"These days you have to know everything: you have to be able to play your instrument, you have to know music theory, and you have to know Max" – Dane Orr, Sonnymoon The most overused sentence between my friend Jon and I is, “Listen to this band and consider going to their show with me”.
One of the things that first drew me to Max was its ability to connect such a wide variety of software and hardware in meaningful and flexible ways.
I've long been a fan of the German electronic group Mouse On Mars, but I've lost track of them the past few years.
Nathan Bowen talks about his Expo '74 workshop.
My most recent project, the USB-Octomod, uses Processing to create an OpenSoundControl (OSC) interface between any OSC-ready software and a hardware CV device I built using a Teensy 2.0 microcontroller and two MAX5250 DAC chips.
In this article, I'm going to break down the connections between the different pieces of software and hardware used, in order to explain how the system works and to provide the basis for a future tutorial on how one might use the device.
You can read more about the Octomod here, but it essentially allows computer control over the analog control voltages commonly used in analog synthesizers.
Color a sound is an installation that uses an overhead projector and a camera to create an inverse color organ that can be played like a player piano.
Music video installation with videos found searching "fur elise" on Youtube.
Pivoted Limbs is an electronic music EP recorded at my home studio.
A large video performance patch incorporating over 30 video filters, quad-warping and other goodies (a major overhaul was due to Andrew Benson's video processing system articles).
standalone, six channel audio manipulator, for hardware synths, audio inserts, and anything else that can carry a signal.
The Jamoma Project recently released version 0.2 of its modular framework for Max, MSP, and Jitter. Despite the low version number this software is actually quite mature, which years of development and experience forming the basis of the framework. Given that this is a significant release in Jamoma's roadmap, I thought I would talk about both Jamoma and it's development.
The radiophonic portion of my life has an annual ritual associated with it that might surprise no one; a top ten. It's that time again.
I'm reading at the moment, since there's not a lot of listening I can do. An ear infection I thought I'd whipped earlier returned in a pretty ferocious manner (it even set my ENT to clucking sympathetically and peering sympathetically), with the result being that my right ear is totally non-working (except for being a completely workable source of pain)...
So I thought I'd mention what's been the office ambience during this hiatus. As a critic, I'm never certain about how to listen to new work... do you drop it on the iPod and cycle around lake Monona on a crisp fall day? Do you drop it into the N-disk changer (where N < 10) and play it to death for days? Do you sit down with a nice bottle of Mourvedre and listen to the thing intently in a dark room? Beats me. I probably did all three. So your mileage may vary greatly here, okay? In honor of the conventions of Carnatic Music, I'll assign them contexts/times of day.