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Whatever is on my mind…

Max and Max for Live tutorials

Geek stuff…

Freerotation 2018

In case you were wondering.... K-Teck Live...

its been quiet around here... and with good reason

i been composing for my annual outing as Resident Artist at the wonderful Freerotation Festival

i started rather late this year, because of doing the Max for Live stuff

but i thought my set was the best i have done

maybe you'll agree:



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A different kick….

Building a kick in Max for Live.... slide~

This kick's a little different...

I've been composing for a show - I'm lucky enough to be a resident artist

I've become beguiled by a Reaktor Blocks patch which uses a West Coast type oscillator and a Low Pass Gate (LPG):

It sounds great: big and fat with loads of character

But I feel a traitor for not using my own Kevin or Keith.... 🙁

So I am investigating the possibilities with M4L, using the slide~ object

This video shows my jump off point.... i have tried it with Keith's waveshaping engine and it sounds beautiful but inconsistent - it also isn't LoPassing too well but I only started on it yesterday

Anyways, i just thought it was an interesting topology and something a but different...

A different kick: slide~

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How to Access the Max Package Manager

K-Teck's 'The Lads' Virtual Analog Sequenced Percussion devices all make use of Surreal Machines' lovely VA Filters. These filters can be found, along with many other fascinating packages, in the Max Package Manager. So here is a quick 'how to' on how to access them:

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Martha – Extreme Timestretch M4L Device


Martha is an Extreme Timestretch Device built in max for Live. Names and appearances can be deceptive: Martha is a serious piece of kit. Martha can:

  • Stretch your audio files by up to 127 times
  • Create lush textures and drones in seconds
  • Generate up to 12 pitchshifter layers

All through Martha's clean, intuitive interface

Here's a short video of Martha


I'll maybe do an inside look at Martha

Although there is a delicious tutorial here:

She weeds apart through a token lock, what a great thing to be free.....

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i keep wanting to improve the step sequencing experience

how to do that?

reduce the number of controls

give good visual feedback

create useful MIDI output

this prototype improves, i think, upon previous sequencers in a few ways

next is to build a modulation mapping matrix for controlling more than just pitch...

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Gare du Midi is one of my favourite poems

Here's a piece of music composed around a recording of one of his poems

Drums are 'The Lads' - a couple Kevin's and a Henry

there's also a granular, stretchy thing I thinking about putting together for a release

i dropped a random sample in and out came the rest of the track

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More Little Gem…

Little Gem v0.0.9a


I been thinking about an 8 step trigger sequencer 

where the controls are reduced from 8 switches to 2 or 3 knobs

but how to populate the slots?

i was talking to the ICT teacher at work

drawing my idea on a whiteboard - lots of logic gates an ting

he said - 'looks like binary' - ta da.... (drum roll) i love those sudden lightbulb moments

well here it is a bit more fleshed out than the last version

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 Snare drum synthesis:


The classic Japanese snare drum has two elements to its sound

  1. A pair of sine waves @1 octave apart make for the drum part
  2. Some shaped white noise for the snare…

First the body:

A message box sets the curve~ peak at 0.5 and its decay to zero at 5ms – so a 5 millisecond trigger pulse:

An svf~ in bandpass mode (third outlet) is triggered to generate the sine wave. The second inlet of the svf~ sets the frequency and the third is the filter’s resonance. It is the resonance that determines the tone’s decay. This is, more or less, what a Bridged-T circuit does in some very expensive vintage hardware drum machines.

But we need two of these, first we’ll put some gain control in place:

The live.dial’s second output is attached to the *~ object. The second output gives a 0.-1. output which is perfect for a gain attenuator. The 1. in the *~ object tells the object to use floats (decimals), otherwise all you will get is 0 and 1.

Next we add the second tone generator:

Note it is essentially the same as the first with the addition of * 2 object. This doubles the initial frequency so the second filter is 1 octave higher. Also note:

This makes a very simple crossfader. On the left hand side, 1 is subtracted from the output of the live.dial, giving -1. -0. The abs object makes all values positive, so: 1. – 0. This performs the function of the tone control.

Finally some noise:

Gain control is applied by a curve~ object.

Anyway… hope this proves useful….


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