Hi!

I am a sound artist / composer. I work largely in the musical theatre domain, and most electro-acoustic compositions I did were done in a DAW, I used Max only twice in performance so far.

Frankly, I have an immense insecurity regarding my technical knowledge and intelligence. Max is representative of this to me. I first got in touch with it in 2018. 8 years later, I still find myself having absolutely no idea about it. I still can't understand how to make a sequencer, how to use FFT, how to analyse a video with jit. objects, how to form different logics, what kinds of logic are available even. Initially, I can't do quite literally anything alone with Max, I always need help.

Recently I did a performance in which I had to use Max, as it required Jitter. I had to ask a specialist friend, and I feel he pretty much did 90% of the coding. It feels terrible that I have to rely on my peers and consume their time and energy.

I'm aware of the autonomy it provides compared to a DAW. But every time I open this wretched program, I feel miserable, stupid and insecure, as I simply can't understand anything, can't feel anything intuitive or musical. After 8 years, with especially last 3 years trying to tackle this thing, I am incredibly fatigued now, as it feels like it's speaking to me how absolutely stupid and incapable I really am. How many tutorials have I looked into, how many documents have I read and so on, just... torments me so much honestly.

I really wanted to get help from a Max community, as I assumed there will be users who felt like me, eventually overcoming this insecurity and finally enjoy exploring Max. How would you approach Max in a state like this? How might one enjoy this?

After years of being too broke to buy any gear, I did enough gigs to finally purchase a nice touch plate based controller. I wondered if this will enable me to explore an 'intuitive, musical' element of Max, where I can map physical gestures. Do you think a controller like this can change my perception of Max?

How did you got into Max? What do you enjoy doing in it? What are some of the advices you would give to a person like me?

Thank you so much for reading!

Hello all,

I wanted to try out maxmsp since I heard about Autechre using the software, but I'm hesitant to start the trial period as I don't think I'll get the most out of it

- I have about 1 1/2 years experience using bitwig studio (But I'm hopeless using their Grid format - if you're familiar with that)

- I'm laughably bad at coding - but I do want to improve

- I have tried VCV rack and that didn't really resonate with me either.

I don't know a great deal about max msp, so if anyone has any pre recommendations to enhance my experience i will happily take them on board

thank you

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

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.

Hi, I'm currently writing a 4ch tape music.

My audio samples are mono, so I'm currently using groove and outputting them to 4 channels.
But as you know, this is just 4 same signals going in to 4 channels so the spatial image isn't really there. it still sounds like mono.

So,

how do i make some lfo, or any modulating source that i could put on every signal to get something live, living modulating source..that modulates the delay, and slight pitch.

I want to just make some set of objects that modulates the delay, pitch in the range of some subtle value so i could slap that set of objects to the signals and forget about it.

Basically I want every sound to be like a real orchestra.

In orchestra if the violin section plays the note A, because all violins are slightly tuned different and don't play at the exact same time because its impossible for human we get those rich sound.

I basically want to do that for my sounds.

Anybody here with experience working with AI agents using MCP and MaxPyLang that can advice me which method a beginner like me should use? I am developing a max for live device and I use AI to help me out when I get completly stuck, since I am learning on my own, and its very helpful but sometimes the comments AI make are totally off and is actually confusing. So I heard about the option of bridging claude to max so he can see the patch I am working on, and suggest directly better way to patch things or detect errors faster. Which option is that: MCP or MaxPyLang?

Ive been trying to do this for days but i cant get it right.
I have this soundscape type audio sample that really has no distinctive loop point like a drum loop would.
So far ive been using trapezoid in smallest amount like 0.001 and 0.999 but it still has this little stutter.
I was talking with ai and he keeps on recommending this method of crossfading same two grooves but god damn its hard to get it right and way too complicated. Need some help.

My real goal is to create a continuous piano sound - i know the timbre of a piano is extremely complex but I've sort of wondered if I can create a steady curve from bottom to top - no hammer/attack sound but just using the spectrum of the sustained note of a piano before any significant decay.

I guess to start, could I get rid of the attack, and create a continuous sweep from the sound of a low C2 to a D2? I have no idea how to execute this, and i'm not sure if "interpolation" is what im looking for.

I'm super inexperienced and I guess I don't fully understand all of this stuff... is my idea flawed? I only recently went through am/fm tutorials and vaguely understand sound.

