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Dan Laüt

Can anybody tell me why I get all these nested markers? There is only one patcher open of either.

Can anybody tell me why I get all these nested markers? There is only one patcher open of either.

[Image:...

pattrmarker-wild-growth

Pattrmarker wild growth

Laurent Pigeolet

I would like to launch several wav files together, but I would like to have the possibility to choose the launching moments and to variate reading speed ok these files. (I don't want to buy Max for live).

I tried first  with 2 Playlist~ objects playing together, and it's ok for variate speeds, but when I launch the second sound before finishing the first, I hear a big click noise.

Then I used Sfizz object,  which is great to avoid clicks, but I don't find a way to variate the speed reading of the different wav files.

Is there a way to do it, or a way to avoid clicks with multiple playlists playing togheter at different times?

Hi,

I would like to launch several wav files together, but I would like to have the possibility to choose the launching moments and to...

playlist-or-sfizz-speed-reading-wav-files-without-clicks-noises

Playlist~ or Sfizz speed reading wav files without clicks noises

Logan James

I’m interested in how Max is being used beyond purely digital outcomes, especially in projects that connect sound, interaction and visual systems with physical craftsmanship and material-driven design.

 that highlights a strong focus on handmade production, material quality and process-driven design. It got me thinking about how tools like Max can be used to explore or support similar values, such as prototyping ideas, generating patterns or systems, creating interactive installations, or even designing sound and visual narratives around physical products and making processes.

Looking forward to learning how others are blending Max with broader design and craftsmanship workflows.

Hello everyone,
I’m interested in how Max is being used beyond purely digital outcomes, especially in projects that connect sound,...

using-max-to-explore-craftsmanship-materials-and-design-process

Using Max to explore craftsmanship, materials and design process

Alexander L

I've been working on an installation where I would need to pan 40 mono channels of audio. A close solution is 

. It has a maximum on 32 inputs and outputs. Now, I am not the best with Max For Live programming, but I have been trying to 'copy/paste' and edit in 8 extra channels to achieve a 40 channel panning system. 

However, it seems that maybe M4L is not supplying more than 16 target track ids, which makes the current maximum 32 channels (See Figure 2)? This sounds like a wrong assumption and maybe I just have not set up the new channels correctly to receive an additional 4 target track ids?

Would anyone have an answer why copy/pasting and naming-in new channels would not work off of the bat? I have not been able to find other spatializers this large, but maybe they exist in wavefield synthesis systems?

Increasing the channel count in Audio Routes v1.5.1?

increasing-the-channel-count-in-audio-routes-v151

oxxi

I’m trying to take the values from the third row of a matrixctrl (in dial mode) and use them as weighted probabilities to control how likely the gate opens on each step, but I haven’t been able to figure out which objects would be best for handling the probability logic. Basically the value of the dial for each step determines how likely the gate is open so it triggers the sound. 

Using matrixctrl values as weighted probability for gate

using-matrixctrl-values-as-weighted-probability-for-gate

Roald Baudoux

Is there a clear way to calculate the exact latency introduced by a pfft~ according to sampling rate, window size, window step and signal vector size?

pfft-latency-calculation

pfft~ latency calculation

Leo G

Just started using Max a couple months ago.

I have multiple instances of the same M4L MIDI device in one Live Set. I want one shared snapshot bank (pattrstorage slots + optional slot names) that is identical across all instances.

 instance, then all instances should have the 

(But I’d still like recall to be per-instance — i.e., recalling Slot 1 in one instance shouldn’t force other instances to recall at the same time.)

So far my pattrstorage format is @parameter_enable 1 @savemode 0 @autorestore 0.

If I broadcast 'store', I get race/collision behavior (slots end up reflecting whichever instance “wins,” or values seem to get overwritten/substituted). I also tried store -> writeagain (local) and readagain (global), but I get spammed with save/open dialogs on load/close even with @savemode 0, to the point where it becomes unusable.

What’s the recommended/robust pattern for this in M4L?

Note: I am using Live 12.3.2 and Max 9.1.2 on a Mac (26.1 Tahoe). 

I have attached a minimal sample .amxd test I did with pattrstorage which contains these issues.

