benjamin vyger

I'm trying to select a list of data with [switch] controlled with the knob at the right top.

But I have a bug, the data list is not good. I guess I need to refresh the data just before changing data.

Hi,

I'm trying to select a list of data with [switch] controlled with the knob at the right top.

But I have a bug, the data list is not...

select-a-list-of-data-with-switch

Select a list of data with [switch]

Manuel Lopes

I was making a project which contained the RNBO library and I instaled a 32 bit plugin to use in ableton (not related to the max project) when I opened max again my  project stopped working. 

https://cycling74.com/forums/max-won%27t-launch!#reply-607dfc11cec4886416d0faae

) and saw that deleting the this folder (Users>your user name>AppData>Roaming>Cycling 74) would help with a myriad of issues so I did it but it did not work.

I also deleted the 32 bit plugin from my plugin folder since I saw it in a forum (

I have the data backed up on a github repository but I don't know if max can use it to bring a whole project. 

I was making a project which contained the RNBO library and I instaled a 32 bit plugin to use in ableton (not related to the max project)...

my-max-project-does-not-open

My max project does not open

Eoin Smith

My last update to 8.6 seems to have written over my externals folder meaning I’ve lost a few very important externals. The mptcfs_sa~ from MsPinky is now missing and judging by the lack of communication from them, it seems they are no longer in operation and I don’t have a back up anywhere. Is there a way to recover historical externals, are they living somewhere out of site on my computer that I’m missing 

Hello 

My last update to 8.6 seems to have written over my externals folder meaning I’ve lost a few very important externals. The...

recovering-externals-mspinky

Recovering Externals /// MsPinky

Yash

I'm quite new to web dev and can't quite get my head wrapped around using web audio api's. 

I have exported my rnbo patch to js and then hosted it on my website successfully. 

Now I'm trying to have a real-time visualization with p5.js of the output signal but adding an analyser node to p5.fft's input does not seem to work as p5 runs on its audio context. 

I tried many different methods to do the same without any luck. Can someone point me in the direction? 

visualize the audio out of the patch on the web. 

Hi, 

I'm quite new to web dev and can't quite get my head wrapped around using web audio api's. 

I have exported my rnbo patch to js and...

accessing-audio-waveform-of-patch-output-in-rnbo-web-export

Accessing audio waveform of patch output in rnbo web export

Andrew Pask

Recently I bumped into composer and performer Pauline Oliveros (PO) in San Diego. We got to talking about one of her current projects, the Adaptive Use Musical Instruments for the Physically Challenged. This project introduces software designed to be used in therapy sessions to give children with limited motor skills the opportunity to participate in music, and offer them an outlet for musical expression. I arranged for a follow-up interview by email so that we could learn more about what this project involves. Joining us is Zevin Polzin (ZP), the technical lead in the project.

How did the Adaptive Use project get off the ground?

 - I have a long time friend, Leaf Miller, who is a drummer and certified occupational therapist. We talked for years about how to use technology to help children with severely limited volitional movement to play in her drum class at REHAB Programs North Road School. I finally secured a small grant from the Malcolm S. Morse Foundation to begin.

In January 2007, I assembled a team together with Don Millard, director of the Academy of Electronic Media at 

 where I teach along with RPI student researchers and the staff of 

 (a non profit arts organization that I founded in 1985).

I asked Leaf for three students with the least volitional movement to begin the project. These students are confined to wheel chairs, cannot speak and have some controllable head movement. Our team did a site visit to assess the situation and the technology in use at the school. It was clear that we could do something not only to help the students but to also help the therapists.

How did you go about creating the software interfaces for the kids in the first place?

 - Zane Van Duzen, an undergraduate at the time, came to the next session with a camera tracker programmed in Max/MSP/Jitter on his MacBook Pro. Most of this patch is based on the cv.jit library developed by 

International Academy of Media Arts & Sciences and Jean-Marc Pelletier

Van Duzen's prototype showed the student's image on the computer screen with a marker placed on their virtual nose to move within the object zone. With very little lateral head movement crossing a line the student could trigger a digital switch programmed arbitrarily with a snare drum sound. The object zone is of course adjustable.

Additionally, the patch had a virtual keyboard programmed with a blues scale. The keyboard could also be played with lateral head movement. The Max patch was an immediate success and allowed the three children to improvise melodies. They made music for the very first time in their lives. Needless to say, to experience that moment with each child was very moving. Everyone present was changed by those moments.

Questions and comments from the therapists helped us to advance our work together. What colors to use for the interface, positioning of the camera, attack time of samples in relationship to movement, resolution, length of sessions, these are all important details. There is new information in every session.

 - We've really been focused on motion tracking for the time being, because it means that there are no moving parts or things to attach to the kids. Their movement ranges can vary day-to-day depending on a number of factors, so the software can be programmed to accommodate that.

Most existing tools presuppose a full range of movement, or more complicated gestures than these children are capable of. The real meat of this project is amplifying very small, limited movements into real musical expression. The only gestures these kids have made previously to communicate are all binary -- yes/no answers, or using physical switches to turn music on or off. Opening up a whole gradient of movement is new to them and is something we're in the middle of exploring.

