The Méta-Mallette is a platform in which you can load audio/graphics virtual instruments (made in max) or VST plugins.
Author: Livid Instruments
MIDI controllers supported with a variety of Max/MSP/Jitter patches for audio and video.
Applying elements of AI to generative software within MaxMSP.
This is my ever growing evolving performance patch.
Authors: Micheal Miller, Brad Baumgardner, Dhivya Ketharnath, Sriram Pavan Kumar Tankasala, and Eric Souther
The Life of the Techno Buddha was constructed out of 108 Youtube videos when search term “Buddha”.
Live performance ensemble using max/msp.
The Software Klee Step Sequencer is a MIDI-enabled recreation of the electro-music.com hardware Klee step sequencer - developed with the input of the sequencer's creators! It reproduces almost all of the features of the hardware version, and adds many new features as well.
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."
OMM is a robotic orchestra leaded by a human performer gestures.
pMix (short for preset mixer) is a composition and performance tool that facilitates the control of multiple plugin parameters using an intuitive graphical interface.
In her first years of using Max, Pamela Z was able shed the hardware weight by building her own instrument in Max. Take a look inside her Max instrument and her custom controllers during this presentation from Expo '74.
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.
I will try to summarize here what I thought were some of the highlights of NIME 2009...
I'd like to share some really simple things that have worked for me that I hope you'll find useful, or that may provide a starting point for your own investigations.
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...
In this installment, we'll be working on some more advanced ninja tricks - creating the beginnings of a control/preset structure with assignable LFOs, and building a GPU-based video delay effect. These two parts will bring our system to a much more usable level, and allow for much more complex and interesting results. Ironically, most of what we are really doing in this installment is just an extension of bread-and-butter Max message passing stuff.
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.