I am sure there is a route to solving this issue; I am just completely unsure as to how to get there. If anyone has any suggestions, or any workarounds & examples to fix this issue, that would be infinitely appreciated.

Some Random Pattr Test.amxd

Pattrstorage: sharing snapshots across M4L device instances w/out per-instance parameter collisions?

pattrstorage-sharing-snapshots-across-m4l-device-instances-wout-per-instance-parameter-collisions

James Harkins

With apologies if this is a dumb question...

In a workshop setting, I just had terrible trouble with loading soundfiles, so I'd like to ask about best practices for audio file locations, to minimize "File Preferences" customization and (ideally) setting things up so that people can open a patch and it Just Works.

I wasn't quite ready for that because, on my machine, I can put the audio files in the same folder as the patch files (or a subfolder), and then relative paths with "." work just fine, e.g., [buffer~ buf ./audio/loop.wav].

So I guided people through preparing an audio file, putting it where they are going to save the patch, saving the patch in that place, and then, on Mac... "can't open." I confirmed in their Finder that the directory structure was correct, just... no relative path access.

Also tried a message box with variants of "audio/loop.wav" --> [absolutepath] --> [prepend replace] --> [buffer~ buf] and continued to see failures.

It surprises me because in general, I would expect consistent behavior across platforms. E.g., SuperCollider always uses absolute paths (so it's necessary to ask the interpreter for the currently executing path, strip the base filename, and append from there -- but this approach is consistent everywhere); Pd vanilla objects always resolve relative paths relative to the current patch file (some externals don't always do that, but this is consistent across the base distribution). In neither environment is it necessary to make allowances for OS.

Normally I'd make a MWE myself, but I can't reproduce the problem on my machine. I could try to collect screenshots if that would help.

With apologies if this is a dumb question...

In a workshop setting, I just had terrible trouble with loading soundfiles, so I'd like to...

best-practices-for-directory-structure-writing-buffer-objects-to-load-files-automatically

Best practices for directory structure / writing buffer~ objects to load files automatically

vojko v

I'm asking because I can't seem to avoid the clicks when I change the loop start, and it would seem logical to conclude that a gen version of this would be a lot more efficient

is there a gen~ version of grooveduck?
I'm asking because I can't seem to avoid the clicks when I change the loop start, and it would seem l

gen~-version-of-grooveduck

gen~ version of grooveduck

Jeff Merkel

I know it gets brought up every once in a while, but I thought I'd post again to see what the interest was out there for getting Max working in Linux.

I jump between Mac, Winows, and Linux (Ubunutu) fairly regularly as no single OS can do everything I need under one roof. I teach at a university in physics and recording arts where I use Max, Wavelab, Nuendo, and Live extensively for demonstrations and PowerPoint/Keynote for presenting. I also run a recording/mastering/post studio where I again use Nuendo & Wavelab. But I also run an acoustic R&D company where I use Solidworks, QCAD, and a few other drawing/modeling tools. And lastly I head up an interdisciplinary research collective that mostly uses Max, but also vvvv, Processing, TouchDesigner, Quartz Composer, etc.

But I'm finding that I prefer Linux above Windows and Mac more and more for the sheer speed, customization, and adaptability even though it's by far the least supported for applications which really bums me out. While I'm a big supporter of open source I'm also happy to pay for good commercial software like Max. i just wish Max, and a few others, would run on Linux.

Max is one of the biggest hangups for me to not spend almost all of my time in Linux. PD is a great program, no doubt, but I rely on a lot of the awesome and amazing externals out there and the great Max community (along with a number of other reasons). Even getting Max to run under Wine would be OK, though native support would be much more preferable. But the iLok stuff only works on Mac/Win, even though I use the software key/internet activation.

So I'm interested if there's any other folks out there in the same boat as myself. I know Linux support is a low priority for most commercial companies that are trying squash bugs and be innovative, but I feel like Ubuntu and other flavors are on the rise and have some very cool potential in the multimedia realm (but that could also be just because I've been getting more into it personally). If there's enough of us requesting maybe we could see a Linux release in the future! Anyone else interested in seeing this happen?

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