#maxmsp posting

[anphivenas]

Gen~ is like magic to me i need to learn it cause it’s crazy powerful but like the way it works is kinda witchcraft imo and will be scary . Oh well

[iowadream]

track that features the first piece of music i ever recorded drops the day after tomorrow 🥳🥳🥳

[datacode23]

[#message for the user::/

/>don't forget to explore the MAX/MSP database of programs for sound design and post-digital sound manipulation____________

/>サウンドデザインとポストデジタルサウンド操作のためのプログラムのMAX/MSPデータベースを探索することを忘れないでください____________

#datacode #postdigital #glitch #experimental #cyberpunk #sounddesign #maxmsp

[theradicald]

Welcome to the Second Cup of Coffee! I don’t know about you, but that’s when I get my best work done. 

For my first post I thought I’d share some art I made in my old Phaser Filters audio program - a MaxMSP patch I hope to resurrect one day that created visuals like this linked to the music created through the program. 

[wlldvs-blog]

Tower of Babel: The beginning

Tower of Babel (ToB), as I’ve currently named it, is the project I’ve chosen to dedicate my summer to as part of my Sound Design MSc. Over the course of the programme I’ve been getting hooked on developing my own tools for creating sound, primarily in MaxMSP, and it feels fitting to have my year here culminate in a project exploring this.

Concept

ToB is the continuation of work I started in my second semester ‘Non-Realtime Systems’ module. The concept is a sound generation environment controlled through standard English rather than a programming language such as SonicPi or Supercollider. As such, it would be a fairly expressionistic approach to sound, rather than the highly controllable environments offered by DAWs and coding environments, and therefore it should be stressed that anything I develop here will be developed through the lens of my existing work and approaches to sound.

History

The author as wee boy

Ever since I was an edgy edgy teen, I’ve been making electronic music, and while the early results were fairly atrocious, over the more recent years, I’ve evolved a personal voice, dwelling mostly in the shadow of the mighty oak that is experimental ambient music. As such the sonic results of this project will most likely fit under this description - it’s quite a large and varied field, but it would be unreasonable of you, the reader to expect top 40 hits, or lounge jazz classics to be a likely outcome.

Tower of Babel v1.0 

The first iteration of the code exists as a relatively ugly/scrappy Max patch and is available to download and poke here, with some example outputs available in a separate blog post. It uses a 2013 semantic dictionary to drive the analysis and derives scale intervals from valence. The mapping of analysis to sound is quite simple, and there are some glitches and holes in the analysis engine, but it works as proof of concept.

Going Forward

My main tasks are, as I can see them:

Build a new/expand upon existing semantic dictionaries to produce something suitable for sound

Start building a lexicon of sound for the software to draw upon

Examine the cultural relevance of this project, with a view to curating the material I produce with this tool

[burlveneer-music]

Champagne Dub - Drops

Champagne Dub is a collective of selected artists who come together to practice psychedelic dub rituals. The project was conceived by drummer and producer Betamax (the comet is coming, Soccer96) who makes a nod to a range of influences through Free-Improv, Psychedelic Post Punk, English Folk, Performance Art and 70s Dub. However the band also draws on the teachings of Zen Buddhist philosophy, to create sound without intention, to capture and dub the natural shape of subconscious intuitions. After several explosive live shows, the group headed into the studio where they found themselves deep in the presence of a 1/4” tape machine. The results of which were soaked in biochemically enhanced mix of reverb and analogue effects. This was then distilled into a potent psychoacoustic blend of syncopated hallucinations. Once the vision was truly realised and tested on some animals, it was deemed safe for public consumption and was thus thoroughly impressed onto 12” vinyl. Champagne Dub will be released into the sonic environment with the spiritual guidance of ‘Faith and Industry’ records. Betamax - Drums/Percussion Ruth Goller - Bass Mr Noodles - vocals Ed Briggs - Analogue Synths/Electronics/MaxMSP Nahum Mantra - Theremin

[jmaxwell]

MD5357 Research - Existing Framework Software #2

My final research post for existing framework software will be covering another project created using Max MSP. called “Andre’s Max/MSP Guitar Processor”. The project was created by Andre Nascimento, and aimed to create a virtual effects processor for use with electric guitar, using a MIDI controller to adjust parameters and an audio interface to send a guitar signal in. While the patch was intended mainly for use with guitar players, it can also be used for vocals. It features an amplifier with sound control, a delay effect, pitch shifting capabilities and also looping and sampling modules. The author states that the purpose of this software was to utilise the potential of software and computers in manipulating sound from a guitar in new ways in a recording or live setting.

I feel that this project will be very useful and relevant to what I am hoping to achieve with my proposed project as it utilises Max MSP which is the software I am hoping to research and develop my proposed project on.

http://www.andrenascimento.net/projects/digital-art-sound/andre-maxmsp-guitar-processor/

[ezrajteboul]

“Sukothai”(Carl Stone, 1977)  Annotated pure data patch

sounds pretty fun! Not sure it’s accurate but big thanks to Matt Sargent for sharing the original trick. 

download the patch here.

