An Interview with Tarik Barri on Tour with Monolake
Tarik Barri discusses his visual work with Monolake and more.
Soundflower’s role in multi-track Skype group call recordings
Lots of people use Soundflower for producing podcasts and doing various work where audio needs to get from one app to another. One great thing about Soundflower is that it is hackable so that you can customize it to your needs. A clever Soundlower user — who hosts “LuBlog” — contacted us with a great [...]
The Edit Button Has Been Pressed
Even before the Max for Live beta was opened up to the public, a community of testers was hard at work putting Max for Live through its paces. The integration of Max into the Ableton Live environment opened up a whole spectrum of possibilities that many users hadn’t even considered until now, and it didn’t [...]
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...
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.
Jitter on the Mainstage at Coachella
On the afternoon of April 3rd, I received an email from M.I.A.'s manager asking if I'd be interested in working with them on a one-off show on the mainstage at Coachella that would feature live video processing... Upon reflecting, I would also like to share a couple of valuable lessons I learned working on this production...
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 Video Processing System, Part 1
Between the tutorials, Jitter Recipes, and all of the example content, there are many Jitter patches floating around that each do one thing pretty well, but very few of them give a sense of how to scale up into a more complex system. Inspired by a recent patching project and Darwin Grosse's guitar processing articles, this series of tutorials will present a Jitter-based live video processing system using simple reusable modules, a consistent control interface, and optimized GPU-based processes w...
Max 5 Guitar Processor, Part 3
In the last article, we added some basic tonal effects: distortion/overdrive and EQ/filtering. This time, we will expand our virtual effects rack to include both a phase shifter and a full-featured modulating digital delay. As we add these effects, you will begin to see why a DIY effects system can trump any commercial product.
An Interview with Mattijs Kneppers
These days it seems that everyone wants to be an artist so I found it refreshing to meet someone who see himself as an engineer that wanted to create tools for artists. Mattijs Kneppers spoke to me by phone from his home in Holland.
An Interview with Hans Tammen – Endangered Guitar
In this interview, Hans Tammen describes his journey into 'Endangered Guitar'...
A Video and Text Interview with Owen Grace: The Guitar Zeros
It's great to see the way that Max/MSP crosses musical genres and also allows people to repurpose available (and maybe not so available) technology. Owen Grace has a band called The Guitar Zeros. He took the guitar controllers used for the Guitar Hero video games and wrote a Max/MSP patch interface that allows him utilize them as an expressive and innovative, stand alone instrument. The Guitar Zeros band currently has four players, a guitar controller player, a bass controller player, a...