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Gregory Taylor

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In addition to being artists, Max users are 

; from the first moment you realize that some bit of Max patching you've done is something you'd maybe like to use again and again or use elsewhere, a very specific part of your patching life begins. Some of those Max users take a further step: taking the collection of helpful tools they've made and sharing them with the community of Max users at large, often for no more return than that of the accrual of 

 Good Karma. One of the places where that generosity is made visible is the 

 (that little icon at the very top of your Max patcher window's left toolbar), where you can explore and learn about those gifts to you from other Max users. From time to time, we take the opportunity to point out something really interesting that shows up in the Package Manager. This is 

nipulation, by the way). James Bradbury, one of the FluCoMa team members at the University of Huddersfield, succinctly describes what it is (in understated terms):

For my money, this is one of the most extensive Package Manager offerings ever, and particularly interesting and exciting for the way that it locates the work (whose tools are also available to Pure Data and Supercollider users, by the way) and guides you through kinds of patching and compositional approaches that might otherwise seem to be dim and out-of-reach "someday aspirations." And even though FluCoMa is available in a variety of environments, a strength of the Package Manager toolset is that 

—you can use a subset of the package tools and go a long way while still connecting to all other elements of Max via the buffers and dictionaries you already work with.

One of the things that make it of interest to people exploring the tools for the first time is the wealth and range of information and examples from within the FluCoMa user community, in addition to a well-documented Max software package.

The most interesting part of FluCoMa for me is the various compositional or improvisatory threads that it brings together: the ability to take a huge collection of sounds and to create a way to display, organize, and explore them as a kind of visual terrain (if you've ever experimented with Diemo Schwarz's 

, you're probably already starting to get excited....). Their entry-level tutorial starts by creating a simple 2d browser and segments sound in slices and then uses machine listening algorithms to map loudness and centroid features to create a navigable X and Y space. The tutorial walks you through most of FluCoMa's basic syntax along the way, as well:

This four-part video walks you through building a two-dimensional corpus exploration patch. We'll cover workflows like segmentation, audio analysis and querying data.

Find the completed code here:
https://learn.flucoma.org/examples/2d-plot/plotter-4.maxpat

The Fluid Corpus Manipulation Toolbox (FluCoMa) is a software extension that enables programmatic sound bank mining with machine listening and machine learning within Max, SuperCollider, and Pure Data. 

Website: https://www.flucoma.org/
Download: https://www.flucoma.org/download/
Discourse: https://discourse.flucoma.org/

Max: https://cycling74.com/
SuperCollider: https://supercollider.github.io/
Pure Data: https://puredata.info/

#machinelistening #machinelearning #flucoma #max

Building a 2D Corpus Explorer (Part 1)

Pretty amazing, but where FluCoMa goes next is where it really gets interesting for me — 

What you can do with the corpus you've created

? Since FluCoMa is about ways to find patterns in these collections of sound (corpora), one next likely thing to imagine is applying machine learning to that collection. The FluCoMa project is strongly influenced by the work of Rebecca Fiebrink (whose Wekinator you may know) with its emphasis on ideas like artist-curated states and the aphorism that "small data is beautiful data," so there's 

a tutorial designed to ease your gradual transition to working with machine learning

What's that? You want to split your giant collection of sounds so as to make them more flexible in your sound design? Your new FluCoMa best friends have implemented ways of doing that for classic paradigms (voice/noise, transient/continuous, harmonic/percussive) in real-time and non-real-time Max tools and also explored some more exotic approaches such as source separation (demising) and hybridization via non-negative factorisation (NMF). 

You can find an overview of FluCoMa's decomposition tools here.

The FluCoMa package is in use by artists already. Resources from the FluCoMa team in the form of articles and podcasts with artists who use the toolset that will give you some ideas about how you might integrate FluCoMa into your process (complete with example code).

