Jamie Lidell: Rocking the "one man human tornado".
Kevin Blechdom: Mind expansion through Max/MSP.
AGF: Falling in love with patches.
The majority of these recipes are specific implementations of a more general patching concept. As with any collection of recipes, you will want to take these basic techniques and personalize them for your own uses.
Turntablism takes on the visual dimension.
Performance and Installation Using the Lady's Glove to build relationships.
Book 1 contains some clever solutions, advanced trans-coding techniques, groovy audio/visual toys, and basic building blocks for more complex processing.
My colleagues Andrew and Meg and I headed over to the new Recombinant Media Labs facility last week for a fun-filled week of Max workshoppery.
Creating the personal instrument. Watch Christopher's video.
Controlling a Media Facade: The Bix Simulator and VJ software ES-X. Watch John's video.
Installation and Performance Fabricating the interfaced machine. Watch Barney's video.
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.
San Francisco resident Carl Stone has composed electro-acoustic and computer music exclusively since 1972. He has been commissioned to compose and perform his works in the United States, Canada, Europe, Asia, Australia, South America and the Near East. In this 1999 interview with Gregory Taylor, Stone talks about his methods for composing with new technologies and the artistic implications of sampling.
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.
Bob Ostertag is a music school dropout who has since performed all over the world and has collaborated with the likes of John Zorn, Fred Frith, drag diva Justin Bond, and the Kronos Quartet. In this interview he describes his creative process and what inspires him to design his technological instruments.
Luke DuBois is a teacher at Columbia University in New York City, and a member of the famous Freight Elevator Quartet, whose "Fix It In Post" CD is making waves as the first release on the C74 record label. In this conversation with Gregory Taylor, Luke shares stories of synthesizer part scrounging, the early days of the Freight Elevator Quartet, and some of his most inspiring students' projects.
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.