Marlou Kellenaers

When using 'random' I am able to generate random numbers within a range. However, this range is always starting from 0. 

How can I set the random in a way I can generate random numbers between 3 and 7 for example?

Quesiton for Max 8:
When using 'random' I am able to generate random numbers within a range. However, this range is always starting from 0. 
How can I set the random in a way I can generate random numbers between 3 and 7 for example? 

Quesiton for Max 8:
When using 'random' I am able to generate random numbers within a range. However, this range is always starting from 0. 

random-number-not-starting-from-0

Thank you for your response. I am using Max for the first time today, so I don't understand it immediately. 
If I type 5+3 in the object 'random', the object becomes red, so it is invalid. 
Where do I have to type 5 + 3?


Thank you so much. It is working right now!

Random number not starting from 0

Crash Crew

We are beginners trying to create a patch which has multiple pathways where the user has a range of choices depending on their previous choices. Any advice appreciated...

choose-your-own-adventure

Of course there are various ways of doing this. You can just use gates or routes to diverge your path. You can also use different ways of interaction. Basic example:

If you're planning to make some kind of text adventure game, i think i'd advise against using Max. If you're only going to use everything in your patch once, it's a lot more work building it in Max than in a regular programming language. I don't think much work has been done in this area with Max. Good luck!


you could use jit.turgle or whatever it is and use colors to generate events.


Brilliant idea, I wonder if using textual video files in jitter would be any easier? 

Choose Your Own Adventure

arne

i have got a question concerning the possibilites of working interactive with text in Max. what i want to do is making a kind of textadventure but in shape of an art installation, where you can control light and sound with the manual input of text (by the audience).

There shall be a user interface as in normal text adventures but with e.g. a chronic where you can see what every single person playing it, has written, or popping up some pictures at a beamer projection when tapping on certain words.

I know there are several programms for making text adventures but they´re to restriced for that use or in the other case to complicated, cause i can´t write in C or other programming language.

is there a possibility of embedding a written textadventure in a patch? or does anybody know a basic patch i could adopt to my concerns?

hello dear forum,
i have got a question concerning the possibilites of working interactive with text in Max. what i want to do is making a kind of textadventure but in shape of an art installation, where you can control light and sound with the manual input of text (by the audience).
There shall be a user interface as in normal text adventures but with e.g. a chronic where you can see what every single person playing it, has written, or popping up some pictures at a beamer projection when tapping on certain words.

I know there are several programms for making text adventures but they´re to restriced for that use or in the other case to complicated, cause i can´t write in C or other programming language.
is there a possibility of embedding a written textadventure in a patch? or does anybody know a basic patch i could adopt to my concerns? 

interactive-text-adventure

i'd start with something like Timo's commandline/texteditor interfaces for his mercury live-coding environment:
https://cycling74.com/forums/-sharing-commandline-interface-for-max-live-code-your-patch!
https://cycling74.com/forums/-sharing-texteditor-interface-for-jitter-live-code-your-patch! 
(live-coding is basically a more expansive version of choose-your-own-adventure 😃)
you can create the basic interface for text-control over a text-based choose-your-own-adventure game there, all accompanied by visuals and sound, and then you just have to come up with a way of somehow parsing all that input into files shared with other audience members(that part of the OP's project seems daunting no matter what environ/method you choose 😅)


There is this one for Max For Live, but you can open it in Max.

https://maxforlive.com/library/device/3241/burden-a-text-based-adventure

interactive text adventure

Jakob Hess

image.png

I'm trying to use phase modulation in my Max/MSP class. Does anyone know how I could do this? phasor~ expects a float for the phase input, so this was my effort to do that. It still doesn't work.

Additionally, I have no idea how to figure out what the phase input expects. If I modulate it with another object like this, do I have to multiply a [-1 to 1] wave to [-2pi to 2pi] for the modulation index to attenuate from there? Every time I try to test this with a plot, I'm lost figuring out if the phase input's already in terms of pi or 2pi, if it is at all.


 
I'm trying to use phase modulation in my Max/MSP class. Does anyone know how I could do this? phasor~ expects a float for the phase input

phase-modulation-with-the-phasor~-object


[phasor~]
[+~ 0.] <-modulate phase here
[%~ 1.]

and i´d use [cos~], because it has the *pi magic built-in.

