Subject: MAX Digest - 12 Dec 1999 to 13 Dec 1999 (#1999-356)
Date: Tue, 14 Dec 1999 00:00:26 -0500
From:
Automatic digest processor <LISTSERV@LISTS.MCGILL.CA>
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There are 13 messages totalling 443 lines in this issue.

Topics of the day:

  1. Max in pop culture
  2. Echo Machine
  3. max in pop culture (2)
  4. Saving Presets in an App
  5. Phone decoder
  6. Kyma ?.
  7. record~ sync out
  8. max in pop culture..
  9. touch tone decoder (2)
  10. Complexity
  11. Tommy DOG interview in EQ Magazine

----------------------------------------------------------------------

Date:Mon, 13 Dec 1999 09:09:26 +0000
From:Dominic Robson <dominic_robson@BIGFOOT.COM>
Subject: Max in pop culture

>Laurie Anderson's current work "Songs and stories from Moby Dick" uses Max
as part of the setup for the "Talking Stick" granular synthesis instrument.
(Though not MSP as far as I could tell from the article I read.)

This is true although it definitely does use MSP. The 'Talking Stick'
project came about as a development of some work by jhno and lukas girling
on the granulation of digital audio. These original ideas were then used to
build an instrument / prop for Laurie to use in her show 'Moby Dick' she
was developing. The instrument takes the form of a long 5 ft metal tube
incorporating a 2.5 ft slider. A digital audio sample is mapped along the
length of this slider and allows the performers to access/play the
granulated sample. There is also a fader button originally intended for
volume or effects control but which hasnt been used so far and six buttons
to access six different samples. The stick is freestanding and controls the
max patch via wireless midi.

The interaction is much richer and more interesting than it first suggests.
It allows the player to manipulate existing content in a very novel way
giving them a control of timing and expression. The possibility to
recontextualise (ravi shankar meets the Amen break beat) or sonically
deconstruct (the granulated spoken word)all within a physical instrument
rather than the usual mouse driven constraint.

With constraints of time on developing the stick for the show, i think
we've only started on the possibilities of it as an instrument and
performance thing. Hopefully there will be some development of it beyond
the end of 'Moby Dick'.

If anybody is interested in further details get in touch. It was a very
interesting project to be involved with and Max/Msp was absolutely central
within the development.

cheers
Dominic

------------------------------


Date:Mon, 13 Dec 1999 03:23:11 -0800
From:Brian Keating <akathewhistler@EARTHLINK.NET>
Subject: Echo Machine

I am working on an echo machine for a poduction of the musical "Floyd
Collins".

The specific patterns of echos have been specified in the score and
become fairly complex at times.

I haven't been using MAX/MSP for very long but it seemed to me the best
approach was to build a multi-buffer sampler for live capture of the
sung performance parts and immediate playback of same as echos. Using a
delay effect isn't real pratical due to variations in tempo.

But my problem is....

There are times when I need to begin playback before the capture is
complete (playback from buffer while recording in progress (or playback
head chasing record head at normal speed)).

If anyone has any thoughs on how to do this or something to this effect,
your thoughts would be most appriciated.

Brian Keating
SJT Productions
akathewhistler@earthlink.net

------------------------------

Date:Mon, 13 Dec 1999 10:23:00 -0500
From:Tommy DOG <mrsvomit@TOMMYDOG.COM>
Subject: max in pop culture

Dear Uncle Max,

Well, I am never ashamed of self promtion, nor my use of Max/MSP.....

The Brain People CD "The Buzz More Crave" has a number of pieces
co-performed with Max, it is also playing a big role in generating MIDI
files for brainpeople.com, which hopefully will be launched for Y2K .

I now use Max/MSP in sound design jobs, see MTV: True Life "I'm a
Hacker" as an example of this. For those interested in my technical
layout my project studio and I are in December's EQ mag. (Room with a
VU).

My Beast,
TD

--
"Death To The Dumb, Curses Upon The Heads Of The Weird"

Tommy DOG, collector of sounds

Information: http://www.tommydog.com
Web Theatre: http://www.brainpeople.com

------------------------------

Date:Mon, 13 Dec 1999 16:25:29 +0000
From:david stevens <david@RESONANT.DEMON.CO.UK>
Subject: Re: Saving Presets in an App

hi Michael,

Stephen Kay has a good, comprehensive example of using coll to save


patcher settings on his web site.

http://www.musikinetix.com/

david
>
> I'm wondering if anyone knows of a relatively painless way to allow presets
> to be saved in a standalone app made from a Max patch with Application
> Installer 1.1.

