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Jeshua

Trying to figure out a problem with controlling VST instrument parameters via Max data. I have tried using a float box from 0. -> 1. or scaling a dial 0-127 to 0. -> 1 with a line object to lag the numbers.

Unfortunately both attempts caused zippering noise in the vst instruments output. Is there a way to interpolate the data for vst~ to make smooth precise control?

how-do-i-smooth-out-max-data-for-vst-parameter-control

How do I smooth out max data for vst~ parameter control

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?

max-on-linux

Max on Linux

pdelges

The included patch, that simply use [abl.dsp.prism~]'s freeze feature, will work as expected the first time I open the patch. But when I close it and reopen it, it doesn't work anymore.

I need to restart Max9 to get it working again! And sometimes even after restarting Max  the patch doesn't work!

I tried on intel and ARM Macs, macOS13, macOS14.

abldspprism-freeze-doesnt-freeze

[abl.dsp.prism~] freeze doesn't freeze

axers fall

Experimental weird piano sound design and "chorus" effect

experimental-weird-piano-sound-design-and-chorus-effect

Jan Vancik

I've been building a poly synth that supposed to incorprate both substractive synthesis and granular synthesis. Essentialy the idea is to have two synths running in parallel and then add them together to get a combination of both. The granular "voice" is based on Oliver Thurleys granular tutorial, but I've really been struggling to make it truly polyphonic, as the poly object he uses generates the actual cloud of the grains, rather than doing what it's "supposed to" by allowing the playing of chords. If anyone has any ideas on how to solve this please let me know!

grainGenPitchctrl.maxpat

granular combo poly at.2..maxpat

Hi everyone, 
I've been building a poly synth that supposed to incorprate both substractive synthesis and granular synthesis. Essentialy the

granular-polyphony-in-max-8

Granular polyphony in Max 8

patrickkidd

I am writing a sampler and want to trim any relative silence from the beginning of the buffer~ object. This way the sample's attack will be in time with the sequencer. Does anyone know how to do this? The "silent" samples will not be zero but will be the baseline signal level from the guitar input, hence the word "relative".

I am getting pretty good with Max and Live's api but am useless for programming Msp.

trimming-leading-silence-from-buffer

Trimming leading silence from buffer~

Simone

When working with mc.groove~ with time stretch activated is it possible to pitch shift each channel individually? Or, is pitchshift global for all channels? I don’t see a way to address pitchshift per channel via messaging. 

Hello,

When working with mc.groove~ with time stretch activated is it possible to pitch shift each channel individually? Or, is pitchshift...

mcgroove-individual-pitch-shift-per-channel

mc.groove~ individual pitch shift per channel

vojko v

Why does [subdiv~ 5 @pattern 2 3] give a "broken" ramp pattern and [subdiv~ 5 @pattern 3 2] gives a nice clean one?

Why does [subdiv~ 5 @pattern 2 3] give a "broken" ramp pattern and  [subdiv~ 5 @pattern 3 2]  gives a nice clean one?
 


subdiv~-question-bug

subdiv~ question (bug?)

admant

I started from this snippet in the [tanh~] help file:

but I would like to do the morphing starting from a real sine wave (the cycle~ after the tanh~ leads to harmonics, right? Or at least I can hear it). 

morphing-from-sine-to-square

morphing from sine to square

jychow

I am reading on Robert Rowe "Interactive Music Systems: Machine Listening and Composing" and I would like to open the examples from the CD. All the files are in "Max Binary File" and I can't open via Max6. Can anyone share with me how to open this old format of max file in max6?

MaxMSP Forum