Following our discussions with David Beaudry and Andrew Pask’s remarkable report on using Windows compute sticks (complete with Beaudry Secret Max Tricks!) as part of the Max life, there’s been a lot of buzz on the part of both beginning users and some longtime Apple users about investigating new Windows machines.
Gustavo Bravetti first showed up on my radar a number of years ago - 2008 or 2009, maybe? - while I was breezing through my latest tech gadget blogs over my morning coffee.
In Part 10 of the "A Few Minutes with BEAP" tutorial series, we take a step away from creating monosynth emulations and drum models, and instead create an ever-changing flutter. This change in focus gives us a chance to look at a new module (the Granular Oscillator) and an interesting technique (dual LFO pairings).
Dennis DeSantis' book has taken up residence on my shelf and has proven to be the kind of book that inspires, nudges, and aims me in different directions as I work.
David talks about his company, their projects and approaches. "Every project we’ve worked on has been different, from design to programming to sensing to the underlying infrastructure."
It isn’t very often that a single instrument will affect an entire generation of musician/composers, but the original Synclavier digital synthesizer found admirers ranging from Neil Young to Frank Zappa, and became a staple tool for film composers and sound designers - or at least the ones who could afford it.
In this 2-minute video, you'll find some great Max 7 tricks for working between Max abstractions and bpatchers, as well as a great way to work with attributes and arguments.
In the third episode of the quarterly Vizzie Visions series, I'll show you a little trick: converting Vizzie video to Vizzie data (and the reverse).
In Part 9 of the "A Few Minutes with BEAP" tutorial series, we'll look at how you can add reactive video to your virtual modular rig by combining BEAP and Vizzie, and explore splitting your visual patchers from your audio patchers.
Modern music journalism tends to focus on one aspect of an artist’s output, often in the form of a review of an album or a show. I’ve been increasingly interested in thinking about the creative process as a continuum, rather than just the results.
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.
On this page, you can find sources for learning or teaching Max, MSP, and Jitter.
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.
On this page, you will find websites that offer online classes related to Max, MSP, Jitter or Max for Live.
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.
Dictionaries represent a convenient and powerful way to structure data used within Max.
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.
On this page, you can find places that offer workshops related to Max, MSP, and Jitter.
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.
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.
If you have a book to recommend that covers Max in some way, email the details to us.
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.
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.