Coming up with ways to get information about the physical world into Max is one of the most fun aspects of working with the software.
In her first years of using Max, Pamela Z was able shed the hardware weight by building her own instrument in Max.
In this installment of the Video Processing System, we're going to tackle two big hurdles that Jitter users often find themselves coming up against.
Lately, I've been working on some "classic" OpenGL programming within Jitter, and I've been using jit.gl.sketch to do that work; it is very close to the OpenGL syntax that you find in most books, and is fairly forgiving in terms of incoming data type.
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.
Eowave has introduced another product in their line of sensor to MIDI interfaces called the Eobody2 HF, a wireless sensor to USB MIDI device.
So far we have talked about how Max for Live will allow you to create your own custom Max devices that run inside of Ableton Live.
I spent 4 days in Pittsburgh in early June attending the 2009 NIME conference at Carnegie Mellon University.
I recently wrote a couple of tutorials for the Cycling '74 website on a subject that's close to my heart - generating and organizing variety when working with Max (I'll bet that you just thought they were about making LFOs and working with the new Max 5 timing features, didn't you?).Download the patch used in this tutorial. Other LFO tutorials:
Many of us are invited to perform in unique circumstances – it’s a part of the Digital Media life.
On the afternoon of April 3rd, I received an email from M.I.A.'s manager asking if I'd be interested in working with them on a one-off show on the mainstage at Coachella that would feature live video processing, 2 DJs, a real Lighting Director, and glowing EL-wire wardrobe by Janet Cooke Hansen (www.enlighted.com, Daft Punk, etc.) for Maya and the dancers.
In the last installment of the Video Processing System we left off with the beginnings of a basic live effects chain with basic compositing, blur, and color effects.
K-Bow 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.
In our last article, we began to create our processing system by putting the essential structure in place and adding our input handling stage.
In this, the final episode of our guitar processing extravaganza, we are going to step away from making effects and focus on performance support.
At this point, we have a pretty useful guitar processing "rack", but it could use a little spice.
This article provides a brief tour of the features we've added to Max for creating Live devices.