Andrew Benson

Max has been used to extend instrumental performances in unique ways since the earliest days of the software. To explore what performers today are doing with Max, we reached out to three artists who are extending their instruments with Max - Uriel Barthélémi, John Baylies, and Jacob Johnson - and asked them to share some patches with us. They shared patches designed to extend drums, sousaphone, and guitar respectively - but the approaches used in these patches could be applied to any extended instrument of your choosing.

Read on to learn more about these artists and download their patches below.

U Barthélémi ©Delphine-Gatinois.jpg

Uriel: A patch for triggering sound and visual from a drum kit. Snare and kick trigger their own parts, while the floor tom makes variations on the snare and kick parts. Designed for use with drum triggers, but you can use any basic contact mics or regular mics instead. Based on a solo performance called “Rêves Accaparés” commissioned by Intonal Festival 2021 (I.A.C. & Inkonst – Malmö)

c74 blog pic.png

John: This patch is a fun little live looping rig that could make for a great encore at the end of a recital. Three drum clips serve as backing tracks, which use a stutter effect that tastefully auto-triggers. Use the 1, 2, or 3 key to start a drum clip, then press the spacebar to record an 8-bar loop with your instrument. Drum clips 1 and 3 are linked to a ducker that lowers the volume of the looper whenever the kick drum hits.

There are a few effects pre and post loop, which adjust themselves depending on whether you're recording a loop, or playing a solo over the loop. To keep your tone clean, a crossover filter allows bass frequencies to bypass the effect chain, and an "envelope crossfade" allows your attacks to be effected differently than your sustains.

Additionally, the plugin_or_rnbo_selector abstraction allows you to substitute any of the RNBO effects (compressor, pitch shifter, auto filter, chorus) with a plugin of your choice. Pressing the spacebar a second time will fade out the loop, and you can press the spacebar a third time to record another loop while the first one fades out.

Find more of John's work (with an LED-lit sousaphone!) on Instagram

__me2.jpg

Aside from a few short and casual tenures in some bands, about 2 years ago I returned to seriously playing the guitar again—following an extended hiatus in which I explored Max and modular synthesis. In coming back to my original musical passion, I felt compelled to embark on a journey to bridge the gap between what felt like two distinct musical identities: my guitar-playing self and my experimental-electronic-music self.

This patch, dubbed "gtrperc," evolved from my fascination with the percussive "thumping" technique that has become quite trendy in progressive guitar music. The inherently transient nature of this playing style combined with the wider range of notes from an eight-string guitar got me thinking about the use of crossover filters and amplitude threshold detectors to augment my playing with synthesized percussion and/or sample layers.

Inside "gtrperc" you'll find two percussion generators: Thump and Skronk. Thump features a simple pinged filter voice triggered by activity on the lowest strings of my guitar, while Skronk is a slightly more complex version that adds more layers, ring modulation, and noise for a broader range of woody and metallic sounds. For more variety, both sections also feature triggered sample players, which can increment or randomly jump through a provided folder of audio files as triggers are detected.

Tip: the "advanced settings" pop-up window is where you can tweak the crossover and trigger threshold settings for your instrument. The defaults are tuned to my instrument (a very modern eight-string guitar with high-output pickups) and my playing style. Because all guitars and instruments are different, I recommend spending some trial and error time to tune the response of the patch to your liking.

Max has been used to extend instrumental performances in unique ways since the earliest days of the software. To explore what performers today are doing with Max, we reached out to three artists who are extending their instruments with Max - Uriel Barthélémi, John Baylies, and Jacob Johnson - and asked them to share some patches with us. They shared patches designed to extend drums, sousaphone, and guitar respectively - but the approaches used in these patches could be applied to any extended instrument of your choosing.

Read on to learn more about these artists and download their patches below.

Uriel: A patch for triggering sound and visual from a drum kit. Snare and kick trigger their own parts, while the floor tom makes variations on the snare and kick parts. Designed for use with drum triggers, but you can use any basic contact mics or regular mics instead. Based on a solo performance called “Rêves Accaparés” commissioned by Intonal Festival 2021 (I.A.C. & Inkonst – Malmö)

Download Uriel's patch 
Find more of Uriel's work on Instagram

Download John's patch 
Find more of John's work (with an LED-lit sousaphone!) on Instagram 

Aside from a few short and casual tenures in some bands, about 2 years ago I returned to seriously playing the guitar again—following an extended hiatus in which I explored Max and modular synthesis. In coming back to my original musical passion, I felt compelled to embark on a journey to bridge the gap between what felt like two distinct musical identities: my guitar-playing self and my experimental-electronic-music self.
 
