Max/MSP/Jitter for music : a practical guide to developing interactive music systems for education and more

432 Pages·2016·15.07 MB·English

by  Manzo

Max/MSP/Jitter for Music

Max/MSP/Jitter
for Music
Second Edition
A Practical
Guide to
Developing
Interactive
Music Systems
for Education
and More
V.J. Manzo
1
1
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Library of Congress Cataloging-in-Publication Data
Names: Manzo, V.J.
Title: Max/MSP/Jitter for music : a practical guide to developing interactive
music systems for education and more / V.J. Manzo.
Description: Oxford ; New York : Oxford University Press, [2016]
Identifiers: LCCN 2015042575
ISBN 9780190243746 (pbk. : alk. paper)—ISBN 9780190243739 (hardcover : alk. paper)
Subjects: LCSH: Max (Computer file : Cycling '74)
Computer music—Instruction and study.
Classification: LCC ML74.4.M39 M36 2016
DDC 781.3/45133—dc23
LC record available at http://lccn.loc.gov/2015042575
1 3 5 7 9 8 6 4 2
Paperback printed by WebCom, Inc., Canada
Hardback printed by Bridgeport National Bindery, Inc., United States of America
Contents
v
Foreword by David Elliott • xi
Preface • xiii
Acknowledgments • xix
About the Companion Website • xxi
1 Introduction to Programming • 1
Covers the basic tools of operation and navigation in Max as well as
an introduction to the basic ways to work with data.
• Introduction to Max • 3
• The Max Window • 7
• Help Patchers • 8
• Arguments • 9
• Separating Items in a Message • 10
• Numbers: Integers and Floating Points • 10
• Aligning • 12
• Commenting • 12
• Inspector • 13
2 Generating Music • 17
Introduces elements of algorithmic composition. We will create a
program that randomly generates pitches at a specified tempo.
The program will have the ability to change a number of musical
variables including timbre, velocity, and tempo. We will also write a
program that allows your MIDI keyboard to function as a synthesizer.
These two programs will be the basis of future projects related to
composition and performance.
• The RAT Patch • 17
• MIDI (Musical Instrument Digital Interface) • 18
• Synthesizing MIDI Numbers • 19
• Adding Timing • 21
• Slider Patch • 28
• Rat Patch 2 • 29
• MIDI Input • 33
Contents
3 Math and Music • 39
Discusses some of the math used in musical operations. We will
examine the math behind musical concepts like transposing music
by some interval and adding chord tones to a root note. We will also
vi
look at some of the things that will help make your program look
better and more accessible to users. We will create a program that
harmonizes MIDI notes.
• Math in Max • 39
• Forming Intervals • 43
• Window Dressing • 45
• Creating Chords • 48
• Presentation Mode • 52
• Further Customization • 53
• Comments • 57
4 Scales and Chords • 61
Describes how to build scales and chords and play them back in a
variety of ways. By the end of the chapter, you will write a program
that allows users to play diatonic chords in a specified key using just
the number keys on your computer keyboard.
• Scale Maker • 61
• Chord Maker • 64
• Order of Operations • 74
• Setting Values • 77
5 Interactive Ear Training • 87
Describes how to make an interactive ear-training program.
• Ear Trainer • 87
• Further Customization • 97
6 Data Structures • 101
Describes how to write a program that randomly generates diatonic
pitches at a specified tempo. We will learn how to filter chromatic
notes to those of a specific mode by using stored data about scales.
By the end of this chapter, you will have created a program that
composes diatonic music with a simple rhythm. We will also learn
about adding objects in order to expand the Max language.
• Adding External Objects • 101
• Tonality in Max • 103
• Filtering Chromatic Notes to Diatonic Notes • 104
• Random Tonal Music • 105
Contents
• Abstractions and Subpatchers • 110
• Working with Pitch Classes • 112
• Alternate Way • 113
• Tables • 117
vii
7 Control Interfaces • 125
Examines some premade patches demonstrating a few techniques
for designing diatonic musical instruments. We will review some of the
basic ins and outs of MIDI, learn some ways to program more
efficiently, and discuss a number of control options for your patches.
