One of the most often requested features for the BopPad is the ability to send out multiple notes per quadrant. In a previous article we discussed setting this up in Ableton Live, but what if you don’t have Ableton Live? I’ve coded up a Max application (mac only for the time being) that can act… Read more »
The BopPad is a highly flexible MIDI device that can spit out a variety of data to control MIDI capable software and hardware. One thing that users have been wondering about is how to play different sounds based on the location in a particular quadrant. This is usually done with notes, and while the BopPad… Read more »
K-Mix is a very flexible device covering audio input and output over USB, standalone mixing, and MIDI control. Having control over the audio going in and out of the K-Mix, as well as control over software all from the same box, can be extremely handy. Some software allows for third party integration through their own… Read more »
The K-Mix has a lot of places to plug cables into and out of, and the type of cable you use can make some practical differences. I’d like to spend a little time talking about balanced, unbalanced, and differential signals, and share a few good resources with you. A good place to start this discussion… Read more »
One of the more exciting things about K-Mix is its flexibility. When connected to a computer this device can serve as an Audio Interface, Mixer, and Control Surface all at the same time. While using the K-Mix in Mix mode, the diamond pad will send standard Mackie Control Messages. These messages can be used with a… Read more »
We’ve gotten quite a few requests lately about a Control Script that integrates the K-Mix with Ableton Live. Don’t worry, it’s on its way! In the meantime, you can still get some dynamic hands-on control using an often overlooked text document. Using the UserConfiguration.txt file, we can quickly provide a way to play with devices… Read more »
In the previous article we started by setting up a few systems for synchronization and quantization in Max. In this article we will begin putting that work to use when we start recording and playing back audio using some basic DSP buffer operations. We will implement this playback and recording system in gen~ using max-like… Read more »
At some point in your life of a computer musician, you’ll be tempted to experiment with making your own tools. Whether that means using MIDI mapping to create a performance template or coding a plugin in C, the options for getting into tool making are quite expansive. For me, this meant repurposing controllers with Max… Read more »
Working in technical support for KMI, I am often confronted with requests for functionality from some of our devices that we didn’t include for one reason or another. There’s a variety of tools that you can use for this task, such as Max, Bome’s MIDI translator or Pure Data. All of these software environments can… Read more »
This post wraps up my overview of my time at Ableton’s 2015 Loop Conference. The first two days were filled with great talks, inspiring workshops, and genre bending music. The last day promised much of the same, but with a bit more focus on Cycling 74’s multimedia programming environment Max 7 (and Max for Live… Read more »
Continuing the round up from Loop 2015 in Berlin, we will discuss a Saturday that was an absolute goldmine of thoughts and philosophies, with topics covering artistry, technology, and the role of code in our musical practices.
As some of you may know, the weekend of Oct. 30th this year saw the first (maybe annual) Loop conference sponsored by Ableton. It was billed as a ‘Summit for Music Makers’, and throughout the weekend it definitely lived up to that. I was a little concerned that this weekend would be a little too… Read more »
In the last article, I discussed the beginnings of granular synthesis, the basic theory, and some of the applications of this synthesis technique. In this post, we will walk through a basic implementation of granular synthesis that focuses on independent pitch shifting and time stretching of an audio file. You won’t need more than a… Read more »
In Emmett’s discussions on simple synthesis, he provided you with a lot of great building blocks for exploring analog synthesis. As my expertise lies more in the digital realm, I thought it might be worthwhile to discuss some synthesis techniques that are more traditionally done digitally. One of the more interesting techniques is called Granular Synthesis…. Read more »
In this installment of Simple Synthesis we’ll be looking at a technique that can achieve a wide variety of sonic results, while also having less computational overhead than a lot of more traditional synthesis approaches. Say hello to Wavetable Synthesis!