Ableton has announced the Probability Pack by Sonic Faction, a set of five innovative step sequencers and idea generators that add controlled randomization to any composition and performance process. Each sequencer has a unique way of adding subtle or extreme randomization to patterns for unpredictable outcomes. Use these sequencers to generate new ideas, create variations […]
Max 8 is released today, as the latest version of the audiovisual development environment brings new tools, faster performance, multichannel patching, MIDI learn, and more.
MC multichannel patching.
It’s always been possible to do multichannel patching – and therefore support multichannel audio (as with spatial sound) – in Max and Pure Data. But Max’s new MC approach makes this far easier and more powerful.
- Any sound object can be made into multiples, just by typing mc. in front of the object name.
- A single patch cord can incorporate any number of channels.
- You can edit multiple objects all at once.
So, yes, this is about multichannel audio output and spatial audio. But it’s also about way more than that – and it addresses one of the most significant limitations of the Max/Pd patching paradigm.
Synthesis approaches with loads of oscillators (like granular synthesis or complex additive synthesis)? MC.
MPE assignments (from controllers like the Linnstrument and ROLI Seaboard)? MC.
MC means the ability to use a small number of objects and cords to do a lot – from spatial sound to mass polyphony to anything else that involves multiples.
It’s just a much easier way to work with a lot of stuff at once. That was present in open code environment SuperCollider, for instance, if you were willing to put in some time learning SC’s code language. But it was never terribly easy in Max. (Pure Data, your move!)
Mappings lets you MIDI learn from controllers, keyboards, and whatnot, just by selecting a control, and moving your controller.
Computer keyboard mappings work the same way.
The whole implementation looks very much borrowed from Ableton Live, down to the list of mappings for keyboard and MIDI. It’s slightly disappointing they didn’t cover OSC messages with the same interface, though, given this is Max.
Max 8 has various performance optimizations, says Cycling ’74. But in particular, look for 2x (Mac) – 20x (Windows) faster launch times, 4x faster patching loading, and performance enhancements in the UI, Jitter, physics, and objects like coll.
Also, Max 8’s Vizzie library of video modules is now OpenGL-accelerated, which additionally means you can mix and match with Jitter OpenGL patching. (No word yet on what that means for OpenGL deprecation by Apple.)
There’s full NPM support, which is to say all the ability to share code via that package manager is now available inside Max.
Patching works better, and other stuff that will make you say “finally”
Actually, this may be the bit that a lot of long-time Max users find most exciting, even despite the banner features.
Patching is now significantly enhanced. You can patch and unpatch objects just by dragging them in and out of patch cords, instead of doing this in multiple steps. Group dragging and whatnot finally works the way it should, without accidentally selecting other objects. And you get real “probing” of data flowing through patch cords by hovering over the cords.
There’s also finally an “Operate While Unlocked” option so you can use controls without constantly locking and unlocking patches.
There’s also a refreshed console, color themes, and a search sidebar for quickly bringing up help.
And additionally, essential:
High definition and multitouch support on Windows
UI support for the latest Mac OS
And of course a ton of new improvements for Max objects and Jitter.
What about Max for Live?
Okay, Ableton and Cycling ’74 did talk about “lockstep” releases of Max and Max for Live. But… what’s happening is not what lockstep usually means. Maybe it’s better to say that the releases of the two will be better coordinated.
Max 8 today is ahead of the Max for Live that ships with Ableton Live. But we know Max for Live incorporated elements of Max 8, even before its release.
For their part, Cycling ’74 today say that “in the coming months, Max 8 will become the basis of Max for Live.”
Based on past conversations, that means that as much functionality as possibly can be practically delivered in Max for Live will be there. And with all these Max 8 improvements, that’s good news. I’ll try to get more clarity on this as information becomes available.
Max 8 now…
Ther’s a 30-day free trial. Upgrades are US$149; full version is US$399, plus subscription and academic discount options.
Full details on the new release are neatly laid out on Cycling’s website today:
The post Max 8: Multichannel, mappable, faster patching is here appeared first on CDM Create Digital Music.
Today, Cycling ’74 released version 8 of its Max interactive programming environment. The new version combines innovations and refinements with significant performance improvements. Max 8 enables the user to experience “a whole new level” of sonic exploration with the introduction of MC, adds optimizations and improvements for better performance, simplifies MIDI and keyboard control of… Read More Cycling ’74 Releases Max 8
MGF Audio has announced that all its sample packs and multisamples are now available for only $1 AUD each. There are over 50 packs of multisamples of vintage synthesizers, including the Roland Alpha Juno, JV-1080, Juno-106 and JX3P, Korg’s Polysix and Minilogue, and the DX11 and DX21 from Yamaha. Over 25 packs of other samples […]
Plugin Boutique has launched an exclusive sale on Hypermorph by Sonic Faction, a shapeshifting synthesizer that layers and transforms your sound in realtime. The instrument’s design features four independent sound sources and an XY Morph Matrix that can blend, morph and mutate between each sound on the fly. Combining this tonal flexibility with its built-in […]
ELPHNT has announced an update to NTPD, a Max for Live device that offers a notepad with some useful features. NTPD is an elegant way to store notes directly in your Ableton Live sessions. It’s simple and easy to use but has some really useful features, like the ability to open a resizable floating note, […]
Plugin Boutique has launched an exclusive sale on Twistor by K-Devices, offering a 80% discount on the unique Max For Live audio effect designed to modulate anything you want in Ableton Live. Twistor is easy to master.You can start considering a classic step sequencer modulator: steps of a given duration sending values to a controlled […]
Midierror has announced the release of Waldorf Pulse Mk1 Editor, a free Max for Live editor for the Waldorf Pulse Mk1 synthesizer. This device allows you to edit and automate all parameters of the Waldorf Pulse Mk1 Analogue Synth. This editor works one way, it does not receive patches from your synth, and it does […]
Spektro Audio has introduced ACDGEN, a Max for Live advanced pattern generator designed to create 16th note, acid-style basslines and melodies.… Read More Spektro Audio Intros ACDGEN, An Acid-Style Max For Live Pattern Generator
That headline isn’t a mistake. If you’ve ever wanted a plug-in to f*** up your mixes, sabotage you, insult you, or “get passive aggressive,” this free collection of Max for Live Devices is for you.
Not to completely spoil the results here, but as I write this, my screen is covered with virtual bees. I cannot make the bees go away. I thought the “bees” instrument was going to make some sounds, but instead it has brought bees onto my screen, both inside and outside Ableton Live.
That’s the sort of results you can expect from Really Useful Plugins.
ru.bomb will take your mix and completely f*** it up, as my headline promises.
ru.no is basically an onscreen version of the nagging doubts inside your head.
And that’s just the beginning.
Simon Kitmine and David Synth bring you 12 instruments, audio effects and midi effects for Ableton Live, featuring:
Ways to magically sound like everyone else!
The Chuckle Brothers!
How much would you pay for such a collection? $99? $299? $999 for a multi-seat license? Well, it’s … free, for some reason. (Can’t imagine why. Free as in bees. Erm, beer.)
Max for Live is required, so Live Suite or Live with the M4L add-on. I’ve said before that’s worth it. Now, there’s no doubt.
You know, it really is too much reverb.
PS, if you appreciate this kind of insight, definitely check out #gothscreenshots:
The post Free Ableton Live add-ons will f*** up your mixes and insult you appeared first on CDM Create Digital Music.