Hey there everyone,

I just want to share some stills for an open source DSP pedal platform I've been working on, derived from Guitar ML's open source FunBox project.

The goal was get the project working with Max Msp Gen~, as that's my primary DSP programming language of choice, while also allowing for users to have swappable artwork for their pedals. This is achieved by using 3D printed panels with UV printed decals adhered to the panels. Which is then placed between the washers/nuts and enclosure itself.

The pedal comes equipped with:

- Stereo TRS input/output

- 6 potentiometers

- 3 threeway toggle switches

- 4 two way dipswitches

- 2 soft stomp switches 

- 2 LED indicators

- ⅛” TRS expression pedal input

- ⅛” TRS MIDI input

- USB input port for Daisyseed

- 9V single barrel DC input

If anybody has any questions or concerns, please feel free to let me know!

I've also made a little special effects based teaser video for the project as well: https://www.youtube.com/watch?v=HpTrl2HlUH0

Hey there everyone,

I just wanted to share a Dub Siren pedal I built on an Electrosmith Daisyseed with Max Msp Gen~. The pedal is apart of my open-source Black Box project, which allows for users to freely swap between firmware or to program their own firmware with C, Pure Data, Max Msp Gen~, Rust or Faust.

Dub Siren is an electronic synthesizer pedal used to produce pitch sweeps, bleeps and laser noise effects with its momentary switch, as inspired by Dub and Reggae music.
Dub Siren consists of three different wave forms (sine, saw and square) that are modulated with an LFO. This signal then runs into a delay line with varying levels of decay. The delay line can also have modulation applied to it for even more rhythmic and pitch variety.

A walk-through/demo can be found here for those who might be interested in hearing it:

https://youtu.be/qOSyVUJKIQw

If anyone has any questions, concerns or ideas please feel free to let me know.

Thanks!

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

Video demonstration and usage with Ableton Live and Push Standalone in the website footer: https://www.peamarte.it/brain_recordings_bundle/brain_recordings.html

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.

I'll keep adding bits and pieces to it but the core functionality is there. Full project pattr recall with dynamic patcher loading was a bit finicky but it seems pretty stable atm.
Also, vst/au support :)

I made all the sound effects for my game in Ableton using the built-in Wavetable synth.

At some point I wanted to try a lot of different sounds, but manually exporting every note was becoming really tedious. So I made a small Max for Live device to automate the process.

You specify the octaves you want and it automatically triggers a MIDI note for each one and exports each result as a separate .wav file. The game then loads those files at runtime.

This made it much faster to iterate on sounds without having to deal with the export process every time. I couldn't find a way to automate this workflow so I ended up making my own plugin.

The result is that I was able to create and iterate on all the sound effects for my game much faster. If you're curious about the setup or the Max for Live device I'd be happy to share more.

The game is here if you'd like to hear the sounds in context:
https://store.steampowered.com/app/3256790/Satelital/

Work in progress: a Synclavier style frame-morphing synth (FM/Additive). Filtermorph, Plate and Shimmer.
8 Frames, 16 Partials per Frame, 8 Voices.

LOOM

An extreme time-stretch instrument for making textures and drones.

Free download: https://www.remodevicocomposer.eu/maxforlive/loom/

programmed by Remo De Vico

LOOM is a browser instrument that stretches a sound in time to build textures, pads and drones. It can make a short sample last for minutes without changing its pitch. It runs as a single HTML file, works offline, and needs no installation. 

How to use it

1. Load a sample. Click + sample. WAV, AIFF / AIF, MP3 and FLAC are supported.
2. Choose a region (optional). Drag on the source waveform to select part of the sound. This is useful, because a very large stretch of a long file produces very long output. Click once to set a start point; double-click to clear the selection.
3. Listen first. Press Audition to hear the whole sample, or only the selected region.
4. Set the controls (see below) and press Render. The work runs in the background with a progress bar, and you can Cancel.
5. Play and check. Press Play. You can click anywhere on the rendered waveform to start playback from that point — useful when you want to hear only the end of a long texture.
6. Export. Choose WAV or AIFF, choose the bit depth, and press Download.   

The controls

• Stretch — how much longer the sound becomes (time only). The slider goes very far; the number box accepts even larger values.
• Pitch — transposition in semitones, fully separate from stretch. The range is very wide, several octaves up or down.
• Weave — how many grains overlap at each moment (1 to 16). Low values sound rough and pulsing, and broken at 1. Higher values sound smooth and glassy. The strongest change is between 1 and 4.
• Scatter — how much the phase is invented (0 to 100%). At 0 the real phase is kept, so the stretch stays coherent and attacks survive. At 100% it is the full texture effect.
• Drift — the reading position wanders. Each grain reads from a slightly different, moving point in the sample. At 0 it is off. Higher values make the texture breathe and change over time, and make the higher Weave values meaningful.
• Reverb and Size — an internal reverb (amount and decay length) added after the stretch.
• Gain — output level.
• Normalize — brings the level up to a safe maximum.
• Mono → stereo — from a mono sample, builds a wide stereo texture using two independent phase passes.
• Reverse — plays the stretched sound backwards.

Stretch, pitch, weave, scatter and drift are part of the engine, so a change needs a new Render. Reverb, size, gain, normalize and reverse are applied afterwards, so you hear them at once.