Any more questions before you download and install? Oh yeah - The FluCoMaians are working to build a community of fellow explorers by way of their own 

, as well as providing pedagogical support for educators where they share 

workshop materials, sample plans, and lessons

FluCoMa.jpg

The FluCoMa (Fluid Corpus Manipulation) package now available in Max’s Package Manager lets you work with sounds and collections of them in amazing new and flexible ways—slicing, decomposition, and hybridization of sounds alongside the ability to use machine learning tools for audio-descriptor analysis, and making music. Let me take you on a brief tour.

content-you-need-flucoma

Content You Need: FluCoMa

Joshua Weatherspoon

For my first “On The Road” report for Cycling ‘74, I attended 

. Learn more about the festival, the Cube, how Max played a role, and Virginia Tech’s special guests below.

Cube Fest is a collection of music performances using Virginia Tech’s Cube, a 3-story, 140-speaker array to display music in a way the performers and the audience have never heard. The Cube can animate sound to climb walls and swirl around you resulting in the space becoming a performer as well.

IMG_1803.jpeg

Cube Fest has been an annual festival since 2016, and this was the first in-person event since the 2020 pandemic began. This year’s focus was on Afrofuturism in music. From the Cube Fest organizers, “Afrofuturism is an ideology that examines the past and the future through a Black cultural lens, connecting African diaspora culture with science and technology. Cube Fest 2022 features works by Jupiter Blue, 

, and includes an evening-long concert, The Other Wakanda, presented by 

The festival started out with an unlikely performance that I didn’t expect to experience at a space like the Cube. 

pasted image

In this hip-hop story, we have characters Dre (played by KoDa Leif) and Kam (played by DeRay Manning). Dre is going to go off to college, and Kam is still living the street life. And at some point, these friends end up getting into an argument. Kam felt disrespected by Dre because he thinks Dre was feeling superior since he went to college. Through the course of conversations, both of them get guidance from their friends and family that they need to actually work together and do things that better themselves and the community.

It was quite interesting how they set the performances up in the Cube because, as you heard the two friends’ argument taking place, they would begin very muffled. Then, as they open up the door and came out, the filter would open up and you would start to hear people moving around the space. It was as if you were physically in the living room hearing people come around and towards you from the back of the house.

It was interesting to see recorded and live hip-hop and spatial audio used together. The two emcees would rap live at parts and on hand as turntablist created scratches and sound effects to fill out sections.

, is a piece consisting of multiple musical Wakanda tribes. I heard all sorts of new things listening to his piece. I especially heard sounds that were familiar but, at the same time, new. Stephen explained that some of the instruments were custom, commissioning a violin maker to create a microtonal instrument. Using these instruments made it seem like I was listening to the music of a group of people that have a connection to our society but not so much that they have the exact same tonal influences.

The performance was more melodic at times than I expected and many of us felt that, if we didn’t know, we would assume the whole piece was written by multiple people instead of Stephen solely.

 gave his keynote, “You Haven't Met the Captain of the Spaceship...Yet”. He challenged the concept of attaching Afrofuturist labels to artists like Sun Ra, who was not alive during the creation of the term. Thomas, who spent time with Sun Ra as he held court backstage at concerts, stated that Sun Ra was not just a counter-culture figure to the masses but also to elements of things we call Black culture. Sun Ra was not a bandwagon or “go along to get a long” type of person. Due to his beliefs and his focus on music, he refused to be drafted. He was then jailed for a time resulting in his community turning their back on him.

Thomas spoke of how Sun Ra’s teaching influenced and changed thoughts on the world, the environment, and not just racism but capitalism as a whole.

I came out of that speech with some thoughts validated, but also challenged in other ways.

IMG_1821.jpeg

There were many other performances that weekend like a live space chanting guitar vocal performance by 

 (David M. Hotep and Tara Middleton), long-time members of the Sun Ra Arkestra. David’s outfit was amazing. Another of the interesting performances was a Ryne Siesky piece on pollution using a sample of a K-Cup to literally generate what Tyechia Thompson, co-artistic director of Cube Fest, saw as unsettling sounds. It was interesting to sit at the back of the Performance Studio, a smaller secondary spacial audio space, and see people wince and look around as his insect-like sounds came around the room and seemed over people’s shoulders.

