Understanding how the threading model in Max works will help you patch more efficiently, and also be on the lookout for potential bottlenecks and trouble spots.
In Part 12 of the "A Few Minutes with BEAP" tutorial series, we look at an unusual source for generating CV for your favorite BEAP modules - video.
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.
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.
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.
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.
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.
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.
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.
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.
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.