You can hear the original Carl Stone track here.  You can hear me running am alternate version of the recording (still the same piece and instrument though) through the patch here. You can hear me running that same alternate version of the Rondeau through Matt Sargeant’s MaxMSP patch here. As you can tell Stone probably had the process going a few more times, since this number of stages results in a 7 minute instead of 14 minute piece. The added stages probably add to the density of the original ending, when my reiteration kind of thins out into silence. I also don’t have the goofy, almost Monty-Python-esque addition of an orchestral iteration of the theme at the end of this.  

This is a patch that does some version of what Carl Stone does on the track "Sukothai." Carl Stone is an electronic composer who names all his tracks after Thai Restaurants.  

It is based on a sample of classical harpsichord, the “Rondeau” from Abdelazer, by Henry Purcell. Matt Sargeant, in reference to my sharing draft patches of my pure data recreation of Reich’s Phase Shifting Pulse Gate system, originally posted the screencaps for his Max/MSP version of Stone’s piece for “Sukothai day at Bard” here: 

When I asked for the subpatch, Matt was king enough to post this: 

Carl Stone then tweeted back saying: 

The patch basically plays itself. You just feed it an long input file (has to be wav or aiff) and it processes it with randomly delayed versions of itself. Click the pd sukothaiNNNN boxes to see the subpatch doing that. 

Credit goes to Matthew Sargent for the maxpatch on which this is based, and to "Halfifebe" on the pd forum for the vu meter trick, discussed here.

There’s an interesting set of architectural differences between Max/MSP and PD which mean that although the patch does do (roughly?) the same thing, it has to do it slightly differently. The first difference, somewhat trivial, is that the VU meter require a lot more work in pd than max, hence the clunky right-hand-side of the patch. The second difference is that in max a receive can have multipe sends and vice-versa - in pd, a send can have multiple receive destination but a receive can’t get data from multiple sends. That’s why each multiplication step subpatch has extra outlets. 

A bandcamp daily (love that place) interview with Stone includes details about sukothai: 

And then a piece like “Sukothai,” from 1977, was produced after graduation, when you worked at a radio station, right?

Yes. By the time I got to KPFK, I already had this idea about doing the layering—which is a sort of geometric procedure where you build up layers from the same material, until it becomes a mass of sounds. That’s the basic technique of the piece “Sukothai.” Start with one [sample], multiply it to two, then four than eight, et cetera—all the way up to a thousand-plus.

One thing that amazed me about that piece is the way you can still recognize some intervals from the original harpsichord sample, even at the end, after everything has been so thoroughly abstracted.

Yeah, you hear the broadest harmonic movement in the piece. You don’t hear the details—those are just smeared over by the thousands of layers. But you do hear the overall broad contours. It’s as if you zoom out from a microscopic level, from note-by-note detail, and into landscape mode.

What piece of music does that harpsichord sample come from?

Ah, it’s the “Rondeau” from Abdelazer, by Henry Purcell. And it’s the theme that Benjamin Britten used for his famous “Young Person’s Guide to the Orchestra.” So that means Britten himself was kind of a proto-sampler. And not only Britten by the way. You can go back in musical history—far, far earlier—and find stuff that Bach sort of wrote and remixed, based on folk tunes. And Brahms sort of did his remix on Bach and on Handel. And Berg taking stuff from a Bach chorale. All these guys were appropriators.

When you were learning how to become a sampling composer yourself, was there a lot of trial and error? Or did it come pretty smoothly?

Yeah, you know you’d be surprised, “Sukothai” was the first piece that I [made] when I was at KPFK. A lot of the experimenting and trial and error stuff happened when I was still at Cal Arts.

The piece was included on a compilation of Stone’s early work by Unseen Worlds.

You’ll need some version of pure data to run this. This is made entirely with the stock objects, so vanilla is fine but I made it in purr data for Garret Harkawik, who doesn’t have max. 

[irvin-an]

Party Installations

Long Leg Princess

Walkthrough

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A post shared by 杜蟲 Duanger (@duang_kianger) on Mar 27, 2018 at 2:34am PDT

As a Whole

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A post shared by 杜蟲 Duanger (@duang_kianger) on Mar 27, 2018 at 3:31am PDT

Sound Reactive

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A post shared by 杜蟲 Duanger (@duang_kianger) on Mar 29, 2018 at 12:13am PDT

Changing Light Source

Stone House Party

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A post shared by 杜蟲 Duanger (@duang_kianger) on Dec 19, 2017 at 12:57am PST

Below is Sold together with a midi interface ( Maxmsp app) for them to program their own dims

[datacode23]

カセットテープの停止 [stop tape] a #c74 #MAXMSP (.mxf file) + an audio sample.wav file tape/vinyl simulator DOWNLOAD @ https://www.patreon.com/posts/34190513 you can: add in your sample, choose the loop on/off and timeline manipulation, choose from "drop duration" and "time" (in ms) when start the "stop process". audio demo @ https://soundcloud.com/datacode23/stop-tape-demo https://www.instagram.com/p/B9P7eTZIux5/?igshid=1bf92ogr4lhfd

