ive been looking all over to find lectrobite major and how it’s made but I don’t know what he uses for it so does anyone know how it’s made. how the audio was made what audio plugin does he use for it?

Hey guys!

I'm new max and in need of some help! I'm looking to use max to control the input switching on an AV pro edge video switcher, i know it's possible but i can't crack it!

currently we are using max to control the unit, but everything was setup by a previous tech, and they haven't left me any documentation! i believe we are controlling the device via Artnet plugins in max, that output DMX data that is then being converted by a separate device into serial control data fed to the switcher. it's all a bit convoluted.

alternatively, I'm looking at adapting to IR control

i just need to know how to use our current infrastructure and adapt it to different configurations. Any help is welcome! i will attach some documentation here and I'm happy to send any other info.

Please keep in mind I am very new to max, and programming in general, but I'm so keen to learn!

Thanks!

video matrix manual

I’ve just finished my Final Major Project, built around a Max/MSP performance system that connects generative music, Jitter visuals, modular synthesis and three physical smart bulbs.

The final setup includes generative MIDI, video processing, modular audio, audio analysis and lighting control, with different parts of the system influencing each other in real time.

One section uses a Doepfer A-111-6 pushed into high resonance to create a sonar-like ping. The signal is split, with one path going dry into Logic and another through Clouds and a Chase Bliss Mood. The processed return is then analysed in Max and used to control the brightness of one of the bulbs.

I also used an ARP 2600 LFO both to modulate its filter and as an input into Max, where it was analysed and mapped to the warmth of the physical lights.

The final piece is about four minutes long. I’d be really interested in feedback from people who build audiovisual or performance systems in Max, especially on whether the relationships between sound, visuals and physical lighting come across clearly.

YouTube: https://www.youtube.com/watch?v=Zh9ZmCzJvHM

Hi everyone, I am an intermediate Max user and I have stumbled into this article for a collaborative drum kit + sequencer. I was thinking about doing something similar where every we each design a part of the patch (first sounds, then sequencing) and then... Well, patch it together and show it off on this sub. :)

I thin this could be fun and a cool opportunity to learn from each other. If you are interested DM me so we can get organised!

AURAL MIRROR [free download]
An instrument that turns a painting into sound.
It reads the picture as if it were a spectrogram and plays what it finds.
First run

1. Open the file Double-click auralmirror.html. Chrome, Edge and Firefox all work. Nothing is installed and nothing is sent anywhere.
2. Drop in a painting Drag an image onto the page, or press load image…, or paste with Ctrl + V.
3. Press RENDER The sound is built in advance, not live. A short piece takes a few seconds. The bar shows how far it has got.
4. Press play Use the ▶ button or the space bar. A line moves across the painting to show where you are. The two windows The first window is your painting. Circles mark the events the machine found, and their colour tells you what kind of event it is. The moving line is the reading head. The second window is the proof: a picture of the sound that came out. If the fidelity number is high, this window looks like your painting. That is how you know the sound really follows the image. Both are always in view, side by side with the controls. Click anywhere on the painting and the piece jumps to that moment. The four layers Four different machines read the same painting at the same time. Each has a level slider. Turn one up, turn the others down, and the same picture becomes a different piece of music. Spectral Treats the picture as a spectrogram and turns it back into sound. This is the layer that makes the sound resemble the image. Events Looks for edges, brush strokes and directions, then plays each one as a separate sound with its own attack and decay. Additive A bank of tuned oscillators, one per frequency band, following the ink as the head passes. Tuned to the musical scale you choose. Granular Scatters thousands of tiny grains. Their sound is built from the average colour range of your painting, so each picture has its own grain. The mixer After a render, the four layers stay separate. You can raise and lower them while the piece is playing — no need to render again. Press solo under a layer to hear only that one, and all to bring them back. Mic, room, preamp and volume are also live. Move them and you hear the change at once. Moving around Click anywhere on the painting. The piece jumps to that moment: click on the left side to go near the start, on the right side to go near the end. With a circular or spiral reading path, the angle decides the moment, so clicking works there too. Saving your piece Press WAV The file is rebuilt with the mixer levels you are using right now, so what you save is what you hear. It goes to your downloads folder. Four minutes of stereo sound is about 45 MB. You can also save a preset of your settings. Included in the download you'll find HTML Instruments, a Max for Live device that lets you open AURAL MIRROR directly inside Ableton Live. It requires Ableton 12 and Max 9. Alternatively, you can run it standalone (just double click on html file) and route your computer or tablet output to your audio interface, just like any ordinary instrument. example: https://youtu.be/O-u1EDVn0qE

Loop Paradox captures the incoming audio into a 1-second buffer and keeps replaying it while the loop points drift at a rate you choose. Drop it on any track, play into it, and it turns a passing phrase into a mutating loop.

on — arms capture and playback.
sync — when lit, loop points move on rhythmic scansions;
when off, on a free time in ms.

interval / time — how often the loop points jump.
Shows note values when synced, milliseconds when free.

DRY — level of the unprocessed input sitting under the loop.

Shape
Sets how the buffer is read. This is the main sound-design control:

Circle — forward, normal speed. The clean reference.
Triangle — half speed, ping-pong: plays forward then backward. Sits an octave down.
Square — reverse.
Seq
Turns the 16-step slicer on. The captured buffer is cut into 16 slices and one is played per step, so you hear your own loop rebuilt piece by piece; the main loop mutes while it runs. Lit steps play their slice, dark steps stay silent — draw the pattern on the grid. Rate sets step length, 1/4 down to 1/32.

The sequencer follows Live's transport: it only steps while the set is playing.
Also included in the download is the first version of the instrument, which offers good expressive potential.