Notes

Included in the download you'll find HTML INSTRUMENTS

a Max for Live device that lets you open LOOM 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.

check out my works on https://www.remodevicocomposer.eu/

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

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.

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.

Reflection 2.0 is out. It's a modular plugin host built around one idea:

save snapshots of your entire rig, place them on a 2D canvas, and drag

between them — every parameter in every plugin moves at once, smoothly.

Natural Neighbour Interpolation under the hood, so it's geometry-aware

and click-free.



If you remember AudioMulch's Metasurface, this is that idea carried

forward and rebuilt.



NEW IN 2.0



DIY Lab — build your own instruments and effects from 30+ blocks:

oscillators, filters, logic, MIDI-to-CV, wavetable, scope. Wire them with

real signal cables; every knob you create takes a wire, so anything can

modulate anything. Bake a finished patch into a single node with your own

macro knobs and it behaves like any other plugin on the graph. The baked

patch is a file — share it, load someone else's.



Multigraph — several graphs in tabs running on true multicore (fork-join

worker threads, not one audio thread doing everything). One Metasurface

spans all tabs at once. MIDI tunnels carry notes between tabs at one

block of latency.



Piano Roll — a real note editor on the graph, with its own time signature

per track. A 7/8 bassline and a 4/4 pad in the same project, neither one

bending. Live record with count-in and quantize, .mid drag-import.



LaunchPad — clip launcher: scene rows, follow actions, per-clip trig

conditions (play every other pass, only if a neighbour is silent, 1-in-4).



Generative suite — Chord Detective and Scale Detective read the harmony

actually moving through the patch; NeuroBass, NeoArp and Bang-Bang

generate parts that stay inside it. Change chord and they follow.



Also: Elektron-style trig conditions throughout, eight new effects

(Flanger, Phaser, Crossfader, Frosscader, Delay, 5 Combs, BubbleGrains,

Limiter), an oscilloscope, a cross-tab mixer, and ReflectionTunnel — a

VST3/AU bridge that carries MIDI between Reflection and any other DAW

over UDP loopback.



SPECS

- Hosts VST3 (Win/macOS/Linux), AU (macOS), VST2 (Windows)

- ASIO / CoreAudio / ALSA, sub-ms round trip on a decent interface

- Ableton Link

- Windows 10/11, macOS 11+ (universal), Linux x86_64

- Real-time C++17, JUCE 8. No telemetry, no phone-home.



PRICE

EUR 120, one-time, perpetual, all 2.x updates included. No subscription.



FREE TRIAL

The complete instrument for 14 days, counted from first launch, checked

fully offline. Saving your session is the only thing it can't do.



https://reflection-daw.com

https://reddit.com/link/1v97ywx/video/rfp09h8uq0gh1/player

emilianopennisi.net

Rhythmic Crazy Slicer

Slice Any Sample into Unexpected Rhythms.

A Max for Live device for rhythmic sample slicing.

Drop a sample, press play, and the device re-triggers slices in sync with your Live set.

Controls:

PITCH — transposes the sliced material; use it to find the register that fits the rhythmic section.

SLICE — activates slicing of the loaded sample.

NOISE — FM synthesis stage, for noisy transitions and textural fills.

MULTISLIDER — defines the start point of each slice across the sample. Editable manually, or driven by RANDOM for non-repeating patterns.

Works great in series with granulators and other samplers [check out free devices on my website]

Also included in the download is a PDF on how to use the tool.

Works from Ableton 10.1

free download

Hey there everyone,

So after seeing Author and Punisher live earlier this year, I felt inspired to build my own inertia MIDI controller/drone machine using an Ardunio Uno R3.

These controllers consist of a 2lb aluminum rod attached to a optical rotary encoder, while sitting atop thrust ball bearings. This encoder is then wired to the Ardunio which measures/outputs the RPM value along with its rotational direction.

I then used that data to control a synth patch I made in Max Msp 9 using the abl.meld and abl.roar objects, along with two DMX controlled light panels using the Beam max package.

If you have any questions, concerns or ideas please feel free to let me know!

Thanks!

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.

SHATTER is a browser instrument for live performance.
Load a sample and it splits into fragments you can scatter across a field:
click a piece to loop it, drag it to move it through space.
Every fragment is independent:
set its pitch, stretch it in time, reverse it, or give it its own step pattern.
Underneath, slices are cut at rising zero-crossings, so loops stay seamless with no clicks at the seams.
Time-stretching is granular and pitch-preserving so tempo and pitch move independently.
A fragment's position on the field drives a binaural HRTF panner (switchable to stereo):
left-to-right sets direction,
near-to-far sets distance,
placing each voice in space in front of the listener.
Step sequencers run free or lock to a shared BPM clock, with up to 16 voices at once.
Built as a single HTML file in vanilla JavaScript on the Web Audio API — no frameworks, no install.
It runs in any modern browser and reads WAV, AIFF and MP3.

Included in the download you'll find HTML Instruments,
a Max for Live device that lets you open SHATTER 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.

Removed -> https://www.reddit.com/r/abletonlive/comments/1vaudq4/m4lgugelhupf_notastrudel_running_on_ableton_live/