Subject: MAX Digest - 14 Dec 1997 to 15 Dec 1997 - Special issue
Date: Mon, 15 Dec 1997 21:10:41 -0500
From: Automatic digest processor 
Reply-To: MAX - interactive music/multimedia standard environments
To: Recipients of MAX digests 

There are 11 messages totalling 529 lines in this issue.

Topics in this special issue:

  1. called Inter korrektion
  2. preset object bug?
  3. interactive arts
  4. called Interactor
  5. Akai sysex nibbles (3)
  6. Faders again
  7. Unsubscribe please
  8. Career Openings at Kunst Macchina Production Company
  9. Sound Mapping


Date:    Sun, 14 Dec 1997 23:11:31 -0600
From:    =cw4t7abs 
Subject: called Inter korrektion

Date:    Sun, 14 Dec 1997 15:55:58 -0600
From:    =cw4t7abs 
Subject: called Interactor

!nteraktorz which !z   t propr!etar+e existz

ment                + n

as statd by zom1 elss


Date:    Mon, 15 Dec 1997 13:10:06 +0100
From:    Guy Van Belle 
Subject: preset object bug?

I have a problem, it seems that th preset object doesn't store floating
point numbers. The 68K version is doing fine, but FAT 3.5 returns 0
instead of the fp's. Is there a solution at hand?

>                             ......................
>                                   dBONANZAh! --/__
>                             ......................
>                              [e r r o r = h o m e]     hihi.
>                              [anti_analog:hit_men]

                                d!g!taLrulz  =)
>                             ......................


Date:    Mon, 15 Dec 1997 09:24:15 -0400
From:    Curtis Bahn 
Subject: interactive arts

Can anybody recommend good readings on interaction, technology and the arts
which could supplement the MAX manuals?

Curtis Bahn


Date:    Mon, 15 Dec 1997 16:04:16 +0100
From:    Peter Castine 
Subject: Re: called Interactor

antiorp wrote:
>!nteraktorz which !zt propr!etar+e existz also
>per4m search phpz

OK, I make this as:

"Interactors [i.e. programs similar to the Interactor commercial
software] which isn't [aren't] proprietary also exist. Perform a
[AltaVista/Excite/etc.] search on ..."

Now, the big question is: is one to do the search on the literal "phpz"
or does that have to be decoded as well? Fipps? Fippsie?
Proto-Hallucinagetic Party Zapper?

Y'know, I wouldn't the pidgin-punk dialect half so much if the guy were a
complete asshole who I could just ignore. The fact that he actually seems
to know some useful information is the problem. Oh well, I hope he's
enjoying himself. I'm not.


Peter -- who maintains enough humor to ask: what grade do I get for my

--------------- ---------------
Dr. Peter Castine         |   | Gegen Dummheit ist kein Kraut gewachsen.


Date:    Mon, 15 Dec 1997 10:26:11 -0500
From:    David Bianciardi 
Subject: Re: Akai sysex nibbles

On Sun, 14 Dec 1997, Jeremy Yuille asked about Akai sysex nibbles

>It describes 'byte offsets', and the 'data' being sent in nibbled form,
>which I 'sort ov' undrestand

Jeremy -

I haven't had any specific sysex-perience with the Akai samplers, but I
think I can help with the general stuff.  As I'm sure you know, MIDI
messages can be broken up into data and non-data bytes.  data bytes are
limited to a range of 00h through 7fh.  sometimes, as in the course of a
sysex message, you may want to describe a value higher than 7fh, but arent
allowed to send it as a data byte...for instance 8Ah.  Ok, so as a company,
you decide you're going to nibbleize your data, effectively splitting it
into two bytes within the accepted range.  A nibble is 4 bits, so you've
got two nibbles per byte.  What you do is take the high nibble of your
original byte and make it the low nibble of your first message byte, and
take the low nibble of your original and make it the low nibble of the
second message 8Ah is sent as two bytes 08h and 0Ah.  The
receiving machine knows to put them back together, because it's their spec.