 [cos~] would require a + 0.75 phase offset, which you now can add before you go to signal, since you are modulating the phase already anway.

Phase Modulation with the phasor~ Object

I'm trying to wrap my head (again) around programming FM synthesis. What I'm trying to accomplish is a 4-oscillator series FM synth, using as my model Ableton's Operator in its 1st algorithm. I've started with the simpleFM~ patch and built from there, and what I've discovered is how to program a parallel MM FM synth (included below), but I'm at a loss when it comes to programming series MM FM; I just cannot figure out at which stage to add the signals together, and further, if there is another operation involved that I am overlooking.

My first inclination was to duplicate the modulation section in the signal chain right before the first modulating osc. Logically, it seems to be correct, but this did not give me the sound I was looking for. Referencing Roads's Computer Music Tutorial (p240), I ended up building the same thing. Patch is mmfm-roads, attached.

My initial try, which resulted in parallel MM FM synthesis (a bit messy), is multipleFM-test, attached.

Can anyone tell me where I'm going wrong? Is the Operator's algorithm actually something different than either of these implementations of FM synthesis? Any guidance would be much appreciated as I've been going at this for days and am completely stumped!

multiple-modulator-fm-synthesis

Hi there
forgive me for not checking out your patches, time is limited here. But I've attached an example of how I would modulate a modulator in series rather than parallel. Let me know if this duplicates your problem or conflicts with Curtis' excellent descriptions. One thing I do know is that you can expect more harsh/chaotic/noisy sounds when modulators are in series, so think percussion, brass or distorted guitar.

[EDIT] yeah, I just glanced at your "Roads" example, and it's the same algorithm as mine: modulate [edit: not modulate; set) the frequency of mod1 (operator2) based on the carrier frequency (operator1); but modulate mod1's frequency with mod2 (operator3), before it gets to operator2 (mod1).


Hi, thanks Brendan. Yes you were right, the Roads example I created was the same as yours with the minor exception of modulating mod1's frequency with mod2. Where I'm having trouble is that when mod2 harmonicity is set to 0.5 or 1. (which should be -1 octave and unison) - or anything else lower than, say 1.25 - the sound that's generated is more ring modulator like, as if you can hear the modulating frequency. On the other hand, if you I enter 1.5 or 2. for the mod2 harmonicity, I get the expected sound. So in this case it looks like using a [- 1]. would do the trick, and though I haven't spent the time yet to do the math at many different float relationships, comparing with Ableton Operator at the same mod frequency ratios, the sound is not the same.

What is causing this difference? I think I'm missing some math but I cannot tell where.


Hi laotze
perhaps you can cobble together a single patch that describes your concerns; I'm not fluent in the math underpinning FM synthesis (so why am I here??). At a guess I would say that in a series algorithm, the ratio between the carrier and ALL AND EACH of the other modulators is imperative. The math can get chaotic, and I struggle with simple FM math ;)

the problem is definitely the weird math when adding overtones to something that already has overtones.


6 years later, I'm trying this myself. :) I'm trying out Brendan's patch, and one thing I notice is that if set the following:
mod1 ratio: 3
mod1 index: 1
mod2 ratio: 1
mod2 index: 1

... and then I switch the mod2 ratio back and forth between values of 1 and 2, I get a DIFFERENT timbre each time I go back to the value 1! And this makes me think that maybe phase is playing an important role when you get into modulators in series. And the old Yamaha FM synths actually use phase modulation, right? So maybe the secret is somewhere in there? I'm still trying to figure this out.

I just hooked up a float box to the phase input of the right-most cycle~ object (the "top" modulator) and sure enough, different phase values give different timbres. Whereas different phase values in the "lower" modulator (the one that feeds the carrier) don't affect the timbre at all.

Here's the patch modified to use phase modulation instead. Seems to be much more akin to Yamaha FM sounds. The mod1 and mod2 index values should be very small though, in the range of 0 to 0.005 or so.


one often can find working ways how to implement or organize stuff by experimentation.

