97 Posts tagged with "DSP"

  • A First Look at Max 5

    A quick video-illustrated look at Max5.


  • Max 5: What It Is (and Isn’t)

    Some of you may have heard that major changes are imminent in the Max world, and there is a lot of speculation about what those changes might be. On the eve of our first public exposition of the new version of Max at the AES convention in New York, I thought it would be appropriate to offer some details on the product.


  • An Interview with Vlad Spears

    Daevlmakr sells a suite of plug-ins created in Max/MSP. I was able to spend a lot of time with Vlad Spears for this interview because he lives nearby in San Francisco...


  • Synth-Building with Max/MSP (Introduction)

    This series of tutorials first appeared on my CreativeSynth.com website between 2001 and 2002. Due to their popularity (especially amongst new Max users), I have moved them to the Cycling74.com website.


  • Synth-Building with Max/MSP #8

    This series of tutorials first appeared on my CreativeSynth.com website between 2001 and 2002. Due to their popularity (especially amongst new Max users), I have moved them to the Cycling74.com website.


  • Synth-Building with Max/MSP #7

    This series of tutorials first appeared on my CreativeSynth.com website between 2001 and 2002. Due to their popularity (especially amongst new Max users), I have moved them to the Cycling74.com website.


  • Synth-Building with Max/MSP #6

    This series of tutorials first appeared on my CreativeSynth.com website between 2001 and 2002. Due to their popularity (especially amongst new Max users), I have moved them to the Cycling74.com website.


  • Synth-Building with Max/MSP #5

    This series of tutorials first appeared on my CreativeSynth.com website between 2001 and 2002. Due to their popularity (especially amongst new Max users), I have moved them to the Cycling74.com website.


  • Synth-Building with Max/MSP #4

    This series of tutorials first appeared on my CreativeSynth.com website between 2001 and 2002. Due to their popularity (especially amongst new Max users), I have moved them to the Cycling74.com website.


  • Synth-Building with Max/MSP #3

    This series of tutorials first appeared on my CreativeSynth.com website between 2001 and 2002. Due to their popularity (especially amongst new Max users), I have moved them to the Cycling74.com website.


  • Synth-Building with Max/MSP #2

    This series of tutorials first appeared on my CreativeSynth.com website between 2001 and 2002. Due to their popularity (especially amongst new Max users), I have moved them to the Cycling74.com website.


  • Synth-Building with Max/MSP #1

    This series of tutorials first appeared on my CreativeSynth.com website between 2001 and 2002. Due to their popularity (especially amongst new Max users), I have moved them to the Cycling74.com website.


  • The Phase Vocoder – Part II

    In our last article about the phase vocoder we saw how to create a basic phase vocoder for time-stretching. While it is by no means a simple MSP patch, it is a useful one. In addition to time-stretching, the phase vocoder has been used for transposition and "freeze" effects, which we will be discussing in this article.


  • Q & A with Amoebazoid

    Zuckung from Amoebazoid is the newest c74 music release. Take a quick look at what Amoebazoid, himself, has to say about his new album.


  • Your First Shader

    Typically, when I talk to Jitter users about writing one's own shader programs for use with jit.gl.slab, I usually get glazed-over eyes and this sort of distant look of wonder. When I try to explain how easy it is, that look typically turns to one of annoyed disbelief. So, for a long time now I've been thinking about writing an article to de-mystify the process of writing your own GLSL shaders, and to help everyone avoid some common frustrations.


  • Bert Schiettecatte is the founder of Percussa, a music hardware and software company located near Leuven, Belguim. The company's first product is Audio Cubes, a beautiful and unusual controller system that can be used in powerful ways in conjunction with Max/MSP and other software. Read more about Audio Cubes in this article.


