Max 7 - Documentation Home. Fourier filter in MaxMsp. View topic - NHF Max4Live Device Sharing & Discussion Thread. Are you sad because as Ableton user without Harmor you cannot resample like SeamlessR does ?
*Do you want to wet your bass like your bed at night ? Well here's the Harmors resynthesise section ported to M4L. resampler.png (10.34 KiB) Viewed 1403 times Don't be fooled by simple GUI. It can produce solid sounds.Here's some audio preview. First, there's dry signal. In about 0:06 sec I'm starting to turn BLEND and SPREAD, for some unison pitch / phase blur. GUI's pretty straightforward. IMPORTANT NOTE:I'm not going to confuse you with FFT theory, but changing pitch of sound without shortening the wave requires some time, so there's delay of 4096 samples, which is about 93 ms with 44.1k sample rate, so don't forget to "strip" your bounced audio or just set new start point.
Have fun with it. * Yes, I know you can buy Harmor separately as VST. UBC Max/MSP/Jitter Toolbox. UBC Max/MSP/Jitter Toolbox: Download the UBC Max/MSP/Jitter Toolbox (version 1.0) for Max 6 or 7 (32-bit versions of Max only) here Download the UBC Max/MSP/Jitter Toolbox (version 0.99) for Max 6 (32-bit versions of Max only) here Download the UBC Max/MSP/Jitter Toolbox (version 0.98) for Max 5 or Max 6 here Download the UBC Max/MSP/Jitter Toolbox (version 0.92) for Max 4.3 - 4.6 here Please note that UBC Toolbox version 0.98 will only run on Max 5.0 or higher and some of the modules in versions 0.99 and 1.00 require Max 6.0 What's New: UBC Toolbox modules (version 0.97) have been re-designed to support multiple instances of the modules within the same patch, so you can now have as many independent copies of the modules in the same patch as your computer CPU will allow.
Max 6 Feature: Packages - Cycling 74 Makers of Max Visual Programming Software for Artists, Musicians & Performers. PeRColate is Here!!! PeRColate A collection of synthesis, signal processing, and image processing objects (with source-code toolkit) for Max/MSP by Dan TruemanMusic Department Princeton University and R.
Ramagottfried.com. Currently developing tools for symbolic notation that will allow composers, sound artists, visual artists, architects, and other visual thinkers, to work abstractly with the representation and performance of their ideas.
The score is an ideal form for communication in that it is human readable, and visually expressive of the inner content of the work. Currently based in Adobe Illustrator, the aim of the SVG Score Project is to provide a context in which the user can make any symbol they like and assign any meaning to the symbol (like pencil and paper). Using a hierarchal grouping scheme, the scores are saved in SVG format, and then converted into an OSC bundle in Max/Pd. Once converted into OSC, the files can be interpreted with the assigned meanings, and are able to be performed by the computer. CNMAT/CNMAT-Externs. Downloads. Max-projects index. Rodrigo Constanzo. The Party Van is a live sampling and performance instrument built using Max.
It was programmed around the Monome 64 and Arc 2 controllers but includes mapping for an iPad running TouchOSC (custom layout included) as well as the Keith McMillen Softstep foot controller. The patch will work just fine with larger Monomes and Arcs. Additionally, the patch has MIDI learn functionality built in, so every parameter can be mapped to any MIDI controller. Finally, control output of a Shbobo Shnth can be mapped to The Party Van as well. So what is it? Firstly, it looks/sounds like this: That’s not everything it can do, but just a quick taste of some of the slicing/granulizing/pattern based stuff. Here is a more thorough, although less musical example of stuff: Max MSP. Liens Max, MSP, Jitter et pure data. Publié le .
Voici une série de liens à propos de Max, MSP, Jitter et Pure Data. Ils sont issus d'années de navigation sur le web. Max Games - Cycling '74 Forums. Good choice to go with Unity3d, I’ve been poking around with it for a few months and am hugely impressed.
