![]() 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.) The bottom part of this example shows a way to do that, by encapsulating the fading and disabling in a subpatch, and encapsulating the actual audio processing in a sub-subpatch within that, which you can disable when it's not in use.It includes more LFOs and envelope generators than I had originally planned because Max has no advantage to add there. But you usually will want to fade the audio to 0 before disabling a subpatch. It's a good idea to disable subpatches that you're not listening to, in order to reduce needless computation in MSP, especially if you have a lot of audio processing going on. The pcontrol and mute~ objects provide two different ways of silencing and disabling audio in a subpatch. The matrix~ object, which serves as a multi-channel mixer, is very handy for that purpose. A quick cross-fade between the signals is what you really want. The selector~ object is quick and handy, but usually is not appropriate for switching audio signals in real time. This patch that shows a couple of useful tricks. There are lots of strategies and techniques you might use for that. So any time you turn a sound on or off, or disable a part of your program (to save on needless computation), or switch from one sound to another, you usually will want to do a quick fade-in or fade-out rather than an instantaneous switch on or off. In most cases you want to make sure the volume of the sound is 0 when you turn it on or off, in order to avoid clicks. However, that chapter leaves out the following pretty crucial issue. You might want to take a look at MSP Tutorial 5: Turning signals On and Off to learn about some basic ways of doing that. As you get more involved in programming audio, it's likely that you'll want to have multiple sound possibilities available in your program, that you can switch on and off as needed.
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