I'm teaching a Max for Live workshop at Robotspeak, in San Francisco, next month. As always, apologies for cross-posting.
Here are more details:
March 16, 23, 30, and April 6 from 7-9PM
4 sessions for $200
Class size limited to 10 people, so call 415-554-1977 to reserve your space early!!!
This is a workshop for users of Live who want to dig deeper into Max for Live. The ideal participant is comfortable with Live but has little or no experience with Max or M4L. Max/MSP/Jitter is a graphical programming environment for music, audio and multimedia that has been used worldwide for over fifteen years by performers, composers, artists, teachers, and students.
After completing this course, students will be able to make new M4L devices that process sound and midi in response to real-time control and/or simple algorithmic processes. Graduates of this course will also have the skills to read and understand larger M4L devises and the foundation for exploring more advanced features cir tutorials, help patches and online documentation.
Day 1: Introduction
• What comes with M4L? (A quick tour of useful devices and building blocks.)
• Getting started with Max
-- navigating the patcher window
-- messages and objects
-- getting help
-- data types
-- file paths
Day 2: MIDI devices and instruments
• Interfacing with controllers via MIDI and OSC
• Managing lists of data: storing, retrieving, and manipulating
Day 3: Audio processing
• MSP: how audio works in Max
• Sampling and manipulating samples
• Building audio effects (chorus, flange, reverb, etc.) from scratch
• Classic synthesis
Day 4: Advanced topics
• Live.API: The inner workings of your live set are exposed to Max via this group of objects and methods.
• Video: Using Jitter to add video to your Live world
• Third Party objects: An overview of some where to find programming and inspiration from the Max User community.
Michael Ferriell Zbyszynski is a composer, sound artist, performer, and teacher in the field of contemporary electroacoustic music. His fifteen years of Max programming includes live performance and sound installation work, and many years UC Berkeley's Center for New Music and Audio Technologies (CNMAT), where he helped write the CNMAT Max/MSP/Jitter Depot, a large library of downloadable Max patches for learning, performing, and composing. He continues to teach their summer Max workshops. He also works with Keith McMillan Instruments and teaches Electronic Music at San Francisco State University.
Playing flute, saxophones, clarinet, Yamaha WX-5, live electronics, or things made from coffee cans and PVC, he has appeared with Respectable Citizen, Roscoe Mitchell, Myra Melford, Frank Gratkowski, the Berkeley Symphony Orchestra, the Merce Cunningham Dance Company, Capacitor Performance Group, Frances-Marie Uitti, at the Other Minds Festival, the Oregon Bach Festival, the Getty Center, and the Montréal Jazz Festival, and has been a resident fellow at the Montalvo Arts Center. He holds a PhD in composition from the University of California, Berkeley, studied at the Academy of Music in Cracow, Poland, on a Fulbright Grant, contributes to Make Magazine, and can be heard on the ARTSHIP recording label.