SINGING SAND was inspired by the sonic potential of real-time 3D mesh based computer graphics. It explores how various particle fluctuations, tensions or shape morphings sound like, what internal rhythms do they create and how that affects our perception of the visuals in return.

Sand resembling visual particles are sonified by mapping their individual velocities to various parameters of individual grains inside a granular synthesiser. At the same time the velocities determine the colours of the particles which creates a spectrum of colours and sounds. The aim of the composition was to explore how such audiovisual material could function in a free audiovisual paradigm and also how to meaningfully force it onto the grid of harmony and metric rhythm. 

Visuals and particles based granulator were implemented in Max. Max for Live was used as a bridge between Live and Max.

SINGING SAND was inspired by the sonic potential of real-time 3D mesh based computer graphics. It explores how various particle fluctuations

singing-sand

Singing Sand

Lilli Wessling Hart

Cycling '74

Jean-François Charles will be leading one of nine community-driven workshops at Expo '74 in Brooklyn this October. Read on for more information about his workshop and some history of his work.

In this workshop, you will learn to make your own live graphical sound processing patches. What used to be possible only in the studio is now possible in real time: sample a sound in spectral domain, process the sonogram graphically, re-synthesis with live manipulation of spectral features, and more. This workshop is for all musicians and sound artists interested in new sonic textures, extreme live time-stretching and audio freezing.

To participate in this workshop, you will need a laptop (Mac or Windows) with Max and Jitter.

A Short Interview with Jean-François Charles

I'm a composer, a clarinet player, and the Deputy Director of the Music Conservatory of Montbéliard (France). My current projects include the Electroclarinet series, a set of compositions for different kinds of clarinets & live electronics, as well as new compositions related to pop music, sacred music, sacred texts, and romantic French poetry. I hold a Ph.D. in Music from Harvard and a M.S. in Electrical Engineering from INSA (Lyon, France).

I first touched Max in 2000, during an international workshop co-organized by Ircam and the Acanthes music academy. At the time, I didn't own Max, not even a computer to run it!

I got my first laptop and started learning Max in 2003. I had the ambition of making new sounds (who does not?), and to integrate live electronics in the chamber music I was composing. One of my first Max patches was for a composition for crickets and laptop performer.

What technology or person's work intrigues you most right now?

Besides tablet music software and analog synths, I am still fascinated by the huge potential a couple of microphones have. Bring in good ears and playful curiosity, and you're up for lots of great sounds to discover. For instance, Diego Stocco is quite inspiring in this respect.

What is the most exciting part of attending Expo '74?

Meeting the community of Max users and developers is always a treat.
I was in San Francisco for the first expo. In New York, I'm hoping to see old friends and make new ones. I'm also looking forward to discovering what interesting & creative stuff other artists have been doing. Max users constitute such a diverse community that I know I will be surprised. The unexpected: that might be the most exciting part!

Extreme Time Stretching - Max/MSP/Jitter Spectral Sound Processing 3 Video

Jean-François Charles talks about his Expo '74 workshop.

live-spectral-processing

Live Spectral Processing in Max

Chris Vik

Spectral ONE is a pack of 4 spectral visualiser M4L devices that create real-time visuals for your Ableton Live performances or to render out as high-quality audio-reactive visuals for your YouTube clips.

The pack includes the following devices:

 - Post effects; mirroring/kaleidoscope, blur, RGB split, feedback

chris-vik-spectral-one-m4l-audio-reactive-visualiser-devices

Chris Vik - Spectral ONE (M4L audio-reactive visualiser devices)

Thomas John Martinez

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Time Layer - Max for Live Device

szymon_k

lowertone-freeq

Freeq

Jean-Francois Charles

"A Tutorial on Spectral Sound Processing Using Max/MSP and Jitter", an article available in this issue of the Computer Music Journal:http://www.mitpressjournals.org/toc/comj/32/3


charles-spectral-tutorials

Spectral Tutorials

erichonour

Live processing of audio inputs from a beer bottle and glass, using granular and spectral techniques in Max. Control of processing parameters via a QuNeo, mapped within Max.

The patch, instructions, and other materials needed to perform this work (Mac-only) are now available for free download from my site.

handcrafted-ale-for-beer-and-computer

Handcrafted Ale (for beer and computer)

m4l-bulbs-pack

M4L Bulbs Pack

anonymous

Mitch Turner

Turn_To_FFT_1.01 is a set of pfft~ subpatches that punch irregular holes into the spectrum of a sound. Included are pfft~ subpatches, helper patches, and ReadMe files.


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