This page is only visible to admin users. Sorry!

This page is only visible to signed in users.

Contact <link>support@cycling74.com</link> if you believe you're seeing this page in error.

You don't have permission to view this page.

Activity

Billing History for { name }

Licenses

There was a problem removing the addon. Please try again.

Are you sure you would like to remove the <name>{addonName}</name> addon from your Max subscription? Your {addonName} addon license will remain active until the end of your current billing cycle.

{name} was successfully removed from your Max subscription.

Remove Addon

There was a problem resuming your subscription. Please try again.

Are you sure you would like to resume <name>{addonName}</name>? Your billing cycle will be reactivated and you will be billed as normal on {renewalDate}.

Your subscription has been successfully resumed.

Resume Subscription

There was a problem cancelling your subscription.

Are you sure you would like to cancel <name>{licenseName}</name>? Your license will remain active until <expiry>{expiryDate}</expiry>, at which point your subscription will expire and the license will be deactivated.

Your subscription has been successfully canceled.

Cancel Subscription

Next, start up the Max application and sign into your account (Help > User Account and Licenses).

Max has been successfully activated.

You must be signed into your account to activate Max.

Activate Max

Create a New Post

Edit Article

The list of what we're discovering about Max and our users grows each day. We tackle everything from hardware reviews to re-reading books from decades past.

Get the Latest on Max and our Community

Articles

Sign Out

Sign in to authorize License

Authorize Max

Filter by Format

Filter by Language

Find books related to learning Max.

Books About Max

Here are the artists and educators helping people get creative in Max

Meet Our Max Certified Trainers

Certified Trainers

{ firstName } { lastName } - Certified Trainer

There are no open positions at this time.

Please check your inbox for further instructions.

Forgot Password

Error

Success

Actions

Create Forum Topic

Edit Forum Topic

{category} Forum

There was an error submitting your details. Please try again.

Thank you for your submission! Someone will be in touch with you soon.

NFR / Industry Accomodations

Please make sure you use the link you received by email.

There was a problem retrieving your invitation.

Your account has been successfully created. To manage your institutional licenses, please go to <authLink>https://auth.cycling74.com</authLink> and sign in with your newly created account.

You must be signed out to view this page.

Create an Account

Find more details on our <link>Status Page</link>.

Under Maintenance

We are currently carrying out a scheduled maintenance of our website. Some functionality is temporarily unavailable. We appreciate your patience.

Name

Sort By

{ category } Packages

Share a Max Project

Edit Project

Image Notes

Important Notes

Max Projects come in all shapes and forms. Over the years, our users have shared over a thousand ideas and projects with us. We're proud to showcase them here.

Find Inspiration from other Max Users

Cycling '74 will review it within a week and may make minor edits before publishing it, so your project looks best and reads well in our project gallery.

Thank you for your submission! Your project is currently pending.

Account Recovery

Bundled

{ name } { version } Release Notes

There was a problem changing your password. Please try again.

You can now <link>log in</link> with your updated credentials.

Your password was changed successfully.

Reset Password

Your purchase has now been linked to this account. Next, start up the Max application and sign into your account (Help > User Account and Licenses).

Retrieve License

Type

Search the Cycling '74 forums and website

Search {query}

Please enter your educational details

Your Max for Live or Live Suite serial number is required for this purchase. <link>Need help finding your serial number?</link>

There was a problem updating your subscription. Please try again, or contact support@cycling74.com if the problem persists.

Cannot add RNBO

Confirm Subscription Addon

Thank you for your purchase

Thank you

Retrieving your order details, please wait...

Contact <link>support@cycling74.com</link> if you have questions/issues.

Couldn't sign in. Please check that your username/email and password are correct.

Sign in with your Cycling '74 account

There was a problem creating an account. Please try again.

Successfully created your user account! Please check your email for one last verification step.

Create a Cycling '74 account

Select a Product

Thank you! Your request has been successfully submitted to our support team. Please check your email.

There was an error sending your application. Please try again.

There was an error sending your request. Please try again.

By submitting this iLok request, you understand that you will be notified when an asset is deposited to your iLok.com account. After receiving that notification, you can transfer the asset to your iLok USB stick. Please be aware that all iLok requests are manually processed so it can take up to 48 hours to fulfill your request during normal business hours (Monday-Friday, 9am-5pm Pacific Time).

