Developer(s) | Cycling '74 |
---|---|
Stable release | |
Written in | C, C++ (on JUCE platform) |
Operating system | Microsoft Windows, macOS |
Type | Music and multimedia development |
License | Proprietary |
Website | cycling74.com/products/max/ |
Max for Live is the result of an extensive cooperation between Cycling '74 and Ableton. Cycling '74 is the company behind Max/MSP: a visual programming environment which is fully focused on providing a massive toolbox which can help you program just about everything within the field of multimedia. Max for Live (M4L), Max/MSP, Mac OSX.app.etc. Software Development by Akihiko Matsumoto. Check out Plugin Deals Download Patches & More Information http://www.joshuacasper.com/max-4-live/install-max-live-patches-ableton-l.
Cycling '74 Max 7 | |
Paradigm | visual, flow-based, declarative, domain-specific |
---|---|
Developer | Cycling '74 |
Stable release | |
Website | cycling74.com/products/max/ |
Max, also known as Max/MSP/Jitter, is a visual programming language for music and multimedia developed and maintained by San Francisco-based software company Cycling '74. Over its more than thirty-year history, it has been used by composers, performers, software designers, researchers, and artists to create recordings, performances, and installations.[1]
The Max program is modular, with most routines existing as shared libraries. An application programming interface (API) allows third-party development of new routines (named external objects). Thus, Max has a large user base of programmers unaffiliated with Cycling '74 who enhance the software with commercial and non-commercial extensions to the program. Because of this extensible design, which simultaneously represents both the program's structure and its graphical user interface (GUI), Max has been described as the lingua franca for developing interactive music performance software.[2]
History[edit]
1980s:Miller Puckette began work on Max in 1985, at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris.[3][4] Originally called The Patcher, this first version provided composers with a graphical interface for creating interactive computer music scores on the Macintosh. At this point in its development Max couldn't perform its own real-time sound synthesis in software, but instead sent control messages to external hardware synthesizers and samplers using MIDI or a similar protocol.[5] Its earliest widely recognized use in composition was for Pluton, a 1988 piano and computer piece by Philippe Manoury; the software synchronized a computer to a piano and controlled a Sogitec 4X for audio processing.[6]
In 1989, IRCAM developed Max/FTS ('Faster Than Sound'), a version of Max ported to the IRCAM Signal Processing Workstation (ISPW) for the NeXT. Also known as 'Audio Max', it would prove a forerunner to Max's MSP audio extensions, adding the ability to do real-time synthesis using an internal hardware digital signal processor (DSP) board.[7][8] The same year, IRCAM licensed the software to Opcode Systems.[9]
Max For Live Macros
1990s:Opcode launched a commercial version named Max in 1990, developed and extended by David Zicarelli. However, by 1997, Opcode was considering cancelling it. Instead, Zicarelli acquired the publishing rights and founded a new company, Cycling '74, to continue commercial development.[10][11][12] The timing was fortunate, as Opcode was acquired by Gibson Guitar in 1998 and ended operations in 1999.[13]
IRCAM's in-house Max development was also winding down; the last version produced there was jMax, a direct descendant of Max/FTS developed in 1998 for Silicon Graphics (SGI) and later for Linux systems. It used Java for its graphical interface and C for its real-time backend, and was eventually released as open-source software.
Various synthesizers and instruments connected to Max.
Meanwhile, Puckette had independently released a fully redesigned open-source composition tool named Pure Data (Pd) in 1996, which, despite some underlying engineering differences from the IRCAM versions, continued in the same tradition. Cycling '74's first Max release, in 1997, was derived partly from Puckette's work on Pure Data. Called Max/MSP ('Max Signal Processing', or the initials Miller Smith Puckette), it remains the most notable of Max's many extensions and incarnations: it made Max capable of manipulating real-time digital audio signals without dedicated DSP hardware. This meant that composers could now create their own complex synthesizers and effects processors using only a general-purpose computer like the Macintosh PowerBook G3.
In 1999, the Netochka Nezvanova collective released NATO.0+55+3d, a suite of externals that added extensive real-time video control to Max.
