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‘audio’

jit.phys Patch-along, Part 1

Patch along with Rob Ramirez and discover the Jitter Physics system.

Mobile audio with a Max workflow

You can’t schedule musical inspiration. Nothing is more frustrating than having an idea in your head, but not being in a pos...

Week 52: Audio Settings

Use multi-core processors and eliminate clicks while editing.

Week 46: Object Prototypes and plot~

Learn about useful prototype versions.

Jitter Recipes: Book 3, Recipes 26-43

In third installment of Jitter Recipe Collection, the Jitter Recipe “AnaglyphRender” builds on the “RenderMaster” recipe p...

An Interview with Giorgio Sancristoforo

Giorgio Sancristoforo is a very enthusiastic artist, musician, audio engineer and software developer based in Milan, Italy. Giorgi...

LFO Tutorial 5 (LFO Child Slight Return)

A while back, I wrote a series of four tutorials based around the idea of how you could generate and organize variety in Max patch...

Pamela Z’s Presentation from Expo ’74

In her first years of using Max, Pamela Z was able shed the hardware weight by building her own instrument in Max. Take a look ins...

Max for Live Presentation at Expo ’74

In this presentation, I spoke directly to people that were already familiar with Max, explained some of the details of working wit...

A Video and Text Interview with Alex Stahl

Alex Stahl is a veteran collaborator and this has never been more evident than in his collaboration with Composer Paul Dresher for...

An Interview with Noriko Matsumoto

An amazing artist with an amazing range of work, read the interview of Noriko Matsumoto by Greg Taylor.

Max for Live: A Sneak Peak at the Live API features

So far we have talked about how Max for Live will allow you to create your own custom Max devices that run inside of Ableton Live....

A Look Back at NIME 2009

I will try to summarize here what I thought were some of the highlights of NIME 2009...

LFO Tutorial 4: Building Complexity

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...

Experiences from “Welcome Sound”

Many of us are invited to perform in unique circumstances – it’s a part of the Digital Media life. Recently, we’ve been feat...

Pluggo Technology Moves to Max for Live

Effective immediately, Cycling ’74 will discontinue sales of prebuilt Max-based audio plug-in packages. This includes Pluggo, Mo...

A Look Back at Expo ’74

Last week, we put on our first conference. Now that Expo '74 is history, I've been asked to share my thoughts about the experience...

The Video Processing System, Part 3

In this installment, we'll be working on some more advanced ninja tricks - creating the beginnings of a control/preset structure w...

An Interview with Keith McMillen

Keith McMillen Instruments recently impressed all of us at NAMM with demonstrations of a new pair of string performance devices, t...

Max 5 Guitar Processor, Part 5

In this, the final episode of our guitar processing extravaganza, we are going to step away from making effects and focus on perfo...

Max 5 Guitar Processor, Part 4

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...

The 2009 NAMM Show

I recently attended Winter NAMM 2009 in Anaheim,CA, where Cycling '74 was sharing booth space with our friends at Ableton. I arriv...

Tools for Creating Devices in Live

This article provides a brief tour of the features we’ve added to Max for creating Live devices. If you’re familiar wi...

My Perspective on Integrating Max and Live

David Zicarelli gives some insight on the decision to integrate Max within Live...