One of the most powerful objects in the jitter library is jit.gl.multiple.
Building on my previous filter design videos (see below), I use the filterdesign, filterdetail and gen~ objects to make a crossover filter that is perfect for use in multi-band EQ's, compressor/limiters or sound design applications.
For those that keep track, you will recall me mentioning Federico Foderaro in the past.
In this 28-minute video, Tim builds some filters from scratch in MSP and Gen, and examines their characteristics.
Watch as we build something that begins with the Karplus - a BEAP oscillator based on the Karplus-Strong plucked string algorithm.
The Max patcherargs object lets you add the ability to set initial states for your own homemade abstractions using either typed-in arguments or @-style attributes.
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).
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.
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.
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.
In the second episode of the quarterly Vizzie Visions series, I use our BEAP analog synthesis and control modules in Vizzie patches.
In Part 7 of the "A Few Minutes with BEAP" tutorial series, we use waveshapers to add harmonic content to simple waveforms.
When working with the Jitter jit.gl.model into jit.gl.multiples objects, you may find your patch’s frame rate dropping to a standstill, depending on how many multiples you’ve specified.
The question occurs on a semi-regular basis. Why do some vectors look smoother in Processing compared to the same lines/vectors in Jitter? Combining the two can be very powerful.
In Part 6 of the "A Few Minutes with BEAP" tutorial series, we use the Quantizer module to generate random-based generative melodies to build a great launchpad for your work.
Some Jitter users periodically become interested in using expressions to generate geometries - sometimes it's involved with porting someone else's equations, and other times it may be the more humble task of finding a quick way to fill a list with 3D coordinates.
In Part 5 of the "A Few Minutes with BEAP" tutorial series, we explore a couple of interesting filters combined with an LFO to get some complex results.
In this first episode of the quarterly Vizzie Visions series, we explore the use of the PRESETTR module, and using it along with a few other modules to create complex and interesting Vizzie patches with stored presets and dynamic routing.