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Alastair Baillie

Hello all! And thank you for taking the time to check out this post!

For my undergraduate dissertation in university, I am looking at the potential uses of Max MSP in generating music in pure intonation, which is able to modulate. For a little bit of context, modulating key with fixed pitch instruments has traditionally been a problem for composers, due to the unequal interval spacings that just intonated scales create, they cannot be transposed (apart from an interval of an octave) and harmony even within the scale becomes problematic when it is not calculated relative to the root of the scale. (i.e - a D minor chord constructed from the notes of a C major (just intonated) scale, will not be perfectly intonated, however a C major chord will. Due to the capacity of Max to render music using complex mathematics, and dynamically retune the intervals needed based on chosen context, I thought it would be good study for a dissertation.

Its only early days in the process, so I am currently in the planning/conceptualising stage - but I thought it would be wise at this point to conduct some research on these forums, because from some of the posts/patches I've seen, some of you are wicked smart. Ill quickly illustrate some key terms, an initial theory on modulation, and then throw out a couple of approaches Im currently considering, alongside more specific questions relating to each. First, for the purposes of this dissertation, I am taking modulation to mean, a change from one particular 'harmonic-cluster' to another - not from one established musical key to another. I am considering musical keys to be arbitrary, and the sonority of the harmony currently playing to be of utmost importance. I expect that through modulation, these harmonic clouds will drift into areas one might describe as 'half flat/half sharp // half-half flat sharp' etc.. 

Second, I am aiming to use a method of modulation based off the concept of similarity vs difference. This is based off the observation that it seems to work as a method of modulation within 'normal' music. For example, musicians will modulate keys around the circle of 5ths smoothly because each key is only one note different to the last one, also this principle is illustrated in this work;

https://www.youtube.com/watch?v=gVah1cr3pU0

I am dubbing this process of the overall harmony moving by shifting by one note at a time 'micro-modulation' and at this point it is important to state that I am not precious about utilising only this method, if it becomes clear that the internal mathematics involved in maintaining purely intonated harmony do not allow for this approach.

Thank you for reading this far! I know this is a lengthy post, so I appreciate your attention. I shall now describe a few potential approaches to this problem I have thought about so far, alongside specific questions relating to each.

1. (The fallback approach) To iterate the rules laid out by microtonal composers such as Harry Partch and Ben Johnston in Max MSP.

-This approach is my fallback as I believe it does not take full advantage of the particular opportunities of a computational approach as is possible with Max MSP. However, by using 'extended just intonation' these composers managed to create music that modulates between different key centres and tonalities whilst maintaining pure intonation, thus proving the process possible. I don't have any particular questions relating to this approach, though if this is something you have experience with, I would love to hear your thoughts and/or feedback.

As frequencies with similar periodic cycles overlap, they produce a periodicity signature. An initial stack of frequencies with a particular periodicity signature can easily be generated by calculating frequencies above a fundamental by multiplying it against whole number ratios, however my question for this approach is, does anyone know a way that this process can be analysed to give a quantitive measure of the the periodicity of a particular stack of ratios? And if possible, are there any ways to calculate other complex stacks of ratios relative to how different/similar the periodicity signature they would produce would be to the initial one?

3. Similarity of individual frequencies within the stack of ratios.

Say I begin with a perfectly tuned C major chord. (Notes: C, E, and G in equal temperament) Would there be a way to tell Max to scan for possible alterations based on how little it would have to change/retune each note in the stack? For example, calculating that the harmony could move to A minor (Notes: A, C, and E in equal temperament) or E minor (E, G and B) and working out what the relative level of retuning for each of these options would be? This is my ideal method, but is quite difficult to explain, I hope I am making myself clear. Ideally within this method, the system could give the user a list of options based off the similarity (in terms of the numeric value of the frequencies) to the harmonic cluster currently playing, ideally only shifting one voice (within that cluster) at a time by any amount greater than 5/10 cents.

4. Analysis from a graphical display, perhaps using jitter/gen?

In relation to the 2nd method, which focussed on periodicity, if we overlay these perfectly intonated frequencies on a spectroscope, we can see the nodes at which their cycles overlap or come into alignment with each other. I was curious if any of you know of ways in which the data from this can be analysed or manipulated, to force the voices within the current harmonic stack (again, ideally by only one voice at a time, but im not precious) to move to the next harmonic possibility which would provide a regular/stable periodicity. I've attached a small max patch with this one to illustrate what I am talking about. The patch simply switches between a pure intonated A major 7th and A minor chord and displays the overlapping frequencies on the scope~ object.

Once again, a massive thank you for taking the time to read this post - and I look forward to hopefully hearing some of your thoughts on the matter!!

Hello all! And thank you for taking the time to check out this post!

For my undergraduate dissertation in university, I am looking at the p

just-intonation-in-max-msp

Just Intonation in Max MSP 

jwilki222

I'm a beginner with max and I'm trying to make a simple patch that lets me rotate a cube with the gyro data of a nintendo switch 1 pro controller. When I make a gamepad object and open the help file, I find that the controller is already connected and outputting data into max, and that all of the buttons and joysticks are working as they should. The only problem is the gyro data seems to be more like an accelerometer - I can spin the controller very slowly around one axis and keep the data below 1, but if I spin it fast the numbers increase. The data is moving too fast for me to tell if it is exactly the same as the accel data, but in any case it doesn't work to rotate the cube the way I need it to. If this isn't just a me problem, you should be able to see it in the help file of the gamepad object, so I'm not including an original patch here.

I bought the controller used so there might be something messed up about it, but I wanted to check here to see if anybody else has encountered the same problem. I found some stuff online about the gyro and accel data being fused in the switch controller, but I don't understand exactly what that means, or if it's relevant here.

Hi guys,

I'm a beginner with max and I'm trying to make a simple patch that lets me rotate a cube with the gyro data of a nintendo switch...

nintendo-switch-pro-controller-gyroaccel-data

Nintendo Switch Pro Controller gyro/accel data

Loris Bernot

In my patch (simplified to the maximum), I send a midi note, from Protools to Max. 

Midi play in protools > Max midi bus > Max software.

This midi note send a bang to a play object (a short sound like a metronome), this sound goes to a bus output (here dolby renderer), to go back to protools be recorded in it.

I'm around 100 samples latency for this loop., between midi note and audio recorded. I wonder if i can reduce latency with a magic trick  or does it seems normal to you ?

And second question, a bit weirder : each time I record, latency is not the same, sometime less 70-80 samples, to 120 samples approx. Seems random. Does it mean something.

Dolby driver should be stable. as it is made to sync to go forth and back between Protools and Dolby renderer...

I've tested with  "Protools bus 1-6", stil the same issue. 

Is there a way / good practice to sample accurate sync two softwares ? Both are in the same mac, so I thought I shouldn't have to sync them, but it creates doubts in me.

Many thanks for reading me,  if you have any thoughts or idea, I would be happy to have your feedback.

latency-between-max-and-pro-tools

Latency between Max and Pro tools

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

Bradley Martin

I am a university student in need of some programming assistance. I am creating a Maxmsp software where real-time heartbeat is used to control the volume of music tracks in a song. I’m looking at getting some assistance with connecting the heart rate monitor to the Max8 program. I am using a Polar H7 Bluetooth Heart Rate Monitor, which I have already been able to pair to my Windows PC. I have already worked out the audio parts of the program, I just need a way to connect, record and display the heart rate in Max8 in real time. Thank you all very much for your time and I hope to hear from you all soon!

 Hello Max8 developers and forum users! 
I am a university student in need of some programming assistance.   I am creating a Maxmsp software

MaxMSP Forum