Hit Record = (sound + music) * (art + tech);
Viewing entries tagged
Ableton Live
Updating my custom PS3 Max for Live Parameter controller with:
multiple scalable mappings per parameter
gesture recording and looping
selectable MIDI note mapping - momentary or toggle
Potential here for some absolutely bonkers performable modulations!!
Quick realtime performance triggering drum loops and controlling cinematic sound design instruments
Using Ableton Live and Max for Live to control Wwise via MIDI binding for prototyping purposes
Since I modified my Open Sound Control patch to work with a PS3 controller, I had to go ahead and port it to Max for Live as well. Its pretty much the same layout as the 360 version but with more features to support the sixaxis variables and button pressure values. I'm just experimenting here with a simple beat, some preset morphing and multi effects.
This patch started as an OSC game controller that I decided to port to Max for Live to take advantage of the device parameter control API. It was a pretty painless port, most of the work was trying to fit everything into the narrow UI space and attempting to execute a clever way to tab through the 5 pages of control options. I think it turned out pretty nice, its still got some bugs but is a lot of fun to experiment with.
As in my OSC patch, I’ve made each message range scalable for fine tuning control possibilities. There are 5 nodes for each joystick plus XY values which gave me 7 possible control parameters for each joystick! I also implemented an adjustable sustained noteout message when pushing the sticks down so I could trigger pads and arpeggiators with the same controller.
I again pretty much randomly assigned a bunch of controls to an arpeggiator, percussive synth, drum machine parameters, ambient synth, effects, effects and more effects:) Check the vid if you’re interested to hear some results. Sound starts at 00:18 seconds.
Okay, so this is a bit silly and was thrown together pretty quickly but I wanted to do something with a Halloween theme. What we have here is a flashing wax skull triggering MIDI notes in Max for Live with the colours Red, Green and Blue. This was all done in real time using my iPhone as a wireless web cam. The web cam video is being sent to MaxMSP, through some Jitter video extensions where some filtering was done, and then the RGB colours are extracted. Once that was done I decided to send MIDI notes to Kore2 instruments with the colour triggers.
The colours break down like this:
- Red - triggering random notes of the ‘creepy_Glockenspiel’ instrument in the key E minor
- Green - triggering random positions in ‘scary’ vocal samples loaded in Reaktor where some sample mangling is taking place
- Blue - cycling through a melody in E minor triggering the ‘haunted_organ’ instrument
The video in the center is the unfiltered version coming straight from the iPhone web cam. The other video is where the filtering is taking place and is where the colours are triggered from. I chose to put 2 filtered videos just because I thought it looked better... Also, this experiment was a bit of a pain since I don’t own the Jitter extension of MaxMSP. Jitter does however work in Max for Live but only at the runtime of a closed patch so I couldn’t audition my changes while editing the patch...
Another experiment with audio controlling animation using Quartz Composer. This time its simply the audio amplitude scaling the overall image sizes. The images are randomly generated in multiple directions and falling with a set gravity value.
My first Max for Live audio device! It’s got a few bugs but was a fun and educational process. It’s basically an audio buffer looper that can load sounds or be directly recorded into. The user then has the ability to play back an adjustable loop selection of the buffer with control over playback rate (pitch) and direction. It can also be controlled by OSCemote running on the iPad or iPhone.
On the iPad, the Multi Touch page communicates with 2 points of X/Y values. For the first finger X = selection position Y = selection width. For the second finger X = playback rate/direction Y = volume.
On the iPhone, the Accelerometers XY values controls the selection position and width. The simultaneous X value of the multi touch page controls playback rate/direction.
Max for Live audio buffer device. Samples can be loaded into the buffer or be directly recorded into. User can adjust the selection of the buffer to loop and its playback rate/direction.
Audio is being fed into Quartz Composer where it is being divided into multiple frequency bands. Each bands energy is scaled and the values are sent as OSC messages to Animata which animates the graphic.
I designed and implemented the Interface SFX for Skate2 and created this clip showcasing some of the design elements used. The direction for the games audio interface design was very lofi, noizy, dirty, scratchy, distorted to match the 'do it yourself' visual style. Some of the samples have been mashed and processed into this electronic/glitch track.
I didn't have any video capture as in my other demo so I decided I would make a MaxForLive patch that did some clever image mashing and sequencing using audio input, timeline and tempo information from Ableton. The images were mostly image search results for Skate2.
Chopped up a music box recording and resequenced it using a monome grid. The end of the song is the original recording.
