Eric Sheffield

I've just been approved for a grant to compose a new piece of music for percussion and electronics using Max/MSP!

Any advice for the early stages of patch building? My goal is to have a patch that will sample and apply realtime effects to a live percussionist. On top of that, I'm going to use a MIDI drum pad for the electronics performer to play back these altered samples.

I was thinking of linking the velocity from the pad to something like a pitch bend so that the harder they're played, the lower/higher a sample is played back.

Also, I'm going to try to get a foot pedal so that other parameters that can be changed simultaneously while playing.

How do you guys start out in the early stages of a patch?

I'm still kind of new to Max/MSP, so it will still likely be a relatively simple, but I've got a pretty wide open summer to work on it.

I've just been approved for a grant to compose a new piece of music for percussion and electronics using Max/MSP!
Now the work starts!  :)
Any advice for the early stages of patch building?  My goal is to have a patch that will sample and apply realtime effects to a live percussionist.  On top of that, I'm going to use a MIDI drum pad for the electronics performer to play back these altered samples.
I was thinking of linking the velocity from the pad to something like a pitch bend so that the harder they're played, the lower/higher a sample is played back.
Also, I'm going to try to get a foot pedal so that other parameters that can be changed simultaneously while playing.
How do you guys start out in the early stages of a patch?
I'm still kind of new to Max/MSP, so it will still likely be a relatively simple, but I've got a pretty wide open summer to work on it.


woohoo

Plan out your patch on paper somewhat. This may be hard if you are new to max though.

From your post, it doesn't seem like an entire modular system is required. I'd start with a patch like the one below. Note that all the subpatchers are empty, but that your structure is in place. First build the routing of all the signals without any effects (with 'empty' effects). Get your input working and your audio input as output.

Then decide which effects are necessary and fill them in one by one. This guarantees you will have a working product by the end.

From your post, it doesn't seem like an entire modular system is required. I'd start with a patch like the one below. Note that all the subpatchers are empty, but that your structure is in place. First build the routing of all the signals without any effects (with 'empty' effects). Get your input working and your audio input as output. 

Don't start with the final patch, build small parts for testing. You can implement them later on.

You can also use triggers on a real drumkit if you want.

> I was thinking of linking the velocity from the pad to something like 

> a pitch bend so that the harder they're played, the lower/higher a 

This is an idea that can be tweaked with the "function" object. 

(graphical envelope) It can also be used as a lookup table, so you can 

create relationships that are mostly linear, but have weird behaviors 

in certain ranges. For instance, maybe the above is true from niente 

to f but above that it behaves unpredictably.

Linear mappings can be very useful but if x always happens with y it 

tends to reduce musical interest. Try to model your interactions like 

counterpoint, using a good blend of similar, contrary, and oblique 

motion, and you'll be happy with the results.

Figure out a reliable system for gain structure coming into the patch. 

My experience has shown that gain~ (when doing live signal processing) 

is generally helpful only at the output stage. If you need the input 

louder, a *~ paired with dbtoa works great.

Create a recording/playback system for the live input so that you can 

easily test the electronics without having to be at your instruments.

Respect the control bandwidth of your players. If an LFO can control a 

parameter just as interestingly, go with that. Only have performers 

control parameters that cannot be replicated or anticipated by the 

Think carefully about the performer's interface with the electronics. 

I've seen pieces that operate on the "C4 = preset1, C#4 = preset2" 

mentality; while this works in a certain way, in performance it only 

matters that you make it to the next value, so instead it's 

significantly easier to have one key/switch/drumpad which simply 

advances to the next state. You can always add a timeout function so 

they can't double-hit. Where possible/practical, digital instruments 

should work the way the performer expects

> Also, I'm going to try to get a foot pedal so that other parameters 

> that can be changed simultaneously while playing.

> How do you guys start out in the early stages of a patch?

> I'm still kind of new to Max/MSP, so it will still likely be a 

> relatively simple, but I've got a pretty wide open summer to work on 

>
> I was thinking of linking the velocity from the pad to something like 
> a pitch bend so that the harder they're played, the lower/higher a 
> sample is played back.

This is an idea that can be tweaked with the "function" object.  
(graphical envelope)  It can also be used as a lookup table, so you can 
create relationships that are mostly linear, but have weird behaviors 
in certain ranges.  For instance, maybe the above is true from niente 
to f but above that it behaves unpredictably.

Linear mappings can be very useful but if x always happens with y it 
tends to reduce musical interest.  Try to model your interactions like 
counterpoint, using a good blend of similar, contrary, and oblique 
motion, and you'll be happy with the results.

Figure out a reliable system for gain structure coming into the patch.  
My experience has shown that gain~ (when doing live signal processing) 
is generally helpful only at the output stage.  If you need the input 
louder, a *~ paired with dbtoa works great.

Create a recording/playback system for the live input so that you can 
easily test the electronics without having to be at your instruments.

Respect the control bandwidth of your players.  If an LFO can control a 
parameter just as interestingly, go with that.  Only have performers 
control parameters that cannot be replicated or anticipated by the 
computer.

Think carefully about the performer's interface with the electronics.  
I've seen pieces that operate on the "C4 = preset1, C#4 = preset2" 
mentality; while this works in a certain way, in performance it only 
matters that you make it to the next value, so instead it's 
significantly easier to have one key/switch/drumpad which simply 
advances to the next state.  You can always add a timeout function so 
they can't double-hit.  Where possible/practical, digital instruments 
should work the way the performer expects

> Also, I'm going to try to get a foot pedal so that other parameters 
> that can be changed simultaneously while playing.
> How do you guys start out in the early stages of a patch?
> I'm still kind of new to Max/MSP, so it will still likely be a 
> relatively simple, but I've got a pretty wide open summer to work on 
> it.
>
>
www.petermcculloch.com


I have worked through most of the tutorials in the recent past, but I will certainly be visiting them again extensively in the early stages of this project.

I think that I may work with several patches. I'll use one that has my MIDI inputs mapped out and keep that as sort of a "master". Then I'll start new patches to experiement with sounds and implement those as I decide on what exactly I want this thing to do. I will certainly plan as much of this as possible, but sound-wise, there's going to have to be a good deal of experimentation.

This won't be my first patch, but my first patch was quite simple- just a handful of reverbs, sliders, buttons, and a pitch shift.

Wow!  Wonderful advice, folks.
I have worked through most of the tutorials in the recent past, but I will certainly be visiting them again extensively in the early stages of this project.
I think that I may work with several patches.  I'll use one that has my MIDI inputs mapped out and keep that as sort of a "master".  Then I'll start new patches to experiement with sounds and implement those as I decide on what exactly I want this thing to do.  I will certainly plan as much of this as possible, but sound-wise, there's going to have to be a good deal of experimentation.
This won't be my first patch, but my first patch was quite simple- just a handful of reverbs, sliders, buttons, and a pitch shift.
Thanks again!


Woohoo!