14) until we are able to fix the issues we are seeing.

Thanks for your patience while we work on this!" 

from september 2018 ,  Now almost two years later max 7 is not working with Mojave at all.
crashing all the time.
Do I have other solution than buy Max8 ? 

Max 7.3.6 came out long before apple updated mojave to 10.14.6
Max 7.3.6 is I believe last version of Max 7 that we are going to see.
There was enough time between 7.3.6 release and 10.14.6 update
to read what apple is planning to do to OS, and to decide
if one wants to keep using max 7 and so stop updating the system.



I'm having to juggle between old and new software and need to update to Mojave (10.14.6) -  can anyone confirm if they have managed to get Max 7.3.6 to work with this OS? I've read conflicting accounts in different places and it would be great to clarify before doing the update.

Max 7 Mojave Compatibility (Mac OS 10.14 )

smaria

My patcher keeps crashing and im not sure why, does anyone know how to fix this?

I want to use "mouestate" to have sound of a song be controlled by the user. The goal of my patch would be that when the mouse (use the mousestate object) goes up the highs would be magnified and isolated, when the mouse goes down the lows will be magnified and isolated. To pair visuals with this, I would like to add "bgcolorfill" to the patcher so that when the frequencies are higher the patcher turns red and when the frequencies go lower the patch turns green - again probably using "mousestate" in order to control the color by moving the mouse up and down; ie up = red, down = green. I just need some general help on how one might get started with this project. Thank you so much if you took the time to read this and help in anyway!! all tips are appreciated sincerely.

here is my patch thus far, im reposting a new topic - I previously got some help on this but wanted to have some new eyes look at my work. thanks!!

help .maxpat

My patcher keeps crashing and im not sure why, does anyone know how to fix this? 

For help on my project: I want to use "mouestate" to have  sound of a song be controlled by the user. The goal of my patch would be that when the mouse (use the mousestate object) goes up the highs would be magnified and isolated, when the mouse goes down the lows will be magnified and isolated. To pair visuals with this, I would like to add "bgcolorfill" to the patcher so that when the frequencies are higher the patcher turns red and when the frequencies go lower the patch turns green - again probably using "mousestate" in order to control the color by moving the mouse up and down; ie up = red, down = green.  I just need some general help on how one might get started with this project. Thank you so much if you took the time to read this and help in anyway!! all tips are appreciated sincerely. 

here is my patch thus far, im reposting a new topic -  I previously got some help on this but wanted to have some new eyes look at my work. thanks!! 

My patcher keeps crashing and im not sure why, does anyone know how to fix this? 
For help on my project: I want to use "mouestate" to have 

help-w-project-and-crashing

The fact that you are beginner with max excuses only partly for not following  the very basic rules

- don't control same thing using multiple and different messages
- don't do it faster than really needed
-----
what is this good for :
what do you think *~ 4000 object should react to ?



1 remove that bgfillcolour to thispatcher
2 insert change to avoid repeated values
3 slow down the messages
4 remove silly mistakes. like sending multiple signal and non signal values to *~ 4000
I won't comment on filter used ...


colour is now only black to red
You can have fun finding out how to change that to green to red,
but don't make that mistakes again...


Help w project and crashing

Alexis Aneas

I'm trying to apply a feedback effect (with a jit.gl.pass) to a content created with jit.gl.mutiple and two jit.gl.gridshape with different 'name' attributes (i'm using the targetname attribute to draw them). When I'm not using the jit.gl.pass, the two jit.gl.gridshape are correctly rendered through the jit.gl.multiple. But when I'm trying to apply the feedback with the jit.gl.pass, only the last jit.gl.gridshape wich had been called with targetname appears.

Am I missing something or am I using the wrong method ? How can I apply the feedback to the two jit.gl.gridshape ?

feedback.jxp

feedback.jxs

shader_feedback.maxpat

Hi everyone !
I'm trying to apply a feedback effect (with a jit.gl.pass) to a content created with jit.gl.mutiple and two jit.gl.gridshape with different 'name' attributes (i'm using the targetname attribute to draw them). When I'm not using the jit.gl.pass, the two jit.gl.gridshape are correctly rendered through the jit.gl.multiple. But when I'm trying to apply the feedback with the jit.gl.pass, only the last jit.gl.gridshape wich had been called with targetname appears.

Am I missing something or am I using the wrong method ? How can I apply the feedback to the two jit.gl.gridshape ?

Thanks for reading,
I wish you a good day !

Hi everyone !
I'm trying to apply a feedback effect (with a jit.gl.pass) to a content created with jit.gl.mutiple and two jit.gl.gridshape w

trying-to-create-a-feedback-using-jit-gl-pass-jit-gl-multiple

your patch is incorrectly using  both automatic mode and non-autotmatic mode drawing of the gl.multiple. pass effects require automatic mode drawing. 

while you can bind a jit.gl.node to a jit.gl.multiple to draw multiple shapes, the scaling transformation is different. the shapes are basically scaled "in place" leaving the same distance between individual shapes, contrasting with your patch where distance is scaled as well. I'm not entirely sure why that scaling effect differs, but if you need this behavior just draw with 2 jit.gl.multiple objects.

Thank you for your help !
The patch using the jit.gl.node is exactly what I needed.


Trying to create a feedback using jit.gl.pass, jit.gl.multiple

Julien Bayle

I need to create a "square texture" apparently named as domemaster.