Tell us about the kinds of things which have happened in sessions.

 - Early on, we upgraded the patch so that 4 different drum sounds could be triggered with slight side to side up and down head movements. With this increase in possibilities we had a breakthrough. Leaf played a drum pattern for A, a 16-year-old and then pointed to her to play. A answered with a pattern of her own using the 4 sounds. She improvised! Everyone in the room cheered. Without any prompting at all A understood on her own that she could move quickly to any of the 4 sounds by staying in the center of the quadrant pictured on the computer screen.

In the next session Leaf brought in some students from the drum class. They would play and listen for A. She played! We really felt like we were getting somewhere.

In the most recent session with A, we hooked up larger speakers so that her sounds had as much power and volume as the live drums. In this session A initiated patterns for the others to answer. This improvisation generated a great deal of excitement among all the students and therapists.

G, an 11-year-old played the virtual keyboard for the first time for an hour and did not want to leave the session. In a later session his mother came in the door and was stunned to hear her son playing music. G's mother was overcome and could not speak. When she came back another time she was able to participate. She told me that they are a musical family. G's sisters play flute and clarinet. She was excited and remarked that G was not in his high tone (stiffness) during instruction. We noticed that the students were more and more relaxed for subsequent sessions. G's mother was very helpful during the rest of the session.

B, a 9-year-old was often distracted by seeing himself on the computer screen. We learned to remove the picture and leave just the marker as a bright orange spot. Though B's response time was slower than the other two B could also trigger drum sounds and play the virtual keyboard.

How are these musical activities contributing to the kids' overall therapy?

 - As I suspected -- opening a creative, empowering portal for these children has initiated the beginning of potential for others with more mobility at the school to improvise and create their own music as well.

We are still in formative stages of the work. It is definitely improvisational and very creative for all concerned. The important thing is that the three students that we selected to work with have all been successful in making music of their own. It is quite easy to see how affected they are with their musical results. There are holistic and therapeutic side effects as well. We want to increase their possibilities for choice with improvisation as an empowerment for them.

Honing their physical movements with musical feedback gives the students greater ability to learn and interact in their environments and more precise control. My RPI colleague Curtis Bahn is very adept at translating physical motions into musical phrases using sensors and Max programming. Curtis is one of our technical advisors and is joining the Adaptive Use project. His interest in computer interfaces for the physically challenged is a great asset to this project and its future evolution.

How is the project developing and how do you see its future? Do you have any plans to open source it or make it available for others to use?

 - We're interested in moving away from grids and using relative movement. This will enable us to track more subtle movements and create more sophisticated sounds.

We're working to make the patch more modular and "open source" so other people can participate in the development. However, the underlying patch will never be entirely "open source" -- not for commercial reasons but because a large part of the project is developing a methodology with the therapists which greatly influences the design.

The sound-making algorithms themselves are modular and open source, and we hope to provide guidelines on how to program "modules" for this project in the future.

 - Nan Jia, an engineering student from RPI has created a robot drummer that plays a miniature drum set. We connected it to the camera tracker so the children could play it. The robot drummer is an important direction for this project as my ideal plan is to make it possible for these students to play real instruments with robotic interfaces.

For the future we want to have an Adaptive Use wiki and invite the participation of others to develop the high potential of this project and to meet the needs of millions of people who would benefit greatly emotionally and spiritually from making music.

If you want to know more about the Adaptive Use Instrument or Pauline Oliveros' Deep Listening Institute, please visit 

Cycling '74 would like to thank Pauline and Zevin and all the staff on the Adaptive Use project for making this interview possible.

PO - I have a long time friend, Leaf Miller, who is a drummer and certified occupational therapist. We talked for years about how to use technology to help children with severely limited volitional movement to play in her drum class at REHAB Programs North Road School. I finally secured a small grant from the Malcolm S. Morse Foundation to begin.

In January 2007, I assembled a team together with Don Millard, director of the Academy of Electronic Media at RPI where I teach along with RPI student researchers and the staff of Deep Listening Institute, Ltd. (a non profit arts organization that I founded in 1985).

PO - Zane Van Duzen, an undergraduate at the time, came to the next session with a camera tracker programmed in Max/MSP/Jitter on his MacBook Pro. Most of this patch is based on the cv.jit library developed by International Academy of Media Arts & Sciences and Jean-Marc Pelletier.

ZP - We've really been focused on motion tracking for the time being, because it means that there are no moving parts or things to attach to the kids. Their movement ranges can vary day-to-day depending on a number of factors, so the software can be programmed to accommodate that.

PO - Early on, we upgraded the patch so that 4 different drum sounds could be triggered with slight side to side up and down head movements. With this increase in possibilities we had a breakthrough. Leaf played a drum pattern for A, a 16-year-old and then pointed to her to play. A answered with a pattern of her own using the 4 sounds. She improvised! Everyone in the room cheered. Without any prompting at all A understood on her own that she could move quickly to any of the 4 sounds by staying in the center of the quadrant pictured on the computer screen.

PO - As I suspected -- opening a creative, empowering portal for these children has initiated the beginning of potential for others with more mobility at the school to improvise and create their own music as well.