This patch, dubbed "gtrperc," evolved from my fascination with the percussive "thumping" technique that has become quite trendy in progressive guitar music. The inherently transient nature of this playing style combined with the wider range of notes from an eight-string guitar got me thinking about the use of crossover filters and amplitude threshold detectors to augment my playing with synthesized percussion and/or sample layers.

Tip: the "advanced settings" pop-up window is where you can tweak the crossover and trigger threshold settings for your instrument. The defaults are tuned to my instrument (a very modern eight-string guitar with high-output pickups) and my playing style. Because all guitars and instruments are different, I recommend spending some trial and error time to tune the response of the patch to your liking.
Download Jacob's patch 
Find more of Jacob's work on Instagram. 

U. Barthélémi - Reves-accaparés - c3 .png

extended-instruments-in-max

Extended Instruments in Max

Takumi Ogata creates custom instruments for performing with Max. We caught up with him to learn more about his approach to Max patching, how he got started, and where he finds inspiration. Watch the video to hear more about how he is working with Max to explore unique interfaces and sound.

Takumi 16x9 thumbnail.png

Takumi Ogata creates custom instruments for performing with Max. Watch the video to hear more about how he is working with Max to explore unique interfaces and sound.

an-interview-with-takumi-ogata

Fascinating!
I love the idea of drawing inspiration from everyday objects for instrument design.  Ogata's use of hacked musical instruments (guitar fret boards etc) hooked up to sensors that feed into Max for synthesis and DSP is great. It's a great use of Max/MSP. 

An Interview with Takumi Ogata

 (Gabe Postle) began performing weekly ambient music streams on his 

 that each showcase a small galaxy of nicely-presented Max patches arranged across the screen, composited over some lo-fi 3D graphics. We reached out to Ends to see if we could collaborate on a couple of sponsored streams and offer up some of those lovely patches for the community to play with. We're so happy he agreed, and look forward to tuning in on 

for the first of these. Tune in for the second live stream on 

"These ambient live streams are meant to document the process of music making, intended for passive or active listening. I designed this Max patch to loop and process live inputs and audio files in a ways that allow one to recontextualize and transform sounds. I hope for the stream to provide a nice backdrop for people in their day to day lives, and by sharing this patch, I hope people can find new ways of processing familiar sounds." - Ends

If you'd like to try your own hand at creating an ambient soundscape, Ends has offered up a small set of his sample-driven patches for you to drop a few samples into and play. 

Download the patches from the first stream

Download the patches from the second stream

EndsScreenshot2.jpg

You can find more of Ends' Ambient Sunday Live Streams on his 

Ends Performance.jpg

In February (2023) , an artist called Ends (Gabe Postle) began performing weekly ambient music streams on his Youtube Channel that each showcase a small galaxy of nicely-presented Max patches arranged across the screen, composited over some lo-fi 3D graphics. We reached out to Ends to see if we could collaborate on a couple of sponsored streams and offer up some of those lovely patches for the community to play with. We're so happy he agreed, and look forward to tuning in on Sunday, June 18, 1pm CST for the first of these. Tune in for the second live stream on Sunday, August 6, 1pm CST.

"These ambient live streams are meant to document the process of music making, intended for passive or active listening. I designed this Max patch to loop and process live inputs and audio files in a ways that allow one to recontextualize and transform sounds. I hope for the stream to provide a nice backdrop for people in their day to day lives, and by sharing this patch, I hope people can find new ways of processing familiar sounds." - Ends

If you'd like to try your own hand at creating an ambient soundscape, Ends has offered up a small set of his sample-driven patches for you to drop a few samples into and play. 
Download the patches from the first stream (patches updated 6/27/2023). 
Download the patches from the second stream (patches updated 7/4/2023).


You can find more of Ends' Ambient Sunday Live Streams on his Youtube Channel, find his music on Spotify and Bandcamp, and follow him on Instagram.

