Exploring MGraphics for UI Design
You can use Max to create graphics files for matrixctrl.
In third installment of Jitter Recipe Collection, the Jitter Recipe “AnaglyphRender” builds on the “RenderMaster” recipe posted to create a realtime 3-D anaglyph image.
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.
pMix (short for preset mixer) is a composition and performance tool that facilitates the control of multiple plugin parameters using an intuitive graphical interface.
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.
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 the last article, we added some basic tonal effects: distortion/overdrive and EQ/filtering. This time, we will expand our virtual effects rack to include both a phase shifter and a full-featured modulating digital delay. As we add these effects, you will begin to see why a DIY effects system can trump any commercial product.
These days it seems that everyone wants to be an artist so I found it refreshing to meet someone who see himself as an engineer that wanted to create tools for artists. Mattijs Kneppers spoke to me by phone from his home in Holland.
Now that I've got a nice generative patch and a way to hear it, I thought it'd be nice to make a few improvements and extensions that would let me begin to specify larger structures - to generate instructions to my generative patch, as it were. While I'm sure that the world is full of people who want ways to have the same thing happen again and again, I'd like to do this in ways that offer a little more freedom than that. This short tutorial will add a modest number of these kinds of changes.
Last week, Siggraph 2008 took over the Los Angeles Convention Center, and Cycling '74 was there to bravely represent Jitter to a huge crowd of CG enthusiasts, production professionals, and academics. For anyone who hasn't been to a Siggraph show, it is a huge, over-stimulating event for the computer graphics community, complete with academic talks, screenings, an exhibition hall, an art show, competitions, and a job fair.
Recently, CNMAT at UC Berkeley held their annual MaxMSP/Jitter summer school classes at their beautiful Arch St. facility just off the UC campus. This year, for the second year in a row, I had the pleasure of teaching the Jitter Night School - a 3-night intensive of focussed tutorials covering a variety of Jitter topics.
In addition to an unprecedented number of configurable settings, Max 5 also provides a more navigable structure for making choices about your environment. In this article we'll discuss ways you can tweak the settings in various places to make your time spent in Max 5 more comfortable and fulfilling to your aesthetic requirements.
I'm personally a lot more interested in the ability to synchronize processes in Max using time values that resemble musical note values to create control structures that can be easily time synced. This tutorial is about making one of those kinds of modules - a quartet of synchronized LFOs whose outputs I can sample individually for several kinds of data (triggers for waveform start, LFO outputs that I can sample at variably synchronized rates, and a nifty summed waveform I can use for more exotic kinds of control).
When we left off in the last article, we had created a new color scheme and layout for our old patcher using presentation mode, translucency, improved color controls, and embedded hints. We could certainly leave this patch alone, but we're going to take the interface to another level, making it a little more interactive and interesting, while providing more intuitive controls. The techniques discussed here should open the door to much more fun and useful interface designs for your patches.
I have to confess that I always found UI design in Max 4 to be a little too cumbersome, and would almost always wait until a patch was completely written and debugged before bothering with any layout of UI elements and color.
In addition to the smoother look and feel of Max 5, there have been a number of enhancements to the user interface that will help you to maximize your creative productivity and minimize the time spent performing repetitive and annoying tasks. In this article, I'll talk about a couple of the features that have really improved my patching workflow.
Sometimes when you are programming, you need to be able to configure some information about how your computer will do its job. Over the years, programmers have come up with a number of different terms for these little pieces of information -- parameters, properties, fields, etc. In Max, we call them attributes. Attributes were first introduced in Jitter, where they make it convenient to manage the state of complex objects such as jit.qt.movie. In Max 4.5, a few Max objects such as pattr (which is short for "patcher attributes" by the way) and js began to make use of attributes.