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Andrew Benson

We invited 3 prominent artists in the online Max community to dive into the new and versatile 

object and share what they came up with.  Below you'll find three unique takes on patching with a sampler engine, two of them complete with their own sound libraries. User Friendly gives us a glitchy sequencer, John Matter provides a patch that will automatically slice up a sample and map each transiet to a MIDI note, and dnksaus offers a MPE-enabled vocal sampler with textural elements. Try them out by downloading the patches below and opening them in Max 8.6 or later.

The function (envelope) is both the  clock and modulation for this patch. The output of the envelope modulates both the phasor~ (triggering the sfizz~ object) as well as the pitch of the sample being played. When the envelope reaches it's destination (EOC) a bang is sent to progress the sequencer (preset) which then triggers the next envelope. 

Follow @user.friendly.sounds on Instagram

This patch chops up an input audio file by transient and maps it across the MIDI keyboard, generating a JSON dictionary that 

 can read. Transient detection is done with 

 and subsequently included in a set of externals collected by 

. The intended use of this patch is quickly generating new ideas from other source material. The 

 encapsulation contains a few easter eggs for this purpose. The patch plays well with audio containing fairly isolated sounds with obvious transients (e.g. patches hosted on 

). I've been using it primarily as a drum machine. You may also find interesting results by slicing audio that isn't intended to be parsed as a set of well-isolated samples.

Note: In case of quarantine issues with the included 

downloading the external directly from Volker's page

 This patch is taking an MPE approach to sfizz. I have recorded multiple voice samples in different formants, the user can use the slide parameter on an MPE controller to choose a specific formant on each note press. The pressure parameter can be used to give a vibrato/tremolo effect. The modwheel controls the release of all voices. The vocals are split with an 808 sub bass at the bass note region inside a single sfz file. This instrument plays simultaneously with water and ice texture sfz patches, which are set to round robin mode. 

user-friendly-screenshot.png

Three Max artists take on sfizz~ and offer a glitchy sequencer, a textured vocal sampler, and a patch that slices up a single audio file and maps each slice to MIDI.

sfizz-variations

Sfizz~ Variations

How do you get started when you begin a project in Max? Ever wondered how people create those striking high-contrast visuals you see on Instagram and at shows? For this edition of Starting Points in Max we specifically reached out to 3 artists who are all working with Jitter to produce high-contrast, generative visuals and asked them to share their personal starting points. The results are each a unique view into Max patching…

: The patch is an exploration of the possibilities of procedural basis functions on surfaces, utilizing two jit.gl.bfg objects as texture generators. In this example, we have a 3D shape that can be modulated by our first texture, while a second "shape," a plane, is generated by a jit.gl.videoplane object, receiving the same texture from the first bfg object.A jit.gl.pbr is connected to both 3D shapes, one to a jit.gl.mesh and one to a jit.gl.videoplane. This setup allows for experimentation with lights, reflections, and colors simultaneously, giving the scene a more organic and realistic appearance. It creates a unified virtual space that interacts with our lighting provided by a jit.gl.light object.The first bfg texture is responsible for the colors, while the second bfg texture provides the roughness and height maps. Both textures can function as environment maps, allowing the sending of a frame to jit.gl.pbr to overwrite the existing map. The patch also incorporates a simple mod matrix with one "LFO" generated by a jit.mo.time object, which can introduce additional movements. The LFO manipulates the "time" parameters of the two BFG textures, creating pseudo-random movements, and it can also modulate the X, Y, and Z axis of rotation of the single light included in the patch, providing hemisphere lighting.

Kek ing viraggal csabosan.jpg

: This patch has been designed as a starting point for crafting generative visuals in striking black and white, fusing audio input and noise functions to create a dynamic, ever-evolving visual experience.

At the core of the patch is the use of BFGENER8R from the Vizzie toolkit, combined with jit.gl.mesh and jit.gl.gridshape, laying the groundwork for a mesmerizing 3D environment. The primary visual element, a mesh shaped by jit.gl.gridshape, undergoes artistic transformation through BFGENER8R's procedural functions. These algorithms adapt in real-time to the audio's amplitude, fostering an engaging interplay between sound and visual form.

A pivotal enhancement to this patch is the integration of jit.gl.node, which captures the rendered visuals as a texture. This addition opens up a new realm of possibilities, allowing for the application of various effects and filters from the Vizzie toolkit to modify the generated graphics. One notable effect is SLIDR, which offers the capability to temporally blend or smear the visuals, adding a fluid and dynamic quality to the imagery.

The patch offers extensive customization options. Users can render the mesh in various forms – points, lines, or a full mesh – and jit.gl.gridshape provides a selection of basic 3D shapes like spheres, cubes, or planes, each with adjustable resolutions. Future enhancements include integrating more shapes, using jit.gl.multiple for content replication in various modes, and applying frequency band analysis for more accurate audio-visual correlations. The potential addition of jit.gl.camera is also envisioned, offering enhanced control over visual perspectives and compositions.

Ideal for sound artists, visual designers, and performance artists, this patch is a gateway to a world of creative possibilities. Step into this realm where sound and sight harmoniously converge, and let it inspire your artistic expression in live settings and beyond.

Marta.png

In this patch I explore the use of the multiple instancing techniques creatively along with jitter expressions to give dynamic movement to shapes all synced to the global transport. There are 3 scenes with certain user adjustable parameters to perform each scene.