Ambient music artist Ends streams live every Sunday with an assortment of nicely presented Max patches. Try out some of his patches here.

ends-ambient-sunday-live-streams

Ends: Ambient Sunday Live Streams

Machine Learning has long been a part of computer music, but with recent advances in the field we have been interested to see how these new tools could be put to use in Max. We invited Isaac Io Schankler to develop an example of their explorations with the 

object that implements the RAVE model in Max. We hope this offers a good starting point for experimenting with ML tools in Max.

There are lots of ways to use machine learning in music! If you are Google or OpenAI, you can spend millions of dollars to scrape the internet for data and train your models using thousands of GPUs. But even if you are not a tech conglomerate with endless resources and questionable ethics, there are ways to make use of machine learning at home that are slightly less resource-intensive and less fraught. Lately I’ve been having fun using Antoine Caillon and Philippe Esling’s 

 (Realtime Audio Variational autoEncoder). You can use RAVE as a kind of “timbre transfer” tool to make one thing sound like another, e.g. make a guitar sound like a violin, or make an orchestra sound like a Game Boy, or yes, make one person’s voice sound like another person.

ML-Screenshot.png

For this patch, I trained a model on the 

, which features recordings by Kinga Augustyn, Ray Chen, Oliver Colbentson, Ko Donghwi, John Garner, Karen Gomyo, Minji Kim, Silei Li, and Emil Telmanyi. (While there are no laws about using copyrighted material to train AI models yet, I tried to stick to recordings that were in the public domain or had similarly permissive licenses.)

If you want to explore further, there are a few other pre-trained models 

. If you’re interested in training your own model, you’ll need at least 3 hours of recorded audio and a computer with a capable GPU. If, like me, you don’t have access to a fancy GPU, you can use a cloud computing service like Google Colab or vast.ai. A Google Colab sketch, helpfully provided by 

download the patch and supporting materials. 

After you run the patch and turn the audio on, you can try out the timbre transfer by turning on the mic input, or by playing back the little synth guitar loop that I provided. You should start to hear violin-like sounds that mimic the audio input—that’s the pre-trained RAVE model trying to reproduce your sounds!

You can then adjust the mix of the original input and the violin models (there are 2) to your liking. I also added some reverb to “soften” the noisy output you sometimes get from RAVE, but you can adjust that too if you like.

You might also want to adjust the delay of the original audio input. It takes RAVE a bit of time to generate its audio, so if you want the violin models to be in sync with the audio input, you will probably have to delay the original signal a bit (usually between 250 and 1000 ms).

Okay, so far so good. But here’s where things get really interesting. To generate its audio, RAVE uses a bunch of constantly changing control parameters. Normally these parameters are controlled directly by the audio input, but we can hijack these parameters and control them manually if we want. RAVE gives us 16 of those parameters to play with. These parameters are created by RAVE during training, so they don’t really map onto the musical parameters that we know and love (e.g. high and low, loud and soft, etc.). But imo that’s part of the fun of it, the exploration and experimentation and noodling to try and locate the kinds of sounds you want!

Since 16 parameters is a lot to deal with, I also added some LFOs that slowly sweep through the range of each parameter, if you just want to hear how the sound changes over time.

9499B_web_72ppi copy.jpg

Machine Learning has long been a part of computer music, but with recent advances in the field we have been interested to see how these new tools could be put to use in Max. We invited Isaac Io Schankler to develop an example of their explorations with the nn~ object that implements the RAVE model in Max. We hope this offers a good starting point for experimenting with ML tools in Max. 

There are lots of ways to use machine learning in music! If you are Google or OpenAI, you can spend millions of dollars to scrape the internet for data and train your models using thousands of GPUs. But even if you are not a tech conglomerate with endless resources and questionable ethics, there are ways to make use of machine learning at home that are slightly less resource-intensive and less fraught. Lately I’ve been having fun using Antoine Caillon and Philippe Esling’s RAVE (Realtime Audio Variational autoEncoder). You can use RAVE as a kind of “timbre transfer” tool to make one thing sound like another, e.g. make a guitar sound like a violin, or make an orchestra sound like a Game Boy, or yes, make one person’s voice sound like another person.