if x is your original and y is the 1st nibblized byte and z is the 2nd....

y = (x & F0h)/16
z = (x & 0Fh)

it makes messaging slower, but its worth it for the extra bit.

if your max patch is looking at what the akai is sending you, you'll have
to multiply the high nibble byte by 16 and add the low nibble byte,

I'm not sure I understand your question about the byte offsets though.  Can
you be more specific?  It could be one of those deals like the delta time
of standard midi files, where instead of nibblizing, they just spread the
bits across multiple bytes, but don't use the 8th bit...

sorry to ramble on like this.

David Bianciardi          
        IDRC ||| 467 Greenwich St ||| NYC, NY 10013 ||| 800.767.8414


Date:    Fri, 15 Dec 1995 16:37:42 +0000
From:    rein HOLD braig 
Subject: Re: Akai sysex nibbles

Hi jeremy,

>Does anyone know where I can find some information that may explain this
>in reasonably simple terms .....

There is Programming Manual to program Modules for the Editorsoftware
"Sounddiver" ( Inside you can find on the first 30 pages
basics about SysEx things.

You can download the Mac-version (~400k) from

or a ASCII version PROG_Man.txt in the same folder.

It is the version 1.5, dated 15 Jan 1995. There is a newer one (v2.0), but
I couldnt find it in the Internet, only on the programmers (M.Haydn) BBS.

Hope you get some infos out of it.


    .......rein HOLD braig........keyboards..composition..WX7..
    .....Viewpoint & Orchestra..............sema denga music...


Date:    Mon, 15 Dec 1997 17:18:41 +0100
From:    Oeyvind Brandtsegg 
Subject: Faders again


I don't know if I expressed myself clearly enough when posting this
question, so I'll try once more...

I have no trouble with faders or numberboxes when numbers pass through
them, but when I use the mouse cursor to change a value in a numberbox
it will oftentimes lead to a system crash if I move the cursor more than
just a little. I've been told that other users have also experienced
this , and I wonder if the same is true for faders.

Oeyvind Brandtsegg


Date:    Mon, 15 Dec 1997 09:02:39 -0800
From:    Susie Tallman 
Subject: Unsubscribe please

Sorry to post this, but I can't find my old "welcome to this mailing list"
message that tells me how to get unsubscribed.  So, could the administrator
please unsubscribe me?  Thanks...

