In third installment of Jitter Recipe Collection, there are more snacks for the Patching Enthusiast! This Jitter Recipe "AnaglyphRender" builds on the "RenderMaster" recipe posted recently to create a realtime 3-D anaglyph image.
Density is a new interactive real-time program for asynchronous granular synthesis sound file granulation, to generate a wide range of effects: time/pitch shifting, pitch disintegration, time jittering, sound pulverizer, scrub pad exploration, dynamic envelope drawing etc… Interpolation- transitions and Hyper Vectorials pads, provide a powerful way to generate incredible sound objects.
Authors: Andrew Shoben, Neil Gavin, Christopher Lackey
"Words" is an installation in which participants enter a soundscape with three layers: Environment, Words, and User.
Alex Stahl is a veteran collaborator and this has never been more evident than in his collaboration with Composer Paul Dresher for the opera Schick Machine.
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.
I spent 4 days in Pittsburgh in early June attending the 2009 NIME conference at Carnegie Mellon University.
I recently wrote a couple of tutorials for the Cycling '74 website on a subject that's close to my heart - generating and organizing variety when working with Max (I'll bet that you just thought they were about making LFOs and working with the new Max 5 timing features, didn't you?).Download the patch used in this tutorial. Other LFO tutorials:
Many of us are invited to perform in unique circumstances – it’s a part of the Digital Media life.
In the last installment of the Video Processing System we left off with the beginnings of a basic live effects chain with basic compositing, blur, and color effects.
K-Bow Keith McMillen Instruments recently impressed all of us at NAMM with demonstrations of a new pair of string performance devices, the K-Bow and StringPort, both of which include some very rich software applications written in MaxMSP.
In our last article, we began to create our processing system by putting the essential structure in place and adding our input handling stage.
In this, the final episode of our guitar processing extravaganza, we are going to step away from making effects and focus on performance support.
At this point, we have a pretty useful guitar processing "rack", but it could use a little spice.
This article provides a brief tour of the features we've added to Max for creating Live devices.
Between the tutorials, Jitter Recipes, and all of the example content, there are many Jitter patches floating around that each do one thing pretty well, but very few of them give a sense of how to scale up into a more complex system.