„Die Hamletmaschine“ is a performance for voice and live-electronics.
This algorithm focuses on when to generate notes, based on analyses of syncopation and repetition within Live MIDI clips.
M4L GRANULAR is a better and more simple polyphonic granular synthesiser for Ableton Live.
The Practice Room uses Max to facilitate rehearsing or performing electroacoustic music for instrument & tape.
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.