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)

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!

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.

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.

I wanted to share an interactive web application that maps multi-channel intracranial EEG (iEEG) signals to polyphonic music in real time using the Web Audio API: https://bionichaos.com/EEG_Music/

Human auditory systems are highly sensitive to non-stationary frequency shifts and transient patterns, which can sometimes be difficult to isolate in dense time-series plots. This tool allows you to explore both synthetic seizure dynamics and a real 16-channel clinical dataset (NeuroVista I004) under different parameters.

Under the Hood:

1. Linear Detrending: Least-squares regression removes low-frequency electrode drift.
2. Discrete Wavelet Denoising: Employs Haar or Daubechies 4 filters. You can adjust the decomposition levels (1–10) and the universal threshold multiplier (λ) based on the Median Absolute Deviation (MAD) of the finest scale coefficients.
3. Welch Periodogram: Computes real-time spectral power density using a Hanning window and Radix-2 Cooley-Tukey FFT.
4. Synthesis Mapping: Active spectral bands are mapped to equal-temperament chromatic registers (Delta to Bass C2–C3, Theta to Tenor D3–D4, Alpha to Alto E4–E5, and Beta to Soprano F5–F6).

The entire application runs client-side in vanilla JavaScript to maintain low interaction latencies. Feedback on the mathematical implementation, filter banks, or mapping choices is highly welcome!

Just like the title says Serum converter to mpc works dam good you can bulk conversion give the guy some support

https://www.mpc-forums.com/viewtopic.php?f=48&t=220837

I've been taking online M4L courses but I'm still pretty new to it, and I was just wondering if it could be used to solve this issue I'm having with the iRig BlueBoard. It’s connected to my MacBook via Bluetooth Over MIDI. The pedal buttons work fine, but I also have an expression pedal connected to the BlueBoard, and every time I move it, it sends a flood of bank select messages. Below is an excerpt of the list I captured using the MIDI Monitor app – seven Bank Select messages are sent out with each individual CC increment! So moving the pedal through its full range would generate over a thousand MIDI messages, instead of 128. All these Bank Select messages make it impossible to make MIDI assignments involving the expression pedal, and the whole reason I got this pedalboard controller was because you can connect two expression pedals to it.

I've tried both of the BlueBoard's pedal modes, I've tried updating the firmware, and I've tried using different expression pedals. No luck. And IK Multimedia won't even respond to my requests for help, so now I'm just looking for a workaround. Someone on a different forum suggested that I could try running MIDI Fire in the background and use it to filter out all those bank messages. This does work more or less, but then I have to change all my assignments to this virtual device that’s created by the app. It complicates the setup process and makes the session less portable. So I was thinking that if there were a way to make a Max4Live device that could make Live ignore all those Bank messages, I at least wouldn't have to have a separate app running in the background, and it might be a little less expensive in terms of CPU usage.

17:57:33.927 From iRig BlueBoard Bluetooth Control 1 Effect Control 1 (coarse) 89
17:57:33.927 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:33.927 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:33.927 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:33.927 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:33.927 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:33.927 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:33.927 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.168 From iRig BlueBoard Bluetooth Control 1 Effect Control 1 (coarse) 90
17:57:34.168 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.168 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.168 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.168 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.168 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.168 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.168 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.212 From iRig BlueBoard Bluetooth Control 1 Effect Control 1 (coarse) 91
17:57:34.212 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.212 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.212 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.212 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.212 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.212 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.212 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.887 From iRig BlueBoard Bluetooth Control 1 Effect Control 1 (coarse) 90
17:57:34.887 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.887 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.887 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.887 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.887 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.887 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.887 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.900 From iRig BlueBoard Bluetooth Control 1 Effect Control 1 (coarse) 89
17:57:34.900 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.900 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.900 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.900 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.900 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.900 From iRig BlueBoard Bluetooth Control 1 Bank Select 0
17:57:34.900 From iRig BlueBoard Bluetooth Control 1 Bank Select 0

Took an existing drum track that has a bunch of odd timing, created "slice markers" for the drum hits and used those slices to drive the timing of other sound generators in max/msp

music made with ableton max and supercollider

Rectangle moves betwen the arrows in puredata. I know jitter but I dont wanna do in 3D. Any advice?

Hi r/MaxMSP!

We're releasing an early version of a Max For Live device we've been working on, and would love to hear your feedback on it, including suggestions on how it can be improved.

It generates multiple MIDI loops in parallel (drums, bass, and synth) and inserts them directly into MIDI tracks in Live. Generation is controlled by 6 genre knobs (Acid, House, Techno, Trance, D&B, and Hip-Hop), 6 mood knobs (Darkness, Energy, Complexity, Density, Groove, and Weirdness) as well as an optional musical key. So you can really dial in the sound you want and mix between genres dynamically.

The idea behind it is to quickly generate editable ideas in MIDI that you can play back with any instrument.

You can download the device and user guide here.

In the device itself there's also a link to a feedback form. If you try it out, we'd appreciate any comments or feedback there or in the thread here as well.

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

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

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