ZP - We're interested in moving away from grids and using relative movement. This will enable us to track more subtle movements and create more sophisticated sounds.

PO - Nan Jia, an engineering student from RPI has created a robot drummer that plays a miniature drum set. We connected it to the camera tracker so the children could play it. The robot drummer is an important direction for this project as my ideal plan is to make it possible for these students to play real instruments with robotic interfaces.

If you want to know more about the Adaptive Use Instrument or Pauline Oliveros' Deep Listening Institute, please visit http://www.deeplistening.org/adaptiveuse

Cycling '74 would like to thank Pauline and Zevin and all the staff on the Adaptive Use project for making this interview possible.


the-adaptive-use-instruments-project

The Adaptive Use Instruments Project

Virgile Abela

I've installed mqtt externals in my package file and it doesn't work ! Mqtt object appears as a non-recognizeded object even if the latest version 2.04 is well downloaded in my max8.5.6 package file.

I don't understand why. Someone has an idea please?

Hello Everybody,
I've installed mqtt externals in my package file and it doesn't work ! Mqtt object appears as a non-recognizeded object even if the latest version 2.04 is well downloaded in my max8.5.6 package file.
I don't understand why. Someone has an idea please?
Thanks


Hello Everybody,
I've installed mqtt externals in my package file and it doesn't work ! Mqtt object appears as a non-recognizeded object ... 

max-and-mqtt-external

The external file must copied in the Max folder " Program Files\Cycling '74\Max 8\resources\externals" to be recognized. Otherwise try to indicate the path where the .mxe external file is located  in Max Options/File preferences 

Thanks ! I know that and I solved the problem. It seem to be because an Apple quarantaine was applyed for this object. I had to "force" the terminal to accept the path in order to let max find it...

Max & MQTT external !

Nova New Chorus

Live12 has Midi Generators, which can use live.miditool.in to generate whole patches of midi data like this:

https://www.threads.net/@y.o.fendoap/post/C9w8HBtPSxO

Live 11 does not have these device types and according to the cycling74 docs live.miditool.in & .out only works with those live device types. Therefore live.miditool.in will only work in live 12.

I'm happy to build it in other ways, but is it even possible.

miditool has access to the entire midi channel and can input notes at different spaces. This could be a LOM11 v LOM12 accessibility issue. As far as I can tell midiin and midiout are the only real ways to do that in Live11 but they play with midi data in real time, so it's hard to live update the entire midi clip in real time. You're limited to outputting or inputting notes at the cursor/timeline position during playthrough.

I would love to be wrong. I'd like to hack something fun together without having to spend $200 I don't have for an upgrade.

Hi!

Live12 has Midi Generators, which can use live.miditool.in to generate whole patches of midi data like...

livemiditoolin-for-ableton-11-not-possible

live.miditool.in for Ableton 11? Not Possible?

double_UG

I don´t get the dict syntax, I simply want to replace pitch with another value, but "replace" deletes the other entrys. 

dict-replace

Dict replace

Davide Rizzotti

I'm working on developing an external that relies on protobuf (

https://github.com/protocolbuffers/protobuf

). I was able to build it, but when I load it into Max 4 Live I get error 193. I can't find any documentation online about this error so I'm pretty much stuck and don't know what to do.

I created a very minimal external which is publicly available here (

https://github.com/helloWorld199/minimal_proto_max_external

) so you can reproduce the error and hopefully understand what's going wrong. There are all the instructions to compile and build.

Hello everyone!

I'm working on developing an external that relies on protobuf (https://github.com/protocolbuffers/protobuf). I was able to...

error-193-loading-external-1

Error 193 loading external [WINDOWS]

Jordi Puig

There are extensive drum samples in Ableton Live. I would like to trigger hundreds of samples from a generative rhythm generator written in Max. I would like to know what would be the best approach to connect both softwares... would you use Midi? is there any other way? would you write a MaxForLive rhythm generator?

I'm quite new to Ableton/MaxForLive but i have long experience in Max...

Hi everyone,

There are extensive drum samples in Ableton Live. I would like to trigger hundreds of samples from a generative rhythm...

Cycling '74 Forums

sure, sorry about that mistake. add this

Also tried it on another computer and the problem persists. I'm guessing it is to do with the project itself

Thanks Eoin that's great thank you and happy to collab! Where are you based? I'm based at Goldsmiths Uni, London. I don't know much about...

As you pointed out you need to use the same AudioContext. From a quick glimpse at the docs it seems like p5 is not flexible wrt using an...

https://www.deeplistening.org/adaptiveuse is down, but there's more info available here:...

May I ask what package did you install for working with mqtt? Was it this one? https://github.com/256dpi/max-mqtt Have you managed to...

Thank you this is awesome. I'm already getting MIDI dicts now thanks to you. LOM is a bit of a bane for me. It's essentially a giant tree...

There are indeed arrays involved. Try double clicking on [dict] to open its editor, it might make it a lot easier to see what structure(s)...

After some off-list wrangling, it turns out that this was due to some missing .dll files.

Thank you so much! I will try it out!