Last week I arrived home from a 'vacation' in France. In my case though, the term 'vacation' means that I was programming and debugging objects for Max/MSP/Jitter. The occasion for this trip to France were two workshops focusing on Jamoma that were organized by Pascal Baltazar, GMEA, and Incidents Mémorables. The workshops [described in this article] were held in Albi and Paris, respectively.
This is perhaps an unusual article for Cycling '74 to put on their web site, because it has to do with all the languages that Max/MSP isn't. I have to confess that I'm not really a very good Max-user. I know only a handful of objects, and I am of the text-based generation that is still a little, um, "graphical-user-interface-challenged". I basically use Max/MSP only as a window onto computer music languages that I am adept at using. More and more, though, I am also using Max as base platform for connecting these languages to each other. One of the really great decisions that the Cycling '74 design team made was to make the development and integration of external objects relatively easy. This has been a real boost for the classes that I teach at Columbia University, and it has also allowed me much more creative freedom in my compositional work.
This folder contains a number of extra externals which we use in the various Pluggo based plug-in packages. These externals are unsupported, contain features which may change at any point, and may not be maintained with regard to backwards compatibility. However, plug-in developers may find some of them useful, and you are free to include and distribute them with your plugs. In this article, I'd like to introduce a few of them, explain a little about how they work, and also demonstrate a couple of the tools we use to make our lives easier managing all of our plug-in packages.
Max is all about making connections. The Making Connections series of tutorials will introduce you to new connections you can make between MaxMSP and the outside world. This tutorial, the first in the series, will discuss the use of HID devices such as USB game controllers as gestural interfaces for your Max patches.
In our last installment, I tried to present some really simple and (I hope) explanatory samples of some of the easiest ways to generate and organize variety on the fly using radiaL. One of the things that those examples did that I didn't talk very explicitly about involved loading a single loop on multiple channels and then using radiaL's ability to playback sections of that loop in a nonlinear fashion to create evolving structures. In the interests of "ear training," I suggested that you mute some of the loop channels as you went along in order for some parameter to be easier to hear, but it's my hope you just turned all the channels on and listened to them run when you were done following my instructions. Just in case you didn't, I've included another loop constructed so that you can generate varying patterns by loading it on multiple channels and then playing varying sections of the loop with different pitch/time grid and transposition settings. It's called "moogphrase.aif" Perhaps a little play with this is a good warm-up to what we're going to look at next.
One of the beauties of Max is its simplicity: the ability to quickly create a patch that does something artistically interesting. Part of this has to do with its visual programming style - patchcords allow us to see the relationship between graphic objects. However, unless you limit yourself to creating only straightforward patches, your patch can become a spaghetti-like series of connections that confound attempts at debugging. Please note: This article was written for Max 4.6 originally
The Seoul International Computer Music Festival (SICMF) is a yearly event sponsored by the Korean Electro-Acoustic Music Society (KEAMS). Richard Dudas gives us an in-depth look at the event.
I've been asked to write a couple of articles that discuss how I learned radiaL, and how I approach using it in a live performance setting -- both as a soloist and in an ensemble setting. While there are a good number of people out there who use radiaL, I'm surprised to discover that there are not nearly as many people who do what I do -- namely, to walk out on a stage, launch the program, and start improvising. While it seems a perfectly natural thing to do from my point of view, it may not necessarily be clear how I learned radiaL and came to my current performance practice (In addition to Voiceband Jilt, my release for c74 records, you can also find some downloadable examples of my work on my downloads page and some online release material from the label Palace of Lights).
Cycling '74 has received its share of athletic sponsorship requests during its nine year history. Typically these have been bicycle tours or related events, and after careful consideration, we have rejected all of them. However, when I received an urgent call from the coach of my son Bruno's soccer team saying that they were flirting with disqualification for lack of a sponsor, our corporate policy of exhaustive review (involving multiple levels of committee meetings) was carelessly discarded in order to seize the opportunity to market advanced audio and video software products to sports-minded 11-year-old boys and what we hoped would be their easily influenced parents.
The great news is that Fällt is back with a nicely redesigned website. The whole site is well worth a visit and a listen, but you can now once again find the MP3s for the entire Invalid Objects series here for your downloading pleasure.
In this interview, Tim Place speaks about his work as a developer and artist, charting the numerous development projects which pooled together to create Hipno.
In this second installment of the ReWire Essentials series, we are going to look at hosting ReWire client applications. Clients route their information to the host (or mixer) application through the ReWire mechanism, and using Max/MSP as a host gives us options to have some fun with both the playback and output of the connected application.
This last week saw several Cycling '74 folks leaving behind their solitary monastic cells and journeying to the great city of N'awlins [New Orleans, to the rest of you] for the 2006 ICMC computer music conference and festival. Although no words will suffice to describe what remains after Katrina's passing, the dignity and pride of the inhabitants or the Big Easy, or the warm welcome from Tae Hong Park and the fine folks at Tulane, here's a modest report on what we saw and heard (and ate).
Just so you know we care about giving away free stuff to promote our company, here is a list of things that have been given away over our 8-year history.
The phase vocoder is a tool used to perform time-stretching and pitch-shifting on recorded sounds. Its name derives from the early "vocoders" (contraction from "voice encoders"), which used a set of bandpass filters in parallel over many frequency bands, to crudely analyze and reconstruct speech. In this article, Richard Dudas and Cort Lippe explain the workings of a phase-vocoder as well as how to construct and modify one in Max/MSP.
Networking is a sometimes confusing world. There are many networking options built into Max, and this article will endeavour to make clear which option is best for your application.
While there are many methods to move MIDI and audio data between programs on a computer, ReWire (developed by Propellerheads) has become the most popular system. It allows a fairly seamless integration of client and host applications, and is also well supported by most major DAW applications. In our tutorial, we will show connections to two major software packages: Ableton Live and Digital Performer.
I was sitting at my desk today and overheard a tiny piece of a story from a co-worker. I'm sharing it because, well, we all need to laugh.
Cycling '74, a San Francisco-based music software company, today released Max/MSP v. 4.6 and Jitter v. 1.6 which add Universal Binary support for Intel-based Macs running OS 10.4 or later.
North Pitney: Making the virtual space real.