Gswitch with more than 2 max msp for free#
Gswitch with more than 2 max msp Patch#

The package is called lobjects and is available for free at my web page listed below.

Blowing my own horn a bit- in the early 90s I wrote a package of objects that simplify a lot of jobs, particularly in the handling of lists.

The blocks become p objects that you fill in to accomplish the required part of the job. You can do this in Max, but a scrap of paper works too. Draw up a block diagram of what you want to do. Find a labeling scheme you can easily remember and use it to send data between your modules.

Gswitch with more than 2 max msp Patch#

Think of forward and receive as patch cords directed by Umenu.Having solved the problem once, I don't need to revisit it. I have a sub-patcher called major that does just that. As an example, I often find the need to get a diatonic or pentatonic set of pitches from a random input. Then that sub-patcher can be used in any patch. Apply modular thinking to your patchers- any selection of objects can be encapsulated and saved as a sub-patcher.I described this idea earlier- all I need say here is my mutating sequencers took about two hours to write and have provided hours and hours of music. Here are some tips to speed up the process: But I realize it can easily become overwhelming. Max is the most efficient coding language I know (I've got about 8 in my active arsenal). Mr_karlos and others wrote: ↑ Sun 9:15 am That is why I stopped working on my own Max Sequencers and Push2 integrations. I get sucked into the coding and don't spend enough time creating music. I do find I spend too much time on building Max patches. I feel this would free me from the Push2 for Sequencing. I am stopping myself from investing in the Five12 Vector sequencer. I did spend a weekend trying to do all of this just using Max/MSP but I found out that it would take me weeks of work to replicate the Push2 & Live workflow using Max. This gives me 8 gate only, 8 CV only and 8 audio outs, and 14 audio ins. I do have a Ladic trigger to MIDI module which I use if I run out of ES-9 input ports.Īll my I/O between the Computer and Rack is done using an ES-9, ES-5 and an ESX-8CV. I use 4 of the 14 audio ins on the ES-9 for this. I find the Steppy better when I am doing a track live but the drum sequencer on Push2 does allow me to move the timing around. I either use this from Push2 or I send in triggers from an Intellijel Steppy. (But on Max/Live the settings would be saved!)įor drums I use the Ableton/Max Drumrack that is part of Live 10 (I can't afford 4 dedicated drum modules, filters, etc.). I could do the LFOs and clocks from Max but this would tie up I/O ports. I use the CV Tools Clock to send a 48 PPQN clock to a Pam's New workout which then clocks or provides in-sync LFO to racked modules. The physical filters do have more personality that a Max object or a vst~ object. Initially I did try using Max/MSP as a sound source or for filters but I found the sound sources on Eurorack have a far richer sound quality. This can be presented in Max/MSP using the vst~ object and nearly all its parameters can be controlled via Max. I also use the EchoBoy plug-in which works well in Max or Live. I find using Push2 for mix and effects is really efficient. All my effects are on the computer side, either as Live channel devices or on a mix bus.

Like I do most of the module sequencing CV from Live using Push. I have MAX/MSP, Ableton Live and a Push2. And while a Lorenz module might make sense (see sloths) you probably wouldn’t build one for a Rossler attractor. A simple triangle LFO Is easily available as a module, so there’s little point in tying up a Max CV that could be putting out a Lorenz attractor. It depends on the complexity and rarity of the curve. Like 'oh this is what I want the delay CV to be' and 'oh I want to adapt the delay LFO to my filter cutoff' and so on in this fashion building an insane library of customized subpatches. For example, even with the control Maths/DUSG offers, I usually want to offset or attenuate and I end up changing the curve/times by ear, but in the computer I feel like it would be easier to make subpatches like you're describing specifically for known parameters. Surprising to me because I would think maybe LFO control would be nicer with a computer! (I only use slew based designs in modular because I think they're easier to work with). (Using a computer to generate a simple ramp voltage is a waste of CV bandwidth.) It includes more LFOs and envelope generators than I had originally planned because Max has no advantage to add there.