As someone not known to the lore of Sun Ra but new to his music and full history, it was amazing to close out Cube Fest with Eric Lyon’s spatialization of 

. It was done in such a way that listening in different parts of the room can result in different experiences.

Since they knew the material so well, Thomas and Jupiter Blue were surprised to hear the album is such a different way. Vocals and instrumental parts now broken up and placed around the Cube. I remember Thomas having to move because one of the players he knew was almost playing in his ear. I saw him move, and so 20 minutes later I sat in the bean bag he was once occupied, and I heard a totally new experience. At one point, I was trying to find out what time signature the bassline is in over the 4/4 “Space is the place,” chant, after switching seats, I was able to realize it was in 10/4. It was a wild ride, and now I need to listen to it in stereo and see how sounds it resonates there.

Though Reaper is used for some decoding ambisonics, co-artistic director 

 said, “Our preferred workflow is to send individual mono audio tracks from Reaper to Max over Loopback. At the same time, we have a custom plugin that sends azimuth/elevation/distance data to Max over OSC. That way, all the audio processing is done in Max. We have custom Ambisonics decoders for our various spaces, all using the ICST Max externals.”

 performance, one of the Digging in the Crates crew, Köda was able to control volume and spacing live due to the custom Max setups done by Eric and 

, founding director of the Institute for Creativity, Arts, and Technology, took me to an experimental room they have for a smaller and more portable version of the Cube called the Tesseract. They have spoken about the idea of putting the Tesseract inside of the Cube for simulated rainstorms giving you more feel of the proximity of the simulated storm.

The best part of events like this are the connections you make. The moment I showed up, Eric introduced me to Steven. We hung out quite a bit, having lunch the first day as he explained more microtonal concepts to me using the 

 iOS app. We continued to hang out outside of the performances and presentations.

IMG_0589.jpeg

I had great talks with Thomas Stanley, Ryne Siesky, Philippe-Aubert Gauthier and his partner, David M. Hotep, and Tyechia, to name a few. All of whom shared great and deep insights about life, ideologies, and music.

I’ve got a number of new acquaintances to share Max lessons with, as well.

It was great to see a number of black artists and a diverse group of other artists get their music played in such a space. I think Eric, Tyechia, and the whole crew did a great job at creating a rich musical experience, welcoming everyone, and connecting people. It showed how to see spatialization as more than a gimmick or music for artsy museums – it is a way for people to express themselves and reimagine sound.

image3.jpg

For my first “On The Road” report for Cycling ‘74, I attended Cube Fest hosted by Virginia Tech. Learn more about the festival, the Cube, how Max played a role, and Virginia Tech’s special guests.

on-the-road-cube-fest-2022

On The Road: Cube Fest 2022

Tom Hall

leafcutter_john.800x400.jpg

Hey, John. You're pretty familiar to a lot of Max users who have been around a number of years, but can you let us know how you got into Max and learned about it? Can you remember?

Yeah. Wow... It must have been when I started doing concerts because I've got this really funny picture, which I’ll try and send to you, which is me doing my first gig and it's in completely empty room in a pub with no stage and just a mattress on the floor. And then, there's like a piece of wood that's about maybe 12 feet long. It's got one string on it. There's a mixer, there are about two mini-disk players. Then, there's a zoom effect rack from my studio? And, that was it. That was the gig.

FISRT GIG copy.jpg

And I thought, oh wow, there must be a way of performing which doesn't rely on just playing back stuff from mini disks. And, I was playing shows in Germany at the time. And, I actually think I probably came into the very first incarnation of the Ableton offices when Ableton was just starting out. Because people were just kind of thinking about Live as a way of performing... I don't know, I think I probably found Max before Live existed actually, to be honest, but I remember downloading a demo of it. Not getting into it at all and then suddenly finding a project that needed Max and then I couldn't afford it. So I ended up with this terrible cracked copy.

Get the Latest on Max and our Community

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