#MAX 4 LIVE MIDI MONITOR PATCH#
If your audio Clip is playing while you do this, you'll hear one or both channels cut out - just like with real patch cords - and you should end up with an effect that is swapping the left and right channels of your original stereo input. Try dragging each red diamond across to the opposite input (MaxMSP calls them 'inlets') on plugout~, and you should end up with a crossover network, as in the screen to the right. 'X' marks the spot: swapping left and right in Max.Open the Device for editing again and click to select one of the audio patch cords (the vertical striped lines): it should highlight with diamond icons at its ends (green at the top, red at the bottom), which you can think of as the virtual jacks on the virtual patch cords. If you close the Max window, the copy of the Device inside Live will become active again and you'll be back where you started. The copy of the Device in the Live window is now greyed out, to indicate that it is inactive the copy that's open in Max is the one that is running, as audio is now being routed from Live into Max and back out again. Click this and a full version of MaxMSP will be launched to do the actual editing, showing the Effect in its own window. If you look at the Device's title bar, you'll see the Edit button, just to the left of the hot‑swap and preset-saving buttons.
If you drop an audio file into a Session Clip in the track and play it, you should hear your original audio, and also see identical signal levels in the small VU meters on the input and output sides of the effect, proving that it's simply operating as an audio 'through'. The 'plugin~' box is the audio feed coming into MFL from Live itself, while 'plugout~' routes audio from MFL back into Live. This is about the simplest possible effect, taking a stereo input and passing it unchanged to the output: it's basically a pair of virtual jack cables, one for the left channel and one for the right.
You should see the Max For Live splash screen for a few seconds as Live loads up its Max component, and then you'll have a basic Audio Effect sitting in the Track View, as shown in the screen below. In the Live Device Browser, select the Max Audio Effect and drag it into an audio track. Opening The BoxĬlicking the Edit button, here highlighted to the left, next to hot‑swap and preset save, opens the Audio Effect in Max. The rest - becoming productive, and eventually fluent - is up to you, but it's possible to take small steps and do useful (and fun) things incrementally. The purpose of this article then, is not to try and convince you that MaxMSP via Max For Live is easy to use - that would be no more true of MaxMSP than it is of a modular, or of a violin - but to demystify MaxMSP, show how it works, and prove that there's no reason to be scared of it.
One thing that MaxMSP and modular synthesizers have in common is that they are, in a very real sense, musical instruments, and require a degree of training or, at the very least, some commitment to study to be truly productive with them.
#MAX 4 LIVE MIDI MONITOR HOW TO#
It knows how to process audio and MIDI, and can do quite a few things that are easy in software but would be somewhat challenging for a real modular synth, such as scrubbing from audio files or sampling. In a very broad sense, MaxMSP can be regarded as a kind of gigantic modular synthesizer that can never run out of modules. The default Max Audio Effect: two virtual jack cables. On the assumption that this has made you sufficiently curious to try out Max For Live yourself, in this column we're going to walk through some very simple examples to show how it works and how you might think of using it to start creating your own effects. Last month, we presented a 'state of the nation' overview of Max For Live, to give an indication of the weird and wonderful things that are being done with it. MaxMSP needn't be as scary as you might think, as we demonstrate with some basic Max For Live programming.Ī simple Max level fader being automated by Live.
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