Cory Metcalf sits down for a low-noise chat about his work with the interactive media collective NoiseFold; their birth in adversity, their approach to crafting intermedia works on the stage and elsewhere out there, and their tools. There is a lot of wisdom hidden in the folds of his answers.
I first ran across Christopher Jakobi when when he posted a video of his piece Aurora Drone early last fall on the Forum (you can download the Max patch for it here).
Whether you're out in the bush or replacing the batteries in your smoke alarm, having a Swiss Army Knife comes in really handy. I'd like to introduce you to my new MIDI Din/CV/Clock Swiss Army Knife: The Arturia Keystep.
For this book review, I’d like to bring not one, but two books to your attention, both of which are by the same author – an author you’ve already encountered: Curtis Roads. One of them is relatively new, and the other falls into my personal list of “must have” texts.
Hi Rob! Can you tell us a little about what you do at Cycling '74?I primarily work on Jitter development and support.
Ícaro, thanks for being interviewed.
Our instruments – whether blown, fretted, or caressed – are not only objects: they're also repositories of stories - the outward and visible sign of decades of argument about the best ways to transduce small motor activity in the service of making music.
Initially, I was going to tell you that I thought I’d take a brief break from blogging about physical stuff – hardware devices – to spend a little time aiming you at plug-in software that I find compelling.
When working with the Jitter jit.gl.model into jit.gl.multiples objects, you may find your patch’s frame rate dropping to a standstill, depending on how many multiples you’ve specified. A great little Forum posting about this popped up recently that grabbed my attention - a way to get rid of vertices you don’t need in your model without changing its overall shape, which helps you get back to a respectable framerate. With this sweet patcher put together by Greg Finger (and shared on the Forum), most complex shapes will get an average vertex reduction of about 6 times, tested with the built in duck.dae model.
The question occurs on a semi-regular basis.
I first ran into Antye Greie-Ripatti's work as a part of the duo Laub, and have followed her career since then in its many and varied forms - her solo work as AGF (I'm personally particularly drawn to her Source Voice release on the LINE label), the AGF/DELAY duo with her partner Vladislav Delay, and other collaborations with Zavoloka, the trio The Dolls (with Vladislav Delay and Craig Armstrong), and - more recently, as part of The Lappetites (with Eliane Radigue, Kaffe Matthews, and Ryoko Kuwajima).
Aside from the standard Max patch grovel, one of the most common categories of requests for assistance on the Max Forums seem to have to do with wrapping one's head around the mathematics associated with a given task.
When we do interviews with artists, we often stick kind of close to "the work", with a little biography thrown in for good measure (since it presumably helps to define the work).
Recently, in the Jitter (C74) Facebook Group, a question was asked “How might I recreate this glassy texture?” with this neat gif being cited as an example. As always with these incredibly active Facebook groups, Estevan Carlos Benson -- the person who posted the question -- had several answers to go off and investigate in Jitter in less than half an hour.
Some Jitter users periodically become interested in using expressions to generate geometries - sometimes it's involved with porting someone else's equations, and other times it may be the more humble task of finding a quick way to fill a list with 3D coordinates.
In Part 5 of the "A Few Minutes with BEAP" tutorial series, we explore a couple of interesting filters combined with an LFO to get some complex results.
Among the icon-buttons available from the toolbars surrounding your Max patch, there are several that won’t necessarily ring a bell even for experienced Max programmers.
Doing book reviews for a newsletter has turned out to be a more subtle practice than I initially expected.
I recently got a chance to catch up with Pete Dowling of Surreal Machines, and we did a little Q&A.