Tag: Max

  • Learning how to stutter (to good effect) (08 Oct 2015)
    A tutorial from Cycling ‘74 in re-creating Johnny Greenwood’s legendary stutter effect.

  • Max 7 Arrives (14 Nov 2014)
    Max 7 was released today and I’ve been busy checking it out. Lets just say it is pretty sick! For more info, check out this article by Peter Kirn from Create Digital Music.

  • Max 7 Sneak Peak (08 Oct 2014)
    Max 7 is looking great so far! Here are some sneak peaks from Cycling ‘74!

  • M4L and User 1 Mode on the Launchpad (26 Jul 2014)
    Last year while undertaking my MFA in Live Audiovisual performance, I developed a set of Max for Live modules to facilitate my final performance, one of which was a monome-style emulator, such that the top row would have a flashing right light through the cells to specify the current beat. In the v0.01 beta of LiAMP, LiAMP.Controller.Launchpad.Monome was released with the note “Presently over-rides any cell in the top row”, while User1 mode wasn’t functioning at all.

  • DJing using a Launchpad Part II (25 Jul 2014)
    Continuing on from yesterdays discussion about DJing using Live and a Launchpad, after some inspiration from the Cycling ‘74 forums I implemented the radio buttons using simple max objects as opposed to scripting.

  • DJ Using Only a Launchpad (24 Jul 2014)
    Today I started to prepare a new DJ set in Ableton and I began to think, can a traditional DJ set be solely performed using a Launchpad?

  • Dubstep Bassline using Kinect + Ableton (22 Apr 2014)
    Although people have been experimenting which this kinda of idea since the Kinect’s inception, it is nevertheless a very good mapping of hand gestures to musical parameters, mapping, of course, being one of the main difficulties with HCI.

  • DVJing using Live + VIZZable (28 Nov 2013)
    Yesterday I talked about VJing using VIZZable and Live, mainly concentrating on the new features in version 2.1, notably the ability to trigger video clips in session mode. Recall, previously video clips could be arranged only in arrangement view. However, with the new [clipPlayer(audio)] module, video clips can be placed on Live’s clip slots, and triggered like standard audio clips. Moreover, these video clips can be edited and warped, again as per normal audio clips. Following from Zeal’s video in which he demonstrates this, I wanted to mess about with this new feature, and see how viable it would be for live performance.

  • VJing using VIZZable and Live (27 Nov 2013)
    VIZZable is a Max for Live suite for video manipulation and live performance in Ableton Live 9. Originally based on Cycling ‘74’s VIZZIE package, in it’s latest version, VIZZable has been rebuilt from the ground up to take advantage of Cycling ‘74’s new environment Gen, facilitating very fast and efficient video processing on the GPU.

  • VJing using VIZZIE (26 Nov 2013)
    Cycling 74’s Vizzie is a collection of interactive Jitter objects, in essence bpatchers. To use Vizzie, first create a new patcher and then add modules by right clicking then Paste From -> VIZZIE-CLIPPINGS

  • Gen Tutorial 4 - GenExpr (04 Oct 2013)
    In the sidebar on the right of Gen you may have noticed a section called ‘code’.

  • Gen Tutorial 3 - Subpatching and Buffers (03 Oct 2013)
    Subpatchers and abstraction in Gen objects behave practically identically to standard Max subpatchers and abstractions. In Gen objects, subpatchers are created with the Gen operator.

  • Gen Tutorial 2 - More Gen Operators and a Simple Delay (02 Oct 2013)
    Yesterday we created our own [+~] and a simple crossfader in Gen. Today we are going to look at more Gen operators to build a simple delay object. Gen contains Mathematical (+, -, * etc.), Logical (!, &&), Comparative (==, >), and range and routing operators as found in Max. Some very useful, but potentially confusing, operators are clip, fold, scale, and wrap.

  • Gen Tutorial 1 - A Friendly Introduction to Digital Signal Processing (01 Oct 2013)
    Digital Signal Processing (DSP) is the mathematical manipulation of an information signal to modify it in some way. An audio waveform is represented digitally by breaking it up into a certain number of samples per second, at a certain bit resolution (i.e. 44100 samples per second at 16 bit quality). All these sampled amplitude points are stored in a floating point array, and can be manipulated accordingly. If any of this seems unfamiliar, please consult this great introduction to digital audio.

  • Image Masher! (25 Sep 2013)
    Today we are proud to announce the release of Image Masher!, a Postdigital art generator and an Image Masher. The application takes four images as inputs, and then conducts effects on pairs of these images, resulting in two new images, which in turn are manipulated to generate a single ‘mashed’ output. This application was used to construct the collection Election (2011), and the artwork for Strawberry Complexity‘s debut EP This is Pop Music (2010).

  • Introducing LiVid.m4l (24 Sep 2013)
    LiVid.m4l is a Max for Live package for live video performance, constructed in a similar manner to LiAMP. Although VIZZable exists which is a great kool for live DVJ sets, for Live Video Art I wished to use LiVid, a live video performance system developed for Max, which had been been robust during a tour of П. Thus LiVid.m4l is a converted and improved version of LiVid.

  • Introducing LiAMP (23 Sep 2013)
    LiAMP (Live Algorithms for Musical Performance) is a modular Max for Live package which deviates from solely utilizing programming environments for Live Algorithms, and instead embraces the added benefits of using a DAW (Digital Audio Workstation). The package consists of Max for Live modules which function as the ‘brain’ of the Live Algorithms paradigm, while Live acts as the listener and performer elements. The package may be subdivided into four main sections; Communication, Instruments, Composition, and External Controllers.

  • blockNect (24 Feb 2012)
    blockNect is an multi-purpose interactive interface, realized using Microsoft’s Kinect camera and computer vision, developed along with Thibault Lelievre and Philo van Kemenade as the group Computer Vision assignment for Parag Mital as part of Workshops in Creative Coding 2. Colored blocks are placed on an arbitrary sized chess board, where the block’s can be manipulated by the user. Each color block corresponds to a separate entity, while stacked blocks merge together to form single blocks. This affords the user three separate degrees of freedom; x, y-coordinates and height. This was realized as an eight-step sequencer where different colored blocks would relate to different instrumentation (such as drums, keyboard, bass), and the height to volume.