Lately, I've been working on some "classic" OpenGL programming within Jitter, and I've been using jit.gl.sketch to do that work; it is very close to the OpenGL syntax that you find in most books, and is fairly forgiving in terms of incoming data type.
I recently wrote a couple of tutorials for the Cycling '74 website on a subject that's close to my heart - generating and organizing variety when working with Max (I'll bet that you just thought they were about making LFOs and working with the new Max 5 timing features, didn't you?).Download the patch used in this tutorial. Other LFO tutorials:
In the last installment of the Video Processing System we left off with the beginnings of a basic live effects chain with basic compositing, blur, and color effects.
In our last article, we began to create our processing system by putting the essential structure in place and adding our input handling stage.
In this, the final episode of our guitar processing extravaganza, we are going to step away from making effects and focus on performance support.
At this point, we have a pretty useful guitar processing "rack", but it could use a little spice.
Between the tutorials, Jitter Recipes, and all of the example content, there are many Jitter patches floating around that each do one thing pretty well, but very few of them give a sense of how to scale up into a more complex system.
In the last article, we added some basic tonal effects: distortion/overdrive and EQ/filtering.
Now that I've got a nice generative patch and a way to hear it, I thought it'd be nice to make a few improvements and extensions that would let me begin to specify larger structures - to generate instructions to my generative patch, as it were.
In the last article, we did a lot of setup - we got input/output handling in place, and added a compressor to the processing chain as an example of an “effect module”.
Last time out, we created the LFOur, a generative patch composed of a quartet of synchronized LFOs whose output we can use to make noise.
[This series has been updated for Max 6.] In an earlier article, Andrew Benson and Ben Bracken went through the process of connecting a guitar to a Max-based processing system, and creating a few guitar-oriented effects patches.
As a Max programmer, I spend quite a lot of time making patches that some people might find a little odd; rather than a large "instrument" that I toil over at great length or "the patch is the piece" outings, I love to make Max patches that don't make any noise or play any movies or create OpenGL scenes.