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Andrew Benson

After ten years in development at IRCAM, we’re pleased to welcome the MuBu project to the Max Package Manager. The depth of this set of tools is impressive, and can be intimidating, but I strongly encourage you to install and check it out. The gesture recognition tools powered by interactive machine learning should definitely be worthy of your attention. Despite the range and complexity of the work here, they’ve done a heroic job of documenting and introducing the objects with help files and examples. For a quick intro, don’t miss the included Launch (MuBu-Overview) patcher, which shows off an auto-sliced sampling engine.

pasted image

In their own words, this is what the ISMM team at IRCAM has to say about MuBu for Max:

MuBu for Max is free to install for Max users and can be found in the 

mubu-feature.png

This free Max package from our friends at IRCAM has been a decade in the making - the MuBu package is chock-full of amazing tools - from a multibuffer object to time-based data structures in Max to gesture recognition and machine learning and… more.

content-you-need-mubu

Content You Need: MuBu

Gregory Taylor

image.png

When you return home from the annual Ableton Loop event, do you call it 

Whew! Whatta week. Several of us ventured to Berlin a week or so back to attend 

 - a three day gathering of talent, enthusiasm, and music. Here's a bit of what we saw and heard....

 and I were flying the Max flag as presenters. Tom did most of the heavy lifting - prowling the Hall 2 podium like a rock star and dropping 

 wisdom to a packed house (along with our friends from 

and leading a smaller but equally full house on the joys of hitting the edit button on Max for Live devices (and making their own, even).

I led a roundtable discussion on creating step sequencers in Max during an evening when I expected that everyone would already have staked out space at the bar at 

 I was cheered and surprised to find that I had a lively crowd arrayed around the giant Egyptian funeral barge of a conference room table, and (I hope) a good time was had by all.

I noticed that someone in the Forum asked about product announcements at the Loop event before it started. While that might have been a reasonable expectation the first time out, this is Loop's third year. As time goes by, the Loop event is transforming itself into a different beast entirely, summed up by the second half of its title: 

. Simply put, Loop has moved from its early more software-focused days to a much more diverse and wide-ranging event - a diversity apparent in terms of musical approaches and styles, in its presenters, and in the event's attendees.

For the second time in its three-year lifetime, Loop was hosted in the 

, once the home of the GDR's broadcast and recording facilities. It's an amazing space - composed of great-sounding rooms of many sizes (

many of which are used as project studios

). Our hosts transformed it into a warren of amazing spaces for amazing conversations, helpfully salted with cheerful and friendly people in yellow shirts who seemed to know where

This was very useful when trying to find the quickest route between the interview/performance on beatboxing and the meetup you'd spontaneously planned in the Jam Room.

One consequence of the wide variety of options is that our own group experience of attending Loop was a little bit like "

" - each of us came away with very different experiences and inspirations and ideas. I'll list a few of mine....

Loop was true to its word in terms of being about music 

 - presentations varied in terms of the tools used to make the music (in addition to our presentations, there were sessions on Supercollider, Node.js, and the Composers Desktop project), as well as the technologies used the realize them.

The focus on the tools used to make music took some interesting turns into more idiosyncratic approaches, too. I was particularly struck by the sessions about how composers and performers created their own more idiosyncratic approaches to producing electronic sounds - a great panel discussion moderated by Mark Zadel that included 

Koka's beat machines are electromechanical musical instruments, which are programmable and produce different kinds of rhythmic and melodic patterns.

Koka's Beat Machine No. 2

I've read the Invisible Jukebox feature in The Wire magazine for years, and always wondered how the actual discussion itself looked and worked in real time. Loop gave me a chance to see one in action in real time and real space - Ben Frost in conversation with Wire's Francis Morgan.

Far-ranging and amazing. From now on, I'll read the thing in print and wonder what I've missed or what was edited out due to space.

I'm sure that everyone came away with performances that were particularly memorable, and the Loop event gave us plenty of those - from meeting and hearing new artists - 

, and the Khaled Kurbeh Ensemble (joined by the the Oriel Quartett, this time out)...

...to the chance to sit down and listen to people whose work I knew, but who I'd never directly experienced (

- whose mastering work I've enjoyed for years)...

...or, finally, the chance to just sit back and play fanboy (Jenny Hval and William Basinski) in a room with a really good gang working Front Of House.

I've also asked some of Cycling '74 folks who were there at Loop with me to chime in about some of what they found interesting and compelling over the course of the week, as well.

