Max for Live: C8 Sequencer Limb
It’s been way to long since I’ve posted anything here. Not to say I haven’t been doing anything, I’ve just been neglecting my internet presence. Seems to be pretty standard for me as I’ve never been great at keeping up with a website and I struggle to embrace modern blog methods in my routine. None the less, sharing patches with others in the field of electronic music is important, and I need to do a better job of it. Being that I’m often observing what others are creating, sometimes downloading and using them, other times I pass it on to those who I think will find it’s uses beneficial for their work, I would like to continue to share my own with the community.
One of the last times I worked on this site, I put together a software patch page to have one location for downloads. It’s nothing fancy, but it gets the job of sharing done. The most recent patch was something that I had wanted to create for some time; the C8 Sequencer. It’s my take on a stochastic rhythm machine and was inspired by many of the complex rhythms I hear in computerized music. I use Live for much of my electronic performance material and the whole M4L patch world has exploded with possibilities. I took the full C8 Sequencer and made it into a version for Live that’s condensed, being that you can have many instances of it through out your Live project’s tracks. Here’s a screen shot.
Max For Live patch: C8 Sequencer Limb
The controls are very simple and straight-forward, just make sure to place it before your plug-in instrument/sound. It’s tied directly to the transport of Live, so it will only function when the transport is playing. Add more instances if only two “branches” (midi note triggers) of the sequencer limb are not enough. One control that proved to be invaluable, and missing from the stand-alone application, is the offset control. To me, this is the key to getting just the right rhythm and will be added to the Max/MSP patch as soon as I can. I think I’ll also change C8’s awful color scheme. Sorry for having offended anyone else’s eyes besides my own. I don’t know what I was thinking with that one.
See the software patches page to download the M4L version of C8.
gyrOSC to Midi is companion software to the gyrOSC app that runs on iOS devices. The gyrOSC mobile application was created by Kevin Schlei of Bit Shape Software.
From Kevin Schlei’s website:
“GyrOSC is a lightweight app that gives you direct access to the motion sensors in your iPhone, iPod Touch or iPad. Wirelessly send the motion data to any Open Sound Control (OSC) capable application on your desktop or other device. There is no other software required. Applications such as Max/MSP, Pure Data, Processing, Ableton Live and others can be controlled with the motion of your iOS device.”
gyrOSC to Midi is a simple application with the task of translating the OSC messages from your iOS device into midi data that can be routed directly to Midi continuous controller messages. It has three Midi CC routing options for each of the gyroscope (pitch, roll and yaw), accelerometer and compass inputs, a sensitivity slider for the accelerometer, and toggle switches to invert the values being sent from the gyroscope.
The patch is written in the Max/MSP environment and compiled as an application on Mac OS X, so it can only be used on a Mac OS X computer.
You can download the patch from the Software Patches page
PolyPatter is designed as a performance patch, that was constructed in Max 5. It’s based off of networked pitch data that is shared with all performers through either a wi-fi, or peer-to-peer network. This shared pitch information is then routed to any software/hardware instrument that accepts midi. My intension was to keep the interface very simply and with limited controls, so the performer can also give his/her attention to the sound palette they’re using. I’ve been working on getting this patch to have the performance qualities that will enable performers to have accurate input of pitch data without the feedback loops I was getting in the networked information. This was completed with the addition of separating performers send/receive data via individual “accounts”.
Here is a recording of a live performance with myself and Kevin Schlei. The entire performance utilized the PolyPatter patch. The event took place at a Milwaukee bar and art/performance space, Sugar Maple, during Bayview’s Gallery Night.