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Andrew Benson

How do you get started when you begin a project in Max? We asked 3 artists working with Max to share each of their personal starting points. The results are each a unique view into Max…

 This patch offers a starting point for world-building through camera movement and path animation. Here, we layer different camera scenes within one jit.gl.node. The rigged camera has three "look at" modes: (1) facing the direction of movement, (2) looking at the target (blue cube), and (3) looking at the center of the scene (purple sphere). Additionally, this patch utilizes quaternions to calculate rotational movement around the path, producing the yellow spiral. Feel free to play around with variables!

alsoknownasrox.JPG

Starting Point - Roxanne Harris.maxpat

 This patch demonstrates some of the approaches I’ve been exploring using Max in tandem with game engine simulations, inspired in large part by cybernetic systems and their application to organizing sound and sonic events. Here, we see Max communicating with a simulation made with Unreal Engine via OSC to create a feedback control loop: objects in 3D space send information about their movement, location, and collisions to Max to generate MIDI information, and Max sends control data back to the simulation based on this information to prompt changes in the 3D environment. Rather than viewing this arrangement as a kind of data sonification, I’m more excited about this dynamic system as a way of generating complex and evolving sound gestures from relatively simple conditions. Hopefully this can provide a generative starting place for your own sounds and systems, as well!

Matthew D Gantt2_photo credit Adam Ninyo.jpg

startingPoint_MDG.maxpat

Matthew has been kind enough to share the 

Unreal Engine project file for this Starting Point

, in addition to the pre-compiled binaries. The project file is large! Almost 2GB. It should open in UE 5.11, which you can download via the 

. The binaries were compiled on late versions of both Mac OS and Windows. Neither Matthew nor Cycling ‘74 can provide tech support in the event your system does not play nice with any of these files.

 My work focuses on researching traditional Japanese music,and through this research, I have identified three essential elements that I hypothesize are very important: pitch, time, and timbre👺

The patches I created allow for a highly organic approach to these elements🌿

Specifically, the "time" patch enables users to freely divide a range of time and generate rhythms⏱️

while the "note" patch creates heterophony based on a single fundamental melody🎼

The "synth" patch features two 2-operator FM synthesizers with the ability to organically change timbre at specific moments🎹

By using the "all" patch, all of these functions can be integrated, supporting the creation of rich, organic music🌯

I view Max8 as a versatile notebook that allows users to quickly test and explore fragmented ideas🗒️

Although it might take some time to master, Max8 offers powerful support when pursuing a specific approach or concept📈

While the patches I've created may seem complex, I would be delighted if they inspire even one more person to explore the possibilities of Max🤝

私は日本の伝統音楽の研究をしており、その研究によって非常に重要だと仮説を立てた3つの要素：音程、時間、音色に対して、非常に有機的なアプローチを可能にするパッチを制作しました🌿

具体的には、ある時間の範囲を自由に区切り、リズムを生成できる「time」⏱️

一つの基本メロディから、ヘテロフォニーを生成する「note」🎼

そして、2つの2オペレーターFMシンセサイザーに、特定の時間で音色が有機的に変化する機能を搭載した「synth」です🎹

これらをまとめた「All」パッチによって、全ての機能を連携させ、非常に有機的な音楽を作るためのアイデアをサポートします🌯

Max8は、断片的なアイデアを非常に高速に試すことができるノートブックのようなものだと考えています🗒️

習得には時間がかかるかもしれませんが、追求したいアプローチがある時に、非常に強力なサポートをしています📈

このパッチは少し複雑かもしれませんが、Maxを使ってみたいと考える人が一人でも増えたらとても嬉しいです🤝

20230307-artist photo.jpg

KS_StartingPoint-r2.zip

@alsoknownasrox

RH: This patch offers a starting point for world-building through camera movement and path animation. Here, we layer different camera scenes within one jit.gl.node. The rigged camera has three "look at" modes: (1) facing the direction of movement, (2) looking at the target (blue cube), and (3) looking at the center of the scene (purple sphere). Additionally, this patch utilizes quaternions to calculate rotational movement around the path, producing the yellow spiral. Feel free to play around with variables!

@gan.tttt

MG: This patch demonstrates some of the approaches I’ve been exploring using Max in tandem with game engine simulations, inspired in large part by cybernetic systems and their application to organizing sound and sonic events. Here, we see Max communicating with a simulation made with Unreal Engine via OSC to create a feedback control loop: objects in 3D space send information about their movement, location, and collisions to Max to generate MIDI information, and Max sends control data back to the simulation based on this information to prompt changes in the 3D environment. Rather than viewing this arrangement as a kind of data sonification, I’m more excited about this dynamic system as a way of generating complex and evolving sound gestures from relatively simple conditions. Hopefully this can provide a generative starting place for your own sounds and systems, as well!

Download Matthew's Unreal Engine builds:
Mac Build
Windows Build
Project Files: Matthew has been kind enough to share the Unreal Engine project file for this Starting Point, in addition to the pre-compiled binaries. The project file is large! Almost 2GB. It should open in UE 5.11, which you can download via the Epic Games Launcher. The binaries were compiled on late versions of both Mac OS and Windows. Neither Matthew nor Cycling ‘74 can provide tech support in the event your system does not play nice with any of these files.

