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Andrew Benson

), we thought it was time to look again at custom UI creation with Javascript. We invited four talented Max artists to each create a unique UI element using with Javascript. I hope these inspire you to try coding your own experiments.

"Haiku" combines Estevan's interests in writing, design and music. It's a generative poem with field recordings and music built in Max9, using the new v8ui object.

Bumps is an exploration of isometric projection and interface animation.

Developed by Takuma Matsui of Rainbow Circuit.

Drag, wiggle, click and listen. Music in the style of SND.

In this patch I wanted to "patch" as little as possible, shifting focus to how useful JavaScript is within Max.

As a frontend for Gen~, JSUI is here used to represent parameters of the sound and pattern generation.

The patch is a MIDI sequencer built around two components, a system for the playback of notes (SPIN / SHAPE), and a system for selecting the notes to be played (NOTE / WINDOW).

SPIN / SHAPE is a shape that spins around. I wanted something that could produce interesting results but could still be understood intuitively, so I made a polygon and arranged the steps of the sequencer in a circle around it. The notes are triggered when the corners of the polygon pass by a step in the sequence, since the shape must have at least 3 (and up to 8) corners, we are always playing the sequence from 3 - 8 positions simultaneously.

The number of steps in the sequence is variable too, while the rate of rotation is constant, so changing either the number of steps or the number of corners will effect both the order of notes as well as the speed at which they are played. Playing an 8 step sequence with a 7 sided polygon for example, will cause the sequence to play in reverse, while the same polygon playing a 6 step sequence will play in the opposite direction at a proportionally slower speed. A square playing an 8 step sequence will alternate between two 4-note chords. Clicking on an individual step will mute it.

NOTE / WINDOW is even more simple, it is a sequence of 16 steps laid out in the normal way with one distinguishing feature, a rectangular window that highlights some or all of the notes. The size of the window corresponds to the number of steps used by the sequencer. Only the notes within the window will be played, and clicking another area will move the window, changing the notes. This allows you to make quick adjustments to the sequence, making it a bit closer to a thing that you play as opposed to a thing that you program. Incoming MIDI notes are recorded into the window, if a note already exists on that step it will be overwritten, notes outside the window will not be affected.

Basically you can record a bunch of notes then navigate around them, sending a smaller subset of notes to the sequencer, which will rearrange them into a wide variety of potentially serendipitous patterns. The process is hard to explain, but hopefully you never really have to think about it because it makes a kind of intuitive visual sense.

The javascript UI is completely separate from the process that actually triggers notes, which basically accomplishes the same thing using normal MSP objects. Both processes run in parallel from a single phasor~ output. Javascript could handle triggering too, but it runs everything in a single thread so Max objects still provide a lot more accuracy.

All of the sounds are created using one of the very handy new abl.dsp objects, you can also use an external VST instead. The menu should auto-populate with a list of VST3 instruments available on your machine. I tried to make the patch pretty extensible, so you should be able to use the sequencer, or parts of it, in your own patches.

Screenshot 2024-11-12 at 10.08.16 PM.png

Four Max artists share new custom UI objects created with Javascript

custom-ui-objects-with-javascript

Custom UI Objects with Javascript

How do you get started when you begin a project in Max? We asked 3 artists working with Max to share each of their personal starting points. The results are each a unique view into Max…

"The goal of this patch is to generate weird FM synthesis metallic textures and intricate variations, I've been using MC a lot for sound design and using simple interfaces like [nodes] and [multirange] are a good way to provide quick simple controls for different variations. This patch uses a simple [gen~] FM synth with 4 modulators which take advantage of the 'deviate' feature of MC to generate 16 different variations of the FM synth, which can be filtered and then goes into a comb filter which has its delay lines modified by 16 different constant signals that can be tweaked with the 'harmonics' feature. For extra layers of modulation and weirdness, the multichannel signal is spread out to get individual voices placed on the 2D space object [nodes] to be either a make dense sound by bringing the points closer or make a softer, wider sound and "events" by setting the points apart. Since we're still in the MC land, the output then gets an envelope with the [mc.evolve~] object, controlled with a [multirange] object. The envelope is driven by a [phasor~] that can have its rate modulated by a sinusoid. The patch can be used for sampling purposes and texture exploration in general. Since the input is a single point, you can replace the FM synth with any other sound source, but don't forget to make it multichannel!"