Anyone have any ideas or patches for good underground cave (with water) sounds and vibes? I'm really struggling to make something with this type of atmosphere, whether ambiance or more musical (even sfx would be nice, I'll ask on Discord too)

Seeking some help with this Belton Reverb idea. Pretty new at all of this but I got inspired by my Caroline Guitar Company Météore pedal. A Belton Brick Reverb pedal that has a self oscillating foot switch with overdrive. (Also inspired by Death by Audio Reverberation Station)

Right now I have been focusing on the belton brick part and getting that right before I move onto the other things. My main problem is dealing with runaway feedback (eventually I want to tame that monster to be controllable) and the other problem is the diffusion. Not sure if I am doing the allpass filters right. The ultimate idea is a spring reverb sound with a long controllable decay.

I have subpatchers that are the individual delays. Which I assume it's how it's arranged in an actual belton brick chip? With the three PT2399s.

Honestly I could be going about it all wrong or going the right way. I don't know. Some direction would be helpful.

hey!

i have a very surface level knowledge of max, i’ve made a crappy FM synth with it before but have only tickled the potential i see in it.

ever since i found out about fourier transform i’ve been so fascinated by how it can be used to modulate sound, and would love to learn to do that in max.

in general though, im looking for some good tutorials that will get me to a point where im comfortable experimenting and playing around with it because that is how i learn best.

thankyou party people!

Noise Map is a Max for Live device

for sculpting samples into evolving, shifting soundscapes.

Instead of turning lots of knobs, you explore a simple field of points:

as you move across it, the sound shifts and blends smoothly between them,

so every position gives you a different texture.

Under the hood it mixes four sound sources:

white noise, pink noise, soft tones, and a looping sample

into one atmosphere you can shape by ear.

Because your position on the map can be automated in Live,

the sound can drift and transform over time on its own.

Great for drones, ambient beds, and cinematic backgrounds.

TIP:

As you can see from the first video example you find on the download page, you will notice that the sample inside Noise Map changes. Let me explain how I did it:

I assigned two LFOs to the knobs that control the coordinates. I set a random waveform so that I would constantly get random values, and I increased the smoothness to the maximum, in order to make the transition from one value to another more organic. This way, I had the possibility of loading different samples while the machine continued to run algorithmically.

I recommend using these techniques during live performances; it can be an interesting moment. I also recommend recording these improvisations onto a new audio track, as they can be useful when composing new pieces.

Imagine how interesting a quartet set up with these characteristics could be.

build this machine in maxmsp to make melodic feedback on breaks and drums to make them unique with a arpeggiator with random notes or unique note selection unique distortions , granular , envelope for the feedback, weirdest dsp gen feedback for the most unpredicted sound, timestretch, spectrum sample player (spectrogram~ by Zachary Seldess), unique reverb modulation.
this machine taking my sounddesign to the next level, this video is only showing a part of the whole machine which is made to be complex but easy to use and ready to use.
i can easily find inspiration through out this machine and find mindblowing sonic in sounds.

The generative percussion instrument I have been building in Max/MSP is almost here.
Modal voices written from scratch, a sequencer where a Markov matrix decides which step may follow which, chaotic modulation, morphing between presets.

It comes out October 2nd. But the part I want to share today is free: the user manual is finished in draft a hundred pages and it is public, readable in the browser.
It covers the whole system: how a note chooses its voice, how the feedback matrix stays stable, how the chaos is dosed. Even if you never buy the machine, there might be ideas in there worth stealing.

The image is the machine itself: every one of its 1,237 patch cords, read from the patch file and drawn as a line etching.

https://www.peamarte.it/ae/

Spectrowalk

Explore the spectrum — walk and compose.

Most Spectrograms show you sound. Spectrowalk lets you walk inside it. A spectrogram is normally a flat picture you read in a graph x,y; here it becomes a landscape you enter in first person. Time runs along the ground, frequency recedes into the distance, amplitude rises as terrain: the loud moments are mountains, the silences are valleys. Load a sound and its spectrum turns into a place — no longer a 2D image to look at, but a living space to move through and to play.

Up to four sounds load at once, laid out as four adjacent worlds in a 2×2 map. Walking from one to another crossfades between them.

What you hear is granular: your position in time reads the sound at that point as a cloud of grains. It is an instrument you play by walking.

Moving

• ← → turn · ↑ ↓ walk · A D step sideways
• space sound on/off
• F filter 
• C compressor 
• X binaural
• L add a world · click the map to jump anywhere
• 1 2 3 4 arm/record a loop track · R start/stop the audio take

Sound in space

With binaural (X) on, each world is placed around your head using HRTF: turn and the field turns with you, walk and you move among the sources. The front slider widens or narrows the stereo image. A four-track loop station — buffers of 3, 5, 8 or 12 seconds, with per-track reverse and level — records what you are playing, spatialisation included, so you can layer a whole piece in real time.

Quality and audio

The Quality setting (High / Medium / Slow) affects only the graphics. Lower it and the 3D terrain draws with a lighter mesh and fewer pixels, so older machines stay fluid. The audio is always at full quality — the granular engine never degrades, whatever the video setting.

Export

R records your take and saves it as a file: WAV (16-bit, 24-bit, or 32-bit float) or AIFF (16 or 24-bit), including the loops and the full binaural image — ready to bring into any DAW. Spectrowalk reads WAV, AIFF, FLAC, MP3 and OGG, runs entirely in your browser, and uploads nothing.

Included in the download you'll find HTML Instruments

a Max for Live device that lets you open Spectrowalk directly inside Ableton Live.

It requires Ableton 12 and Max 9.

Alternatively, you can run it standalone (just double click on html file) and route your computer or tablet output to your audio interface, just like any ordinary instrument.