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Simon Dawes

Am establishing communication between Max and a BLE-enabled ESP32-C3 with the following steps on a MacBook Pro.

Looking to automate everything as much as possible, though.

Is there any way to connect Max and the ESP32-C3 without having to use Audio Midi Setup (or any outside) application?

Hi all,

Am establishing communication between Max and a BLE-enabled ESP32-C3 with the following steps on a MacBook Pro.

Launching MIDI...

bluetoothble-can-max-connect-to-ble-devices-without-using-audio-midi-setup-mb

Bluetooth/BLE: can Max connect to BLE device without using Audio MIDI Setup (MBP)?

Eric George

Hi - I just finished my first Max patch. I did a chord generator as an exercise. It's based on a javascript scripter plugin I wrote for Logic here: 

https://github.com/EricGeorge/logic_scripter/blob/main/chords.js 

, which itself is inspired by the Reason Studio Chords and Scales player.

Everything seems to be working fine - but I suspect there are ways to make things more efficient, or use more relevant Max objects, especially for my data management.

I have some notes at the top describing key parts, but feel free to ask for any clarification on anything.

Thanks in advance for any feedback as I really look forward to improving my Max patch building.

Hi - I just finished my first Max patch.  I did a chord generator as an exercise.  It's based on a javascript scripter plugin I wrote for Lo

looking-for-feedback-on-patch

Looking for feedback on patch

Planckepoch

I'm looking to build a simple patch that will consist of a dial that will morph / interpolate between 16 no. 4096 samples waveforms.

This video seems to morph how i would imagine it but unfortunately the patch isnt shared. 

https://www.youtube.com/watch?v=mLJNovdGsd0

can anyone give some pointers on where to start?

Hi,
I'm looking to build a simple patch that will consist of a dial that will morph / interpolate between 16 no.  4096 samples waveforms.
Th

interpolate-morph-between-waveforms

Interpolate / Morph between Waveforms

weuoimi 

Hello, I’m looking for a synth implementation that can be controlled via Max messages—something that would let me tweak parameters, modulations, and the notes it plays based exclusively on messages sent from a sequencer. From what I’ve seen, it’s either tied to Max for Live or not quite what I’m after. 

I mean the kind of synth/module/fx/etc. with which i can do anything with messages only, without interacting with ui and anything else.

For example, if it is a granular synth, i want to form a one long message, specifying a note and movements of how the sample is being read, envelope parameters, to create a one certain recreateable sound i want to get from the synth

Hello, I’m looking for a synth implementation that can be controlled via Max messages—something that would let me tweak parameters,...

are-there-any-complex-message-driven-synthsmoduleseffects-examples-for-max-msp

Are there any complex message-driven synths/modules/effects examples for max msp?

Tom Law

I use the 'key' object to create keyboard shortcuts on almost every key on my laptop.  Very handy for performance, but obviously it can be irritating when I'm in editing mode, and all those keys start accidentally triggering things as I type.  Is there any easy solution to this problem?

I thought about sending the key output through a gate, which I could then turn off with (yet another) keyboard command when I start editing.  But I'd have to remember to do that every time I go into edit mode, and besides it's a pain.  (Also, I couldn't use a key command to re-enable key when I'm done editing!)

I use the 'key' object to create keyboard shortcuts on almost every key on my laptop.  Very handy for performance, but obviously it can be i

disable-'key'-object-when-in-edit-mode

Disable 'key' object when in edit mode?

👽!t W∆s ∆lienz!👽

First off, THANK YOU IMMENSELY TO VOLKER BÖHM!!!!!!!!!!!!!!!! 

https://github.com/v7b1/max-thirdParty_externals

Volker has been raining down gifts like a god for decades! they are ALL worth a long hard look, not to mention the maestro's music: 

https://vboehm.net/sound-music/current-projects/

 electronic and electroacoustic works i've ever heard!!  🙌

so wow, we've had threadz that didn't seem to go anywhere with the actual patching:

https://cycling74.com/forums/building-vinylcontrol

https://cycling74.com/forums/max-patch-for-timecode-vinyls

and i, too, will not be offering up my actual patch for this, but will simply offer a pic of the basic engine made(quite roughly so far) in gen~, so you can get started from there if you'd like:

• first, i am using vinylcontrol2~ as opposed to vinylcontrol~ since '2' is signal-rate, therefore, quickest in response. we are given two main types of information from the vinylcontrol2~ object: the 

(from the lower-volume noise on the record, which is actually the sound of a Linear-Feedback-Shift-Register outputting a pseudo-random sequence of ever-shifting-bits, somehow mapped through xwax library to discrete timestamps in the long-running time-code signal... or so i 

so, i am using the 'switch-and-ramp' technique from Miller Puckette's "Theory And Techniques Of Electronic Music" to compare a playback position, first and foremost, guided by the

and then adjust as it detects above a certain threshold of error.

you may wonder "why do it this way?": it is because upon experimentation with the actual feel of a vinyl record with control-tone(i'm using serato because this is the most readily available online these days), i found the most organic feel for turntable-drumming and scratching is actually best accomplished by the 

 i'd have to do more analysis than i'd care to do for reversal, etc... whereas the 

between two points in time, and therefore, can be used to guess at future points in time, including negative values for moving the record in reverse)

in the above pic, i have not implemented a 'crossfade' yet, so that, during the switch-and-ramp, you would not have 'zipper-noise' everytime the pitch-guided playback-position updated according to the actual timecode-position(i am leaving the zipper-noise in on purpose for my first few attempts since i like the glitchiness, it also highlights the smoothness of the interpolation chosen(in the above pic, set to Catmull-Rom 6-point-spline)).

