Patches programmed and examples performed by Robert Willey
Unstuff the archive, 68K.sit for Macs with 68K based processor, or powermac.sit for iMac/G4, etc. You end up with a group of standalone applications, you don't need Max to run them.
If you don't hear anything when you play, try double clicking on input (notein, ctlin) and output (noteout, ctlout) items and select the OMS device you want to use.
The PC version of the patches is coming soon...
The names of the patches in the stuffed folder correspond to the numbers in the article. Some have variations that are not in the article. Clicking on the name of the figure displays an image, and there are indented Quicktime videos, GM MIDI files, and mp3 audio examples.
Figure 3: notein connected to number boxes.
The 0’s will change to numbers as soon as you play something
on the keyboard.
Figure 3a: what you see after playing a
note and the 0's have changed.
Figure 4: notein connected to noteout. No processing takes place yet.
Figure 5: controller performance comes out in octaves.
Quicktime movie: the scale played on the bottom keyboard triggers lit octaves on the upper keyboard.
Figure 6: Notes are sent out two MIDI
channels, so that you can have different timbres and volume
levels for the original and shifted notes.
Figure 6a (variation): transposed notes go out one MIDI
channel higher. Setup split pan to separate the two
channels and balance the individual volume levels. Uses
sustain pedal to send all notes off, in case you change
the transposition while holding down notes.
fig6-tri.mid: I play set of major, minor, diminished, augmented triads, at the same time the patch shifts up the chords, so for every triad that is played six notes come out.
Figure 7: Notes are inverted. The higher you play on the keyboard, lower the notes sound. The 0’s in the boxes down the left side will change when you play notes showing how the key number is changed after subtracting 127 and then taking the absolute value.
Figure 7a (variation): can send out program
changes, only sends out inverted notes while sustain pedal is
down. The box marked "press sustain pedal or click" can be checked with
the mouse or by depressing the sustain pedal. The three gates below are
now routing input to their left outputs, which go no where. Checking the
box would switch them to the right output, sending the information on to be
inverted.
Figure 7b (variation): volume pedal cross fades between regular and
inverted notes.
Figure 8: Refracted notes go out on a
separate channel, allowing independent volume control from either
the volume pedal or modulation wheel.
Figure8a: Refraction only happens when
sustain pedal is down or check box is checked.
Figure 8b (variation): volume pedal (or mod
wheel) cross fades between the two channels.
Figure 9: The harder you play, the lower pitch and longer duration the notes are that come out. The result will be atonal.
Figure 9a: The harder you play, the higher the
octave the pitch will sound in. Pitch class will be maintained,
making it possible to play conventional melodies and chords
Figure 10: Each performer’s patch sends and receives information from each other. Chris Dobrian played on a MIDI guitar and I played keyboard in a piece called 2-way Dream. There isn't anything inside the two sub patches at this point.
You can listen to 2-way Dream.
Figure 11: Cereal Music - incoming notes trigger a 12-tone row. In the upper right hand corner is the preset object. Each preset recalls any parameters of your choosing. Presets are recalled by clicking in the little boxes, or, in this patch, by stepping on a pedal (controller #68) so that a pre-arranged series can be conveniently accessed without leaving the keyboard. Many of the connecting lines have been hidden. The mod wheel sets the volume of the thru channel, the volume pedal the volume of the other channels.
microascii (Microtonal ASCII). Play third (or other) tones from ASCII keyboard. Turns (Mac) computer keyboard into microtonal instrument. Too bad there's no velocity sensitivity.
Cycling74 - The company who is developing Max and Jitter. There you can find the documentation and links to more resources.
Some of my more complex patches are discussed in an article on algorithmic improvisation.
Robert Willey's homepage, creative work programmable instrument pieces such as Saudades de Ouro Preto, Un tiro de dados, Unprepared Music for Prepared Violins, Frontera norte, and Caxambulismo.
Composing Interactive Music by Todd Winkler. Academic overview of programming, Max, interactivity, and examples on CD-ROM.
©2003 Robert Willey
http://willshare.com/willeyrk/creative/papers/programmable