Does your doctor use Jitter? Whether it's doing visuals for Detroit musicians, audio-visual theater, or practicing medicine, James Ryan has found ways to expand his practice with Max.
Tarik Barri discusses his visual work with Monolake and more.
Lots of people use Soundflower for producing podcasts and doing various work where audio needs to get from one app to another.
Performance for two trombones and live electronics.
This is a project to facilitate the syncronisation of a live drummer with samples and sequences, without using a click track but by using a tap tempo via a midi pedal.
This is a 4 track live looper.
RadioGamelan is the first in a series of pieces which seek to embellish the 1960’s notion of “action scores” (embodied in the music of Christian Wolff and John Cage, in pieces which specify the “how” of performance, rather than the “what”) with computer programs that enable specific types of performance.
Converts MIDI input note into 4-note chords to MIDI output in real-time.
This is my ever growing evolving performance patch.
Live performance ensemble using max/msp.
I needed my own controller for Ableton Live. I built it in a diy mind and I'm using max for live as an interface between Ableton Live and the hardware.
Even before the Max for Live beta was opened up to the public, a community of testers was hard at work putting Max for Live through its paces.
Author: Komika Hackage
This pair of externals decodes timecoded vinyl and plays the decoded stream through a resample external back.
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...
An amazing artist with an amazing range of work, read the interview of Noriko Matsumoto by Greg Taylor.
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. Most of the examples you've seen so far have been pretty similar to your average plugin, with the fundamental difference of being to edit the device in place. That in itself is pretty spectacular, and probably enough to please a lot of people and keep everyone busy. Well now I'd like to talk about a couple of features that really make Max for Live unique and pretty exciting: namely, the Live API objects.
I will try to summarize here what I thought were some of the highlights of NIME 2009...
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...
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.