------------------------------

Date:Mon, 13 Dec 1999 17:48:52 +0100
From:Roland Cahen & Ruth Sefton-Green <cahen.sefton.green@WANADOO.FR>
Subject: Phone decoder

>Date:Sun, 12 Dec 1999 12:02:03 -0800
>From:
Peter Nyboer <pnyboer@SLAMBASSADOR.COM>
>Subject: Re: MAX Digest - 10 Dec 1999 to 11 Dec 1999 (#1999-354)
>I'm sure you can figure out what happens
>with "3" :)

My answer and Ivan Chabanaud's called "Créature Sensible" will be performing
from Thursday 16thto Sunday 25th December
at
http://www.cicv.fr(nuits savoureuses)

http://www.nuits-savoureuses.net/index.php3?CurrentArtist=002

http://www.nuits-savoureuses.net/index.php3?CurrentArtist=023

Roland Cahen

------------------------------

Date:Mon, 13 Dec 1999 14:03:18 +0000
From:Robert Henke <robert@MONOLAKE.DE>
Subject: Kyma ?.

Dear max-l !
The timing problem with msp /max /midi forces me to think about the unthinkable : buying
hardware.the only hardware i would expect to be of interest for me after using msp... is
the kyma. If anyonehere on the list has used / is using it and is willing to share his/her pro
/ cons please send me an e-mail.

btw 1. : thanks to everyone who did send me my missing smooth object !
btw 2. : max/msp in pop cuture ? a sophisticated max stepsequenzer for all (!!!) midi generation
in each piece from monolake since 1997. maybee david z should get some of my royalties...
btw. : 2.1. the sequencer will be availible soon for download from my homepage.


rob.


....................................................
MONOLAKE
the secret life of digital music
http://www.monolake.de
..................................................

------------------------------

Date:Mon, 13 Dec 1999 13:24:19 -0500
From:David Gamper <dgamper@EARTHLINK.NET>
Subject: Re: max in pop culture

Well, if Laurie is now in "pop culture" than maybe I can contribute


that Deep Listening Band, when we use the Expanded Insturment System,
<http://www.artswire.org/pof/EIShome.html> has been Max based since
1991. We're now in the process of moving to MSP based DSP and a away
from our old Reson8. I never considered us "pop" however.

- David Gamper

------------------------------

Date:Mon, 13 Dec 1999 13:56:32 -0600
From:"Timothy A. Place" <tplace@CCTR.UMKC.EDU>
Subject: record~ sync out

Hello all,

I've encountered what seems odd behavior to me in the record~ object. The
patch I've appended below demonstrates my problem: the Sync output doesn't
always output. If I've missed something obvious, perhaps someone could
enlighten me. The patch below is supposed to apply a window to the input
coming into the record~ object...

Thanks in advance!
-Tim


max v2;
#N vpatcher 13 295 415 628;
#P comment 241 217 136 196622 This side does not;
#P user number~ 288 129 345 144 9 3 2 2 0. 0. 0 0. 50 0.;
#P user number~ 65 129 122 144 9 3 2 2 0. 0. 0 0. 50 0.;
#P message 161 27 44 196617 open;
#P user ezadc~ 161 41 205 74 0;
#P user number~ 252 192 309 207 9 3 2 2 0. 0. 0 0. 50 0.;
#P newex 275 107 75 196617 wave~ Window;
#P newex 252 128 33 196617 *~ 0.;
#P newex 252 163 72 196617 record~ Audio;
#P toggle 166 94 29 0;
#P user number~ 29 192 86 207 9 3 2 2 0. 0. 0 0. 50 0.;
#P newex 52 107 75 196617 wave~ Window;
#P newex 29 128 33 196617 *~ 0.;
#P newex 29 163 72 196617 record~ Audio;
#P newex 176 289 105 196617 buffer~ Window 1000;
#P newex 80 289 95 196617 buffer~ Audio 1000;
#P comment 194 94 48 196617 toggle me;
#P comment 14 211 116 196622 This side provides sync;
#P fasten 13 0 5 0 166 79 34 79;
#P connect 8 0 4 0;
#P connect 5 0 4 0;
#P connect 4 0 7 0;
#P connect 6 0 5 1;
#P connect 6 0 15 0;
#P hidden connect 14 0 13 0;
#P fasten 13 0 10 0 166 79 257 79;
#P connect 10 0 9 0;
#P connect 8 0 9 0;
#P connect 9 0 12 0;
#P fasten 9 0 11 0 257 187 357 187 357 98 280 98;
#P connect 11 0 10 1;
#P connect 11 0 16 0;
#P pop;


____________________________
./`./`Timothy A. Place
./`./`tplace@cctr.umkc.edu
./`./`http://kromo-zone.tripod.com/tap/


------------------------------

Date:Mon, 13 Dec 1999 12:12:21 -0800
From:jhno <ear@SIRIUS.COM>
Subject: Re: max in pop culture..

>Laurie Anderson's current work "Songs and stories from Moby Dick" uses Max
>as part of the setup for the "Talking Stick" granular synthesis instrument.
>(Though not MSP as far as I could tell from the article I read.)

yes, it uses msp - i wrote the audio portion of the software. the
instrument is a physical controller that sends information to max through a
custom interface, where parameters of the input can be routed to control a
granular synthesis engine that i made with msp.

the stick was made at interval research. bob adams, jesse dorogusker,
dominic robson, and geoff smith were the main team. here is a description
from laurie's site, which i am including here because it contains a
layman's description of granular synthesis that i wrote for the program
notes, which might be useful when trying to explaining g.s. to the
uninitiated...

