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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 position to record it before it slips away. Since the iPhone came into my life, I do a lot better job of capturing the ephemeral. At first I just used the built-in “Voice Memos” app [...]

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 posted to create a realtime 3-D anaglyph image.

An Interview with Giorgio Sancristoforo

Giorgio Sancristoforo is a very enthusiastic artist, musician, audio engineer and software developer based in Milan, Italy. Giorgio incorporates Max/MSP into all his projects whether they are his interesting audio applications that sell for a modest price or his more artistic projects such as sound design for a large-scale composition culled from the sounds of [...]

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 patches. I wrote them first and foremost because that idea of generating and organizing variety by some means other than random numbers or noise sources has been an interest of [...]

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 inside her Max instrument and her custom controllers during this presentation from Expo '74.

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 within the Live environment, and provided some tips about how to design an effective Live device. Hopefully this will whet your appetite for working with the Max/Live combo!

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 the opera Schick Machine. As Robert Henke pointed out in the recent Max/MSP/Jitter Conference, Expo '74, many of us spend years working on the same Max patch. Alex Stahl has spent years developing the Max/MSP patches that are at the core of Schick Machine. Along the way he's developed skills that landed him a fascinating job at Pixar Studios. Collaboration can be qui...

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. Most of the examples you've seen so far have been pretty similar to your average plugin, with the fundamental difference of being to edit the device in place. That in itself is pretty spectacular, and probably enough to please a lot of people and keep everyone busy. Well now I'd like to talk about a couple of features that really make Max for Live unique and pretty e...

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 starting point for your own investigations.

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 featuring some interesting examples of Max-based work, including Andrew Benson’s work with M.I.A. and Dana Karwas’ installations. So when I was asked to play with an electronic music All-Star Band, I couldn’t help but document the experience.

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, Mode, Hipno, and UpMix. We will still continue to support current users as best we can, but there will be no further development on either the plug-in packages or their supporting technology.

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 with assignable LFOs, and building a GPU-based video delay effect. These two parts will bring our system to a much more usable level, and allow for much more complex and interesting results. Ironically, most of what we are really doing in this installment is just an extension of bread-and-butter Max message passing stuff.

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, the K-Bow and StringPort, both of which include some very rich software applications written in MaxMSP. The K-Bow, a bluetooth-based wireless gestural controller integrated into a violin bow, has just started shipping so we thought it would be a good time to catch up with Keith and find out more about the project. I met Keith at his studio...

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 performance support. For a system as complicated as this, performance support means two things: patch storage and realtime control. Thus, we will learn to create a preset system and manipulate the various on-screen controls with an inexpensive MIDI footpedal system.

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 additional processors: a looping delay unit, and a basic reverb system. Also, to help keep the output useful, we will drop a limiter on the back end of the entire rig.

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 arrived on Friday afternoon, well after we had released our product announcement for Max for Live, and was impressed by the volume of booth traffic we were getting. Ableton had, of course, also announced their new Akai controller and Live 8 in addition to Max for Live, so there was a great deal of buzz surrounding our area of the show...

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 with our old plug-in development objects, we hope you’ll notice the major improvements we’ve made. If you’re new to creating Max content for audio and MIDI processing, we hope this tour will give you a [...]

My Perspective on Integrating Max and Live

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