Rodrigo

Cut Glove is a live sampling and performance instrument built using Max. It was programmed around the Xbox 360 controller. Additionally, the patch has MIDI learn functionality built in, so every parameter can be mapped to any MIDI controller.

Click here to read a blog post going into detail about the background, development, and technical implementation of Cut Glove.

Cut Glove shares much of the core feature set of The Party Van but massively updated/improved and based around a completely different control and performance paradigm (a game controller). The Xbox 360 controller is extremely common and cheap and can be used with a computer using this driver (both wired and wireless). A big part of the interest for me writing a patch around a gamepad is my background in playing video games. Most video games have quite deep, complex, and rich mapping schemes that become internalized quickly. That approach is taken in the mapping scheme here. Subsequent updates will expand on these complex mapping metaphors, but the initial feature set and mappings are quite deep as they stand.

Here are a few videos showing what Cut Glove can do:

Cut Glove is based on a custom external, karma~, which handles all the complex recording/playback in the patch.

You can download the patch (for 32bit Mac/Win) along with all the required externals here (v01).

You can follow the github repo here : https://github.com/rconstanzo/cut-glove


cut-glove-game-pad-based-live-sampling-processing

Cut Glove - game-pad based live sampling and processing

panniccioli

We found one of our composers/sound designers using Max/MSP to create very nice 'sonic-movements' and manipulations. This was all being controlled by a Wacom tablet.

sound-design-with-maxmsp-manipulation

Sound Design with Max/MSP manipulation

Andrew Benson

While many people are looking at Max for Live as a great way to integrate their favorite hardware controllers, build really unique effects, and add variety to their productions, I was eager to explore what could be done with video inside of Max for Live.

  I have collaborated with musicians before that work exclusively inside of Ableton Live, so it struck me as a huge advantage to be able to build a triggered video playback and live processing system that worked inside of Live natively.  Assuming you could keep the overhead low, it may even be practical to run both audio and video from a single Live set.  To test this idea, I went for the most obvious solution, which was to use my Video Processing System patch as a starting point.  What follows is a document of the process of getting a Jitter instrument working inside of Max for Live.

Download the Max for Live device used in this tutorial.

In Max for Live, we have the option to create an Audio Effect, and Instrument, or a MIDI effect.  For musical or sound-making devices, the choice is usually pretty clear depending on what sort of input and output you need.  Since we are making a device that isn't outputting audio or MIDI information, it isn't obvious which type of device to use as a template.  For this project, I decided to create a Max Midi Effect, since it allowed me to get MIDI input and pass that MIDI to other devices if I needed to.  If we wanted to take audio input, it might make more sense to create an Audio Effect instead.  The plan was to create a basic system where incoming MIDI notes would trigger different videos, and all of the controls would be mappable to MIDI and Live's internal modulation system.  I also knew that several features of the VPS patch weren't going to be necessary, like the LFOs and the QT movie recording features.  The rest would be simple copy and paste, with a little re-organizing.

If you are a Max for Live user, but don't own a full copy of MaxMSP/Jitter, you may notice that jit.window and jit.pwindow objects have an intermittent overlay while editing your patch.  This is the only hindrance to working with Jitter in Max for Live, and your windows will be fully functional inside of Live itself.  This means that you can build and create Jitter-based devices, but you won't have seamless window output until you save and go back to Live. Jitter owners have no such hindrance.

	Another important thing to remember when using Jitter inside of Live is that it is very easy to create duplicate devices in your Live set and create naming conflicts for things like Jitter windows, textures, or matrix objects.  You may have to take some extra care with this, or use "---" before the names of windows and such to create device-unique names.

The first obstacle in getting a fully functional patch into a Live device is getting the UI to fit inside the fixed height device view.  Without Presentation View, this might be near impossible for any reasonably complex patch. The first step is to go into the Patcher Inspector and turn on "Open in Presentation" so that the device shows up in Live with the organized presentation view.  Still, given the vertical orientation of the original patch, some serious redesign is going to be necessary.

Before I get to that though, we'll start by replacing several of the standard Max UI objects with Live UI objects.  These objects, in addition to looking at home inside of Live, allow us to use Live's native modulation, mapping, and preset-saving system. Since many of these objects also have built-in labels, a lot of the comment boxes in the patch could be eliminated. To replace all the sliders we first drop a live.slider object into the patch and open the inspector.  Inside the inspector, we can set the Modulation Mode to Absolute, which enables clip modulation for the parameter.  There are several different modulation modes, with Absolute being the most straightforward since it maps directly to the value of the modulation curve. This will give our new sliders similar settings to what we originally had, and allow for modulation of the slider value using Live's automation system. Once we've adjusted all the settings in the inspector, we can copy the generic live.slider, select the normal slider objects and then Paste Replace.  Now all we have to do is go into each inspector and set the parameter names appropriately.  From here it is a simple matter of combing through the user interface, replacing UI objects with their Max for Live equivalent, where appropriate.