• bpatchers • 125
• MIDI Out bpatcher • 131
• Saving Settings • 132
• Chords • 138
• Storing Presets • 144
8 Control Interfaces Continued • 147
Examines some innovative ways to control music making as we
develop musical instruments. We will use your computer keyboard
and mouse as performance instruments as well as discuss the use of
videogame controllers in your patches.
• Arguments for Abstractions • 148
• Using the Mouse • 151
• Using Videogame Controllers • 156
9 Tools for Music Theory Concepts • 163
Describes how to design some tools to aid in the discussions of
concepts related to music theory. In particular, we will discuss chord
progressions, scale analysis, chord analysis, mode relationships,
harmonic direction of chords, and harmonization. By the end of this
chapter, you will have an arsenal of tools for explaining theoretical
concepts of music.
• Chord Progressions • 163
• Scale Analysis • 166
• Mode Relationships • 174
• Harmonic Direction • 176
• Harmonization • 178
10 Working with Time • 183
Discusses aspects of time, rhythm, and the sequencing of events. You
will learn to create interactive performance and compositions
Contents
systems as well as create patches that demonstrate rhythmic
complexity. By the end of the chapter, you will have created patches
that can record and loop MIDI sequences as well as a number of
patches that work with notes over time.
viii
• Sequencing • 183
• Step Sequencers • 195
• The Transport • 200
• Overdrive • 204
11 Building Standalone Applications • 207
Analyzes a “Chord Namer” application that allows a user to enter a
chord name and see the notes on a MIDI keyboard. We will “build”
this patch as a standalone program that can be used on any
computer even if it does not have Max installed.
• Preparing the Application • 207
• Building the Application • 212
• Icons • 216
• Styles • 216
• Permission and Cross-platform Building • 217
12 Introduction to Max for Live • 219
Discusses using Max for Live, the add-on for the digital audio
workstation Ableton Live that allows users to incorporate Max/MSP/
Jitter into their Ableton Live projects.
• Overview • 219
• Crash Course in Ableton Live • 220
• Writing a MIDI Program • 231
13 Working with Audio • 251
Discusses MSP, a collection of objects that work with audio signals.
The MSP objects can handle actual sound recordings, like audio
from a microphone, as well generate signals.
• Basic Ins and Outs of Audio • 251
• Sine Waves • 256
• Timbre • 259
• Synthesizer • 263
• Synth Building • 266
14 Audio Playback and Pitch Tracking • 275
Looks at some of the ways that you can play back and record sound
files. We will also look at some ways to track the pitch of analog
audio and convert it into MIDI numbers.
Contents
• Playback • 275
• Pitch to MIDI Tracking • 282
• Pitch Tracking to MIDI Harmonization • 285
• Preserve Pitch While Adjusting Tempo • 289
ix
• Pitch Correction • 290
15 Audio Buffers • 293
Discusses how to record audio into a storage container called a
buffer. By the end of this chapter, you will be able to record a
performance through your microphone and loop the recording while
you make sonic changes to it. You will also learn how to make a
polyphonic synthesizer that uses a single recording of your voice as
the pitches.
• All about Buffers • 293
• Recording into a Buffer • 299
• Max for Live • 301
• Referencing Playback Speed to a MIDI Note • 301
16 Audio Effects and Processing • 307
Addresses implementing audio effects into patches with live audio
and sound files.
• Preparing the Patch • 307
• Delays • 311
• EQ • 317
• Other Effects • 320
17 Working with Live Video • 325
Discusses Jitter, a set of objects that handle video and visual-related
content in Max. By the end of this chapter, you will have created a
patch that changes the color of a live video when pitches are
played.
• Matrix • 325
• Camera Input • 326
• Adjusting Color • 328
• Mapping MIDI Pitches to Color • 333
18 Working with Video Files • 339
Working with preexisting video files located within the Max search
path. By the end of this chapter, you will have created patches that
detect presence in certain areas of a video. We will also examine
some aspects of tracking colors in video.