  • I first became aware of Luke DuBois when I heard his band’s CD Freight Elevator Quartet. Later, we met when he did custom MSP programming for the filmmaker Toni Dove. I was intrigued by the contrast of his knowledge and experience vs. his boyish demeanor. Luke DuBois might look like a college student but that impression changes the minute he opens his mouth. He is a Fellow at the Computer Music Center at Columbia University in New York City and teaches at NYU. Luke is an expert with Max/MSP/Jitter and the intersection of music and image interaction.


  • Getting Around in Radial, Part Three

    In the previous installments, I've tried to give you a quick hands-on feel for how radiaL operates, paying particular attention to how you can develop a feel for radiaL's nonlinear playback modes by listening. But I think that the place where radiaL really shines as an instrument rather than enjoyable way to do multi-channel loop manipulation involves the addition of an interface -- connecting radiaL to an external controller in a way that turns your favorite parameter changes into physical/gestural activities. In this article, Gregory Taylor will describe how to accomplish this.


  • Workshop in Delft

    We held another Max/MSP/Jitter workshop from the 27th to the 30th of March in the Dutch city of Delft (yes, as in "that color blue associated with porcelain"). Our hosts were in the Industrial Design faculty at the Technical University. Read more about the exciting event in this article.


  • Our Collaboration with Ableton

    At this year's Musikmesse, Ableton announced it has entered into a strategic partnership with Cycling '74 to develop new products. You can read Ableton's story about this partnership here. I wanted to share my perspective on what this partnership will mean (as well as what it will not mean) for Cycling '74 users.


  • Multi-language Max/MSP

    This is perhaps an unusual article for Cycling '74 to put on their web site, because it has to do with all the languages that Max/MSP isn't. I have to confess that I'm not really a very good Max-user. I know only a handful of objects, and I am of the text-based generation that is still a little, um, "graphical-user-interface-challenged". I basically use Max/MSP only as a window onto computer music languages that I am adept at using. More and more, though, I am also using Max as base platform for connecting these languages to each other. One of the really great decisions that the Cycling '74 design team made was to make the development and integration of external objects relatively easy. This has been a real boost for the classes that I teach at Columbia University, and it has also allowed me much more creative freedom in my compositional work.


  • A Grab Bag of Pluggo Dev Tricks

    This folder contains a number of extra externals which we use in the various Pluggo based plug-in packages. These externals are unsupported, contain features which may change at any point, and may not be maintained with regard to backwards compatibility. However, plug-in developers may find some of them useful, and you are free to include and distribute them with your plugs. In this article, I'd like to introduce a few of them, explain a little about how they work, and also demonstrate a couple of the tools we use to make our lives easier managing all of our plug-in packages.


  • Getting Around in Radial, Part 2

    In our last installment, I tried to present some really simple and (I hope) explanatory samples of some of the easiest ways to generate and organize variety on the fly using radiaL. One of the things that those examples did that I didn't talk very explicitly about involved loading a single loop on multiple channels and then using radiaL's ability to playback sections of that loop in a nonlinear fashion to create evolving structures. In the interests of "ear training," I suggested that you mute some of the loop channels as you went along in order for some parameter to be easier to hear, but it's my hope you just turned all the channels on and listened to them run when you were done following my instructions. Just in case you didn't, I've included another loop constructed so that you can generate varying patterns by loading it on multiple channels and then playing varying sections of the loop with different pitch/time grid and transposition settings. It's called "moogphrase.aif" Perhaps a little play with this is a good warm-up to what we're going to look at next.


  • Getting Around in Radial

    I've been asked to write a couple of articles that discuss how I learned radiaL, and how I approach using it in a live performance setting -- both as a soloist and in an ensemble setting. While there are a good number of people out there who use radiaL, I'm surprised to discover that there are not nearly as many people who do what I do -- namely, to walk out on a stage, launch the program, and start improvising. While it seems a perfectly natural thing to do from my point of view, it may not necessarily be clear how I learned radiaL and came to my current performance practice (In addition to Voiceband Jilt, my release for c74 records, you can also find some downloadable examples of my work on my downloads page and some online release material from the label Palace of Lights).


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