1.) first, add (modulator A + modulator B) and FM the carrier C with it

2.) next time make a copy D of the modulator C, and FM one of them with A and the other one with B

3.) now listen to the sonical difference between these two setups

to answer your question: yes, phase is important whenever the frequency rations between any of the X oscillators/operators is in integer relation. so keep all oscillators in sync wherever you can and resync them after the pitch of a modulator has been changed. 

this is one of the reasons why in the yamaha synths there are no integer relations. use prime numbers or 1/prime numbers for best results. or if you use free running oscillators you can also at least resync them on every note on.


Yes, but Roman the examples you're listing don't use 2 modulator oscillators in series, which is where the problems were arising. I'd love to see an FM setup that is like A -> B -> C that gives Ableton Operator or Yamaha FM-like tones. I couldn't figure it out, same as the original poster. But using Phase Modulation, I can do it no problem. 


i cant tell offhand now, but maybe that happens when A -> B already causes aliasing so that the resulting waveform is folded when sent to C?


multiple modulator FM synthesis

Martin Beck

Has anybody found an easy and convenient way for keyframe animation of jit.gl.object attributes (e.g. camera position and rotation)? - Or can someone share an example how to set a breakpoint in a clip envelope in Ableton Live via M4L?

A keyframe editor is an essential tool in most 3D programs like Blender or Touchdesigner 

https://docs.derivative.ca/Animation_Editor

https://cycling74.com/forums/mc-function-scrubbing-triggering-and-convenience/replies/1#reply-5c1cc3bc44b97c19f0d1b492

, but it lacks a lot of convenience features.

https://cycling74.com/forums/coordinate-systems-of-jit-gl-handle-jit-world-and-jit-gl-camera/replies/1#reply-5c6af980698ce43c4a66358b

. It is good for syncing audio to jitter-animations and allows binding to a hardware controller like Push, but there is no simple function that allows to set a set of current parameters as a set of keyframes at a single timepoint - you have to start recording and it will create additional unintended keyframes, messes up your clips etc. 

https://cycling74.com/forums/set-keyframes-from-m4l-device

Of course you can set or edit points by hand, but this is not how you normally design 3D scenes - normally you adjust several parameters by number boxes or moving objects by handles and then write the keyframes by a simple click.

I found no thread that explains how to access Live’s automation via M4L - looks like it is impossible 

https://cycling74.com/forums/writing-automation

.... [In the LOM documentation it is left unclear wether you can write the automation of a parameter without active recording 

https://docs.cycling74.com/max8/vignettes/live_object_model

Next on the list would be to use Touchdesigner and OSC to communicate with Max…., but in the end everything I tried so far resulted in unsatisfactory workarounds that do not offer the required convenience

Access to Live’s automation via e.g. Javascript would be a great improvement, although Live still lacks an overlayed automation curve view….

Has anybody found an easy and convenient way for keyframe animation of jit.gl.object attributes (e.g. camera position and rotation)? - Or can someone share an example how to set a  breakpoint in a clip envelope in Ableton Live via M4L?

A keyframe editor is an essential tool in most 3D programs like Blender or Touchdesigner https://docs.derivative.ca/Animation_Editor.

I tried to use Max’s mc.function https://cycling74.com/forums/mc-function-scrubbing-triggering-and-convenience/replies/1#reply-5c1cc3bc44b97c19f0d1b492, but it lacks a lot of convenience features.

I tried to use Max for Live https://cycling74.com/forums/coordinate-systems-of-jit-gl-handle-jit-world-and-jit-gl-camera/replies/1#reply-5c6af980698ce43c4a66358b. It is good for syncing audio to jitter-animations and allows binding to a hardware controller like Push, but there is no simple function that allows to set a set of current parameters as a set of keyframes at a single timepoint - you have to start recording and it will create additional unintended keyframes, messes up your clips etc. https://cycling74.com/forums/set-keyframes-from-m4l-device
Of course you can set or edit points by hand, but this is not how you normally design 3D scenes - normally you adjust several parameters by number boxes or moving objects by handles and then write the keyframes by a simple click. 

I found no thread that explains how to access Live’s automation via M4L - looks like it is impossible https://cycling74.com/forums/writing-automation.... [In the LOM documentation it is left unclear wether you can write the automation of a parameter without active recording https://docs.cycling74.com/max8/vignettes/live_object_model].

one click export of several parameters to a set of keyframes at specified timepoint).