A learning curve for sure, though some projects are super-simple to get started. Lots of tutorials available too. Once you start to "get" how it deals with GameObjects, components, and scripting (like accessing other objects), how the physics elements work, and what the very flexible and interactive Inspector can do for you, you’ll be off and running. There will always be tradeoffs between languages. For example, it’s much easier to do a slick and complex UI in Max than Unity (or probably most other languages), and writing files, storing presets, etc. is a breeze with Max. The biggest advantage of Unity3d, though, is the ability to deploy to mobile. Chess for Max - Cycling '74 Forums. Presenting the best Max object you never knew you needed: "uci", filling out the Max feature set with that certain je ne sais quoi which only chess can provide.
Years in the making, now immediately available for your personal enjoyment. Features: – mouse and text move input (short/long algebraic or coordinate notation) – move verification, check and mate detection, en passant, castling and promotion – move message output indicating (long) algebraic notation, coordinate notation, ply and move success (validity) – FEN input/output support – 17 buttery smooth and expertly centered piece sets – fonts and colors – coordinates – view the board from White or Black’s perspective – load and configure up to 2 UCI-compatible chess engines — play against yourself, a friend, a computer or let two computers play against one another – full engine analysis output is available for parsing & evaluation – 32/64 bit compatible – Mac & Windows support. Gen PhaseVocoder Sound Quality issues - Cycling '74 Forums. Strictly speaking the @interp none/step shouldn’t change the sound, so long as the delay times coming in are integers (should be).
But @interp none/step will probably be more efficient; I’ll change the gen examples accordingly. (For anyone reading, @interp none and @interp step are synonyms, they have the same effect.) I’m not sure if @feedback 1 is really needed either; this is the default for [delay]. Specifying [delay @feedback 0] has two effects: 1) it does not allow direct signal feedback in the patcher, and 2) it allows delay times less than 1 sample. In a pfft context however, 1 sample delay equates to a frequency shift by 1 bin. I’ve found that using framedelta/frameaccum is ‘sharp’ as long as there is no time/freq shift, but once shifted it becomes blurry, and removing the shift does not remove the blurriness.
Download. Sound Design with Max. Oli Larkin blog: Max MSP. When i make an external, i usually duplicate an existing one.
I got really tired of going through and doing find and replace in multiple files for Xcode and Visual Studio, so i decided to make a bash script and folder layout (with template projects) to automate the process. To duplicate a project you simply have to open a terminal window, cd to your max external projects folder and type: sh duplicate.sh [inputprojectname] [outputprojectname]e.g. oliver-larkins-macbook-pro-15:maxbuild oli$ sh duplicate.sh mb.msp~ ol.mynewmspexternal~The script copies your project and then goes through all the files and substitutes the old project name for the new one you specify, both in the file name and inside the files.
When making changes inside the c or cpp files, the class/function/struct names etc. are substituted but tildes and dots are removed where they would cause problems for the compiler. Thanks to Graham Wakefield for the C++ templates. there's a readme with instructions. Rodrigo Constanzo. Max Tutorials. Software Maxmsp - DaveBessellMusic. Public domain Max/msp V4.x files (constructed on PC but should work with max 4.x on either PC or Mac) Pitch tracking monophonic synthesizer . (Good for guitar, woodwind or even vocals) requires the fiddle~ external to workPizz, a more advanced plucked violin string model. Yofiel - Antialiased Oscillators. Details. Examples sent to the list. Custom Data-Types in Max Part 3: Binding to Symbols.
When people design systems in Max that are composed of multiple objects that share data, they have a problem: how do you share the data between objects? The coll object, for example, can share its data among multiple coll objects with the same name. The buffer~ object can also do this, and other objects like play~ and poke~ can also access this data. These objects share their data by binding themselves to symbols.
This is the third article in a series about working with custom data types in Max. In the first two articles we laid the groundwork for the various methods by discussing how we wrap the data that we want to pass. IntroductionCreating “nobox” classesBinding to symbols (e.g. table, buffer~, coll, etc.)Passing objects directly (e.g. The Symbol Table Before we can talk about binding objects to symbols, we should review what a symbol is and how Max’s symbol table works. Sound Design with Max: Creative Convolution Part 1 - Resonate. Convolution reverb is a great thing.