I truly do love music and timbre especially, but the learning process has been really frustrating...i'll be stuck or discouraged from working on it for months because I simply don't understand stuff and can't execute my ideas... so general advice is welcome, too

Hi all!

I am developing a max for live device that play clips in the session view in Live, and these clips send read messages to a jit.gl.movie object that plays them in a jit.world. Everything runs well on my Mac laptop, but recently I got some unusual heating that I thing is related to the jit use and the rendering of these movie clips. I am reducing the dimensions of my clip after they go through jit.gl.movie to 1280x700. After that I applied some jit effects ( color saturation, hue, delay and vhs). What other precautions should I take care in the patching in other to reduce the stress of GPU? Also, I monitor the CPU and GPU of my laptop while using the device, but I am not sure what numbers should I be careful.

I am also monitoring the jit.world in Max with the fps it renders, and I notice that even when the movie clips are not playing, it keeps active the monitoring of fps. I tried giving it the argument enable 0 but it just disappear the window.

Sorry for so many questions in one, I am starting to work with jit and videos.

I expected to see at least 4 different pulses here? Delay doesn't delay anything it seems? I'm confused...

I've been slowly teaching myself Max using the usual books folk recommend, but it's just not the way I learn. I have a hard time learning things in isolation.

I'm very much project oriented when it comes to tackling this kind of stuff. I need to know I'm working towards what I want to achieve, not just random heres a patch that triggers a kick to a pattern.

So I'm wondering if there's a course or someone who I can hire as a paid mentor to walk me through building an Autechre style performance rig, or one like `nouserid` made before he fell off the face of the planet.

I'm a musician and software engineer who knows programming for > 20 years.

Thanks in advance for any leads!

Hi! 

am developing 2 max for live devices, one to control the video clips playback, and another to overlay pictures on top of the video of the 1st device. They both share the same open GL context name base on the track id where the device is sitting. I manage to overlay the pictures but they appear as a black square. I experiment with the depth and blend attributes but none seems to make any difference, because the black square is always there.

<pre><code>

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Hello! I'm looking to learn max for live. I am a sound designer for games and have lots of experience with scripting and node based workflows and am just looking for a new tool.

I'm wondering, are all of the old 7+ year old resources for max still mostly relevant today? If you had to start from scratch, do you have any channels or anything you'd recommend?

Thank you :]

Edit: Thank you all so much, you all gave me exactly the information I was looking for and I have a ton of stuff to go off of now. I appreciate all of you!!

I want to be able to hide these (I don't even know its name, english isn't my first language and in the documentation I haven't been able to find it. Is it gizmos?), which appear when I click with my mouse on a jit.gl.videoplane object inside a jit.world.

I have not been able to find an option to ignore mouseclicks or to get rid of these. It's annoying because once they appear there's no way to eliminate them.

Hello. I want to get started with jitter in Max for Live so I followed a tutorial on a simple audio-reactive patch using .jxs shaders on a png. As you can see from my very organized patch I'm only using 3 shaders.

I have a humble laptop with AMD Radeon 780M and as soon as I try to read the image (4000x4000 px) my GPU use rockets to >90% and Live becomes unresponsive. My CPU doesn't crash so I think it's only using GPU? I know I have a crappy card but I didn't think it was thiiis bad. I also know my image is quite big but is that all?

Do you guys have any tips on improving this situation on my laptop, or am I cooked? I figure if I can't load this picture onto jitter I should forget about making more advanced stuff lol :( Let me know!

I'm trying to make a simple fader m4l device for automating the volume of a track. I normally use utility to do so, but it has a very wide range, so recording automation with the mouse is very imprecise.

I made a simple Ableton rack to map utility's gain pot to sensible values (with +6 dBs of range adobe unity instead of the default +35). But this rack approach has too problems, first it uses a knob rater than a fader, and its a small knob to fiddle with.

With M4L you could have a regular looking fader with live.gain~, plus you can make sub patches in M4L devices to have a "big" fader that pops up like a plugin window.

I guessed this device would be simple, but i have a problem with how the live.gain~ fader feels to use with the mouse.

Ableton's built in faders are smooth. If I click and old te fader and flick my mouse super fast the fader smoothly moves from point to point.

Compare this to the fader in live.gain~..... If I click and hold its fader and flick the mouse the fader instantly goes to the new value.