At 12:00 AM 12/14/97 -0500, you wrote:
>There are 4 messages totalling 103 lines in this issue.
>Topics of the day:
>  1. Unsubscribe me please.
>  2. Max video control (2)
>  3. Faders & crashing
>Date:    Fri, 12 Dec 1997 23:39:02 -0800
>From:    JonYo 
>Subject: Unsubscribe me please.
>Sorry to post this, but I can't find my old "welcome to this mailing list"
>message that tells me how to get unsubscribed.  So, could the administrator
>please unsubscribe me?  Thanks...
>- JonYo (
>Date:    Sat, 13 Dec 1997 17:11:11 +0100
>From:    Oeyvind Brandtsegg 
>Subject: Max video control
>Hi everyone
>I just finished my first real project using max. It was a dance
>performance utilizing different kinds of sensors to let the dancers make
>the music with their movements. The next goal for developing this
>performance concept is to incorporate video of dancers, real time
>controllable, responding to the dancers movements.
>How would you make max control interactive video ?
>What kind of communication device/protocol would be efficient and
>reliable ?
>What kind of hardware for video playback ?
>Oeyvind Brandtsegg
>Trondheim, Norway
>Date:    Sat, 13 Dec 1997 12:50:13 -0500
>From:    David Crandall 
>Subject: Re: Max video control
>On Sat, 13 Dec 1997, Oeyvind Brandtsegg wrote:
>> I just finished my first real project using max. It was a dance
>> performance utilizing different kinds of sensors to let the dancers make
>> the music with their movements.
>> How would you make max control interactive video ?
>> What kind of communication device/protocol would be efficient and
>> reliable ?
>> What kind of hardware for video playback ?
>It sounds like a job for videodisk; last time I looked there were objects
>included for control of various players.  The trick is to find a disk
>manufacturer who will sell you a "check disk" or one-off disk, rather than
>preparing the disks for mass production, which is very expensive.  I had
>to look far and wide for a company that would do this and finally found
>one in California who are reputed to charge US$ 150 for a single laser
>disk.  I suspect you might find one closer to home. I never contacted them
>since I ended up using videotape for my project.
>(btw, dear list-readers: that rate sounds like as good a way to lose money
>as any I've heard.  Let me double-check whether it came under the heading
>of "personal favor" or "publicly offered service."  If the latter, I'll
>happily put the address up here.)
>Your project sounds similar to the performances of Troika Ranch (at
>  They use body sensors and
>proprietary software (called Interactor) that their director developed at
>Cal Arts.  I've not had the chance to see them in person yet, but I'd love
>to get a comparison of the latencies of the 2 systems (Interactor and
>Max).  Anybody seen them?
>David Crandall
>"America's achievement: history's best-dressed peasant class."
>Date:    Sat, 13 Dec 1997 19:34:16 +0100
>From:    Oeyvind Brandtsegg 
>Subject: Faders & crashing
>I'm about to make a control patch for a custom digital mixer (midi
>controllable) with 2 inputs and 8 outs for distribution to an 8-speaker
>setup. I would like to use faders for the inputs and outputs, and I
>wonder if you experienced Max users have any opinion on the reliability
>(system-crash-wise) of user controllable faders. The reason I'm asking
>is that I have experienced close to consistent crashing with user
>controllable number boxes, and I wonder if it might happen with faders
>Oeyvind Brandtsegg
>Trondheim, Norway
>End of MAX Digest - 12 Dec 1997 to 13 Dec 1997


Date:    Mon, 15 Dec 1997 12:36:46 -0500
From:    Louis-Philippe Demers 
Subject: Career Openings at Kunst Macchina Production Company

Kunst Macchina Production Company is expanding.

We have opened several new positions to face the challenge of our rapid
growth and commercialization. We offer a very stimulating environment right
in the heart of downtown Montreal. Kunst Macchina Production Company works
with state-of-the-art technologies and is involved in world-wide high
profile production projects.

Kunst Macchina Production Company develops the BEHAVIOURS TECHNOLOGY along
with a line of powerful lighting systems. These turnkey systems are the
first truly integrated design and control solutions for lighting
professionals, with derivative Off-line, Playback and Network
configurations.  These systems offer sophisticated tool kits for automated
luminaries animation, stage visualization and management for theatre,
television and architectural light productions, all running under Windows

Kunst Macchina Production Company is also developing related control
applications for scenery, sound, video and other stage media.

The following positions are now available within our R&D and Product Support


2  Seniors  Programmer-Analysts and Project Leaders,
4  Juniors  Programmers.

These positions are part of our vast effort to expand the Behaviours
Technology control environment. We dedicate ourselves to stay at the cutting
edge of media control technologies.

We are seeking for highly motivated persons with skills in computer
programming and/or media control. Any relevant experience will be
considered. Experienced MAX programmers and MAX's external objects
programmers are welcome to apply.


2  Demo Artists.

These persons will act as trainers and will demonstrate our product to
prospective clients. These persons also performs the duty of Quality and
Assurance of our line of product.

We are seeking for experienced moving light programmers with good
communication skills. The candidates shall also be familiar with lighting
computer applications and ready to travel the world.


Several other new positions shall become available throughout the year.

Kunst Macchina Production Company headquarters are based in Montreal

For a complete description of the above positions, please look into our web
site after December 22nd 1997.  and follow the links in company profile.