Now that everything is looking more Live-like, we can begin reorganizing UI elements, condensing things down and ditching unnecessary labels to fit the limited space in our Presentation View.

Since this is a Midi Effect, we'll use the MIDI note input to change the movies in the movie player module.  Since the VPS 'mbank' module was already designed to have a simple 'step' message interface to jump to the previous, next, or random movie clip, or a number to jump to a specific index, parsing MIDI notes is pretty easy.  Using a split object, the first 3 MIDI notes are routed to 'step' messages, while the rest of the note scale is used to jump to specific movies. This makes it really easy to create MIDI clips in Live that drive the movie selection.

Now that we have a more tightly packed and concise device, it's time to give it a try inside of a Live set.  To do that, we simply drop it onto a MIDI track, click "Load" to set the folder of movies, activate the camera (see previous VPS articles for a thorough explanation of the patch), and turn on rendering.  Once we verify that we are able to make it work manually, it's time to try piping in some cues.  For that, we double-click an empty clip slot to create an empty midi clip and draw in some notes at the very bottom of the scale.  When we activate the transport and launch the clip, our movies should be changing in time with the rhythm.

To add a little extra excitement, we can modulate the parameters with the MIDI clip.  To get started, activate the Envelopes button in the MIDI clip view and select one of the device parameters from the drop down menu (blur is a fun one).  Adjust the automation curve by clicking and dragging.  Repeat for any other parameters you'd like to automate. Enjoy.


a-video-processing-device-for-max-for-live

A Video Processing Device for Max for Live

jpbellona

simpleKinect is an interface application for sending data from the Microsoft Kinect to any OSC-enabled application. The application attempts to improve upon similar software (Kinect-Via, Synapse, OSCeleton) by offering more openni features and more user control.

The interface was built with Processing, utilizing the libraries: controlP5, oscP5, and simple-openni. Because I used open-source tools, and because the nature of the project is to stimulate creativity, simpleKinect is free to use.


simplekinect

simpleKinect

Giorgio

A realtime modular composition and processing software for sound design and experimental music like glitch, IDM, electroacustic, ambient...

Gleetchlab 3 is a modular software designed to process audio files and live sound sources in realtime.

Unlike many music softwares, gleetchlab does not use a "timeline", instead you can process and record sound as it plays and quckly store every  parameter into ten easy-to-recall temporary presets.

You can manipulate samples with random loop points, alterate speed and direction of playing without limits, pencil-edit waveforms and use the internal DSPs such as convolution, feedback generator, granular re-synthesis, waveshaping distortion, spectral filtering, wow simulation, dynamic reverberation and your own VST plugins.

Also you can record  and re-record endlessly each processed sound into the 6 stereo loopers or manipulate  sources coming from your soundcard and last but not least, use a quadriphonic suround mixer/recorder.

project-32-gleetchlab-3

GLEETCHLAB 3

Maurizio Giri

Alessandro Cipriani

Italian MaxMSP 5 Book: This 500+ pages book is the first of a three volumes series dedicated to Synthesis and Sound Processing with MaxMSP.

project18-musica-elettronica-e-sound-design-teoria-e-pratica-con-maxmsp

Musica Elettronica e Sound Design - Teoria e Pratica con MaxMSP

Julien Bayle

It basically uses click~, custom panning system and a global layer made of oscillators.

electronic-cities-generative-installation

Electronic Cities generative installation

lextelex

Aside from the song being written and recorded in ProTools, this project is entirely Max/MSP based.

maxmsp-real-time-vj-interface

Max/MSP Real-Time VJ Interface

Miroslav

An integrated open-ended interactive multimodal composing application, designed for composers, audiovisual artists and amateurs that translates sonic (instruments, singing, speech), visual and bodily/kinesic expressive patterns or 'narratives' into parameters controlling sound synthesis and processing.


spasov-enactiv

ENACTIV

lyserdellic

First version of “Into the Void”, a series of audiovisual installations exploring physical structures creating light and shadows with immersive audiovisual spaces.

A array of triangles is placed on the floor, each one has a LED strip on the back which are connected to an Arduino.  

Max generates series of random numbers with different probabilities that are used to trigger and manage the lights, visuals and sound.

Max manages the LEDs by communicating with the Arduino through Maxuino. And at the same time MIDI messages are sent to Ableton Live to plays notes on a MIDI Instrument and OSC messages are sent to Processing for the Visual output.

Rodrigo Carvalho (concept, electronics, code and visuals);

Ana Duarte (build and production); André Sousa (Background sounds);

Daniel Correia (filming and photography).

Search Results