K: My work focuses on researching traditional Japanese music,and through this research, I have identified three essential elements that I hypothesize are very important: pitch, time, and timbre👺
The patches I created allow for a highly organic approach to these elements🌿

Specifically, the "time" patch enables users to freely divide a range of time and generate rhythms⏱️
while the "note" patch creates heterophony based on a single fundamental melody🎼
The "synth" patch features two 2-operator FM synthesizers with the ability to organically change timbre at specific moments🎹
By using the "all" patch, all of these functions can be integrated, supporting the creation of rich, organic music🌯
I view Max8 as a versatile notebook that allows users to quickly test and explore fragmented ideas🗒️
Although it might take some time to master, Max8 offers powerful support when pursuing a specific approach or concept📈
While the patches I've created may seem complex, I would be delighted if they inspire even one more person to explore the possibilities of Max🤝

私は日本の伝統音楽の研究をしており、その研究によって非常に重要だと仮説を立てた3つの要素：音程、時間、音色に対して、非常に有機的なアプローチを可能にするパッチを制作しました🌿
具体的には、ある時間の範囲を自由に区切り、リズムを生成できる「time」⏱️
一つの基本メロディから、ヘテロフォニーを生成する「note」🎼
そして、2つの2オペレーターFMシンセサイザーに、特定の時間で音色が有機的に変化する機能を搭載した「synth」です🎹
これらをまとめた「All」パッチによって、全ての機能を連携させ、非常に有機的な音楽を作るためのアイデアをサポートします🌯

Max8は、断片的なアイデアを非常に高速に試すことができるノートブックのようなものだと考えています🗒️
習得には時間がかかるかもしれませんが、追求したいアプローチがある時に、非常に強力なサポートをしています📈

このパッチは少し複雑かもしれませんが、Maxを使ってみたいと考える人が一人でも増えたらとても嬉しいです🤝

Screenshot 2023-05-02 at 5.18.35 PM.png

How do you get started when you begin a project in Max? We asked 3 artists working with Max to share each of their personal starting points. The results are each a unique view into Max…


starting-points-in-max-pt-2

Starting Points in Max pt. 2

Lilli Wessling Hart

On Thursday, February 23rd, Cycling '74 will host a casual evening with Max and RNBO projects in Brooklyn, NY.

The Integrated Design & Media program (IDM)

 in the Department of Technology, Culture, and Society (TCS).

Brooklyn-RNBO-Event.png

The Integrated Design & Media program (IDM), located within Tandon School of Engineering in the Department of Technology, Culture, and Society (TCS).

On February 23, 2023, Cycling '74 will host an event in Brooklyn, NY.

an-evening-with-max-and-rnbo-in-brooklyn

An Evening with Max and RNBO in Brooklyn

Gregory Taylor and Graham Wakefield's new book of Gen inspiration

, we invited 3 artists to each produce a patch for us that does something with 

. Each of these artists have demonstrated a serious mastery of Gen patching in their frequent posts online, and we were excited to see what they came up with. 

The patches they sent us are all impressive demonstrations of what is possible with Gen, and exceeded all of my expectations. Whether you're looking for some good Gen tricks, or just want to experience the patches, there's a lot here to enjoy. From Daniele's rhythmic granular synthesis patch, to Fendoap's fully realized generative music, and Massimiliano's math-intensive and thoroughly documented algorithmic modelling, you'll find 3 very different approaches to patching. I hope you download the patches below and tune into their social media feeds to see more of their incredible Max patches.

D.Fabris pic bio.jpg

This is a patch for sample playback implementing a simple algorithm of granular

synthesis in gen~. It creates a constant auto-re-triggered stream of crossfading sections

The pitch, read position and windowing of each grain can be modulated to reach

deconstructed sounds in organic rhythmic patterns.

DanieleFabris x C74gen.maxpat

fendoap_avatar_picture.png

Here's a patch that creates music with just one gen~ object.

Global transport, metro, kick, hi-hat, synth, delay, reverb,sequencer, etc. have been written in a single gen~ object.

It's all written in gen~, so you can write it into daisy with using oopsy.

If you write various things using gen~, your understanding will deepen. gen~ is good for learning dsp.

gen_music_fendoap_gfx.maxpat

Screen Shot 2022-12-14 at 12.32.14 PM.png

I have implemented a two species competition-cooperation model in Gen using Lotka-

Volterra equations, to generate a controlled chaos with very specific behaviors like asymptotic convergence, periodicity/quasi-periodicity, attractor-like motion, distributed pseudo-randomness, etc. I was inspired by the work and the researches of Iannis Xenakis and Rob Hordijk.

Two Species Competition-Cooperation Model.zip

Find more of Massimiliano's work on Instagram.

Following the release of Gregory Taylor and Graham Wakefield's new book of Gen inspiration, we invited 3 artists to each produce a patch for us that does something with gen~. Each of these artists have demonstrated a serious mastery of Gen patching in their frequent posts online, and we were excited to see what they came up with. 
The patches they sent us are all impressive demonstrations of what is possible with Gen, and exceeded all of my expectations. Whether you're looking for some good Gen tricks, or just want to experience the patches, there's a lot here to enjoy. From Daniele's rhythmic granular synthesis patch, to Fendoap's fully realized generative music, and Massimiliano's math-intensive and thoroughly documented algorithmic modelling, you'll find 3 very different approaches to patching. I hope you download the patches below and tune into their social media feeds to see more of their incredible Max patches. 

This is a patch for sample playback implementing a simple algorithm of granular
synthesis in gen~. It creates a constant auto-re-triggered stream of crossfading sections
of the source sample.
The pitch, read position and windowing of each grain can be modulated to reach
deconstructed sounds in organic rhythmic patterns.

Find more of Daniele's work on Instagram 

Get the Latest on Max and our Community

Starting Points in Max pt. 2

An Evening with Max and RNBO in Brooklyn

3 Explorations in Gen~

One Button Patching Challenge

RNBO and gen~

RNBO - Everything You Need to Know, All in One Place

Generating Sound and Organizing Time: An Interview with Graham Wakefield and Gregory Taylor

Collaborative Drum Kit in Max

Content You Need: FluCoMa

On The Road: Cube Fest 2022