"This patch is more of a collection of starting points which I´ve assembled into an almost fully fledged audio-visual generative system. When I started thinking about my starting point with Max, I came up with a list of little ideas that I gravitate towards when patching generative systems. There are two parts to the patch. The first is the fully fledged patch that you see when you open the project. Turn on audio and click the big toggle button and it will start spitting out chaotic jams. Explore a few presets to see/hear a bit more of what the patch can do and then uncheck the toggle to dig deeper. Take the patch out of presentation mode and follow the flashing comment to the button that opens the second part of the patch. This second part contains these ideas from my list distilled into their simplest forms. There are lots of other little nuggets of ideas and techniques spread throughout the main patch too. I hope you find something useful for your own patching!"

"This patch demonstrates how, by using some of the most basic building blocks alongside readily available resources, you can start creating these really interesting bits of patching that, when combined, yield all sorts of fun and surprising results. This was one of my first patches, I started developing it a while ago when I began using Max, and I keep revisiting it to add and modify features. Over time, I’ve implemented a variety of functions—ranging from phasor/time manipulation and swing to alternate tunings and several ways of advancing through the sequence. All of these are very simple implementations that lend themselves to additional improvements and development. There’s also a simple FM synth I built for this patch—it’s a bit rough, but it produces some cool bleeps and blops! Hope you enjoy exploring it!"

lewiskeller-patch.png

starting-points-in-max-pt-4

Starting Points in Max pt. 4

We invited 3 prominent artists in the online Max community to dive into the new and versatile 

object and share what they came up with.  Below you'll find three unique takes on patching with a sampler engine, two of them complete with their own sound libraries. User Friendly gives us a glitchy sequencer, John Matter provides a patch that will automatically slice up a sample and map each transiet to a MIDI note, and dnksaus offers a MPE-enabled vocal sampler with textural elements. Try them out by downloading the patches below and opening them in Max 8.6 or later.

The function (envelope) is both the  clock and modulation for this patch. The output of the envelope modulates both the phasor~ (triggering the sfizz~ object) as well as the pitch of the sample being played. When the envelope reaches it's destination (EOC) a bang is sent to progress the sequencer (preset) which then triggers the next envelope. 

Follow @user.friendly.sounds on Instagram

This patch chops up an input audio file by transient and maps it across the MIDI keyboard, generating a JSON dictionary that 

 can read. Transient detection is done with 

 and subsequently included in a set of externals collected by 

. The intended use of this patch is quickly generating new ideas from other source material. The 

 encapsulation contains a few easter eggs for this purpose. The patch plays well with audio containing fairly isolated sounds with obvious transients (e.g. patches hosted on 

). I've been using it primarily as a drum machine. You may also find interesting results by slicing audio that isn't intended to be parsed as a set of well-isolated samples.

Note: In case of quarantine issues with the included 

downloading the external directly from Volker's page

 This patch is taking an MPE approach to sfizz. I have recorded multiple voice samples in different formants, the user can use the slide parameter on an MPE controller to choose a specific formant on each note press. The pressure parameter can be used to give a vibrato/tremolo effect. The modwheel controls the release of all voices. The vocals are split with an 808 sub bass at the bass note region inside a single sfz file. This instrument plays simultaneously with water and ice texture sfz patches, which are set to round robin mode. 

user-friendly-screenshot.png

Three Max artists take on sfizz~ and offer a glitchy sequencer, a textured vocal sampler, and a patch that slices up a single audio file and maps each slice to MIDI.

sfizz-variations

Sfizz~ Variations

How do you get started when you begin a project in Max? Ever wondered how people create those striking high-contrast visuals you see on Instagram and at shows? For this edition of Starting Points in Max we specifically reached out to 3 artists who are all working with Jitter to produce high-contrast, generative visuals and asked them to share their personal starting points. The results are each a unique view into Max patching…