2000s:Though NATO.0+55+3d became increasingly popular among multimedia artists, its development stopped abruptly in 2001. SoftVNS, another set of extensions for visual processing in Max, was released in 2002 by Canadian media artist David Rokeby. Cycling '74 released their own set of video extensions, Jitter, alongside Max 4 in 2003, adding real-time video, OpenGL graphics, and matrix processing capabilities. Max 4 was also the first version to run on Windows. Max 5, released in 2008, redesigned the patching GUI for the first time in Max's commercial history.
Download iZotope RX 8 Audio Editor Advanced for Mac full version program setup free. Izotope rx for mac pro 2017. IZotope RX 8 Audio Editor Advanced for Mac ReviewRX 8 Advanced is a well-designed and comprehensive cross-platform application that provides the required tools to handle, organize, edit, repair, restore damaged and noisy audio to pristine condition. Sound engineers, audio masters, musicians and producers use it for creating mind-blowing audio and musicians. RX 8 Advanced is a comprehensive and flexible audio editing application that features numerous powerful tools, which you can use to restore damaged noisy audio to pristine condition.
2010s:In 2011, Max 6 added a new audio engine compatible with 64-bit operating systems, integration with Ableton Live sequencer software, and an extension called Gen, which can compile optimized Max patches for higher performance.[14] Max 7 was released in 2014 and focused on 3D rendering improvements.[15]
On June 6, 2017, Ableton announced its purchase of Cycling '74, with Max continuing to be published by Cycling '74 and David Zicarelli remaining with the company.[16]
On September 25, 2018 Max 8, the most recent major version of the software, was released.[17] Some of the new features include MC, a new way to work with multiple channels, JavaScript support with Node for Max, and Vizzie 2.[18]
Language[edit]
Screenshot of an older Max/Msp interface.
Max is named after composer Max Mathews, and can be considered a descendant of his MUSIC language, though its graphical nature disguises that fact. Like most MUSIC-N languages, Max distinguishes between two levels of time: that of an event scheduler, and that of the DSP (this corresponds to the distinction between k-rate and a-rate processes in Csound, and control rate vs. audio rate in SuperCollider).
The basic language of Max and its sibling programs is that of a. Hopes&Fears. Retrieved 2018-09-16.
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(help)![Max For Live Mac Max For Live Mac](/uploads/1/3/4/5/134561284/535891460.png)
External links[edit]
![Max For Live Mac Max For Live Mac](/uploads/1/3/4/5/134561284/558724999.png)
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Max_(software)&oldid=983469667'
Download free and almost free max for live or Pure Data devices from my collection.
Max for live is a Ableton Live toolkit to create custom instruments, effects, and other tools to do exactly what you need. You can see what max for live is here.
Max for live is a Ableton Live toolkit to create custom instruments, effects, and other tools to do exactly what you need. You can see what max for live is here.
Blip allows you to generate chains of glitchy blip sounds by setting different parameters that make the rhythmic and timbre possibilities almost infinite. The action can be activated either by a dedicated and mappable button or through the peaks of an incoming sound. Blip uses a noise and an intonable sawtooth as original sound synthesis; filters, panning, dynamic envelope, distance variations are applied to the generated sound, all managed by three fully customizable graphic interfaces.
Stepknob is a simple device that allows you to control up to three parameters simultaneously increasing or decreasing their MIDI value.
You can choose the size of the steps and how smooth the transition between one step and the next.
Psyn is a pattern synthesis sequencer instrument
Taking its cue from Mark Fell’s work on the Multistability album and the papers before it, this device creates rhythmic patterns in an unconventional way. Each step can have a different duration, a different amount of note repetitions and a different note duration. This creates patterns that can range from complex rhythms to real timbres given by the very fast repetition of notes.
Basically it’s a MIDI effect but it has the possibility to act as a real musical instrument.
The Timbre that is generated by setting very fast patterns is based on the instrument device that follows it.