Has anybody found an easy and convenient way for keyframe animation of jit.gl.object attributes (e.g. camera position and rotation)? - Or ca

editor-for-keyframe-animation

A more advanced example for keyframe editor usage - natural camera motion in Houdini / Blender:
https://www.cinetexture.com/cinemotion#!/~/
It would be a huge improvement if Max had a keyframe editor - something like [mc.function] that is coupled to the [pattrstorage] architecture in combination with a recording functionality.

Editor for keyframe animation ?

Léonard Steyaert

does anyone know how I could represent the distribution of the pixel values of a jit.matrix object (per R,G or B plane) as a histogram?

Hi,
 does anyone know how I could represent the distribution of the pixel values of  a jit.matrix object (per  R,G or B plane) as a histogram?

Hi,
 does anyone know how I could represent the distribution of the pixel values of  a jit.matrix object (per  R,G or B plane) as a histogra

represent-pixel-value-distributions-in-histogram-form

Here's jit.histogram helpfile, plus an alternative visualisation using jit.graph


Represent pixel value distributions in histogram form

Danylo Pertsov

My friends lunched a site with various statistic data for art makers. Unfortunately, I cannot read their data files - import function for dict object give me -1, JSON.parse in js shows an error in max console, I tried a dump from text with \\d+ in regexp - no results. Have someone some ideas how to work with that stuff? https://pandemic-media-space.com/

My friends lunched a site with various statistic data for art makers. Unfortunately, I cannot read their data files  - import function for dict object give me -1, JSON.parse in js shows an error in max console, I tried a dump from text with  \\d+ in regexp - no results. Have someone some ideas how to work with that stuff? https://pandemic-media-space.com/

My friends lunched a site with various statistic data for art makers. Unfortunately, I cannot read their data files  - import function for d

problem-with-reading-arrays-from-json

Problem with reading arrays from JSON

Roland Sproll

The festival "Instandsetzung!" took place in the old slaughterhouse of Schwenningen, which is about to be demolished. With a reference to "Held meiner Träume (My Hero)" from the operetta "Der tapfere Soldat (The Chocolate Soldier)" by Oscar Straus, the installation refers to the time when the building was constructed, while maintaining 6/4 time and major tonality of the musical source.

The Live set contains several Mixmux Duo devices (M4L) controlled by a motion sensor inside the wheel pendulum, which sends OSC data to Ableton Live via wireless LAN. In addition to the used vocal samples, the synthetic sound generation is done by different instances of an Oberheim OB-X emulation plugin.

The Oberheim OB-XD is a free VST-Plugin by discodsp, available here:

The motion sensor has been developed as a collaboration between IRCAM and PluX, available here:

The festival "Instandsetzung!" took place in the old slaughterhouse of Schwenningen, which is about to be demolished. With a reference to "Held meiner Träume (My Hero)" from the operetta "Der tapfere Soldat (The Chocolate Soldier)" by Oscar Straus, the installation refers to the time when the building was constructed, while maintaining 6/4 time and major tonality of the musical source.

The Live set contains several Mixmux Duo devices (M4L) controlled by a motion sensor inside the wheel pendulum, which sends OSC data to Ableton Live via wireless LAN. In addition to the used vocal samples, the synthetic sound generation is done by different instances of an Oberheim OB-X emulation plugin.

Norbert Schnell: Motion analysis
Roland Sproll: Generative composition

The Oberheim OB-XD is a free VST-Plugin by discodsp, available here:
https://www.discodsp.com/obxd/
The motion sensor has been developed as a collaboration between IRCAM and PluX, available here:
https://bitalino.com/en/r-iot-kit

The festival "Instandsetzung!" took place in the old slaughterhouse of Schwenningen, which is about to be demolished. With a reference to "H

held-meiner-träume-my-hero-–-interactive-sound-pendulum-–-mixmux-duo-application-example

Held meiner Träume (My hero) – Interactive Sound Pendulum – MIXMUX Duo application example

jon snow

I'm working on a patch which has become too heavy for my laptop to render. Is it possible to render and record the video offline?

Basically, the same thing you do freezing midi tracks on Ableton Live or other DAW.

Hi there! 
I'm working on a patch which has become too heavy for my laptop to render. Is it possible to render and record the video offline? 

