interview

  • Making A Slick Max Standalone

    Dan Nigrin talks about his Expo '74 workshop.


  • Programming with Clojure in Max

    Nick Rothwell talks about his Expo '74 workshop.


  • Videogame Music Prototyping

    Ben Houge talks about his Expo '74 workshop.


  • The Morning Line, Part 2: Surround Concepts

    Surround concepts for The Morning Line.


  • The Morning Line, Part 1

    It's rare these days to experience sound incorporated as an element into Public Art Works.


  • An Interview with Tarik Barri

    An innovative young artist based in Holland.


  • An Interview with Tom Erbe

    SoundHack is a legendary, beloved, and free tool for mangling sound.


  • Putting Max into Words

    Our Italian friends Maurizio Giri and Alessandro Cipriani, authors of Electronic Music and Sound Design, tell us why their book is worth checking out and offer insight into its writing in this interview with Cycling '74.

    How did you first get started on the book? What gave you the idea to make a textbook focussed on MaxMSP?

    It has been many years since Alessandro wrote a book about Csound with Riccardo Bianchini, entitled "Virtual Sound".


  • An Interview with Owen Pallett

    I’m a sucker for well-trained musicians who push the boundaries creatively and aren’t afraid to experiment.


  • An Interview with Francisco Colasanto

    Francisco Colasanto recently published Max/MSP: Guía de Programación para Artistas, the first Spanish-language book devoted to Max.


  • An Interview with Randall Packer

    Composer Randall Packer collaborated with Opera Singer Charles Lane, Designer Greg Kuhn and Director Melissa Weaver to create a theater piece entitled A Season in Hell, premiering at the Zero1 Festival in San Jose on September 17-19, 2010.

    A Season in Hell is a ground-breaking multimedia performance work that integrates a complex electronic musical score and vocal performance with multiple forms of digital media, video projection, surround-sound, objects, and storytelling to fuse live performance, installation, and sculpture into an otherworldly theatrical experience.


  • An Interview with Kurt Ralske

    Kurt Ralske is a mysterious and interesting artist who makes gorgeous and magical video installations that seem to defy physics.


  • An Interview with Valérie Lamontagne

    Valérie Lamontagne is a digital media artist, designer, theorist and curator based in Montréal, Canada researching techno-artistic frameworks that combine human/nonhuman subjects.


  • An Interview with Giorgio Sancristoforo

    Giorgio Sancristoforo is a very enthusiastic artist, musician, audio engineer and software developer based in Milan, Italy.


  • An Interview with Ali Momeni

    Long-time Max user, artist, and educator Ali Momeni discusses his current projects including Minneapolis Art on Wheels and the Spark Festival.


  • An Interview with Elise Baldwin

    Elise Baldwin is an intermedia artist that works with music and projections.


  • An Interview with Chris Coleman

    Artist and educator Chris Coleman is recognized in the Max community for his work on Maxuino, a Max interface to the popular Arduino microcontroller board.


  • An Interview with Stretta

    Matthew Davidson aka Stretta is a talented guy. He’s an accomplished graphic artist and video producer/editor but we talked to him about his music. Stretta’s music is lush, modest and dreamy in the tradition of Brian Eno but it definitely has character of its own. Stretta comes from a tradition of modular synthesis that led him to discover Max/MSP.


  • An Interview with Robert Henke

    Robert Henke is a brilliant electronic musician who records and performs under his own name and also as Monolake. His music has been described as minimalist yet complex techno with an architectural sound. For me, his music is very spatial and multi-dimensional.I find it takes me on an extraordinary journey through space and time, similar to a great work of fiction. Henke recently said, "The last century was about the creation of electronic music. This century is about performance."


  • 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 quite useful in this world. Read more...


  • An Interview with Noriko Matsumoto

    An amazing artist with an amazing range of work, read the interview of Noriko Matsumoto by Greg Taylor.


  • 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...


  • An Interview with Dana Karwas

    When you think of multimedia technology you think mostly about the technology. When you experience Dana Karwas' work you think of the rich organic layers of experience. Dana is working in the nebulous grey area between art and design. As a trained architect she is commissioned to do design works for giants such as Knoll, yet as an artist she creates amazingly tactile and organic performances like her work Party Dress and the installation Fursicle. Although based in architecture, Dana’s work uses high-end technology such as Max/MSP to explore social interaction and levels of identity within public space.


  • 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.


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