Loop '17....Wow! I've been in the luxurious position to attend every single instance of Loop in the last 3 years and I'm still more than impressed by the way this project evolves and grows while still managing to keep this familiar, intimate vibe alive.

In fact, I found myself in a position where the programming and opportunities were slightly overwhelming - what to see, who to meet and who to chat with... I gave up and just "floated" and enjoyed the whole conference. It turned out great and I had an awesome experience fueled with unlimited amounts of valuable input. It's hard to pick favorite moments from the vast sea of impressions that is still stuck in my head. So, instead I'd like to point out one theme that re-occured over the whole weekend: An event like this really sources from the honesty, openness, the level of participation of everyone attending, performing and organizing. The way that happens at Loop is special and therefore it feels like having a focused weekend with A LOT of your friends (let's ignore that you didn't know some of them before) in an inspiring environment and setting. Based on that moments like walking through setups with Doseone, Katie Gately and SK Shlomo can feel as intimate as listening to records with Gilles Peterson, watching a performance by Nosaj Thing & Datio Manabe can feel as private as following an important discussion about "Music as a Voice in Society". Thank you for that!

talk wasn’t on my radar, but through a chance meeting with Adam’s wife (

, an accomplished vocalist in her own right) in the foyer of the hotel, we ended up catching a taxi together and she told myself and Gregory Taylor about the talk, so it shot to 

 for me after her introduction on the ride to Funkhaus.

. His channel covers music theory across a broad range of topics, and he breaks it all down into bite-sized pieces so you don’t need a degree in music theory to digest it. Funnily, I use a lot of polyrhythms in my personal work, but I hadn’t explored the theory behind them at the level of detail that Adam outlined.

I was completely captivated, Adam has character and a lot of it - I think I could sit and listen to him explain the nuances between the differences in paint drying for hours. The beauty of everything that Adam presented was that there were 2-3 threads in the presentation going at once, and the real-world examples he was showing were simple and captivating.

One of the great examples during his talk was a kick drum loaded up in Ableton Live on multiple tracks that shows the different polyrhythmic ratios played against one another. 

Another highlight for me was seeing Caterina Barbieri play live for the first time. I consider Caterina a friend as we’ve talked regularly online over the past year, but this was my first time meeting her.

Caterina’s performance started with a conversation with Dennis DeSantis, where they both discussed the conceptual rationale behind her work. I’m a fan of minimalism, melody, polyrhythms and above all creative use of arpeggiation, so it goes without saying that Caterina’s work strikes a chord with me.

015.png

One of my favorite aspects of this performance was the movement in time and tempo. Letting myself get lost in the arpeggiation and closing my eyes led me to interpret much of what I was hearing as a continuous drone. There’s certainly a psychological aspect to Caterina’s work (and some friends who were in attendance had some trouble with it) but for me this just added to the performance - I feel that great art should challenge one perceptions of what they like from time to time. It’s still an experience, and there are countless times that I’ve not liked something on first listen/look and later gone on to love it. I look forward to future works from Caterina.

It was my first Loop - and even though I'd heard a bit about Loop in the past, I didn't know quite what to expect from it this time around. It's a delicate balancing act, figuring out exactly how to meet the needs of everyone coming to the festival. Some people want to be entertained, some people want to learn something new, and everyone wants plenty of opportunities to meet people and make connections. Sitting on top of everything there's a strong sense of messaging and positioning—Loop isn't about Live the software, but it is very much about Ableton the brand. In addition to demos about how to work with Live and listening sessions with various composers, there were plenty of talks about a range of social concerns that intersect with music maker culture. These talks were some of my favorite parts of the whole experience: how to make music specifically for YouTube, or how blackness can be a creative force both for music composition as well as urban planning.

I was excited to see good representation for Max at the festival. Tom's 

 talk was a big hit, especially when the audience got to see the huge range of guitar pedal effects that could be realized—in hardware—using 

. The other big Max moment was a bit more subtle, but after Daito Manabe talked about his work with Nosaj Thing, he cracked open his sizable performance patch and showed the whole audience how he used Max for realtime video. I caught up with him after the presentation, and he showed me a bit of his future work, still using Max.

One thing that really stuck with me after hanging around Loop was the tremendous profusion of music making workflows. It really did seem like there were at least as many ways to make music as there were people making music. There were two big takeaways for me.

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