For this patch, I trained a model on the Bach Violin Dataset, which features recordings by Kinga Augustyn, Ray Chen, Oliver Colbentson, Ko Donghwi, John Garner, Karen Gomyo, Minji Kim, Silei Li, and Emil Telmanyi. (While there are no laws about using copyrighted material to train AI models yet, I tried to stick to recordings that were in the public domain or had similarly permissive licenses.)

If you want to explore further, there are a few other pre-trained models here. If you’re interested in training your own model, you’ll need at least 3 hours of recorded audio and a computer with a capable GPU. If, like me, you don’t have access to a fancy GPU, you can use a cloud computing service like Google Colab or vast.ai. A Google Colab sketch, helpfully provided by hexorcismos, can be found here.

You’ll need to download and install nn~ first, and then download the patch and supporting materials. After you run the patch and turn the audio on, you can try out the timbre transfer by turning on the mic input, or by playing back the little synth guitar loop that I provided. You should start to hear violin-like sounds that mimic the audio input—that’s the pre-trained RAVE model trying to reproduce your sounds!

Enjoy(?)!
--Isaac Io Schankler
Find Isaac on Twitter and Instagram 

timbre-transfer-with-machine-learning-by-isaac-io-schankler

I’m most interested in training my own model. You can’t do it with an M1 or M2 arm mac can you? Requires Nvidia or some other chipset?

would be great to see some of the other machine learning models come to Max, specifically the other model from Qosmo Nuetone, DDSP or whatever. Defs lots to explore. 😊

Robert, I tried training the RAVE model with 3 hours of audio using on-demand NVIDIA H100s. It took me a little over 72 hours of training time and around 150 EUR to have a more-or-less decent inference model that I can use to explore the latent space for *that* particular sound. Since I'm just a hobbyist I don't feel that much encouraged to train a new dataset for another 72 hours or even to train the same 3hrs of audio for more time to have higher quality results. 
I have tried training it on my M1 Max too and it took 12 hours to barely reach 200 epochs. lol

Timbre Transfer with Machine Learning by Isaac Io Schankler

Drums and rhythm are a foundational element of electronic music especially, and every artist has their preferences in how they should sound. Drum voices can also be a fun sound design challenge for Max patching. For this community project, we invited four artists to each create their unique take on some classic percussion sounds - rimshot, clap, cowbell, and cymbal - along with a custom sequencer that puts this collection into action.

 first Collaborative Drum Kit project here.

sequencer-screenshot.png

nouserid-photo.jpg

"I always enjoy making music more when I'm not totally sure what's going to come out of the sequencers next. This sequencer has the ability to generate sequences with semi - predictable variation using just a few parameters.

An initial trigger starts a cascade of possible patterns from the input of the matrix. The matrix basically tells the sequencer its possible destinations after the current step, except for position 0 which is instantly triggered when the sequence restarts. You can also set a delay time for each step to wait before triggering (0 being no delay, 1 being a 16th note, and 16 being 1 bar, etc.). There is also a control for the probability of the delay of a step being applied or ignored. Step size is the note duration and it works on the same time system as the delay.

We also have the optional function to mute (choke) all other voices with each trigger, which can create some interesting variation and unexpected results on its own.

This is a basic implementation of the concept but there are so many different directions you could take it and features you could add, depending on your tastes.." - nouserid. Find 

Note: The sequencer patch download includes all of the patches listed below.

no.pinball_plusLabels.maxzip

takuma.jpg

"Mesh is a physical modeling cymbal synthesizer, implementing a 2D waveguide mesh as its resonator with downsampling at the end." - babumamusic. Find 

Cymbal.zip

Loveless_headshot_portrait.jpg

"This patch is inspired by the Roland 808 cowbell. I researched and reviewed how others were doing this, like reviewing old circuit diagrams and watching how others were recreating this sound in Ableton. It was a fun exercise." - melodycodes. Find 

Loveless_collabdrumkit_cowbell.maxpat

Z_photo (CYCLING 74 FINAL HEADSHOT).png

"rim_shot uses shaped noise, an envelope, a minimal feedback delay line with modulated params, and an optional chorus effect to produce a sound resembling a synthesized rim shot and other unusual percussive elements.” - onokio. Find 

rim_shot.maxpat

PP.Mjulev.jpg

"I would like to introduce you to my interpretation of a clap synthesizer. The entire module is inspired by the 808 clap and is divided into two voices. You can independently modify the "Punch" and "Release" with the patch. I like to build the instrument into a clear interface as well, as this usually determines how quickly I can generate and create sounds. Have fun trying it out!" - Mjulev. Find 

