The truth is that I’m still recovering from Ableton’s recent inaugural event, Loop - A Summit for Music Makers, but I thought I should get to writing about it while it’s all fresh in my mind.
During the month of November, I took a little journey into a new programming area: creating content specifically for the Ableton Push control device.
Thursday, August 29, 2013, 7-9PM at 450 Bryant, Suite 100, San Francisco, I'll be presenting an introduction to programming in Max for Live for the Ableton User Group Meeting. Here's the Facebook for the event. I’ll have about an hour to explain what Max is, show how it works in Live, and offer some tips on how to start building your own devices.
Helpful tutorials and Max for Live projects to get you started.
Our friends at Percussa have released a new Audio Cube powered Max for Live device called Soundor.
Lots of people use Soundflower for producing podcasts and doing various work where audio needs to get from one app to another.
A fabulous suite of free and artistic audio plugins using Max for Live, designed to challenge the Eurocentric / Western norms prevalent in electronic music software.
In 18 months, Max for Live has already become an essential tool for artists working with live media.
In addition to new devices and lessons in the Max for Live update (Max 5.1.8/Live 8.2.2), there are a couple of new Live API features we would like to share with you in these short video tutorials.
SoundHack is a legendary, beloved, and free tool for mangling sound.
Made this vid to demo a max for live device my evil twin made.
Number theory are a three piece band fusing elements of electronic, jazz, electro-acoustic, and rock music.
Recomposer, a device built with Max for Live, allows the user to generate new pieces by algorithmically hybridizing and recombining tracks from existing pieces in Ableton Live.
Author: Christian Blomert
TouchControl combines the advantages of Max 4 Live and TouchOSC to create an automapping control interface for Ableton Live that runs on iPhone / iPod Touch.
In this article, Jim Aikin reviews the new add-on product to Live, developed by Ableton and Cycling '74, with a detailed account of his experience.
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 needed my own controller for Ableton Live. I built it in a diy mind and I'm using max for live as an interface between Ableton Live and the hardware.
Even before the Max for Live beta was opened up to the public, a community of testers was hard at work putting Max for Live through its paces.
Robert Henke is a brilliant electronic musician who records and performs under his own name and also as Monolake. His music has been described as minimalist yet complex techno with an architectural sound. For me, his music is very spatial and multi-dimensional.I find it takes me on an extraordinary journey through space and time, similar to a great work of fiction. Henke recently said, "The last century was about the creation of electronic music. This century is about performance."
Author: Komika Hackage
This pair of externals decodes timecoded vinyl and plays the decoded stream through a resample external back.
So far we have talked about how Max for Live will allow you to create your own custom Max devices that run inside of Ableton Live. Most of the examples you've seen so far have been pretty similar to your average plugin, with the fundamental difference of being to edit the device in place. That in itself is pretty spectacular, and probably enough to please a lot of people and keep everyone busy. Well now I'd like to talk about a couple of features that really make Max for Live unique and pretty exciting: namely, the Live API objects.