Important Information

Thank you! Your request has been successfully submitted.

Please note that we are no longer taking submissions for Tools and no longer supporting the Tools section, so you may run into broken files and URLs. You can contribute to the Cycling '74 Community by submitting a Package or using the forums instead.

Max Tools Archive

Edit Tutorial

Tutorials are an ideal way to accomplish a task, learn a new strategy or brush up on your skills. In addition to our in-app Examples, Tutorials and Help Files, you can find new ones here.

Explore the Online Tutorials

Tutorials

Thank you. Please start Max and sign in to use your license

Upgrade

Sign In

Your account requires verification. Please check your inbox, or <link>click here to send the verification email again</link> if you didn't receive it.

Unverified Account

Do you have an activation code?

Already own Max 8 and ready to authorize?

Trouble? Please email <link>support@cycling74.com</link> for help.

If you're new to Max, this is just for you.

Thanks for verifying your account!

You're one step closer to being part of the Cycling '74 Community.

Verify Your Cycling '74 Account

Failed to request a new verification e-mail: {message}

A verification email has been sent to { email }. Please check your inbox.

Can't find your verification e-mail or only have an expired one?

There was a problem verifying your email change. Please try again.

There was an error verifying your email address.

Your email address has been successfully verified. Thank you!

Verify Your Email Address

A user token is required to verify your email address. Please follow the link you received via email.

Marsha Vdovin

Robert Henke is a brilliant electronic musician who records and performs under his own name and also as Monolake. His music has been described as minimalist yet complex techno with an architectural sound. For me, his music is very spatial and multi-dimensional.I find it takes me on an extraordinary journey through space and time, similar to a great work of fiction. Henke recently said, "The last century was about the creation of electronic music. This century is about performance."

In recent years Henke's work has strayed outside the boundaries of clubs and CDs. He performs amazing surround concerts and has begun to create densely layered, immersive multi media installation works that have shown internationally. Henke is relentless in his drive to designing the perfect unique tools for each project. He is one of those rare artists that is also a brilliant designer.

Henke is also active in creating tools for other musicians, since the founding of the company in 1999 he is part of the development team of the software program 

. In 2003, Henke began an evolving design on a performance controller in 2003 that came to inspire the 

 control surface. He has also been involved in the development of 

Henke has worked in Max/MSP for over 15 years. I caught up with him at 

 to talk about the interesting journey that he has taken.

Well, I'm not a musician, I can't play an instrument, and I really like the idea of a machine doing things. I like step sequencers. I like statistical and stochastic functions for creating clouds of sounds, and clouds of events. I see myself more as someone who is writing a structure, and the structure then creates the music. And Max is pretty much the ideal tool for this kind of thinking.

How would you describe your patches? Are they messy, are they organized, are they minimal, are they maximal?

This changed over the last 20 years. My first patches were very small, because I worked on a Macintosh Plus, which was extremely limited. Then my patches became very big, because I tried to solve every possible problem with one single, big patch. Then my patches became very small again. What I do these days is that I try to come up with a patch which solves 90 percent of what I want to do, and I try to do this within a very short amount of time, so that I spend more time actually making music than programming Max.

It's a tricky thing with Max: You can spend weeks in refining a patch, and afterwards, the initial idea is pretty much gone. Now you have the perfect tool, but you're not interested in using it anymore. So I try to make small patches, which do a lot of good things.

Is it true that Live was originally written in Max MSP?

There was a step sequencer, which had been developed by Gerhard Behles and myself, and this step sequencer had a few features, which later found its way into Live. For instance, the fact that you can switch patterns for each track individually. And a lot of the effects in Ableton Live I prototyped in Max, like the Grain Delay, which is a classic type of Max patch. The Chorus was a Max patch as is was the Waveshaper/Saturator. The Operator synthesizer started as a Max patch, at least in parts. Live itself was written from scratch in C++. But I like the idea that it's a Max patch, because everyone who is into Max obviously understands that this is impossible. [Laughs] It's a nice urban myth.

Favorite object? Well, in the old days, the recipe was pretty much: Table, Counter, and Random... Metro!, of course! I think Metro, to me, is the Max object of choice, if I have to choose one. It just bangs regularly by itself. [Laughs]

No. Maybe 15 years ago I dove into the SDK, and I thought, let's go hard-core. But then I realized pretty quickly that what I really want to do is making music. And there's (already) such an abundance of tools. I really don't see why I need to invent yet another tool at this time.