Please fax a one page letter of intent (indicating your desired positions)
along with a one page resume to:

Kunst Macchina Production Company
c/o Human Resources

Louis-Philippe Demers                279 Sherbrooke St. West, unit 311
President                            Montreal, Quebec

Kunst Macchina Production Co.        Canada    H2X 1Y2
                                     tel.: 514.499.9498         fax.: 514.499.9110


Date:    Mon, 15 Dec 1997 15:11:01 -0800
From:    Peter Elsea 
Subject: Akai sysex nibbles

>I'm trying to control my Akai s2000's effects via sysex.
>It describes 'byte offsets', and the 'data' being sent in nibbled form,

>Does anyone know where I can find some information that may explain this
>in reasonably simple terms

I have a tutorial called "Max and numbers" available for download at

I haven't written Max and Sysex yet, but I will as soon as I'm finished
with this $#$@^ QS7 editor.

Peter Elsea
Electronic Music Studios
University of California, Santa Cruz


Date:    Tue, 16 Dec 1997 13:21:43 +1100
From:    Iain Mott 
Subject: Sound Mapping

dear folks, the following announcement is for a sound art project that uses
MAX extensively. hope it's cool to post it here.



Sound Mapping - a sound journey through urban space

by Iain Mott, Marc Raszewski & Jim Sosnin

January 16 - February 8
4 sessions daily
10 AM, 12 AM, 2 PM & 4 PM

Tasmanian Museum & Art Gallery
Hobart, Tasmania

Bookings (starting January 9, 1998): (03) 6235 0734

Sound Mapping is a participatory work of sound art made specifically for
the Sullivan's Cove district of Hobart. Participants take four
movement-sensitive, sound producing suitcases into the district to realise
a sound composition which spans space as well as time. The suitcases play
music in response to the geographical location and movements of
participants. Sound Mapping aims to assert a sense of place, physicality
and engagement to reaffirm the relationship between art and the everyday
activities of life.

Sound Mapping creates an environment in which the public can make music as
a collaborative exercise, with each other and with the artists. In a sense
the music is only semi-composed; it requires that participants travel
through urban space moving creatively and cooperatively to produce a final
musical exposition.

Music produced through this interaction is designed to reflect the
environment in which it is produced as well as the personal involvement of
the participants. Participants will move as group through Sullivan's Cove
following a path from the Museum around Victoria and Constitution Docks.
Accompanied by a Museum attendant, participants will progress through a
series of musical zones.

The zones are demarcated by the various architectural characteristics,
social functions and historical content that define the space. The music
written for each zone draws its inspiration from these functions and
establishes musical connections.

Each suitcase plays its own distinct musical voice; one that changes each
time a new musical zone is encountered. The texture and rhythm of each
voice in a given zone is highly flexible and will vary with the movement of
each case.

Each musical zone is detected using a satellite global positioning system
(GPS) carried by the attendant in a fifth suitcase along with a music
computer and radio equipment for audio transmission and data reception.
While in a given zone, electronic music is generated in response to
suitcase movements. This is achieved by means of gyroscopes to measure tilt
and lateral movement, and an odometer to measure forward and backward

This project has been assisted by the New Media Fund of the Australia
Council, the Federal Governments arts funding and advisory body.

Additional generous support:

Arts Tasmania, Hobart City Council, Salamanca Arts Centre, Hobart Summer
Festival, Vere Brown - leather goods and luggage and Fader Marine.

for further information contact Iain Mott:
information on the artists, Sound Mapping and previous projects at:

Iain Mott
Installation and Composition      ph      (03) 6226 7326
Conservatorium of Music           Int     +61 3 6226 7326
GPO 252-63, Hobart 7001           fax     (03) 6226 7318
Tasmania                          Int.    +61 3 6226 7318


End of MAX Digest - 14 Dec 1997 to 15 Dec 1997 - Special issue