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. A great little Forum posting about this popped up recently that grabbed my attention - a way to get rid of vertices you don’t need in your model without changing its overall shape, which helps you get back to a respectable framerate. With this sweet patcher put together by Greg Finger (and shared on the Forum), most complex shapes will get an average vertex reduction of about 6 times, tested with the built in duck.dae model.
The question occurs on a semi-regular basis.
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.
Artists love to use Max to build long-term (or even permanent) artworks for exhibition.
I follow many different Max related groups across the internet.
In Part 4 of the "A Few Minutes with BEAP" tutorial series, we explore how the ADSR and AHD envelopes work and why you would choose one over the other.
Along the course of a series of LFO tutorials, I've tried to describe my interest in the humble Low Frequency Oscillator as a generative tool in various contexts - from a general approach (link) to implementing the results as MIDI event generators, adding Ableton modulation mode-like behaviors, and implementing the results as a Max for Live device, and a little discussion about why Max patches are never done. It's been a while since I wrote them, and I wasn't sure if or when I'd return to the subject.
In Part 3 of the "A Few Minutes with BEAP" tutorial series, we combine the standard BEAP sequencer with other modules to create shifting and rotating generative sequences - maximal fun, minimal patching.
New users often ask about the availability of video tutorials for learning Max/MSP/Jitter in addition to the wealth of discoverable materials built into Max itself. By now, the fame of Barry Moon's great collection of Baz tutorials and Sam Tarakajian's slightly-more-intermediate Delicious tutorials (What? You haven't seen Sam's elegant/useful/fun mobile beatdevice Rhythm Necklace? Check it out as soon as you're done here....) are known and celebrated far and wide. But there's more out there.
In Part 2 of the "A Few Minutes with BEAP" tutorial series, we look at three example oscillators that can provide a lot of interesting sounds to your patch.
Okay, this little tutorial is really about Max 7's new crash recovery features, but first I want to show you how to reliably crash Max! I already can hear some of you yelling out “Just Open 50 Video Files!!!”, but I want something that’s reliable across systems - and easy to do. The simplest way to crash Max is to use a special message to the Max system - max crash.
Vizzie was originally created as a way for absolute beginners to learn some basic techniques of Max and to start having fun patching and making stuff right off.
Max 7 includes a new set of tools developed by Matthew Davidson for his work as a Berklee School of Music instructor.
The ability to use VST and Audio Units plug-ins in your Max patches using the vst~ object (which now hosts both VST and Audio Units plug-ins in Max 7) is a great feature (and it’s easier and more fun than you think, too).
Follow this tutorial to create a crowd-sourced multimedia patch or a data-driven interactive work using the maxurl object.
Videos for new Gen users.
Get to know the Max for Live Buffer Shuffler 2.0.