In this unique interview the WaveDNA team, the developers of Liquid Rhythm reveal how they have embraced Max in all the stages of their software development.
Duane Pitre is a musician and programmer with a focus on electro-acoustic, and light electronics.
Tutorial developed and written by phidgets. This project tutorial will introduce you to how Max works with Phidgets Interfaces.
Oli Larkin develops software for music, including his own commercial plug-ins, and audiovisual art projects.
Michael Lowenstern is a Bass Clarinet player and programmer.
Brian Crabtree creates objects, music, and objects that make music.
Does your doctor use Jitter? Whether it's doing visuals for Detroit musicians, audio-visual theater, or practicing medicine, James Ryan has found ways to expand his practice with Max.
Jacqueline Gordon uses Max to build sculptural multichannel sound installations.
Jeremy Bailey is a video and performance artist.
Amanda Ghassaei is a software engineer and an educator with a background in physics, chemistry, math.
Jonny Greenwood is a composer, guitar player and programmer.
In this interview, Jasper explains his use of Max in prototyping large projects and creating tools.
Pauline Oliveros is a composer, accordion player, educator and karate black belt.
A short interview with musician Keith Fullerton Whitman about getting started, technology, inspiration and more.
Pushing the bounds of the genre she invented with Max for Live and Arduino.
Learn about the history of Lucid Possession and the technological solutions used in the show, and how the entire complex system works.
Rendering an OpenGL scene to a texture (RTT) offers many advantages to refine the look of your output, however it comes at the cost of losing hardware anti-aliasing (eg @fsaa 1 has no effect on jit.window output). Fortunately, there is an easy solution.
Introduction So, to start off this October 2013 Push Development series, I start with a device that does something I like to call frequency mixing.
Creating an OpenGL scene preview window is very easy to do with Max 6.
The course outline below is based on a workshop originally presented by Darwin Grosse at the MediaLive Festival in 2013, and since updated for Max 7 by Gregory Taylor.
Here are a set of three videos for the curious absolute beginner which introduce the gen~ environment and explain a bit of the differences between working in the Max vs. gen~ environment.
Developing new sound hardware for Bang & Olufsen with Max.
Following are the steps for the creation of VST filters with gen~ on both Windows and OSX.
Following are the steps for the creation of iOS filters with gen~ and Audiobus.