In the last several tutorials I’ve written, I’ve been talking about a subject that interests me a great deal – how to add variety to a Max patch in ways that both provide you with surprising and interesting combinations and do so in ways that make the transition between your input and what your patch is doing more subtle than hitting a button object and having everything start behaving in ways that are obviously not you.
To be more specific, I’ve been talking about ways to use the humble LFO as a generator of that variety by summing, sampling, and otherwise using it to produce less ordinary control curves than can be easily intuited by your audience by the time the second sweep of the LFO comes around.
There’s another obvious source of variety generation that Max users often gravitate toward: random number generators.
A simple truth emerges from the practice of writing Max patches like the Max for Live device we've been working on: The trajectory of “finishing” your Max patch is something you approach on an asymptotic curve - you approach being “done,” but never quite reach it.
Since a lot of people are interested in what the process of porting a Max patch for use in Max for Live looks like, I thought I’d take this tutorial as an opportunity to go over the steps I used to take my waveplayah patch and to convert it to a Max for Live device waveplayah.amxd.
In my last LFO tutorial, I took the basic LFO module I’ve been working with in the previous tutorials, added some new extensions, and created a nice little patch called the waveplayah that used a summed set of the LFO modules to drive the playback of the contents of a buffer~.
A while back, I wrote a series of four tutorials based around the idea of how you could generate and organize variety in Max patches.