What do you think's going to happen in the next few days, at this Expo '74 conference? What do you hope to get out of it?

Well, I have a kind of official task to do here. I'm looking for interesting people who might at some point contribute content for MaxForLive. Or would be interested in working for Ableton. That's just the very straightforward answer. I'm also hoping to get inspiration, ideas for my own creative works. In general, to hang out with people who can expand my idea of what's possible. Because Max is a language and everyone is using that language in a different way. I'm always amazed when communicating with other people who are using Max, because we are all using the same tool, but we achieve totally different results. And that's very interesting, and very inspiring!

Regarding Max, I think what I really like about Max am that it has the potential to change the way you think about music. It did this for me. It really freed me from this linear idea of something which has a start and an end. And this was a total liberation. I realized more than before that what I'm interested in in music is some kind of constantly changing, endless state, and Max is the ideal tool that. It's actually a tool for sculpturing music, much more than for recording. A Max patch looks like an abstract painting. The music you make with Max is potentially endless, and it all somehow fits together.

Do you have any tips for somebody new to it?

Yeah: Try simple things. The biggest mistake one can make is trying to come up with the one single patch that does everything. Make a simple patch, and try to work with that simple patch for a period of time. Because making a tool is one thing, but mastering a tool and working with a tool is another thing. And if you're constantly creating a new tool, you will never master it. And that's a danger, in Max, that the Edit button is so close. [Laughs] Maybe people should sometimes just use Max Runtime for a month. Cycling '74 should force people to use Max Runtime for one month a year, so they can't make new patches, they just have to use what they already did. [Laughs] It's kind of a responsibility of Cycling '74 towards the development of art. [Laughs] So it would be the 'Max Play Days'. You can think about Max Play parties and stuff like that.

I do, I'm touring. I play in clubs. And I more and more enjoy extending what you can do in a club. The more 'famous' I get, the more I try to find out how far I can push it. So the last thing I started was that I decided I'd like to play 4-channel live sets, even in a club. There are people who say, oh, it's a club, it's mono anyway, no one cares if the snare comes from there, from there, or from there. But, as a matter of fact, since my music is so much about atmospheres, and the beats are just one part of it, the atmospheres tremendously benefit from four channels. So this is one way how I try to expand the club idea. Another idea is that I'm really trying to perform 'live' as much as possible with a lot of control over my live set. And there Max plays an important role, because Max works as the bridge between Ableton Live and my hardware controller. So yeah, I try to make club music, which is not club music. And that's what I really like when performing; Presenting people with something they usually do not hear in a club, and still make sure they can dance. That's a challenge, but it's also very satisfying.

I really enjoy being a part of this event here, and I strongly believe, that the integration of Max and Live will create tremendous possibilities. And it will do so because it simplifies things. The German computer pioneer, Konrad Zuse, who I think built the first working computer based on tubes, in Berlin in 1930s, once said that 'not the most advanced ideas, but those who create the most immediate and simple results are the ones which succeed.' And Max for Live will simplify a lot of things and therefore will enable more people to do outstanding things with easier access. Therefore people will be encouraged to explore new ideas, and this will definitely have an impact on what people will do artistically.

So this was the positive side of Max for Live. The negative side of Max for Live is that people might project a lot of expectations. I have the feeling that for a lot of people who are not really deeply into Max, it's this kind of secret weapon, and they believe it's the Holy Grail of everything and once you know Max, you can do everything. And of course that's not true, because there are all kinds of little limitations, and awkward things, like in any environment. I guess what will happen is that at first people are extremely euphoric, then a lot of people will become really upset about the limitations, and afterwards, people will realize that it's cool nevertheless, and will be extremely happy. That's the curve I know from every Live release. Total anticipation, and euphoric statements, then total frustration, and afterwards people just use it and love it. MaxForLive will be pretty much the same thing. The one thing I'm really curious about is what people actually are going to do with it. Because the possibilities of this combination are really beyond anything else I could imagine. I believe we will see stunning results, and we will see surprising results. People will come up with ideas, which totally exceed what any one of us would imagine people would do. We can already see people doing stuff with Live itself that we would never have come up with. And the combination of Max and Live is just like a new universe.

