Inspired by the Granular Synthesis work Modell 5, In Triplicate is a performance exploration utilizing audio-visual sampling.
just a tiny, fun (+ annoying) illustration of an idea i recently had, realised in max.
The whole program is written as a maxpatch, using all the stuff that people can get with the Max runtime.
Italian Renaissance paintings are intervened in real-time by algorithms that simulate video compression errors.
A Max/MSP abstraction for live and interactive spectral music programming and performance.
INTRODUCTION Immensity is a first of its kind monophonic complex waveform generator, synthesizer, highly influenced by the legendary Buchla 259 (original) VCO module. Almost every knob/button/selector could be automated from Live.
metamorphosis is a granular looper.
In this Selfie Sunday we learn how to build a patch that turns webcam input into an ASCII display.
marimba sidetracks for marimba and computer is the first piece of a series called sidetracks.
Morph is a dual morphing bandpass filter, highly influenced by the classic Buchla 291. Almost every knob/button/selector could be automated from Live. SYSTEM REQUIREMENTS • Mac or PC (doesn’t really matters), • Ableton Live 9.2.3 and Max / Max4Live 7 (always the latest versions) Our softwares are made on a very old MacBook Pro (from 2007 ;) ), running Mac OSX Mountain Lion 10.11.0, Ableton Live 9.2.3 and Max 7.0.6 There are no special externals, extra objects used in our devices, they should work on any up-to-date system, without problems. IMPORTANT! We are using high-res images/objects for our GUI.
Contemporary Music, Hörspiel
Yohkoh means ray of sunshine in Japanese.
Max was used for live electronic and realtime spatialisation.
Thierry Fournier Sous-ensemble installation (2015) Lille Renaissance festival, September 26, 2015 to January 17, 2016 In a space similar as a recording studio, the presence of the visitors makes appear, one by one, the sounds of the instruments of a symphony orchestra during its tuning – until a complete reconstitution when a group is present.
installation for piano parts and LEDs
Anticipating John Cage’s more famous “silent” piece 4’33’’ by thirty years, Erwin Schulhoff’s (1894-1942) In Futurum for solo piano (1919) is nothing but rests in both hands, supplemented by question mark articulations, cryptic smiles made of slurs, and cheeky directions (“play the whole piece with expression and feeling freely, always, to the very end!“).
Video is from a performance by Rodrigo Constanzo using snare/percussion/objects, The Party Van, and DMX lights filmed by Angela Guyton at Bacon Jam Collective on 9 December 2015.In the performance The Party Van and the DMX lights are being controlled by a Max patch which moves through different interaction/behavior types (ranging from one-to-one onset=color mapping, to more complex interactions based on automatic recording/playback). In addition to the defined interaction/behavior types there is a body of prerecorded light patterns (flashes, blips, and heart rate throbs) that were recorded by Angela using a separate Max patch which selects a grid of pixels from a larger image and uses that as the pool of available colors in a kind of color granular synth.