articles

  • Using Microsoft Kinect with Max

    The Max community has been bitten by the Kinect bug.


  • Max 5.1.7 Now Available

    Version 5.1.7 includes Max, MSP, Jitter, Vizzie and support for Max for Live.


  • An Interview with Owen Pallett

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


  • Max 5.1.6 Now Available

    Version 5.1.6 includes Max, MSP, Jitter, Vizzie and support for Max for Live.


  • Introducing Vizzie

    $(document).ready(function() { _kmq.push(function(){ var possible_titles = { "Introducing Vizzie":"Introducing Vizzie: high-level modules for streamlining visual creativity", "fun new way":"Vizzie: A fun new way to drag, drop, connect, and project", "(higher) level":"Vizzie: Taking Jitter to a new (higher) level", "jet pack":"Vizzie: Jitter with a Jet Pack" } var which_title = KM.ab("Vizzie Blog Post Title", ["Introducing Vizzie","fun new way","(higher) level","jet pack"]); var new_title = possible_titles[which_title]; $('#post-content-6937 .full-title a').html(new_title); }); });

    With the latest version of Max/MSP and Jitter, we are including a new set of modules called VIZZIE to help you create your own unique video programs right away.


  • My most recent project, the USB-Octomod, uses Processing to create an OpenSoundControl (OSC) interface between any OSC-ready software and a hardware CV device I built using a Teensy 2.0 microcontroller and two MAX5250 DAC chips.

    In this article, I'm going to break down the connections between the different pieces of software and hardware used, in order to explain how the system works and to provide the basis for a future tutorial on how one might use the device.

    You can read more about the Octomod here, but it essentially allows computer control over the analog control voltages commonly used in analog synthesizers.


  • When is a Patch Finished?

    As it turns out, the answer to this simple question is as varied and complex as the Max user community itself. Perhaps how you answer this question depends on what Max means to you, how you approach it as a tool.


  • 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.


  • Jitter Recipes: Book 3, Recipes 26-43

    In third installment of Jitter Recipe Collection, the Jitter Recipe “AnaglyphRender” builds on the “RenderMaster” recipe posted to create a realtime 3-D anaglyph image.


  • 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.


  • In the last several tutorials I’ve written, I’ve been talking about a subject that interests me a great deal – how to add variety to a Max patch in ways that both provide you with surprising and interesting combinations and do so in ways that make the transition between your input and what your patch is doing more subtle than hitting a button object and having everything start behaving in ways that are obviously not you.

    To be more specific, I’ve been talking about ways to use the humble LFO as a generator of that variety by summing, sampling, and otherwise using it to produce less ordinary control curves than can be easily intuited by your audience by the time the second sweep of the LFO comes around.

    There’s another obvious source of variety generation that Max users often gravitate toward: random number generators.


  • 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.


  • Summer Max Workshop for High-School Students

    For the first time, we are offering a three-day Max workshop only for high school students ages 15-18.


  • Max Workshop in Los Angeles

    Our next Max workshop will be held in Los Angeles, CA, and is strictly for beginners.


  • 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.


  • LFO Tutorial 7: Rattle and Hmmm

    A simple truth emerges from the practice of writing Max patches like the Max for Live device we've been working on: The trajectory of “finishing” your Max patch is something you approach on an asymptotic curve - you approach being “done,” but never quite reach it.


  • Demystifying Expressions in Jitter

    One of the most feared and respected objects in the Jitter collection, jit.expr arrived on the scene as part of Jitter 1.5.


  • Sound On Sound Reviews Max for Live

    In this review, Nick Rothwell explains Max for Live in terms of what the addition of Max offers to Live users.


  • LFO Tutorial 6: Live if you want it

    Since a lot of people are interested in what the process of porting a Max patch for use in Max for Live looks like, I thought I’d take this tutorial as an opportunity to go over the steps I used to take my waveplayah patch and to convert it to a Max for Live device waveplayah.amxd.

    In my last LFO tutorial, I took the basic LFO module I’ve been working with in the previous tutorials, added some new extensions, and created a nice little patch called the waveplayah that used a summed set of the LFO modules to drive the playback of the contents of a buffer~.


  • Software Release: Max 5.1.3


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