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.
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.
Francisco Colasanto recently published Max/MSP: Guía de Programación para Artistas, the first Spanish-language book devoted to Max.
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.
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.
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.