This all began as a joke within the "Material Team" - since we do a visual programming language, we should have an audio podcast! We could do virtual patching with phrases like "You really need to connect the second outlet of the umenu, because that'll give you what you really want for the midiout object." Yuck, yuck, yuck. But, just for fun, I decided to give it a try anyway.
Recently when I was hearing about a very exciting stage forthcoming stage production (you'll just have to watch this space!) that uses Max, I was reminded of one the last theater productions I saw that used the software, Schick Machine by the Paul Dresher Ensemble.
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."
In this interview, Tim Place speaks about his work as a developer and artist, charting the numerous development projects which pooled together to create Hipno.
"Drawing" on Ornette Coleman: synthesis control using a graphics tablet.Watch Matt's video.
Angela Lorenz, a graphic designer and Max user, creates automated design and visuals.
David Wessel is Professor of Music at the University of California, Berkeley where he directs the Center for New Music and Audio Technologies (CNMAT). Wessel worked at IRCAM between 1979 and 1988; his activities there included starting the department where Miller Puckette first began working on Max on a Macintosh. Since Wessel's arrival in Berkeley over ten years ago, CNMAT has been actively involved in teaching Max/MSP as well as developing freely available Max-based software projects. In this 1999 interview with Gregory Taylor, Wessel talks about his musical background, his relationship with French composer and IRCAM founder Pierre Boulez, the origins of Max, and some perspectives on his current work.
With a set of experiences that includes playing with Tito Puente, touring with Peter Brook's theatre ensemble in the 70s, and recently playing percussion with Rickie Lee Jones for the opening of the Experience Music Project in Seattle, it's clear that Andrew Schloss has been all over the map for the past 30 years. In the mid-80s, shortly after discovering the radio drum, an electronic instrument created at Bell Labs, he went to IRCAM where Miller Puckette and David Wessel introduced him to Max. The young program's power and flexibility bowled him over, and since then Schloss has been working with Max to make the radio drum respond with the same subtlety as a traditional percussion instrument. On a warm summer day at his home in Seattle he and Ben Nevile talked about the challenges that a performer faces when trying to take advantage of the enhanced possibilities of computer music.
In the last 20 years William Kleinsasser has received national and international recognition in competitions, conferences and festivals by pushing technology to its limits. The c74 CD Available Instruments showcases the composer's ability to adapt digital technology to the orchestral environment. In this interview with David Zicarelli, Kleinsasser discusses the fundamental challenges facing computer music, and connects the dots between yesterday's tape music and his modern interactive compositions for computers and traditional acoustic performers.