I started working more with Max, actually. I had a period where I was fed up with programming, and I just wanted to make music, and I felt that making Max patches is a waste of time. And this phase is over, since maybe a year or something, I enjoy making Max patches again. And it was independent of the release of Max 5. It just happened that I again felt there's a way of expression possible in Max that I was missing. Now I'm kind of back to Max. And then MaxForLive finally came true, so it all works very well together. I actually can't wait to use MaxForLive more. It's fun.

Well, MaxForLive is a version of Max, which runs inside Live. This combines two very different applications into something new and exciting. The benefit of Max which runs in Live is: if you come from a Max perspective, you have access to features which are difficult to realize in Max. Max is really good for things that have nothing to do with a timeline at all. Live is really good in dealing with timeline-based operations, because we have all this stuff there. So if you want to control a Max patch to create a change over a long period of time, and you need a timeline, MaxForLive is a very good answer for that. It frees the Max user to do something that is hard to do in Max. From a Live perspective, MaxForLive opens up the possibility to create your own effects, and to create your own synthesizers. It also allows you control Live in a new way, and therefore extend the functionality of Live, helps to customize Live. We realize that a lot of our customers have very individual ideas how they would like to use Live. The problem is, if you asked 100 people what they want, how we should continue developing Live, you'd get 100 different answers. And we just cannot fulfill every need for every person. It would just be impossible. MaxForLive allows people to solve their very individual problems with a high degree of elegance.

To give an example, you could want that if you play in a live situation, if you played a clip that the color of this clip changes. So that you actually realize, oh, I played this clip before. That's a feature that totally makes sense from a live performer perspective, but it's certainly not a feature we would ever implement in Live ourselves, because it's such a special feature. It's a special request. It's not something that you would want to see in a menu of Live. But with MaxForLive, this is a task that is extremely simple to do. So you play on stage, and all your clips are green, and you play a few clips, and afterwards the clips are orange. You know, OK, I played these clips already. This is a very simple patch in MaxForLive, which enhances the functionality of Live in a totally meaningful way. It's very personal, and it applies only for those few hundred people who like this feature, but for them this feature is extremely important. And that, I think, is a nice example of how a very simple Max patch can solve a problem, which is very essential for a few people. Actually this example is something I did already. I color the LEDs on my MIDI controller, so if I played a clip already, it has a different color.

What type of hardware controller do you use?

I built my own hardware controller, because I was not satisfied with any commercial product. And I so underestimated the effort. [Laughs] It took me more than a year to build my controller.

Is Ableton going to be putting it out? Is it going to become a commercial product?

It kind of has. My controller is called the Monodeck II, there's a lot of information on my web site about it. A lot of ideas from the Monodeck, which had been realized in 2005, 2006, are now, four years later, part of the Akai APC40 controller. So there's obviously a connection there. The Monodeck will never be a commercial product, but the Akai APC40, which was developed by Akai with Ableton, is the logical consequence out of that. If the Monodeck ever breaks, then I will just grab my APC40, and it's all good. The first Monodeck was a really self-made, DIY kind of thing. Which gave the security people at the airport a hard time. The Monodeck II just looks like a professional product, so no one cares anymore.

If you have something really DIY they think it's a bomb or something.

Yeah. The thing with the Monodeck is, and with the Monodeck II, that I have some wood stuff in there, as distancing parts. I realized because a lady at the x-ray told me once that, explosives are organic materials, too. So if you look at my controller on the x-ray, you see blocks of organic substance in there, and that's classic 'Alarm, there's an explosive in there!!' trigger. So they always check it.

Henke is also active in creating tools for other musicians, since the founding of the company in 1999 he is part of the development team of the software program Ableton Live. In 2003, Henke began an evolving design on a performance controller in 2003 that came to inspire the Akai APC40 control surface. He has also been involved in the development of Max for Live.

Henke has worked in Max/MSP for over 15 years. I caught up with him at Expo '74 to talk about the interesting journey that he has taken.

There was a step sequencer, which had been developed by Gerhard Behles and myself, and this step sequencer had a few features, which later found its way into Live. For instance, the fact that you can switch patterns  for each track individually. And a lot of the effects in Ableton Live I prototyped in Max, like the Grain Delay, which is a classic type of Max patch. The Chorus was a Max patch as is was the Waveshaper/Saturator. The Operator synthesizer started as a Max patch, at least in parts. Live itself was written from scratch in C++. But I like the idea that it's a Max patch, because everyone who is into Max obviously understands that this is impossible. [Laughs] It's a nice urban myth.

