Dictionaries represent a convenient and powerful way to structure data used within Max.
Whenever a frame delay effect is called for, most Jitter programmers know to reach for the jit.matrixset object to handle this task with ease, however when working with OpenGL textures, no single object will do the job.
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.
Examine the Connection The Arduino microprocessor board is one of the most-used hardware devices in the Media Art world.
Lighting up a dancer using Max 6, a Kinect and, a LED projector.
Explore many ways to try physical modeling synthesis in Max.
Harness rigid bodies with the second tutorial video covering collisions and constraints.
Get immersed in Jitter Physics with two weeks of daily patches.
In this tutorial series, you can explore the world of programming DMX with Max.
Expand sounds in your next Audacity project.
jit.gen can handle matrices of any type, dimension, and planecount.
Part 3 of the tutorial series on Livid Instruments' Code.
Get helpful and fun examples of Gen, the new Max add-on.
The jit.pix-based patches we created in our last tutorial do cool things and use patching techniques that will probably be accessible to the average Max user, they're not all that they could or should be as Jitter Gen patches.
Don't get me wrong - they make sense and introduce the idea of swizzling data from a vector in the Jitter Gen world.
A two-part introduction to Gen objects in Jitter
In part 1, Darwin showed us all the fundamentals behind step sequencing in Max, and extended that from the computer to the controller.
A series devoted to building software for hardware.
Exploring MGraphics for UI Design
Sequence of little patches for some audio fun.
Here's how you use the Vizzie Kit.
In the last several tutorials I’ve written, I’ve been talking about a subject that interests me a great deal – how to add variety to a Max patch in ways that both provide you with surprising and interesting combinations and do so in ways that make the transition between your input and what your patch is doing more subtle than hitting a button object and having everything start behaving in ways that are obviously not you.
To be more specific, I’ve been talking about ways to use the humble LFO as a generator of that variety by summing, sampling, and otherwise using it to produce less ordinary control curves than can be easily intuited by your audience by the time the second sweep of the LFO comes around.
There’s another obvious source of variety generation that Max users often gravitate toward: random number generators.
A simple truth emerges from the practice of writing Max patches like the Max for Live device we've been working on: The trajectory of “finishing” your Max patch is something you approach on an asymptotic curve - you approach being “done,” but never quite reach it.