[detund]

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A post shared by Detroit Underground™ (@detroitunderground)

DU™ @ayrtbh - MTK cat# DU-EE1 https://detund.bandcamp.com/album/mtk Currently based in Hangzhou, China. Wang Changcun(ayrtbh) is a sound artist, electronic musician and computer programmer. In 2003, six of Wang's work were chosen for the first sound art compilation CD "China: The Sonic Avant-Garde" which published by the American label Post-Concrete. In the same year, he performed at China’s first large scale international experimental music festival "Sounding Beijing 2003" in November. October 2004, he had his first performance tour of Europe, which includes France, Netherlands, Belgium, etc. Then he got his solo CD "The Mountain Swallowing Sadness" published by the Belgian label Sub Rosa, and "Parallel Universe" by the American label Post-Concrete. He also appears on many experimental music, sound art compilation CDs, for example the compilation "AN ANTHOLOGY OF NOISE & ELECTRONIC MUSIC #4" which published by Sub Rosa. http://changcun.wang/ Bio in Chinese: 王长存，声音艺术、电子音乐、软件与网络艺术作者 2003 年全球首张声音艺术选集《中国声音前线》（CHINA: the Sonic Avant-Garde, Post-Concrete 出版）收录了王长存的六首作品，同年十一月参加国内首次大型国际实验音乐节“北京声纳 2003”演出。次年赴欧洲开始历时一月的巡演。2006 年分别在比利时著名实验音乐厂牌 Sub Rosa 出版个人专辑《拦愁山》，美国厂牌 Post-Concrete 发表专辑《平行宇宙》。2008 年在美国厂牌 Post-Concrete 发表专辑《昆虫》。2009 年于 Post-Concrete 发表实地录音双张专辑《Flicker》，具象音乐作品《海鲜》收录于Sub Rosa 出版的《二十世紀電子音樂歷史回顧—第四辑》，Post-Concrete 出版后设仿生钢琴独奏专辑《The Klone Concerts》，《The Klone Concerts》被欧洲权威声音评论杂志 Tokafi 选为 2009 年 5 月当月专辑，之后甚至有美国普林斯顿大学的人以频谱分析的方式证明它其实不是真钢琴演奏会。2011 年由网络厂牌 Oxygen Absorber 出版专辑《DO NOT MICROWAVE 》。2012 年 iOS 声音软件 “cicadas” 上架 App Store，网络艺术|电子音乐作品“Homepage”上线。2013 年在美国纽约州 Colgate 大学展出声音装置作品 “Cicada”、“Waterfall”，同年网络声音影像装置“Simstim”参展上海“中国声音艺术大展”。 #detroitunderground #sounddesign #detund #idm #glitch #glitchart #maxmsp #japanoise #techno #glitching

[pleasurecomputing]

FINAL CODE

I have attached to this post screenshots of the final versions of code that are part of my project, including arduino code and MaxMSP patches

[rdomain]

A very nerdy post box delivery today. A good start to the day. . . . #maxmsp #modularsynth #pulplogic @c74connect #nerd #programming https://www.instagram.com/p/BsHCLDUB3Xa/?utm_source=ig_tumblr_share&igshid=feoarwli0454

[uselessidea]

Algorithmic Post-Minimal Composition with MaxMSP

[teaktty]

Publishing loads of new pieces and experiments in our archive.org netlabel

516+ pieces in the last 20 days

More coming.

Everything is shared as a rough stereo mix and as 32 channel files so you can mix, remix, or reuse yourself.

Let us know what you think.

[microvity-blog]

#microvity #iot #arduino #bigdata Introduction to the Arduino with some Amazing facts

Arduino is an open-source physical computing platform based on a simple i/o board, and a development environment for writing Arduino software. Arduino can be used to develop interactive objects, taking inputs from a variety of switches or sensors, and controlling a variety of lights, motors, and other outputs. Arduino projects can be stand-alone, or they can communicate with software running on your computer (e.g. Flash, Processing, MaxMSP). The open-source IDE can be downloaded for free.

• Arduino is an open source project, owned by nobody and supported by many.

• The Team is composed of Massimo Banzi, David Cuartielles, Tom Igoe, Gianluca Martino, David Mellis and Nicholas Zambetti

• Yaniv Steiner and Giorgio Olivero have been supporting the project and are working at using it with the Instant Soup platform.

• The Arduino platform includes the avr-gcc tool chain, uisp, and the Procyon AVR-LIB by Pascal Stang.

• The Arduino language syntax is based on Wiring by Hernando Barragan

*Why using Arduino?*

• It is flexible, offers a variety of digital and analog inputs, SPI and serial interface and digital and PWM outputs

• It is easy to use, connects to computer via USB and communicates using standard serial protocol, runs in standalone mode and as interface connected to PC/Macintosh computers

• It is inexpensive, around $30 per board and comes with free authoring software

• It is an open-source project, software/hardware is extremely accessible and very flexible to be customized and extended

• Arduino is backed up by a growing online community, lots of source code is already available and we can share and post our examples for others to use, too

http://www.microvity.com