I do, I'm touring. I play in clubs. And I more and more enjoy extending what you can do in a club. The more 'famous' I get, the more I try to find out how far I can push it.  So the last thing I started was that I decided I'd like to play 4-channel live sets, even in a club. There are people who say, oh, it's a club, it's mono anyway, no one cares if the snare comes from there, from there, or from there. But, as a matter of fact, since my music is so much about atmospheres, and the beats are just one part of it, the atmospheres tremendously benefit from four channels. So this is one way how I try to expand the club idea. Another idea is that I'm really trying to perform 'live' as much as possible with a lot of control over my live set. And there Max plays an important role, because Max works as the bridge between Ableton Live and my hardware controller. So yeah, I try to make club music, which is not club music. And that's what I really like when performing; Presenting people with something they usually do not hear in a club, and still make sure they can dance. That's a challenge, but it's also very satisfying.

Video and text interview by Marsha Vdovin and Ron MacLeod for Cycling '74.

an-interview-with-robert-henke

I'd like to know more about the red image with the white balloons(?) It's beautiful...


here is some info on it
http://monolake.de/releases/icm-07.html


Fantastic! Just getting in to Robert Henke and Monolake (better late than never).


Social comments and analytics for this post...

This post was mentioned on Twitter by SpectaCiera: An Interview with Robert Henke https://cycling74.com/articles/an-interview-with-robert-henke/#more-3329...


An Interview with Robert Henke

Cycling '74

In her first years of using Max, Pamela Z was able shed the hardware weight by building her own instrument in Max. Take a look inside her Max instrument and her custom controllers during this presentation from Expo '74.

In April 2009, Cycling '74 held its first user conference, Expo '74.
San Francisco-based performer Pamela Z describes how she uses Max in
her work and shows her performance controllers.

Expo '74 Conference: Presentation by Pamela Z

In her first years of using Max, Pamela Z was able shed the hardware weight by building her own instrument in Max. Take a look inside her Max instrument and her custom controllers during this presentation from Expo '74. 

pamela-zs-presentation-from-expo-74

Pamela Z's Presentation from Expo '74

Alex Stahl is a veteran collaborator and this has never been more evident than in his collaboration with 

. As Robert Henke pointed out in the recent Max/MSP/Jitter Conference, 

, many of us spend years working on the same Max patch. Alex Stahl has spent years developing the Max/MSP patches that are at the core of Schick Machine. Along the way he's developed skills that landed him a fascinating job at 

. Collaboration can be quite useful in this world.

I spent five years at the Evergreen State College in Olympia, Washington. The interesting thing there was this state-funded school had some idea that media arts and electronic communication was an important topic in education. So they funded a $5 million communications building that was full of analog synthesizers, Buchlas, multitrack studios, and there was a room where you could just go checkout Portacams and Neumann microphones with your library card.

This was late '70s, yeah. There were a couple people who had enough experience from their own work to support this, but there was no curriculum to speak of. That school was also very big on multidisciplinary learning. It was a great place for people who were fairly self-guided. What I mean by that is they let you do these things called 'independent contracts' where you would propose a field of study that had tie-ins to science, art, history and humanities. They'd basically let you go do your own educational research, and meet once a week with an advisor. And this was as an undergrad. [Laughs.]

So Peter Randlette and I did that in this electronic music studio. That entailed taking the entire studio apart, moving it over to the cafeteria and re-constructing it in the middle of the night for a Halloween concert. It completely surprised even the president of the college--who I don't think even knew this stuff was going on at his school. The interesting thing about that was, after that incident, the department got a lot more visibility, like 'What the heck is going on there?' Peter is now the director of the new Center for Creative Media. They're getting all new equipment, and he's teaching.

Yeah, back at Evergreen. Actually, he just kinda stayed there… and I moved down here. We're both still pursuing this idea about working 'hands on' to make or at least understand how the tools of this virtual world are made, and are so important to people who really want to use them. Like anything else, if you know how it's built, then you'll understand what it's good for. For me, using Max is all about that… I want it to work exactly the way I want it to. So that experience of just literally taking the studio apart, without permission, and then rebuilding it, was a funny story but actually one that I think is fairly important.

Did you have this curiosity for building things even as a kid?