It relates to 5 camera lens-angle 90° oriented from within the center of a cube (top, back, front, right and left).

This rendering is deployed as a texture on a part of a disc (UV adjusted) and shot by another orthographic camera.

https://github.com/charlesveasey/MaxDomemaster

BUT, wouldn't it be possible to do that with a shader ?

Hi there,
I need to create a "square texture" apparently named as domemaster.

It relates to 5 camera lens-angle 90° oriented from within the center of a cube (top, back, front, right and left).
This rendering is deployed as a texture on a part of a disc (UV adjusted) and shot by another orthographic camera.

I found this:
https://github.com/charlesveasey/MaxDomemaster

domemaster-with-a-shader

- I need to capture (sample) the 5 textures rendered by my 5 cameras.
- I need to take these 5 and to "map" and adjust them on a circle and use this latter as the output (2048x2048 required)
- shader based

cannot find proper information about that because I probably don't have the right keywords.


basic setup involves a jit.gl.node containing your geometry and 5 cameras, each camera with capture enabled and viewing transform set properly. the texture output of each camera goes to a separate jit.gl.mesh object with a shader to do the warping:


I may have another option BUT not sure it could work with max: only one camera capturing from (0,0,0) and oriented to the top and opening ... wide at 210° vertical X 360° horizontal... (reminding me a fish eye)

I'd really need to find a way to code the dome warping shader.
what information of my dome installation would I need to do that ?


Yes it should be possible as a shader. (It might even be possible using jit.gl.pix, which also operates as a shader on the GPU), but you would still need the five faces rendered first, and the final pass creating the circle map probably isn't going to be much more efficient as a shader rather than how the domemaster patch has it. And if it simply that you need a texture output, the domemaster-example-syphon.maxpat patch gives this. 

An interesting thing is to try to eliminate the 5 passes and render the entire scene dome-distorted in one shot, but this requires custom shaders on all geometry, possibly including tesselation. Not easy at all, but it has been done before. Maybe with the new nvidia multi-view gpus that won't matter much anymore... :-)


Graham,
so indeed the domemaster patch could be enough.
I'm very curious about some shader version of that.

If I'd only what to send that using syphon, should I absolute need that big 2048x2048 jit.window?
Apparently, I have too.
This is something I didn't figure out before.

Actually, I'd need only (and maybe) a small monitor as a pwindow. not even...


Perhaps add @capture 1 @dim 2048 2048 @adapt 0 to the [jit.gl.camera domemaster] object, and then take the texture output directly from its outlet. That way the jit.window size shouldn't matter.


should I feed  the jit.gl.texture with the camera domemaster or directly the syphon output ?


I took the Syphon example of the Domemaster patches from Charles Veasey and adapted it slightly:


But does anyone have a fisheye shader that would work in the example that Rob Ramirez gave in this thread?

I pick up the thread of this topic - have someone made progress on a solution based on jit.gl.pix or other kind of shader solution to map content to a fulldome format context?  i wonder if this would have better performance than the domemaster patch shared a while ago now and mentioned at the beginning of posts which uses at the final step ortho  jit.gl.camera  (lens Angle)

?

domemaster with a shader ?

Xaver Römer

a mute message to an individual inlet of mtr has no effect.

a mute 1 or unmute 1 message to the first inlet crashes max. 

max 8.1.7 , win10 Pro, AMD Ryzen 5 2600 Six-Core, 16GB Ram

Hi,
a mute message to an individual inlet of mtr has no effect.
Try the basic example of the help file.

a mute 1 or unmute 1 message to the first inlet crashes max. 
(a next 1 message also)

Hi,
a mute message to an individual inlet of mtr has no effect.
Try the basic example of the help file.
a mute 1 or unmute 1 message to the 

-bug-report-mtr-the-message-muteunmute-doesn't-work-or-crashes-max

clear 1 to the main inlet crashes max also

The bugs are solved with Max 8.1.8. Thanks to Cycling '74 for the fast reaction!!

Same happened on my macbook pro. Its now totally switch off and not working. Can anybody help me out please?

[Bug Report] mtr: the message mute/unmute doesn't work or crashes max

Nick Mittelstead

Hey cycling, I've been using Max for a little but only recently decided to use it to learn a little javascript. To do so I've been playing with this patcher I found in the aether. At the moment, I cannot figure out how to route the video from the js object to a pwindow. I figure that the presence of a jit.window and lack of a jit.matrix in the script is causing my problems, but every variation I try fails to output the filtered video. Maybe I'm wrong? As it's been my rubric for learning light javascript, I'd love some helping looking at this particular script rather than starting from scratch elsewhere. Thanks for checking it out!

jsissue.maxpat

Hey cycling, I've been using Max for a little but only recently decided to use it to learn a little javascript. To do so I've been playing with this patcher I found in the aether. At the moment, I cannot figure out how to route the video from the js object to a pwindow. I figure that the presence of a jit.window and lack of a jit.matrix in the script is causing my problems, but every variation I try fails to output the filtered video. Maybe I'm wrong? As it's been my rubric for learning light javascript, I'd love some helping looking at this particular script rather than starting from scratch elsewhere.  Thanks for checking it out!

Hey cycling, I've been using Max for a little but only recently decided to use it to learn a little javascript. To do so I've been playing w

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