TheEightClap.maxpat

Drums and rhythm are a foundational element of electronic music especially, and every artist has their preferences in how they should sound. Drum voices can also be a fun sound design challenge for Max patching. For this community project, we invited four artists to each create their unique take on some classic percussion sounds - rimshot, clap, cowbell, and cymbal - along with a custom sequencer that puts this collection into action.
You can find the first Collaborative Drum Kit project here. 


This is a basic implementation of the concept but there are so many different directions you could take it and features you could add, depending on your tastes.." - nouserid. Find nouserid on Instagram  Note: The sequencer patch download includes all of the patches listed below.


"Mesh is a physical modeling cymbal synthesizer, implementing a 2D waveguide mesh as its resonator with downsampling at the end." - babumamusic. Find babumamusic on Instagram 


"This patch is inspired by the Roland 808 cowbell. I researched and reviewed how others were doing this, like reviewing old circuit diagrams and watching how others were recreating this sound in Ableton. It was a fun exercise." - melodycodes. Find Melody on Instagram 


"rim_shot uses shaped noise, an envelope, a minimal feedback delay line with modulated params, and an optional chorus effect to produce a sound resembling a synthesized rim shot and other unusual percussive elements.” - onokio. Find onokio on Instagram 


"I would like to introduce you to my interpretation of a clap synthesizer. The entire module is inspired by the 808 clap and is divided into two voices. You can independently modify the "Punch" and "Release" with the patch. I like to build the instrument into a clear interface as well, as this usually determines how quickly I can generate and create sounds. Have fun trying it out!" - Mjulev. Find mjulev on Instagram 


collaborative-drum-kit-in-max-part-2

I love this project, FWIW! Great idea. :-)

I have been blown away by the various approaches we've gotten back from each of these. Who knew that drum synthesis was such a rich field of exploration?

Looks great, ... I can't somehow open the squenzer patch:
no.pinball_plusLabels.maxzip

Collaborative Drum Kit in Max, Part 2

How do you get started when you begin a project in Max? We asked 3 artists working with Max to share each of their personal starting points. The results are each a unique view into Max…

 This patch offers a starting point for world-building through camera movement and path animation. Here, we layer different camera scenes within one jit.gl.node. The rigged camera has three "look at" modes: (1) facing the direction of movement, (2) looking at the target (blue cube), and (3) looking at the center of the scene (purple sphere). Additionally, this patch utilizes quaternions to calculate rotational movement around the path, producing the yellow spiral. Feel free to play around with variables!

alsoknownasrox.JPG

Starting Point - Roxanne Harris.maxpat

 This patch demonstrates some of the approaches I’ve been exploring using Max in tandem with game engine simulations, inspired in large part by cybernetic systems and their application to organizing sound and sonic events. Here, we see Max communicating with a simulation made with Unreal Engine via OSC to create a feedback control loop: objects in 3D space send information about their movement, location, and collisions to Max to generate MIDI information, and Max sends control data back to the simulation based on this information to prompt changes in the 3D environment. Rather than viewing this arrangement as a kind of data sonification, I’m more excited about this dynamic system as a way of generating complex and evolving sound gestures from relatively simple conditions. Hopefully this can provide a generative starting place for your own sounds and systems, as well!

Matthew D Gantt2_photo credit Adam Ninyo.jpg

startingPoint_MDG.maxpat

Matthew has been kind enough to share the 

Unreal Engine project file for this Starting Point

, in addition to the pre-compiled binaries. The project file is large! Almost 2GB. It should open in UE 5.11, which you can download via the 

. The binaries were compiled on late versions of both Mac OS and Windows. Neither Matthew nor Cycling ‘74 can provide tech support in the event your system does not play nice with any of these files.

