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In the example patch, cues 2 , 3 , and 4 play entire files, cue 5 plays the first milliseconds of sacre. Each preload message actually creates a small buffer containing the audio data for the beginning of the cue, so playback can start immediately upon receipt of the cue number.
The upper-left portion of the patch permits you to type those numbers directly from the computer keyboard. Type number keys to play the different pre- defined cues. Before you define a cue, you will probably need to listen to segments of the file to determine the precise start and end times you want. You can use the seek message to hear any segment of the current file. In the right portion of this patch, enter an end time for the seek message.
The excerpt you have specified will begin playing. Try different start and end times. Once you find start and end times you like, you could use them in a preload message to establish a cue. There will be a slight delay while it accesses the hard disk before it begins playing. For that reason, seek is best used as an auditioning tool; preloaded cues are better for performance situations where immediate playback is more critical.
Note the importance of the gate object in this patch. To stop it, click on the toggle again. Turn audio off. We finish off this section by giving our code some flair in the presentation mode. Just add individual dials and comment boxes to the presentation mode, and you'll be good to go! We gave ours some extra flair with colored boxes and various font and artsy design decisions. Additionally, the design was based off of guitar pedal designs: dials in labeled rows and sections to make the signal path simple to understand.
Have fun with this part! We now have a fully functioning signal processor in Max, we just need some audio to feed in to it. By using Soundflower, we can route all the sound being outputted through the signal processor, so long as the source is your computer!
In order to create our own ambient loops however, we will have to make another Max patch. Thanks to the power of MIDI, the finished patch will effectively serve as a novel MIDI controller for your DAW, sending notes directly to it allowing you to use any instrument of your choosing or design!
As opposed to an external MIDI controller, with the power of max we can create a MIDI controller that can play all by itself, allowing you to modulate it with the signal processor with ease. For unique note generation, we will be using an arpeggiator to generate triads, and later on we will look at how to put together an algorithm that will allow the arpeggiator to jump between chords. Before we can put an arpeggiator together, we need to be able to generate the chords for it to sequence through.
Fortunately, the numbers are sequential, so by applying some music theory, we can generate the correct intervals that correspond to various key signatures. The key signatures you use are up to you, however you can also follow along with the 4 key signatures we selected. Later on we will add to this part of the code to allow it to cycle through the key signatures on its own, so we selected Major, Minor, Major 7ths, and Minor 7ths to help preserve tonality as the program cycles through chords.
Referring to the first picture, the bulk of this section is just the math that corresponds to the intervals of these keys. Starting with the leftmost box labelled '60', thats the root. Whenever the root changes, the intervals will change correspondingly based on the current key. For example, if the major key is selected, the corresponding intervals are 4 and 7. Refer to the photo above for the code for the Arpeggiator.
The counter object and the attached 0, 1, and 2 object boxes are going to allow you to control the direction of the arpeggiator from Up, Down, and UpDown. As shown above, the interval generator that we just put together is being routed to the 'int' boxes, so as the counter and select boxes run, it will be going through the chord from the other chunk of code. This then runs through the 'makenote' and 'noteout' box to finally turn these MIDI numbers into sound!
Take note of the of the 'port "from Max 1"' object thats connected to the 'noteout' box, as this is what allows you to send the MIDI information from Max into your DAW. The 'metro' object determines how much time is between each interval in milliseconds. I have it default to ms, and if you follow the attached code, using the slider object you can adjust how many milliseconds are between each interval. Pictured above is the piece of code that will allow the program to automatically cycle through the key signatures, allowing you to create spontaneous chords as you select different root notes.
The 'select' object is functioning very similarly as the one in the arpeggiator section, however instead of a specific sequence, we are using the 'urn' box to randomly cycle through the keys. What makes the 'urn' box different from 'random' is that it will not repeat a number until it has gone through the whole range, which in turn provides us with an even distribution of jumps between different the different keys.
This chunk of code is what brings this patch to being able to run autonomously. If we refer back to the chord generator from the beginning of this section, changing the root will automatically fill in the following intervals, so we can use that to generate unique chord progressions! The key item here is the 'itable', or the large square with the small blue rectangles inside.
By attaching this to metro parameter from the arpeggiator the box set to , we can control the exact point in the arpeggiator sequence that the chord changes. Since the Arpeggiator runs in sets of 3, the size of the itable is set to 12, to account for 4 cycles, and the range is set to 2, with 2 serving as 'no' and 1 serving as 'yes' for whether or not to change the chord.
With the sequence in the main code, the arpeggiator would one through one triad, then a new chord would be generated and it would run through that triad, and so on. The 'random' boxes determine how far the new root is from the original, currently I have it configured so that it can go up to half an octave up or down.
In the full picture of the code, seen off to the left the 67 number box on the bottom is attached to root number box from the chord generator, so whatever number ends up being generated from the itable and its attached algorithm will go to the chord generator, and then into the arpeggiator where it will play the newly selected chord.
This is so that when the algorithm from this chunk of code generates a number, it also gets selected on the piano so it will trigger that note to play. In the final code, this section appears twice, with the only difference being the itable. Refer to the separately attached itable for how to make it so that a new chord is generated after the arpeggiator repeats a sequence 4 times.
You should now have a fully working self playing arpeggiator! However, if you want to add a bit more control, the piece of code pictured above will allow you control the duration of the notes being played, so you can get long drawn out notes perfect for a slow, droning, ambient loop. Also attached is a 'stop' object, which is particularly helpful when you are running Max through a DAW. The program is now functionally complete, all thats left to do is organize everything into presentation mode.
There isn't one end all be all solution to this, its entirely dependent on what you want to be able to control from a surface level. My selection covers the essentials of everything I want to be able to easily modulate, so you can add to it or take away from it as you see fit.
All that's left to do now is to get familiar with these two patches, and start creating some music! This is a tutorial on how to get started making an ambient loop generator in Max MSP. Did you make this project?
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