Its usual use - being able to capture and re-create spatial acoustics, is useful for a range of tasks such as fitting dialogue in a scene, or just creating a sense of space. But it's worth taking a moment to think about what is happening during this process. One sound file is effectively being filtered through another, with the convolution reverb filtering the frequency content of each sample through all the samples present in the IR (a simple explanation, but adequate here).
The impulse response files themselves effectively hold a snapshot of the acoustic data of a space, or at least from a point in the space. This data describes how the room responds acoustically to an impulse or short burst of broadband noise. The second thing that caught my attention at that time, was this post at Designing Sound by Douglas Murray, focusing on his use of convolution reverb to create infinite airfill using white noise as a sound source.
Topic: How to prevent the creation of an object when bad arguments are typed ? « Cycling 74. Music Technology Investigative Study. CNMAT/CNMAT-MMJ-Depot. Odot: an Instance-Based Object-Oriented Programming Library for Dynamic Media Programming Languages using Open Sound Control Message Delegation. CNMAT/CNMAT-odot. Max5 API Reference. Dmxusbpro - DMX 512 externals for Max. Actualités - Premiers pas avec Max/Msp. Development @ GMEM - Max/MSP Externals. Timo Rozendal. Max/MSP/Jitter Software Development Kit « Cycling 74.
Setting up OSC network on Reaktor, Max & Pd. The Chord Catalogue. Un article de Wikipédia, l'encyclopédie libre. Compose-By-Chords Interactive Computer Music System. Keywords: music composition, computer music, interactive music, georgia tech Fall 2004 Description As an avid clarinet player and listener of a variety of different styles of music, I have naturally been drawn towards the third area of music: composition. Combining my love for music with my fascination with computer science, I worked on an interactive computer music system that would allow people to create music on-the-fly by simply playing chords that interested them.
Similar in concept to the idea of "tone-poems" that guided the work of many romantic composers, this system believes that the important (i.e., musical and emotional) aspects of a piece of a music are largely guided by the interplay of different chords. However, to allow the composer to control other aspects of his creation, various high-level concepts have to be somehow translated into lower-level implementation details -- a challenging problem. Based on these controls, the computer generates all the music that is played. 2/4-Pole Saturating SVF. Details Created: 09/20/14 (Updated: 11/03/14) This is a gen~ implementation of the 2/4-pole mixing state-variable filter with variable saturation, based on the core filter implementation in the 2-Osc instrument for Reaktor 5.9. Resonance is not gain compensated at higher Q values. Instead of implementing gain compensation inside the filter, you may wish to consider adding the fast-response limiter on this site to reduce audio output to unity gain when the filter is self oscillating.
Design Notes The SVF implementation uses param inputs for all the control signals. This SVF uses internal subpatches to simplify design and mortification. Note: As of Max version 6.1.8, the samplerate object does not reissue a new value upon change of the audio driver to a new audio frequency until the patch is reloaded. Nexus Mobile Audio Interface. Downloads. John Mayrose: Max/MSP Resources. Creative Beat Making with Max 4 Live’s Instant Haus in Ableton Live 9 : AskAudio Magazine. There’s a great selection of instruments that come bundled with the Max For Live pack. One of my favorites is Instant Haus MIDI device.
This is a drum MIDI device that uses patterns and randomization to create interesting beats for your productions. It’s also a great tool to use in a live environment where you want to switch drum patterns on the fly. Let’s take a look at how to setup this tool for your beat production Step 1 – Adding the Instant Haus to an Instrument Track. Max for Live Drum Devices Roundup! Sufi Plug Ins Palmas, The Beatdown, Sample Layer, Instant Haus, and Drum Synths. Drums are a key ingredient of just about any track you make, regardless of genre (except a capella, ambient, and other beat-less genres, of course!). Automatic Breakbeat Generator – Max. Max 6 API. Ableton Push Development Kit. Push Programming Oct13 01 - Cycling '74 Wiki. Introduction So, to start off this October 2013 Push Development series, I start with a device that does something I like to call frequency mixing.
I use frequency mixing a lot during live performance, taking a static track and using some interactive EQ tricks to create a more interesting mix out of a single loop. Push Pong version 1.0 by MSB on maxforlive.com.