 My work focuses on researching traditional Japanese music,and through this research, I have identified three essential elements that I hypothesize are very important: pitch, time, and timbre👺

The patches I created allow for a highly organic approach to these elements🌿

Specifically, the "time" patch enables users to freely divide a range of time and generate rhythms⏱️

while the "note" patch creates heterophony based on a single fundamental melody🎼

The "synth" patch features two 2-operator FM synthesizers with the ability to organically change timbre at specific moments🎹

By using the "all" patch, all of these functions can be integrated, supporting the creation of rich, organic music🌯

I view Max8 as a versatile notebook that allows users to quickly test and explore fragmented ideas🗒️

Although it might take some time to master, Max8 offers powerful support when pursuing a specific approach or concept📈

While the patches I've created may seem complex, I would be delighted if they inspire even one more person to explore the possibilities of Max🤝

私は日本の伝統音楽の研究をしており、その研究によって非常に重要だと仮説を立てた3つの要素：音程、時間、音色に対して、非常に有機的なアプローチを可能にするパッチを制作しました🌿

具体的には、ある時間の範囲を自由に区切り、リズムを生成できる「time」⏱️

一つの基本メロディから、ヘテロフォニーを生成する「note」🎼

そして、2つの2オペレーターFMシンセサイザーに、特定の時間で音色が有機的に変化する機能を搭載した「synth」です🎹

これらをまとめた「All」パッチによって、全ての機能を連携させ、非常に有機的な音楽を作るためのアイデアをサポートします🌯

Max8は、断片的なアイデアを非常に高速に試すことができるノートブックのようなものだと考えています🗒️

習得には時間がかかるかもしれませんが、追求したいアプローチがある時に、非常に強力なサポートをしています📈

このパッチは少し複雑かもしれませんが、Maxを使ってみたいと考える人が一人でも増えたらとても嬉しいです🤝

20230307-artist photo.jpg

KS_StartingPoint-r2.zip

@alsoknownasrox

RH: This patch offers a starting point for world-building through camera movement and path animation. Here, we layer different camera scenes within one jit.gl.node. The rigged camera has three "look at" modes: (1) facing the direction of movement, (2) looking at the target (blue cube), and (3) looking at the center of the scene (purple sphere). Additionally, this patch utilizes quaternions to calculate rotational movement around the path, producing the yellow spiral. Feel free to play around with variables!

@gan.tttt

MG: This patch demonstrates some of the approaches I’ve been exploring using Max in tandem with game engine simulations, inspired in large part by cybernetic systems and their application to organizing sound and sonic events. Here, we see Max communicating with a simulation made with Unreal Engine via OSC to create a feedback control loop: objects in 3D space send information about their movement, location, and collisions to Max to generate MIDI information, and Max sends control data back to the simulation based on this information to prompt changes in the 3D environment. Rather than viewing this arrangement as a kind of data sonification, I’m more excited about this dynamic system as a way of generating complex and evolving sound gestures from relatively simple conditions. Hopefully this can provide a generative starting place for your own sounds and systems, as well!

Download Matthew's Unreal Engine builds:
Mac Build
Windows Build
Project Files: Matthew has been kind enough to share the Unreal Engine project file for this Starting Point, in addition to the pre-compiled binaries. The project file is large! Almost 2GB. It should open in UE 5.11, which you can download via the Epic Games Launcher. The binaries were compiled on late versions of both Mac OS and Windows. Neither Matthew nor Cycling ‘74 can provide tech support in the event your system does not play nice with any of these files.

K: My work focuses on researching traditional Japanese music,and through this research, I have identified three essential elements that I hypothesize are very important: pitch, time, and timbre👺
The patches I created allow for a highly organic approach to these elements🌿

Specifically, the "time" patch enables users to freely divide a range of time and generate rhythms⏱️
while the "note" patch creates heterophony based on a single fundamental melody🎼
The "synth" patch features two 2-operator FM synthesizers with the ability to organically change timbre at specific moments🎹
By using the "all" patch, all of these functions can be integrated, supporting the creation of rich, organic music🌯
I view Max8 as a versatile notebook that allows users to quickly test and explore fragmented ideas🗒️
Although it might take some time to master, Max8 offers powerful support when pursuing a specific approach or concept📈
While the patches I've created may seem complex, I would be delighted if they inspire even one more person to explore the possibilities of Max🤝