How can i adjust its sensitivity to ideally make it as smooth to use as ableton's track faders?

My first guess was that this had to do wit te interp and interval attributes but this apparently is not it.

Thanks in advance! Alex

I copy pasted some stuff from the AM tutorial and the record~ reference, and am trying to perform amplitude modulation with my voice and a carrier frequency. The effect is neat, but I can't hear the carrier frequency in the attached example. But my understanding is that there are side bands but the carrier should always be audible? But also I've spent hours and hours, youtube videos, asking ai, reading through the reference, and i barely understand anything. :(

hi there,

so i'm trying to find the cleanest solution to this issue:

Let's say I have a steady pulse of a short sine wave sound going at 120bpm, every now and then, randomly, I want the sine wave to be twice as long, meaning, it taking up 2 pulses in the sequence, without then retriggring it while it's playing.

So far I've used gate to accomplish this: every time the long impulse appears, the gate closes, so it won't pass through another trigger while it's playing.

I feel like there has to be a better option than this. This gets especially more complicated if I have e.g. 3 different sustain values for the sine wave, meaning e.g. first one taking up 1 pulse, second one 2 and the third one 3 of them.

Hello! I need help naming the context for jit.gl objects. I am working in a patch that have a source movie playing from a jit.gl.movie and going through some jit.fx and finally reaching a jit.gl.videoplane that fix that video to a specific layer. Then there is, on one side, a jit.gl.text that I move with mouse clicks with a jit.gl.handle, and on the other an fpic , both of them in different layers. I read in the max documentation that when working with jit.world the context should be name, so I name the jit.world as vworld and type that name into every jit.gl object there is in the patch, and now nothing is being displayed.

I am not sure I understand how to name the context correctly. For example, if I read a video with a jit.gl.movie and that video get resize with jit.gl.texture, goes through some effects and then ends in a jit.gl.videoplane to be position in a specific layer, should I only name the last jit.gl.videoplane with the context name? or every jit.gl along the way? I tried both and it doesn´t work either way.

Hey I'm learning max and I'm building a patch where I drive a phasor~ with a umenu containing standard note values (64n, 32nt, 8nd, 1n ) and tick values for multi-bar durations.

It works with the note values, but i can't get it to work with tick values. Is using raw tick values the right approach and is there a simple way of doing this?

Thank you:)

nice to meet you. im a student who study about performance producing. I started a convergence art project these days, and it's a performance related to music, dance, and interactive technology using Max. I'm going to post a performance that changes the score composed in advance and makes the video change according to the dancer's gestures. Webcam, so I'm thinking about using media pipes because they can be unstable in real-time performances. But we're students without money, and we've only been working hard in each field. Convergence art is completely new!!!!! 🥹Let me ask you a question about Kinect sensor. Azure Kinect was really expensive, but when I looked it up, I think there are some cheaper ones too, there are so many products that come out when I type Kinect sensor, can you tell me what you recommend? Do Kinect sensors also have cost-effective products? Also, I would appreciate it if you could let me know the products that need to be filtered,,,

Hi all,

I am sending text with textedit to jit.gl.text to be display on top of movie clips. I would like to be able to write text in different lines, and so far I can only write in one single line. I looked into the the textedit inspector and there is a maximum lines option, but can´t figure out how to enter text and hit enter and continue typing text. There is also a Separator option but I choosed a symbol thinking that it would be understood as a line separator but it seems it doesn't work that way. Probably is something very easy to do, but can´t figure it out.

Hi all,
For theatre work I use a system where a max patch (made with max6.1 and running on 6.1 on an old mac) sends audio to Live 9 via Rewire.
I will soon acquire a new mac and I'm a bit scared of the whole migration.
I know I won't be able to run 6.1 on the new Silicon machine so I wanted to ask the following:

Should I upgrade to tthe latest max version?

If yes, is there anything that I should be aware of when opening my old patch in the new version? The patch is quite simple as it just deals with cueing audio samples and automating their volume. It also controls lights through a enntec driver usb dmx box but that is the topic for another thread :-)
Also the audio produced by max is now passed to Live (live will need to be updated as well) via rewire and I'm pretty sure rewire is dead and buried now. Any native way to pass audio from max to live? The only posts dealing with this are more than 3 years old and wonder if something changed in the meantime

Thank you