Greetings from the Los Angeles equivalent of a serious cold snap (which equates to an exceptionally nice respite from a Midwestern winter).
The first version of MSP was released eight years ago -- December 21, 1997 to be exact.
The JazzMutant Lemur is an incredibly versatile control surface for media applications.
Xcode is becoming increasing popular as an IDE to develop external objects for Max and MSP (Jitter support for Xcode is not yet supported, but is forthcoming).
David Wessel is Professor of Music at the University of California, Berkeley where he directs the Center for New Music and Audio Technologies (CNMAT).
San Francisco resident Carl Stone has composed electro-acoustic and computer music exclusively since 1972.
With a set of experiences that includes playing with Tito Puente, touring with Peter Brook’s theatre ensemble in the ‘70s, and recently playing percussion with Rickie Lee Jones for the opening of the Experience Music Project in Seattle, it’s clear that Andrew Schloss has been all over the map for the past 30 years.
Bob Ostertag is a music school dropout who has since performed all over the world and has collaborated with the likes of John Zorn, Fred Frith, drag diva Justin Bond, and the Kronos Quartet.
Luke DuBois is a teacher at Columbia University in New York City, and a member of the famous Freight Elevator Quartet, whose "Fix It In Post" CD is making waves as the first release on the C74 record label.
Amnon Wolman creates music with technology and for instruments with two distinctive features: first, a subtle and complex relationship with popular culture and second, a concern for the dramatic nature of sonic evolution.
Kim Cascone has worked as a synth tech, edited music for David Lynch films, founded San Francisco's first ambient electronic music label, and helped design new systems of audio for video games. In this conversation with Ben Nevile, Cascone discusses his electronic history, his interest in genetic algorithms, and a fresh compositional direction that he calls "New Density". Movin' to California Where'd you get started with all this stuff? I went to Berklee College of Musicin Boston.
In the last 20 years William Kleinsasser has received national and international recognition in competitions, conferences and festivals by pushing technology to its limits.
Barney Haynes has been working in the fields of reactive installation and invasive media for 10 years.
The third installment in the inVeSTigations series added effects crossfading to our VST instrument/audio effect hosting possibilities, and demonstrated the use of the disable message that lets us load an effect and save on CPU cycles. Just as a reminder, here's our patch: By now, you've probably noticed something - while it's true that I'm leaving a lot of space and trying to carefully lay out the Max patches I'm including in these tutorials, the patches themselves are getting a bit complicated, and it's probably getting a little harder for you to see what a new thing I've added as we've gone along does. If you're particularly clever, you might also have noticed that there's some commonality between the various versions of the patches I've included so far.
In inVeSTigations part 2, we looked at how we can load VST instruments using the vst~ object to load VST audio plug-ins in Max, and how to format and send MIDI messages to a virtual synth. In this tutorial, we'll look at a new message to the vst object that lets us load plug-ins without interrupting our audio, and take a look at a novel way to mix the outputs of several VST plug-ins. Here's a patch that will be familiar if you've looked at inVeSTigations part 1.