私は日本の伝統音楽の研究をしており、その研究によって非常に重要だと仮説を立てた3つの要素：音程、時間、音色に対して、非常に有機的なアプローチを可能にするパッチを制作しました🌿
具体的には、ある時間の範囲を自由に区切り、リズムを生成できる「time」⏱️
一つの基本メロディから、ヘテロフォニーを生成する「note」🎼
そして、2つの2オペレーターFMシンセサイザーに、特定の時間で音色が有機的に変化する機能を搭載した「synth」です🎹
これらをまとめた「All」パッチによって、全ての機能を連携させ、非常に有機的な音楽を作るためのアイデアをサポートします🌯

Max8は、断片的なアイデアを非常に高速に試すことができるノートブックのようなものだと考えています🗒️
習得には時間がかかるかもしれませんが、追求したいアプローチがある時に、非常に強力なサポートをしています📈

このパッチは少し複雑かもしれませんが、Maxを使ってみたいと考える人が一人でも増えたらとても嬉しいです🤝

Screenshot 2023-05-02 at 5.18.35 PM.png

How do you get started when you begin a project in Max? We asked 3 artists working with Max to share each of their personal starting points. The results are each a unique view into Max…


starting-points-in-max-pt-2

Starting Points in Max pt. 2

Lilli Wessling Hart

On Thursday, February 23rd, Cycling '74 will host a casual evening with Max and RNBO projects in Brooklyn, NY.

The Integrated Design & Media program (IDM)

 in the Department of Technology, Culture, and Society (TCS).

Brooklyn-RNBO-Event.png

The Integrated Design & Media program (IDM), located within Tandon School of Engineering in the Department of Technology, Culture, and Society (TCS).

On February 23, 2023, Cycling '74 will host an event in Brooklyn, NY.

an-evening-with-max-and-rnbo-in-brooklyn

An Evening with Max and RNBO in Brooklyn

Gregory Taylor and Graham Wakefield's new book of Gen inspiration

, we invited 3 artists to each produce a patch for us that does something with 

. Each of these artists have demonstrated a serious mastery of Gen patching in their frequent posts online, and we were excited to see what they came up with. 

The patches they sent us are all impressive demonstrations of what is possible with Gen, and exceeded all of my expectations. Whether you're looking for some good Gen tricks, or just want to experience the patches, there's a lot here to enjoy. From Daniele's rhythmic granular synthesis patch, to Fendoap's fully realized generative music, and Massimiliano's math-intensive and thoroughly documented algorithmic modelling, you'll find 3 very different approaches to patching. I hope you download the patches below and tune into their social media feeds to see more of their incredible Max patches.

D.Fabris pic bio.jpg

This is a patch for sample playback implementing a simple algorithm of granular

synthesis in gen~. It creates a constant auto-re-triggered stream of crossfading sections

The pitch, read position and windowing of each grain can be modulated to reach

deconstructed sounds in organic rhythmic patterns.

DanieleFabris x C74gen.maxpat

fendoap_avatar_picture.png

Here's a patch that creates music with just one gen~ object.

Global transport, metro, kick, hi-hat, synth, delay, reverb,sequencer, etc. have been written in a single gen~ object.

It's all written in gen~, so you can write it into daisy with using oopsy.

If you write various things using gen~, your understanding will deepen. gen~ is good for learning dsp.

gen_music_fendoap_gfx.maxpat

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I have implemented a two species competition-cooperation model in Gen using Lotka-

Volterra equations, to generate a controlled chaos with very specific behaviors like asymptotic convergence, periodicity/quasi-periodicity, attractor-like motion, distributed pseudo-randomness, etc. I was inspired by the work and the researches of Iannis Xenakis and Rob Hordijk.

Two Species Competition-Cooperation Model.zip

Find more of Massimiliano's work on Instagram.

Following the release of Gregory Taylor and Graham Wakefield's new book of Gen inspiration, we invited 3 artists to each produce a patch for us that does something with gen~. Each of these artists have demonstrated a serious mastery of Gen patching in their frequent posts online, and we were excited to see what they came up with. 
The patches they sent us are all impressive demonstrations of what is possible with Gen, and exceeded all of my expectations. Whether you're looking for some good Gen tricks, or just want to experience the patches, there's a lot here to enjoy. From Daniele's rhythmic granular synthesis patch, to Fendoap's fully realized generative music, and Massimiliano's math-intensive and thoroughly documented algorithmic modelling, you'll find 3 very different approaches to patching. I hope you download the patches below and tune into their social media feeds to see more of their incredible Max patches. 