Scene 1: Using a plane gridshape along with the jit.gl.mesh to draw it as a line and multiple to create copies of it. The animation matrices are calculated using a [jit.expr] and plain matrices. The positional matrix’s z-axis can be animated using a matrix computed via [jit.expr]. The scale can also be animated and offsets can be added, the same with the rotational matrix. To make the final output polished I’m using a bloom-hq shader through jit.gl.pass. Since I tend to create multiple scenes in a single rendering context, I use [jit.gl.node] to separate each scene, use the [capture 1] attribute and send the sub-rendering context to a jit.gl.layer or to a syphon server to use with Resolume Arena. To further explore the scene, change the [drawmode] of the mesh, the [gridshape] and add vizzie effects between the [jit.gl.node] and [jit.gl.layer]

Scene 2: This is a more traditional use of the multiple instancing technique, I create a sphere gridshape and make multiple copies of it. Then create multiple masks using jit.expr, dimmap, and concat to create dynamic masks and feed them into the scale matrix of the multiple to give the multiple instancing movement. There is the use of an audio to matrix FFT algorithm too, to feed in live audio. Have used the same [jit.gl.node] trick to separate the scenes rendering. To further explore this patch add vizzie effect modules between [jit.gl.node] and [jit.gl.layer]

Scene 3: Trying to create abstract strobe shapes from two matrices, where I bang the matrix which the value 1 and then after a short delay 0 to create a strobe. Send these two matrices to a [jit.glue] with 3 rows and 3 columns but rearrange the matrices in a way to make an interesting shape. To dynamically change this shape I send it to a [jit.rubix] where I can reorder the columns and rows by sending them random numbers. This creates an interesting strobed shape that is tempo synced. I add a vizzie fractalizer to blend the edges of the shape, and send this to the topmost layer using the [jit.gl.node] and [jit.gl.layer] system. I can set the blendmode of this layer between screen and multiply. In screen blend mode, the strobed shapes appear above the previous two scenes, but if in multiply mode, the shapes act as a luma mask for the previous two scenes to make it even more dynamic and powerful.

Hope you’ll mess with this patch and explore the techniques used!

Myles_Image5.jpg

@ferkohyeah
Ferko: The patch is an exploration of the possibilities of procedural basis functions on surfaces, utilizing two jit.gl.bfg objects as texture generators. In this example, we have a 3D shape that can be modulated by our first texture, while a second "shape," a plane, is generated by a jit.gl.videoplane object, receiving the same texture from the first bfg object.A jit.gl.pbr is connected to both 3D shapes, one to a jit.gl.mesh and one to a jit.gl.videoplane. This setup allows for experimentation with lights, reflections, and colors simultaneously, giving the scene a more organic and realistic appearance. It creates a unified virtual space that interacts with our lighting provided by a jit.gl.light object.The first bfg texture is responsible for the colors, while the second bfg texture provides the roughness and height maps. Both textures can function as environment maps, allowing the sending of a frame to jit.gl.pbr to overwrite the existing map. The patch also incorporates a simple mod matrix with one "LFO" generated by a jit.mo.time object, which can introduce additional movements. The LFO manipulates the "time" parameters of the two BFG textures, creating pseudo-random movements, and it can also modulate the X, Y, and Z axis of rotation of the single light included in the patch, providing hemisphere lighting.

@martaverdebaqueiro
MVB: This patch has been designed as a starting point for crafting generative visuals in striking black and white, fusing audio input and noise functions to create a dynamic, ever-evolving visual experience.
At the core of the patch is the use of BFGENER8R from the Vizzie toolkit, combined with jit.gl.mesh and jit.gl.gridshape, laying the groundwork for a mesmerizing 3D environment. The primary visual element, a mesh shaped by jit.gl.gridshape, undergoes artistic transformation through BFGENER8R's procedural functions. These algorithms adapt in real-time to the audio's amplitude, fostering an engaging interplay between sound and visual form.
A pivotal enhancement to this patch is the integration of jit.gl.node, which captures the rendered visuals as a texture. This addition opens up a new realm of possibilities, allowing for the application of various effects and filters from the Vizzie toolkit to modify the generated graphics. One notable effect is SLIDR, which offers the capability to temporally blend or smear the visuals, adding a fluid and dynamic quality to the imagery.
The patch offers extensive customization options. Users can render the mesh in various forms – points, lines, or a full mesh – and jit.gl.gridshape provides a selection of basic 3D shapes like spheres, cubes, or planes, each with adjustable resolutions. Future enhancements include integrating more shapes, using jit.gl.multiple for content replication in various modes, and applying frequency band analysis for more accurate audio-visual correlations. The potential addition of jit.gl.camera is also envisioned, offering enhanced control over visual perspectives and compositions.
Ideal for sound artists, visual designers, and performance artists, this patch is a gateway to a world of creative possibilities. Step into this realm where sound and sight harmoniously converge, and let it inspire your artistic expression in live settings and beyond.

@aaronmylespereira

AMP: In this patch I explore the use of the multiple instancing techniques creatively along with jitter expressions to give dynamic movement to shapes all synced to the global transport. There are 3 scenes with certain user adjustable parameters to perform each scene.

Starting Point - Ferenc Fabian.zip

mVerde_patch.maxpat.zip

StartingPoint_MYLES.maxpat.zip

Screenshot 2023-12-15 at 11.16.55 AM.png

starting-points-in-max-3

Link to the Ferenc Fabian starting point patch is broken.

@BDC should be fixed now. Thanks for catching that.

Starting Points in Max - High-Contrast Graphics

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)

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 

Get the Latest on Max and our Community

Sfizz~ Variations

Starting Points in Max - High-Contrast Graphics

Extended Instruments in Max

An Interview with Takumi Ogata

Ends: Ambient Sunday Live Streams

Timbre Transfer with Machine Learning by Isaac Io Schankler

Collaborative Drum Kit in Max, Part 2

Starting Points in Max pt. 2

An Evening with Max and RNBO in Brooklyn

3 Explorations in Gen~