The notes it generates can be a fixed note or even input notes (single or chords also) on the track. In sustain mode the input notes can even decide when the sequencer should start and when it should stop, creating a real musical instrument.
Looppa is a mlr style looper and freezer in the form of a maxforlive device for ableton live. It allows you to record 8 loops and play them back with a natural system based on the display of the scrolling of the recording and the ability to interact with it.
With Looppa you have the possibility to use a launchpad instead of a monome and have it at hand inside Ableton Live. In addition, there are new features such as separate pitch and playback rate management. In addition, you can quantize the recording while always remaining at the master time of your liveset.
VIDEO DEMO
VIDEO DEMO performance1
VIDEO DEMO performance2
Install Max For Live Mac
Noteknob is a simple MIDI device for max for live that translates a knob value into a MIDI note. You can select a threshold after which the note is played, the value of the note, its velocity and its duration. With hold mode the note will last indefinitely and with sustain mode you can decide when to end the note directly from the knob.
Stretch is a live max for live stretch/freeze device. You can manually activate the recording of a portion of sound or automate it with an envelope follower. Once the sample has been recorded you can play it in three modes: percussion (plays a small portion with a selectable decay); sustain (a freeze with a knob to navigate through the sample); LFO (automatically moves through the sample choosing between different waveforms).
Max For Live Turing Machine
Max for Live percussion instrument based on FM Synthesis. Designed to make glitchy, harsh, extreme percussion sounds.
Features:
– 3-operator FM Synthesis
– Onboard randomness to make “natural” sounds
– velocity to control volume and spectrum richness
– switchable sustain to play with midi keyboards or new percussion pads like Keith McMillen Boppad
– 3-operator FM Synthesis
– Onboard randomness to make “natural” sounds
– velocity to control volume and spectrum richness
– switchable sustain to play with midi keyboards or new percussion pads like Keith McMillen Boppad
VIDEO DEMO
VIDEO DEMO w/ Boppad
VIDEO DEMO w/ Sunhouse Sensory percussion
This device allow to trigger an automation for a knob or a fader. You can trigger automation in 4 modes: 1) Alternate button: every click alternate high and low state 2) Toggle: 1 for “go to high”, 0 for “back to low” 3) Specific button: left button for “go to high”, right button for “back to low” 4) Randomize button: Randomize parameter within range Random speed option allow to randomize also speed when you trigger the randomize button. You can also choose random speed range.
Buff is a max for live device that record a buffer of sound and allow you to rhythmically scrub on it controlling trigger of playback and speed, with a glitchy taste.
You can also have a random change of pitch on each step, play in solo mode or quantize the scrubbing.
You can also have a random change of pitch on each step, play in solo mode or quantize the scrubbing.
Friz is a max for live device that freeze a buffer of sound and play it changing speed to make rhythmical patterns. It can also simply freeze your sound. Can be triggered manually with a single knob or automatically with the peaks of your sound.
Dedelay is a max for live device that allows you to choose a note to delay with detune on every repetition. You can go up or down and choose the rate of the repetitions: to do that you can operate manually or analyze your incoming sound with an envelope follower.
Go+Back is a max for live device that allows to record and playback musical phrases straight and reversed in real-time. With just one knob you can control all the process: choose the length of the phrase and the start/stop of the playback.
It’s a simple stutter that can be activated by a knob in your MIDI controller.
Higher are the values you set with the knob more are the repetitions you get (and smaller the grains).
With the other knob the pitch of the stuttering can also be changed.
Higher are the values you set with the knob more are the repetitions you get (and smaller the grains).
With the other knob the pitch of the stuttering can also be changed.
Max for Live MIDI device
Max For Live Macro Control
Choose the probability of an incoming MIDI note to pass, with a single knob.
This MIDI device translate note velocity into note length.
It’s meant for Dadamachines automat toolkit (dadamachines) but you can use it for all project with robotic or solenoid actuators.
UPDATE: added device that alternate a note with its next one.
Pure data patch (request Pure Data installed). Ableton like clip launcher for grid controllers like Novation Launchpad, Akai APC key, Novation Launchkey and more…