This is a patch for sample playback implementing a simple algorithm of granular
synthesis in gen~. It creates a constant auto-re-triggered stream of crossfading sections
of the source sample.
The pitch, read position and windowing of each grain can be modulated to reach
deconstructed sounds in organic rhythmic patterns.

Find more of Daniele's work on Instagram 

Here's a patch that creates music with just one gen~ object.
Global transport, metro, kick, hi-hat, synth, delay, reverb,sequencer, etc. have been written in a single gen~ object.
It's all written in gen~, so you can write it into daisy with using oopsy.
If you write various things using gen~, your understanding will deepen. gen~ is good for learning dsp.

I have implemented a two species competition-cooperation model in Gen using Lotka-
Volterra equations, to generate a controlled chaos with very specific behaviors like asymptotic convergence, periodicity/quasi-periodicity, attractor-like motion, distributed pseudo-randomness, etc. I was inspired by the work and the researches of Iannis Xenakis and Rob Hordijk.


Find more of Massimiliano's work on Instagram. 

massimiliano.png

Following the release of Gregory Taylor and Graham Wakefield's new book of Gen inspiration, we invited 3 artists to each produce a patch for us that does something with gen~. Whether you're looking for some good Gen tricks, or just want to experience the patches, there's a lot here to enjoy. 

3-explorations-in-gen~

Hi there, it seems both fendoap and Daniele's patch can not be downloaded. After click their download links are full of codes.

@MaxMSPUser
you can right-click on the download icon, and choose 'SaveAs...', when you save, make sure '.maxpat' is at the end of the file name, this way it should save as a file ready to load into Max(alternately, you could select all the code you see when you click the download link, choose 'Copy' from your browser, and then just 'Paste' straight into a new empty patch within Max).

(oh, i get it now, maxmspuser was probably noting they could make the single files downloadable same as in regular threads:
https://cycling74.com/forums/simulating-a-capacitor-in-gen~ )

Wow. This is so cool. Each of these is so different, and provide so much to explore.  I've just start the new Gen book and look forward to the journey of exploration ahead.  The granular patch (Fabris) is great - the best Max granular synth patch I've seen - but I can also see ways to expand on it. Thanks C74 - this is a great way to support users and support artists working with your tools. 

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3 Explorations in Gen~

Sometimes the possibilities of using Max are so broad that we love a creative constraint as a way to get us focussed and thinking of new patching ideas. What if your patch only had one button in it to interact with? We invited three artists from the Max community to take the challenge and show us what they came up with. Here are the results of that challenge, with downloadable Max patches included…

MR_photo.jpg

oneBang is an interactive audiovisual patch. I wanted to create something that looks and sounds organic. It takes on a life of its own: engagement is encouraged but not essential. The movement (sonic and visual) is driven by a jit.bfg and gets transformed by a push of the button.

MR_oneButton.maxpat

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“One_Button_Ocean” generates three audio layers, with accompanying video streams. It contains white noise lowpass filter swells, impulse clicks and background noises. It randomly selects the speed between the clicks, the frequency of the background noise and the frequency/volume of the white noise low pass filter. The simple low-fi visuals of cyan “spurts” are generated by the clicks, light blue “triangle waveforms” are created by the background grumbles and dark blue “sine style waveforms” are made from the white noise swells. The results are a digital ocean.

one_button_ocean.maxpat

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This patch is based on the idea that an mc.comb~ object can be repurposed to create polyphonic Karplus-Strong synth chords. The ‘one button’ creates a stream of midi notes (taken from a chord stored in a table object) which are then converted to delay times for the mc.comb~ Karplus-Strong synth. To add some tonality, the resulting stereo signal then is fed through some buffir~ objects with continually updating source buffers – this sometimes gives the synth a piano-like timbre. A simple reverb, made from another mc.comb~ object with a ‘harmonic’ mc wrapper message, gives some dimensionality to the sound. Many of the patch’s parameters are randomised with each press of the ‘one button’, creating a different vibe each time.

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