You know, going back, this was probably sixth grade or so, there was a company called PAIA--they're still around actually--that sells kits for electronic music equipment. They had a little battery-powered-synthesizer kit, and a little battery-powered amplifier. I saved up my money, got one of those and built it. I used to ride around on the buses, the public transit system in Portland Oregon, and make these weird noises in the back of the bus. Strangely enough, I'm still kind of doing that, in terms of being interested in presenting unusual sound experiences in public venues, in terms of just encouraging people to listen in a different way.

I remember it very clearly. At Evergreen, I became very focused on creative signal processing. I used to joke to Bob Ostertag, “yeah, you're a music major… and your instrument is the Eventide Harmonizer?” I think Richard Zvonar and I were the other two people who majored in 'Harmonizer'. I still consider that my main musical instrument. Actually I still think of it as a big part of my career at this point. I got into Max because I was playing music with Patti Clemens and Barbara Imhoff, and that musical context was very much real time, keep the groove, keep the emotion--but I wanted to bring in everything you can do in a recording studio in terms of really tweaked-out post production mixing, reverbs and layers of sound, and do that in real time, in an almost, I would say… a folk music simplicity.

So in the studio, you've got maybe 200 knobs. I'm sitting in front of a console right now, looking at them, and I want to have one foot pedal to go between this one particular mix of effects that I had worked out--and that took hours--and then another one for chorus and the verse. I had no idea how to do that, so I looked at a few things, and that's how I found Max. It was at that point mostly about MIDI processing, and I built a foot-pedal system that let me control a six-foot rack of outboard gear, with my feet, while playing bass. I had control effects on the whole band, and trigger samples. Essentially, I considered it building an actual musical instrument. The Bass instrument, I built out of wood and metal, but this was built out of some pedals and software in Max… and it worked! [Laughs.] So that was really encouraging. I guess that would have been about 16 years ago or so. Since then, there's been this gradual process of getting rid of the outboard gear.

And then you embraced MSP when it was released?

When MSP came out, it was just amazing, because suddenly some of the things I was controlling externally, in terms of MIDI control of some expensive pieces of outboard gear, I was able to do inside the computer as well. The best example of that is probably looping. Being able to do looping inside the computer instead of controlling an external delay and tying it back into the mix.

More and more, I've been getting closer to having the whole rig run on a laptop. It's even more like a musical instrument, because now I can take it--whether it's back on the bus, or to Australia, or out in the woods, or just over to a friend's house for a rehearsal--and bring this whole finely-tuned setup to the studio with me.

On a really simple level, I like to geek out in the studio, get hypnotized by sounds and stay up all night… only to decide that it wasn't worth it and then do it all again and come up with something that's actually pretty cool. My band mates don't necessarily need to sit around for that. Being able to do that in software, so easily, with Max, is very helpful in terms of blending and integration. This realm of bringing all of your studio work with you into a real-time situation… Max works for that.

Let's talk about the Paul Dresher project, Schick Machine.

When I finished up at Evergreen, one of the last things I did was drive from Olympia to Minneapolis for I think the second 

 festival. It was an amazing experience. All kinds of people we saw. One of them was Paul Dresher doing tapes of music, liquid and stellar music, on this elaborate, 'Rube Goldberg-like' analog tape system.

Since I had just completely failed in my senior performance trying to use another Rube Goldberg-like analog tape system with my brand-new bass, I was very encouraged to see that it was possible to make this thing work. Ever since then--that would have been 1980 or so--I'd been in and out of touch with Paul, wanting to figure out some way to take that performance tool to the next level. Of course, lots of people are doing this, but it took 30 years for us to finally find a way that was practical and possible to do this. So I wrote this patch to do looping in the way that he wanted, which was very much informed by the tools he used… basically Echoplexes. In the meantime, I was working on my own looping engine, which came from a very different aesthetic. For me it was a wonderful experience of finding that both the fact that this simple idea of looping--which is almost too simple--on the surface, can mean so many different things to different people.

Get the Latest on Max and our Community

An Interview with Robert Henke

Pamela Z's Presentation from Expo '74

A Video and Text Interview with Alex Stahl

An Interview with Noriko Matsumoto

Max for Live: A Sneak Peak at the Live API features

A Look Back at NIME 2009

Experiences from "Welcome Sound"

A Look Back at Expo '74

An Interview with Keith McMillen

Tools for Creating Devices in Live