I spent hours and hours agonizing over an introduction to this interview. Everything I wrote sucked and realized that I have to let him speak for himself. I think Leafcutter John is brilliant. I love his music which I have been listening to over and over. It is extraordinary, and I'm enthralled with his Max patches, which are amazing artworks in themselves. We had a series of wonderful and fun conversations over a series of weeks...
Zuckung from Amoebazoid is the newest c74 music release. Take a quick look at what Amoebazoid, himself, has to say about his new album.
Bert Schiettecatte is the founder of Percussa, a music hardware and software company located near Leuven, Belguim. The company's first product is Audio Cubes, a beautiful and unusual controller system that can be used in powerful ways in conjunction with Max/MSP and other software. Read more about Audio Cubes in this article.
I first became aware of Luke DuBois when I heard his band’s CD Freight Elevator Quartet. Later, we met when he did custom MSP programming for the filmmaker Toni Dove. I was intrigued by the contrast of his knowledge and experience vs. his boyish demeanor. Luke DuBois might look like a college student but that impression changes the minute he opens his mouth. He is a Fellow at the Computer Music Center at Columbia University in New York City and teaches at NYU. Luke is an expert with Max/MSP/Jitter and the intersection of music and image interaction.
In this interview, Tim Place speaks about his work as a developer and artist, charting the numerous development projects which pooled together to create Hipno.
North Pitney: Making the virtual space real.
Matthew Lewis: Education through synesthetic study and play.
Jamie Lidell: Rocking the "one man human tornado".
Kevin Blechdom: Mind expansion through Max/MSP.
AGF: Falling in love with patches.
Turntablism takes on the visual dimension.
Performance and Installation Using the Lady's Glove to build relationships.
"Drawing" on Ornette Coleman: synthesis control using a graphics tablet.Watch Matt's video.
Controller workshop: From do-it-yourself tablas (with sponges!) to the Lemur. Watch Ali's video.
Creating the personal instrument. Watch Christopher's video.
On visual programming for visual media. Watch David's video.
Controlling a Media Facade: The Bix Simulator and VJ software ES-X. Watch John's video.
Angela Lorenz, a graphic designer and Max user, creates automated design and visuals.
Installation and Performance Fabricating the interfaced machine. Watch Barney's video.
David Wessel is Professor of Music at the University of California, Berkeley where he directs the Center for New Music and Audio Technologies (CNMAT). Wessel worked at IRCAM between 1979 and 1988; his activities there included starting the department where Miller Puckette first began working on Max on a Macintosh. Since Wessel's arrival in Berkeley over ten years ago, CNMAT has been actively involved in teaching Max/MSP as well as developing freely available Max-based software projects. In this 1999 interview with Gregory Taylor, Wessel talks about his musical background, his relationship with French composer and IRCAM founder Pierre Boulez, the origins of Max, and some perspectives on his current work.
San Francisco resident Carl Stone has composed electro-acoustic and computer music exclusively since 1972. He has been commissioned to compose and perform his works in the United States, Canada, Europe, Asia, Australia, South America and the Near East. In this 1999 interview with Gregory Taylor, Stone talks about his methods for composing with new technologies and the artistic implications of sampling.
With a set of experiences that includes playing with Tito Puente, touring with Peter Brook's theatre ensemble in the 70s, and recently playing percussion with Rickie Lee Jones for the opening of the Experience Music Project in Seattle, it's clear that Andrew Schloss has been all over the map for the past 30 years. In the mid-80s, shortly after discovering the radio drum, an electronic instrument created at Bell Labs, he went to IRCAM where Miller Puckette and David Wessel introduced him to Max. The young program's power and flexibility bowled him over, and since then Schloss has been working with Max to make the radio drum respond with the same subtlety as a traditional percussion instrument. On a warm summer day at his home in Seattle he and Ben Nevile talked about the challenges that a performer faces when trying to take advantage of the enhanced possibilities of computer music.
Bob Ostertag is a music school dropout who has since performed all over the world and has collaborated with the likes of John Zorn, Fred Frith, drag diva Justin Bond, and the Kronos Quartet. In this interview he describes his creative process and what inspires him to design his technological instruments.