: The patch is an exploration of the possibilities of procedural basis functions on surfaces, utilizing two jit.gl.bfg objects as texture generators. In this example, we have a 3D shape that can be modulated by our first texture, while a second "shape," a plane, is generated by a jit.gl.videoplane object, receiving the same texture from the first bfg object.A jit.gl.pbr is connected to both 3D shapes, one to a jit.gl.mesh and one to a jit.gl.videoplane. This setup allows for experimentation with lights, reflections, and colors simultaneously, giving the scene a more organic and realistic appearance. It creates a unified virtual space that interacts with our lighting provided by a jit.gl.light object.The first bfg texture is responsible for the colors, while the second bfg texture provides the roughness and height maps. Both textures can function as environment maps, allowing the sending of a frame to jit.gl.pbr to overwrite the existing map. The patch also incorporates a simple mod matrix with one "LFO" generated by a jit.mo.time object, which can introduce additional movements. The LFO manipulates the "time" parameters of the two BFG textures, creating pseudo-random movements, and it can also modulate the X, Y, and Z axis of rotation of the single light included in the patch, providing hemisphere lighting.

Kek ing viraggal csabosan.jpg

: This patch has been designed as a starting point for crafting generative visuals in striking black and white, fusing audio input and noise functions to create a dynamic, ever-evolving visual experience.

At the core of the patch is the use of BFGENER8R from the Vizzie toolkit, combined with jit.gl.mesh and jit.gl.gridshape, laying the groundwork for a mesmerizing 3D environment. The primary visual element, a mesh shaped by jit.gl.gridshape, undergoes artistic transformation through BFGENER8R's procedural functions. These algorithms adapt in real-time to the audio's amplitude, fostering an engaging interplay between sound and visual form.

A pivotal enhancement to this patch is the integration of jit.gl.node, which captures the rendered visuals as a texture. This addition opens up a new realm of possibilities, allowing for the application of various effects and filters from the Vizzie toolkit to modify the generated graphics. One notable effect is SLIDR, which offers the capability to temporally blend or smear the visuals, adding a fluid and dynamic quality to the imagery.

The patch offers extensive customization options. Users can render the mesh in various forms – points, lines, or a full mesh – and jit.gl.gridshape provides a selection of basic 3D shapes like spheres, cubes, or planes, each with adjustable resolutions. Future enhancements include integrating more shapes, using jit.gl.multiple for content replication in various modes, and applying frequency band analysis for more accurate audio-visual correlations. The potential addition of jit.gl.camera is also envisioned, offering enhanced control over visual perspectives and compositions.

Ideal for sound artists, visual designers, and performance artists, this patch is a gateway to a world of creative possibilities. Step into this realm where sound and sight harmoniously converge, and let it inspire your artistic expression in live settings and beyond.

Marta.png

In this patch I explore the use of the multiple instancing techniques creatively along with jitter expressions to give dynamic movement to shapes all synced to the global transport. There are 3 scenes with certain user adjustable parameters to perform each scene.

Scene 1: Using a plane gridshape along with the jit.gl.mesh to draw it as a line and multiple to create copies of it. The animation matrices are calculated using a [jit.expr] and plain matrices. The positional matrix’s z-axis can be animated using a matrix computed via [jit.expr]. The scale can also be animated and offsets can be added, the same with the rotational matrix. To make the final output polished I’m using a bloom-hq shader through jit.gl.pass. Since I tend to create multiple scenes in a single rendering context, I use [jit.gl.node] to separate each scene, use the [capture 1] attribute and send the sub-rendering context to a jit.gl.layer or to a syphon server to use with Resolume Arena. To further explore the scene, change the [drawmode] of the mesh, the [gridshape] and add vizzie effects between the [jit.gl.node] and [jit.gl.layer]

Scene 2: This is a more traditional use of the multiple instancing technique, I create a sphere gridshape and make multiple copies of it. Then create multiple masks using jit.expr, dimmap, and concat to create dynamic masks and feed them into the scale matrix of the multiple to give the multiple instancing movement. There is the use of an audio to matrix FFT algorithm too, to feed in live audio. Have used the same [jit.gl.node] trick to separate the scenes rendering. To further explore this patch add vizzie effect modules between [jit.gl.node] and [jit.gl.layer]

