Kurt Ralske is a mysterious and interesting artist who makes gorgeous and magical video installations that seem to defy physics.
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.
Giorgio Sancristoforo is a very enthusiastic artist, musician, audio engineer and software developer based in Milan, Italy.
Long-time Max user, artist, and educator Ali Momeni discusses his current projects including Minneapolis Art on Wheels and the Spark Festival.
For the first time, we are offering a three-day Max workshop only for high school students ages 15-18.
Our next Max workshop will be held in Los Angeles, CA, and is strictly for beginners.
Elise Baldwin is an intermedia artist that works with music and projections.
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.
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.
One of the most feared and respected objects in the Jitter collection, jit.expr arrived on the scene as part of Jitter 1.5.
In this review, Nick Rothwell explains Max for Live in terms of what the addition of Max offers to Live users.
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~.
A while back, I wrote a series of four tutorials based around the idea of how you could generate and organize variety in Max patches.
In this article, Jim Aikin reviews the new add-on product to Live, developed by Ableton and Cycling '74, with a detailed account of his experience.
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.
Cycling '74 and 85,000 of its closest friends will spend the weekend at the NAMM Show in Anaheim.
We are sharing booth 6314 with Ableton and offering personal demos of our recently-released product Max for Live.
While many people are looking at Max for Live as a great way to integrate their favorite hardware controllers, build really unique effects, and add variety to their productions, I was eager to explore what could be done with video inside of Max for Live.
Even before the Max for Live beta was opened up to the public, a community of testers was hard at work putting Max for Live through its paces.
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."
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. Whether it is for video processing, sound creation, or any other type of output, physical interactions provide a space for much more interesting relationships to develop. Unfortunately, many ways to get this information into Max require the user to get comfortable with connecting wires to circuit boards and understanding basic (and sometimes not-so-basic) electronics. For this reason, camera-based interactivity can be pretty enticing. There is also a reasonably low startup cost and plugging a camera in is usually a pretty user-friendly process. In this article, I will share a couple of basic techniques for using affordable webcams to gather data in MaxMSP/Jitter.
In her first years of using Max, Pamela Z was able shed the hardware weight by building her own instrument in Max. Take a look inside her Max instrument and her custom controllers during this presentation from Expo '74.
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. The first thing we will add is an improved, high performance video player module based around the poly~ object. This will allow us to load a folder full of videos and switch between them quickly and efficiently. The other module we will add is a simple recording module to capture our experiments. Since we are using OpenGL texture processing to manipulate the video, it is a little bit more complicated than just using jit.qt.record, but not by much.