articles
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Jit.gl.pass can load jxs shader files and jit.gl.pix gen files to create custom effects for processing your OpenGL scenes. In this post, I want to show how simple it can be to load in an effect - and how to use jit.gl.pass objects for dynamic processing chains.
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On this page, you can find sources for learning or teaching Max, MSP, and Jitter.
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The place where Jeff Kaiser started out isn't nearly as interesting as where he's going, and where he's tarried along the way; Classically trained as a trumpet player (and the owner of one sweet quarter-tone horn, by the way) his "instrument" is now a hybridized and extended beast with Max/MSP as the coiled mainspring of the non-human portion.
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On this page, you will find websites that offer online classes related to Max, MSP, Jitter or Max for Live.
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In Part 8 of the "A Few Minutes with BEAP" tutorial series, we'll introduce you to Sound On Sound's "Synth Secrets" series, and implement one of their percussion synth examples - the kettledrum.
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Dictionaries represent a convenient and powerful way to structure data used within Max.
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Although it may be easy to ignore now as we stare into our cold, flat, backlit LCD displays, the history of visual display technology is shot through with wild mysticism, experiments, philosophical disagreements, and some truly inspired innovations.
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On this page, you can find places that offer workshops related to Max, MSP, and Jitter.
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On this page, you can find people around the world who offer their skills as consultants or programmers for projects that use Max, MSP, and Jitter.
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On this page, you can find people around the world who offer their skills for one-on-one training or tutorials for Max, MSP, and Jitter.
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ul#max-books li { border-bottom: 5px solid #f7f7f7; margin-bottom: 1.3rem; } ul#max-books li:last-of-type { border-bottom: 0; } ul#max-books img { width: initial; float: right; max-width: 30%; margin-top: 0; } ul#max-books li p { clear: none; } ul#max-books li div { width: 75%; float: left; margin-bottom: 20px; } If you have a book to recommend that covers Max in some way, email the details to us.
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Sometimes, a little change of pace can be a welcome thing and provide an opportunity to "think different." In that spirit, we asked our synthesist pal Mark Mosher (whose Sonic Encounters podcast you may find of interest if you're not already acquainted) to aim us at an interesting softsynth plug-in that he finds compelling.
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Cory Metcalf sits down for a low-noise chat about his work with the interactive media collective NoiseFold; their birth in adversity, their approach to crafting intermedia works on the stage and elsewhere out there, and their tools. There is a lot of wisdom hidden in the folds of his answers.
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Let’s spend some quality time with a special Max 7 feature: Javascript access to the MSP buffer~ object.
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I first ran across Christopher Jakobi when when he posted a video of his piece Aurora Drone early last fall on the Forum (you can download the Max patch for it here).
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Whether you're out in the bush or replacing the batteries in your smoke alarm, having a Swiss Army Knife comes in really handy. I'd like to introduce you to my new MIDI Din/CV/Clock Swiss Army Knife: The Arturia Keystep.
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For this book review, I’d like to bring not one, but two books to your attention, both of which are by the same author – an author you’ve already encountered: Curtis Roads. One of them is relatively new, and the other falls into my personal list of “must have” texts.
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All of us at some point in our lives have tried to send someone a Max patcher and failed. Maybe there were some missing abstractions, or a wayward Javascript file, or the patcher snapshots you were using went astray.
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Hi Rob! Can you tell us a little about what you do at Cycling '74?
I primarily work on Jitter development and support.
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In the second episode of the quarterly Vizzie Visions series, I use our BEAP analog synthesis and control modules in Vizzie patches.
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In Part 7 of the "A Few Minutes with BEAP" tutorial series, we use waveshapers to add harmonic content to simple waveforms.
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Ícaro, thanks for being interviewed.
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Our instruments – whether blown, fretted, or caressed – are not only objects: they're also repositories of stories - the outward and visible sign of decades of argument about the best ways to transduce small motor activity in the service of making music.
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Initially, I was going to tell you that I thought I’d take a brief break from blogging about physical stuff – hardware devices – to spend a little time aiming you at plug-in software that I find compelling.