Scene 3: Trying to create abstract strobe shapes from two matrices, where I bang the matrix which the value 1 and then after a short delay 0 to create a strobe. Send these two matrices to a [jit.glue] with 3 rows and 3 columns but rearrange the matrices in a way to make an interesting shape. To dynamically change this shape I send it to a [jit.rubix] where I can reorder the columns and rows by sending them random numbers. This creates an interesting strobed shape that is tempo synced. I add a vizzie fractalizer to blend the edges of the shape, and send this to the topmost layer using the [jit.gl.node] and [jit.gl.layer] system. I can set the blendmode of this layer between screen and multiply. In screen blend mode, the strobed shapes appear above the previous two scenes, but if in multiply mode, the shapes act as a luma mask for the previous two scenes to make it even more dynamic and powerful.

Hope you’ll mess with this patch and explore the techniques used!

Myles_Image5.jpg

@ferkohyeah
Ferko: The patch is an exploration of the possibilities of procedural basis functions on surfaces, utilizing two jit.gl.bfg objects as texture generators. In this example, we have a 3D shape that can be modulated by our first texture, while a second "shape," a plane, is generated by a jit.gl.videoplane object, receiving the same texture from the first bfg object.A jit.gl.pbr is connected to both 3D shapes, one to a jit.gl.mesh and one to a jit.gl.videoplane. This setup allows for experimentation with lights, reflections, and colors simultaneously, giving the scene a more organic and realistic appearance. It creates a unified virtual space that interacts with our lighting provided by a jit.gl.light object.The first bfg texture is responsible for the colors, while the second bfg texture provides the roughness and height maps. Both textures can function as environment maps, allowing the sending of a frame to jit.gl.pbr to overwrite the existing map. The patch also incorporates a simple mod matrix with one "LFO" generated by a jit.mo.time object, which can introduce additional movements. The LFO manipulates the "time" parameters of the two BFG textures, creating pseudo-random movements, and it can also modulate the X, Y, and Z axis of rotation of the single light included in the patch, providing hemisphere lighting.

@martaverdebaqueiro
MVB: This patch has been designed as a starting point for crafting generative visuals in striking black and white, fusing audio input and noise functions to create a dynamic, ever-evolving visual experience.
At the core of the patch is the use of BFGENER8R from the Vizzie toolkit, combined with jit.gl.mesh and jit.gl.gridshape, laying the groundwork for a mesmerizing 3D environment. The primary visual element, a mesh shaped by jit.gl.gridshape, undergoes artistic transformation through BFGENER8R's procedural functions. These algorithms adapt in real-time to the audio's amplitude, fostering an engaging interplay between sound and visual form.
A pivotal enhancement to this patch is the integration of jit.gl.node, which captures the rendered visuals as a texture. This addition opens up a new realm of possibilities, allowing for the application of various effects and filters from the Vizzie toolkit to modify the generated graphics. One notable effect is SLIDR, which offers the capability to temporally blend or smear the visuals, adding a fluid and dynamic quality to the imagery.
The patch offers extensive customization options. Users can render the mesh in various forms – points, lines, or a full mesh – and jit.gl.gridshape provides a selection of basic 3D shapes like spheres, cubes, or planes, each with adjustable resolutions. Future enhancements include integrating more shapes, using jit.gl.multiple for content replication in various modes, and applying frequency band analysis for more accurate audio-visual correlations. The potential addition of jit.gl.camera is also envisioned, offering enhanced control over visual perspectives and compositions.
Ideal for sound artists, visual designers, and performance artists, this patch is a gateway to a world of creative possibilities. Step into this realm where sound and sight harmoniously converge, and let it inspire your artistic expression in live settings and beyond.

@aaronmylespereira

AMP: In this patch I explore the use of the multiple instancing techniques creatively along with jitter expressions to give dynamic movement to shapes all synced to the global transport. There are 3 scenes with certain user adjustable parameters to perform each scene.

Get the Latest on Max and our Community

Custom UI Objects with Javascript

Starting Points in Max pt. 4

Sfizz~ Variations

Starting Points in Max - High-Contrast Graphics

Extended Instruments in Max

An Interview with Takumi Ogata

Ends: Ambient Sunday Live Streams

Timbre Transfer with Machine Learning by Isaac Io Schankler

Collaborative Drum Kit in Max, Part 2

Starting Points in Max pt. 2