Several years ago, I had the pleasure and privilege of teaching a beginner’s Max workshop at the Technical University of Delft.
Introduction Often, when we think of the things that Max does best, we think about creating things on our laptops, maybe with hardware controllers and a hardware audio interface.
For the past couple of months, I’ve been doing reviews of books I think would be a great help to the persons who want to try to orient themselves somehow – books that help to describe and provide a guide to the communities they’ve decided to be a part of.
I had intended for this article to be an in-depth review, but we’re going to go with first impressions for now - I’ll get back to you with a follow up once I have gigged with it for a bit. I’m also afraid I do not have anything in the way of unboxing images for this article.
Last month, I suggested some “basic bookshelf” titles intended to help newcomers to the practice of doing experimental music to get “the lay of the land” - to connect themselves to the community of artists they’re joining, and to find sources of inspiration and for investigation.
We’ve talked to Spektro Audio’s Ícaro Ferre in a previous newsletter article, but this is a good opportunity to discuss one of his flagship projects: CV Toolkit.
We’ve talked a lot about Expert Sleepers’ products in recent months.
I have a confession to make. I’m sure that the world is full of people who don’t enter a field of artistic endeavor certain that they’re somehow unique or special or full of ideas that no one has tried before.
A few months ago, I wrote up an article about a few guitar-oriented audio interfaces, including units by IK Multimedia and Behringer.
The question of inspiration and its sources isn't necessarily something that comes up often in the Max Forum in any but the most oblique of ways – it’s usually more latent than blatant.
The Disting is an analog Eurorack module from the Expert Sleepers that I see in almost everyone’s system.
I'd like to begin this month's review of books you might want to have in your library by telling you a story. Once upon a time, I shared an apartment with a City Planner.
MIDI controllers are an obsession for a lot of us.
One of my friends had an off-the-cuff statement that has stuck with me: “When I die, bury me in reverb…”.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Aside from the standard Max patch grovel, one of the most common categories of requests for assistance on the Max Forums seem to have to do with wrapping one's head around the mathematics associated with a given task.