---

The Talking Stick is a new instrument that [laurie anderson] designed in
collaboration with a team from Interval Research and Bob Bielecki. It is a
wireless instrument that can access and replicate any sound. It works on
the principle of granular synthesis. This is the technique of breaking
sound into tiny segments, called grains, and then playing them back in
different ways. The computer rearranges the sound fragments into continuous
strings or random clusters which are played back in overlapping sequences
to create new textures. The grains are very short, a few hundredths of a
second. Granular synthesis can sound smooth or choppy depending on the size
of the grain and the rate at which they're played. The grains are like film
frames. If you slow them down enough you begin to hear them separately.

Many of the voices in Moby Dick are phantom-like. The Talking Stick is a
physical representation of the disembodied voice as well as an extremely
physical, digital descendant of turntables.

---

cheers -
jhno

ps -luke sez:
> now i use a powerbook g3 and a
>wacom tablet. lots of fun.

nice... joshua kit clayton designed some wacom max interfaces that he uses
for live performance as well... the tablet is quite a versatile controller
- !


() ))(((( ))) ))))) ( )((()) (( ))( )) (((( )(()( (()
delicate earear@sirius.com
san francisco, cahttp://www.sirius.com/~ear

------------------------------

Date:Mon, 13 Dec 1999 21:22:43 +0100
From:wolf <W.Heiniger@UNIBAS.CH>
Subject: touch tone decoder

Roland Cahen wrote:


>I have build a DTMF decoder that works quite well using reson~ in MSP.
>the problems are that the more the filter Q is sharp, the slowest it answers.
>Else, phones don't have the same volume.

I just made a head-through-the-wall-version using FFT and a comparison
method to avoid the level problems.
It features a noisegate and works (under lab-conditions) with a
signal/noise-ratio of 16 dB or better.
I don't have any field experience with it though...
If anybody wants the patch : mail me privatly (no server avail)

>Anyway, if someone knows how to program the Goertzel algorithm in Max/MSP
>please tell me.

hmm... should be faisible with just the biquad~, object since it is a second
order IIR afain (or?). do you have the coefficients ?

wolf

------------------------------

Date:Sat, 11 Dec 1999 19:53:46 -0000
From:Nick Rothwell <nick@CASSIEL.COM>
Subject: Re: Complexity

> The problem we are trying to avoid is overloading the output queue. A note
> off messge is just as long as a note on message, taking approximately 1 ms
> to send. If you have 30 note offs occuring at the same time as thirty note
> ons, the last note will appear 60ms late. If you have 300, OMS will
> complain. You can always send note offs a bit early, as instruments have
> some decay times even when set to 0.

OK, fair point. I guess the design abstraction one is after is the
ability to place events some distance ahead (negative time offset) of
important time points.

The [0, 64] trick is useful for building certain processes like drones
(attach the velocity point to a monitor object on a timeline). For
more conventional sequencing and arpeggiation I tend to use makenotes,
tuning the note length according to taste.

>What's so bad about R-L

This wasn't a question by me, of course: I've never assumed R-to-L
execution in any of my programs, and always use triggers, since I like
to be able to drag entire chunks of patchwork around without worrying
about breaking anything.

--

Nick RothwellCassiel.com Limited
nick@cassiel.comwww.cassiel.com
systems - composition - installation - performance

------------------------------

Date:Mon, 13 Dec 1999 23:00:01 +0100
From:wolf <W.Heiniger@UNIBAS.CH>
Subject: touch tone decoder

I wrote a couple of hours ago:

>>Anyway, if someone knows how to program the Goertzel algorithm in Max/MSP
>>please tell me.
>
> hmm... should be faisible with just the biquad~, object since it is a second


> order IIR afain (or?). do you have the coefficients ?

I found them and made a quick hack:
luvly response ! works fine even thru noise.
again : If anybody wants the patch : mail me privatly (no server avail for
uploads)
thanks roland, for the hint.

wolf

------------------------------

Date:Mon, 6 Dec 1999 05:15:14 -0500
From:Tommy DOG <mrsvomit@TOMMYDOG.COM>
Subject: Tommy DOG interview in EQ Magazine

December Issue of EQ Magazine, the one with Fiona Apple on the cover...

In the "Room With A VU" section (pages 38-39)there is a snazzy article on
me and my project studio. This is where I am doing most of my work these
days, including the new Brain People CD.

I was pleased that the gear list included some of the independents that I
proudly support including Cycling 74, Reed Ghazala, TechnoMage,
SoundShimmer Sherman, and Big Briar.

The instruments of Richard Waters, Bill Saragosa and Richard Cooke are
visible in the photos.

Check it out.

TD


-This E-mail has been brought to you by The Stoned Turtle Propaganda System

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End of MAX Digest - 12 Dec 1999 to 13 Dec 1999 (#1999-356)
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