Imagining New Environments with Max/MSP/Jitter When you think of multimedia technology you think mostly about the technology.
In the last article, we added some basic tonal effects: distortion/overdrive and EQ/filtering.
This week the new Eowave OEM USB boards arrived at Cycling '74 HQ, and I was all too happy to give it a test drive.
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.
Now that I've got a nice generative patch and a way to hear it, I thought it'd be nice to make a few improvements and extensions that would let me begin to specify larger structures - to generate instructions to my generative patch, as it were.
I'm always curious about how someone's physical relationship with a guitar goes from the usual strumming to what some people call "tabletop guitar" - it seems like everyone has a different story about that.
Those of you who are paying close attention already know that Max 5 includes a database that manages all the files in the search path and makes handy things like the File Browser possible.
In the last article, we did a lot of setup - we got input/output handling in place, and added a compressor to the processing chain as an example of an “effect module”.
Last week, Siggraph 2008 took over the Los Angeles Convention Center, and Cycling '74 was there to bravely represent Jitter to a huge crowd of CG enthusiasts, production professionals, and academics.
Recently, CNMAT at UC Berkeley held their annual MaxMSP/Jitter summer school classes at their beautiful Arch St.
Last time out, we created the LFOur, a generative patch composed of a quartet of synchronized LFOs whose output we can use to make noise.
Customizing the Max UI As we were preparing Max 5, we strove to make things as pleasurable for every user as we could.
[This series has been updated for Max 6.] In an earlier article, Andrew Benson and Ben Bracken went through the process of connecting a guitar to a Max-based processing system, and creating a few guitar-oriented effects patches.
Game Controller A surprisingly expressive instrument The Guitar Zeros web site It's great to see the way that Max/MSP crosses musical genres and also allows people to repurpose available (and maybe not so available) technology.
As a Max programmer, I spend quite a lot of time making patches that some people might find a little odd; rather than a large "instrument" that I toil over at great length or "the patch is the piece" outings, I love to make Max patches that don't make any noise or play any movies or create OpenGL scenes.
When we left off in the last article, we had created a new color scheme and layout for our old patcher using presentation mode, translucency, improved color controls, and embedded hints.
Converting a "pluggo ready patch" into a "poly~ abstraction" A common concern for many advanced Max users is the ability to load new sound modules into a running MSP patch without causing discontinuities in the sound.
I have to confess that I always found UI design in Max 4 to be a little too cumbersome, and would almost always wait until a patch was completely written and debugged before bothering with any layout of UI elements and color.
In addition to the smoother look and feel of Max 5, there have been a number of enhancements to the user interface that will help you to maximize your creative productivity and minimize the time spent performing repetitive and annoying tasks.
This year, we decided to set up shop at the 3rd annual Bay Area Maker Faire in San Mateo, CA.