Basically, the same thing you do freezing midi tracks on Ableton Live or other DAW.
Thanks

Hi there! 
I'm working on a patch which has become too heavy for my laptop to render. Is it possible to render and record the video offline?

offline-renderingrecording-with-jit-world

I've tried recording with jit.record, with @output_matrix active on jit.world, but there are a lot of missing frames, due to the heavy processing...  

look in the forum, i guess this is a commonly asked question.

I usually tend to do all my offline rendering by sending frame by frame the output matrix or the output texture to a jit.matrix object and send it a message formatted as follows:
 ( exportimage insert/here/the/path/frameX.jpg jpeg )
where "X" is the number of the current frame.
This creates an image sequence i later mount in adobe premiere (or any video editor).

to create a message formatted like this you need a [counter] and a [combine] object. 
This is not the most elegant way to export videos offline, but is damn solid. This method gives also the benefit to start the rendering at whichever frame you want or to refine isolated groups of frames without having to export the whole thing again.

If i need to export  something audioreactive offline, before the video rendering i'd fill a [coll] object with snapshots of the audio signals you're using to control the video. You can take them by using [metro] (not [qmetro]),  [counter] , [snapshot~] and [coll].
Once you've "printed" the audio signals in [coll] at the right frame rate, you can proceed by exporting the video, recalling the right values from [coll] and saving the video frame by frame as explained before.

Also make sure to have everything "bang dependent"; this means to avoid using objects with an internal independent clock (like [line] for example), otherwise they will mess up the rendering . If you can't avoid them, treat them as audio signals, and print the messages they output at the correct frame rate in [coll] (using for example [float], [int] or [zl.reg] objects to temporarily store the values they produce and to output them only when a bang message arrives).

I've no time now to make an example patch, but i'll post one in the next future if needed.
Ciao!

in addition to the excellent advice above, you can find a basic example patch and brief discussion of technique in the Jitter recording best practices article, the  final section titled Non-real time recording.

offline rendering/recording with jit.world

Ben Bracken

We are excited to announce the availability of our 

 as a public beta. We’ve worked closely with 

. The Eventide H9000 is a rack-sized multi-effects unit with powerful DSP processing capabilities and numerous high quality built-in effects. We’re excited to enable RNBO export for this and open the door to unique custom studio effects and instruments without the strict limitations of other hardware platforms.

RNBO support is similar to the existing Gen support, but more streamlined, and uses the built-in 

, rather than a watcher patcher, to manage the export process. Eventually, all of these changes will be rolled into the standard release versions of RNBO and this package.

Get the preview version of the RNBO package (v1.2.7-eventide.0):

Get the preview version of the "Eventide H9000" package (v1.0.4-beta.3):

We’d love to hear any experiences and feedback from RNBO users with access to an H9000. To join the discussion, use the 

We are excited to announce the availability of our Eventide package for RNBO as a public beta. We’ve worked closely with Eventide to bring...

eventide-h9000-package-for-rnbo-public-beta

Eventide H9000 Package for RNBO - Public Beta

This update focuses on Max for Live stability, fixing regression bugs, and a few new 

The full list of improvements are below, or on the Max 8.6.2 release page:

: Updated LOM documentation to the state on 12.0.x.

We are happy to announce the release of Max 8.6.2.

This update focuses on Max for Live stability, fixing regression bugs, and a few new...

Cycling '74 Forums

We are excited to announce the availability of our Eventide package for RNBO as a public beta. We’ve worked closely with Eventide to...

We are happy to announce the release of Max 8.6.2. This update focuses on Max for Live stability, fixing regression bugs, and a few new...

Thank you so much. It is working right now!

Brilliant idea, I wonder if using textual video files in jitter would be any easier?

bump bump !

[phasor~] [+~ 0.] <-modulate phase here [%~ 1.] and i´d use [cos~], because it has the *pi magic built-in. [cos~] would require a + 0.75...

i cant tell offhand now, but maybe that happens when A -> B already causes aliasing so that the resulting waveform is folded when sent to...

A more advanced example for keyframe editor usage - natural camera motion in Houdini /...

Exactly what I needed, thank you!

My friends lunched a site with various statistic data for art makers. Unfortunately, I cannot read their data files - import function for d

The festival "Instandsetzung!" took place in the old slaughterhouse of Schwenningen, which is about to be demolished. With a reference to...

thanks