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Fluctor

Realtime kick and bass phase alignment for Ableton Live, with kick-triggered and low band volume shaping.

Your kick and bass can be perfectly in tune and still cancel each other. The low end goes thin, the mix falls apart on club systems, and turning the bass up makes it worse, because the problem is timing and polarity, not level.

PhaseLock measures that relationship, shows you what is happening, and fixes it. Put it on your bass track, point it at your kick, and let it align every kick for you.

Realtime Auto-Align: PhaseLock measures every kick, and the bass that follows it, before you hear them. It then sets Rotation, Polarity and Delay for that kick just before it plays, so the alignment follows your bassline when the notes change. No clicks.

Low band ducking: the volume shaper can duck only the bass below a frequency you choose, 40 to 300 Hz, so the kick gets room in the sub while the body of the bass keeps playing. It has no crossover phase shift, and your signal is unchanged when it is not ducking. S solos the ducked band.

Rebuilt Align Score and a new Kick + Bass Sum panel that marks the clash areas in red.

Click-free Rotation, Polarity, Delay and shaper edits, and a scope locked to the kick.

https://fluctoraudio.com/products/phaselock/

One-line summary
Realtime kick and bass phase alignment for Ableton Live, with kick-triggered and low band volume...

fluctor-audio-phaselock-25-or-realtime-kick-and-bass-phase-alignment

Fluctor Audio PhaseLock 2.5 | Realtime Kick & Bass Phase Alignment

so sam

Four Max for Live generators. One key controls them all.

OO GROOVE started as a problem in my own live sets: three generators, three key settings, and one of them always in the wrong scale. So I built OO KEY, a host device that broadcasts the root and scale to every OO device in the set. Change the key once and everything follows, quantized to the next bar, so a key change is one click in the middle of a performance.

The bundle has four MIDI devices that play any synth, software or hardware:

OO KEY: set root and scale once; an always-on-top key window lets you change key from any track, or FOLLOW LIVE SCALE locks it to the Live 12 song scale.

OO KICK: 4/4 and breakbeat kick patterns that evolve over phrases.

OO BASS: funk lines with motion, slides, ghost notes and swing, plus LOOP 1 / LOOP 2 to loop the steps under the playhead.

OO CHORD: progressions with euclid rhythms, from short stabs to ringing pads, morphing into arpeggios.

Load as many KICK, BASS and CHORD devices as you like; one OO KEY drives them all. Every device has 8 snapshots. The engines are written in v8 JavaScript inside Max 9.

Requires Ableton Live 12 with Max for Live (Max 9), macOS and Windows. USD 8 at ovotools.com/products/oo-groove

Four Max for Live generators. One key controls them all.

OO GROOVE started as a problem in my own live sets: three generators, three key...

oo-groove-four-max-for-live-groove-generators-that-share-one-key

OO GROOVE: four Max for Live groove generators that share one key

BACCANO!

I’d like to share a device I’ve been working on: 

, a Max for Live audio effect that simulates a chain of 1 to 10 linked pendulums and turns their motion into modulation and sound.

The idea came from a double pendulum patched in Pure Data: start it twice from almost the same position and after a few seconds the two runs have nothing in common. I kept using it to drive parameters, because the movement is neither periodic like an LFO nor memoryless like a random source: it has inertia, it speeds up and slows down, and all the masses are physically linked.

– 1 to 10 rods. Force (rigidity), length, gravity, damping, speed and substeps of the simulation.

– A Mapping column with one row per mass: choose x, y or speed, press Map, click any parameter on the same track. Min/Max as a percentage of the target’s own range, like Live’s LFO.

– Every mass is also a sine voice (pitch from height, level from speed, pan from x). Mute it to keep only the modulation.

– Factory presets plus user presets saved with the set.

– The physics is Verlet integration with rod constraints in small substeps, plus a gentle energy correction so the chain neither dies out nor explodes. It runs in a small C++ external in the audio thread; the interface is jsui/mgraphics.

– Mapping uses live.remote~ and the LOM. Mappings are stored by path and name, so they survive reopening a set and are released automatically when the target device or rod disappears.

Works with Live 11+ (Max 8.1 and later), Mac (Apple Silicon and Intel) and Windows.

https://baccanoinstruments.gumroad.com/l/MultiplePendulum

Feedback, bug reports and ideas very welcome, especially on mappings that turned out interesting for you.

Hi all,

I’d like to share a device I’ve been working on: Multiple Pendulum, a Max for Live audio effect that simulates a chain of 1 to 10...

title-multiple-pendulum-a-chaotic-chain-of-1-to-10-pendulums-as-a-modulator-m4l

Title: Multiple Pendulum – a chaotic chain of 1 to 10 pendulums as a modulator (M4L)

jullian

, an eight-engine, two-algorithm multitimbral granular synthesizer.

It grew out of an instrument I developed for my own live performances with electric guitar, combining real-time granular synthesis and generative visuals. Over time, I decided to take it further, make it playable with any MIDI controller, and share it with anyone curious enough to explore it.

Grignoteur comes with a collection of over 100 sounds I’ve designed myself, including some of my personal favorites. You can also load your own sounds and make it your own.

Grignoteur is free to download and explore. Enjoy!

https://jullianhoff.com/2026/10/25/grignoteur-2-0/

I’m excited to share Grignoteur, an eight-engine, two-algorithm multitimbral granular synthesizer.

It grew out of an instrument I...

grignoteur-20

Grignoteur 2.0

bcircle is a transparent UI object that reports when a point enters or exits an elliptical region — the ellipse inscribed in the object's box, so the corners fall outside. Along with the inside/outside state it reports position and motion.

It takes coordinates from two sources interchangeably:

- Mouse: place a bcircle over a [panel] or any visual, leave it transparent, and it tracks the cursor.

- List input: send [list x y] from any source — Jitter blob tracking (jit.blobs.centroids), OSC, Python/OpenCV or MediaPipe over udpreceive, or anything else producing coordinates.

Both paths share the same hit-test and output logic, so the source of coordinates doesn't change the behavior. Output can fire on edge transitions (enter/exit triggers and gates) or continuously every frame (CV tracking and position-driven modulation).

Where bcircle differs from its sibling bbox is the motion follower. It is polar rather than Cartesian: motion is smoothed as direction and radius rather than as x and y, so circular movement is followed along the arc instead of being cut across the chord. It emits tagged pos / bearing / radius / angvel / radvel / moving messages for downstream [route] — bearing as the angle from the ellipse center, radius normalized from 0 at the center to 1 at the perimeter, and signed angular and radial velocities. That makes rotary gestures, dials, compass headings and spin intensity direct readouts rather than things you derive.

Coordinates can be reported in local, patcher, or screen space. Invisible in performance mode; shows a faint dashed ellipse in edit mode so you can find and resize it.

Universal binary (Apple Silicon + Intel), macOS, Max 9. Free and open source under the MIT license.

Find Inspiration from other Max Users

Fluctor Audio PhaseLock 2.5 | Realtime Kick & Bass Phase Alignment

OO GROOVE: four Max for Live groove generators that share one key

Title: Multiple Pendulum – a chaotic chain of 1 to 10 pendulums as a modulator (M4L)

Grignoteur 2.0

bcircle

Fluctor Audio Unbias

Rift — Multi-Track Glitch & FX Performance

Undersong

wakeSCOPE: Free Oscilloscope for Max for Live

OPTINA PUSTYN — a geometric, generative sampler for Max 9