Live performance ensemble using max/msp.
Authors: Andrew Shoben, Neil Gavin, Christopher Lackey
"Words" is an installation in which participants enter a soundscape with three layers: Environment, Words, and User.
OMM is a robotic orchestra leaded by a human performer gestures.
pMix (short for preset mixer) is a composition and performance tool that facilitates the control of multiple plugin parameters using an intuitive graphical interface.
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. As Robert Henke pointed out in the recent Max/MSP/Jitter Conference, Expo '74, many of us spend years working on the same Max patch. Alex Stahl has spent years developing the Max/MSP patches that are at the core of Schick Machine. Along the way he's developed skills that landed him a fascinating job at Pixar Studios. Collaboration can be quite useful in this world. Read more...
Eowave has introduced another product in their line of sensor to MIDI interfaces called the Eobody2 HF, a wireless sensor to USB MIDI device. Building on the user-friendly and rock solid USB MIDI technology used in other recent Eobody boards, the HF allows you to place interactive sensor electronics on dancers, small objects, or anything else where cables would get in the way. Now that we have some of these in stock at the Cycling '74 office, I sat down to give them a thorough run-through to see how it all works.
An amazing artist with an amazing range of work, read the interview of Noriko Matsumoto by Greg Taylor.
I will try to summarize here what I thought were some of the highlights of NIME 2009...
I'd like to share some really simple things that have worked for me that I hope you'll find useful, or that may provide a starting point for your own investigations.
Many of us are invited to perform in unique circumstances – it’s a part of the Digital Media life. Recently, we’ve been featuring some interesting examples of Max-based work, including Andrew Benson’s work with M.I.A. and Dana Karwas’ installations. So when I was asked to play with an electronic music All-Star Band, I couldn’t help but document the experience.
On the afternoon of April 3rd, I received an email from M.I.A.'s manager asking if I'd be interested in working with them on a one-off show on the mainstage at Coachella that would feature live video processing... Upon reflecting, I would also like to share a couple of valuable lessons I learned working on this production...
In this installment, we'll be working on some more advanced ninja tricks - creating the beginnings of a control/preset structure with assignable LFOs, and building a GPU-based video delay effect. These two parts will bring our system to a much more usable level, and allow for much more complex and interesting results. Ironically, most of what we are really doing in this installment is just an extension of bread-and-butter Max message passing stuff.
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. The K-Bow, a bluetooth-based wireless gestural controller integrated into a violin bow, has just started shipping so we thought it would be a good time to catch up with Keith and find out more about the project. I met Keith at his studio...
In this, the final episode of our guitar processing extravaganza, we are going to step away from making effects and focus on performance support. For a system as complicated as this, performance support means two things: patch storage and realtime control. Thus, we will learn to create a preset system and manipulate the various on-screen controls with an inexpensive MIDI footpedal system.
At this point, we have a pretty useful guitar processing "rack", but it could use a little spice. This spice will come from two additional processors: a looping delay unit, and a basic reverb system. Also, to help keep the output useful, we will drop a limiter on the back end of the entire rig.
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. Inspired by a recent patching project and Darwin Grosse's guitar processing articles, this series of tutorials will present a Jitter-based live video processing system using simple reusable modules, a consistent control interface, and optimized GPU-based processes wherever possible. The purpose of these articles is to provide an over-the-shoulder view of my creative process in building more complex Jitter patches for video processing.
In the last article, we added some basic tonal effects: distortion/overdrive and EQ/filtering. This time, we will expand our virtual effects rack to include both a phase shifter and a full-featured modulating digital delay. As we add these effects, you will begin to see why a DIY effects system can trump any commercial product.
These days it seems that everyone wants to be an artist so I found it refreshing to meet someone who see himself as an engineer that wanted to create tools for artists. Mattijs Kneppers spoke to me by phone from his home in Holland.