• sometimes while scratching, i wanted to be able to see a point on the record-label, and use it as a visual way to track the position of sounds which i could then manipulate reliably by hand(without constant zipper-noise/jumps to update position, which often make it so the sounds played back are constantly switching their positioning relative to where the needle is, which makes it difficult to do basic scratch techniques such as 'baby scratch', 'chirps', etc. which depend on knowing, and reliably/repeatedly finding, visually, where the exact start of a sound is)

the way they get out-of-sync is hard to explain, not to mention, too complex for my diminutive brain to completely fathom.. but they do get out-of-sync, and while this basic switch-and-ramp idea works well enough so far, i wanted the system to detect certain points when i'm scratching, and just leave it be at pitch-guided playback alone, until i let go and actually want regular playback to resume(when the switch-and-ramp can kick back in and return to accurate timing). for this reason, i also implemented an RMS to analyze the pitch, and be able to tell the difference between when i'm scratching, and when i'm simply letting it play(this is the codebox portion in the above pic).

if the RMS detects a certain amount of change, it gates out the switch-and-ramp, until the change falls below a certain threshold( [< 0.00001] is what i got simply by experimentation and ear... the 'slide' op just above that is used to delay it a bit more... these things all from just intuitive guessing and ear-based experimentation)

so just to explain a couple last things: 'in1' takes 'pitch' from vinylcontrol2~, 'in2' takes 'timecode' from vinylcontrol2~, 'in3' is an extra thing i have to implement so that a separate gen~ patch used for recording live-input will transmit its last stopped position there, and upon appending more content into the buffer, 'in3' will keep the 'end-of-recording' position, otherwise, the limit of playback is strictly controlled by buffer length and the 'samplen'/'offset' params. 'in4' is just a simple on/off switch for other de-clicking needs(such as if the associated buffer~ gets a new file or changes in length, or i simply need to switch vinylcontrol2~ to control a different buffer~ altogether - the outer max patch i use is designed so that i only need 1 single turntable to control as many virtual 'decks'(i.e. buffer~s) as i chose, at the press of a button on my MIDI controller).

and finally, in the above pic, there's one gen~ subpatcher called 'timed_swx' used in a couple places but you can find much better versions of that outlined by Graham in this thread:

https://cycling74.com/forums/share-autotimed-raised-cosine-onoff-signal-switch-in-gen

here is a vid of a 1st attempt, sorry for the terrible vid-quality both visually and also in terms of musicianship, i still have a lot of practicing to do, but this is going to be my main thing for the rest of my life, i'm sure of it now:

https://cycling74.com/forums/a-mcp-model-context-protocol-server-for-max

... it also scares me that eventually AI will be able to scour the internet, give newbs whatever they want without proper credit to the original authors(although, it's obvious they'll apply computer-vision to study pics someday as well, it will take them awhile before they figure that out perfectly), etc. and also because this helps me not have to offer support, while i'm also simply trying to get out there, eventually, as a 'performing artist' (not so much as a 'dev' :p), last but not least, i've felt pretty thrown-away/exploited/pushed-into-a-corner by all the work-experiences i've engaged in so far, especially, those which were music-software related(the only exception was working for Rodrigo Constanzo on karma~, so a big Thank You! to Rodrigo as well, for trusting me, and helping me to understand what i want out of life better by performing that work, only for a short while, too)

"what sort of equipment do i need to get started?"

 - for beginners, i highly recommend just getting a 7" Serato control vinyl, but 10" works well, too, and then a Numark PT01 scratch turntable(currently, only $154 brand new, same thing i'm using in the video above), plus whatever computer you use Max on, the vinylcontrol2~ object, and an audio interface that can take, at least, stereo input(time-code vinyl sends a stereo signal), then, however many more inputs you might need for live-sampling

the PT01 scratch has a crossfader built-in, and it does seem to work even with the timecode vinyl, but crossfading is better done on the audio-output of your scratched content, rather than the timecode itself(best not to interrupt timecode), but i do also have a switch in my patch to allow for regular vinyl to be sampled in, at which point the crossfader on the PT01 is still a beautiful thing to use(it is a dinky little switch that just flops back and forth, unlike a contactless crossfader which can give a nicely, horizontally-tracked feel, but still, it is a great budget-option, and is very satisfying in its action nevertheless)

while i'm not trying to be 'salesy' about any of this, as an 'ambassador' of digital turntablism👨🏽‍✈️, i've searched and found these basics offer the most affordable option for entry, feel free to discuss here if anyone knows of much more affordable options they've tried which work well with this type of system(other cheaper turntables don't have proper anti-skate/counterbalance/scratch-friendly-needle/etc. or they are much more expensive)

the vinylcontrol~ set of objects allows you to add an extra argument to amplify the timecode signal without any need for a special mixer or 'RIAA'-standard preamp, just plug straight into the audio-interface(with PT01, you'll want to turn the volume all the way up, with other turntables such as Technics1200, just plug straight into audio-interface :).

beyond that, you could just start with keys on your computer keyboard as the controller to substitute for crossfader/mixer/virtual-deck-selection/etc., or else whatever MIDI controller you might want for crossfading/cutting. i have also tried sending the signal back out to a proper DJ-mixer because i do like working a crossfader better than just pushing buttons, and there is minimal latency when setting vector-size to around 32 or 64, but this means, for any added effects-processing over the cuts, if you send it back through Max again, it will add even more latency beyond that(or maybe you have a mixer with aux send for hardware effects, in which case, it's all good :) ).

i'm using a MIDI Fighter 3D controller in the vid above, because i also wanted to control a stereo-tempo-synced echo effect which is highly effective for a beginner like me to practice the timing of my 'cutting-and-scratching' as i get used to this new system.

MaxMSP Forum