Continuing our insight into this view into electronic music performance and art through the lens of BodyControlled in Berlin, we’re joined by guest writer Kristin Trethewey. Kristin, a Canadian-born video artist and curator, takes another look at LEAP and BodyControlled, on the eve of its second installment. She gets straight at the question of what “BodyControlled” means, and what it can mean for sonic performance and creation. And I wanted to make sure to subtract myself from this write-up, seeing as I was playing – but see the excellent timelapse of the evening, above. -Ed.

LEAP is one of these spectacular Berlin venues you’ve been hearing so much about. It’s a huge, raw space with a view of Berlin’s landmark TV tower, hosting interesting art events with cheap drinks and the potential for a late-night party. But it’s unique, too, in its focus on electronic arts. And unlike other media arts centers, it’s not filled with computers and half-finished electronic projects. I’ve truly gotten lost trying to find this place (it’s tucked away in a mall), so I would recommend watching the timelapse video LEAP shot that guides you to the entrance before attempting to go there. Tonight is the second edition of BodyControlled, a new bimonthly performance series at the space. This installment, called “matter incompatible,” is held in conjunction with the Transmediale Festival under the satellite program, Vorspiel.

BodyControlled is a series focused on the intersection of performance and electronics. You can expect future programming to focus around ideas of “feedback” and “bio” related electronic performances. In its first installment back in November, a packed LEAP gallery witnessed performances by Robert Henke, Peter Kirn [editor of this site], Stephen Cornford, and Paul Whitty. The event was called “Other Spaces” and took the physical architecture of the gallery as a point of departure. Having the space filled with people made for a secondary concern of space: its use. In a series whose title mentions the body, I witnessed one performance engaging the bodies that were filling the space. Robert Henke’s twelve-hour set activated interactions between the audience, performer, and environment. He moved around, listened and mingled with the audience, even though he had this amazing, souped-up control station complete with ambient lighting.

Other artists put more emphasis on the manipulation and dislocation of space through the use and abuse of electronics. Kirn worked with a custom rig with tablet-controlled original software built in open-source software Pure Data (Pd), controlled by a tablet running Konkreet Performer. Excerpt:

Excerpt – LEAP Gallery Berlin, 26.11 by peterkirn

Whitty and Cornford actively deconstructed electronics in front of the audience:
it pays my way and it corrodes my soul (2011)

Stephen Cornford & Paul Whitty’s performance “it pays my way and it corrodes my soul” seeks out musical material by physically dismembering playback equipment. A reel-to-reel tape recorder is switched on and its mechanism amplified with a variety of microphones while it is taken to pieces. The sounds produced are then fed through an array of pedals: the machine’s belts, gears, switches and casing becoming an instrument subjected to a live audio autopsy

Excerpt:
Excerpt: Stephen Cornford & Paul Whitty, LEAP Berlin, 26 November by cdm

Cornford was also interviewed by LEAP for his installation work, featuring repurposed tape machines:

As João Pais, co-curator of the event with LEAP’s Daniel Franke, puts it:

“BodyControlled means the main direction of the series, to present performance and installation works that have a strong, corporal identity. This can be manifested in many ways, not only implying a “moving performer”. The purpose is to avoid the extreme of abstract performances made by a laptop-er, sitting down as if writing emails. In the first event, this idea was shown by interpreting/filling the space of LEAP through a sound-performance (Kirn, Henke), or an installation (Cornford, Mathy, Oliver).”

See also my write-up for ARTSCARDS from last month:
Other Spaces Generates New Spaces Through Sound at LEAP

The second event, “matter incompatible,” draws reference to the Transmediale theme: In/compatible, acknowledging the less clear, even dark forces at play in the artistic and political climate today. Matter Controlled questions the idea of the object or anti-object within sonification. See CDM’s write-up from yesterday:

Watch Artists Talk About Making Sound From Matter; Thursday Event and Stream in Transmediale Prelude

From the Transmediale podcast, some explanations of the theme of the larger festival:

Jacob Lillemose on the exhibition Dark Drives: Uneasy Energies in Technological Times by transmediale

Kristoffer Gansing elaborates on the festival theme in/compatible, as well as the in/compatible symposium: systems | publics | aesthetics.
Tatiana Bazzichelli is the curator for out new project reSource of transmedial culture and speaks about its concept.
Jacob Lillemose speaks about exhibition Dark Drives: Uneasy Energies in Technological Times which he is curating for transmediale 2012 in/compatible.
Sandra Naumann is the curator for this year’s performance programme The Ghosts in the Maschine, which she explains a bit more in detail.
And Marcel Schwierin tells us about his concept for the video programme he is curating for transmediale 2012 in/compatible.

Performances by Echo Ho, Mario De Vega, Alex Nowitz and Ignaz Schick will investigate this blurry region between the immaterial and material. I am curious to see what objects they will bring to play with. As they potentially seek liberation from the physical objects, by reimagining their sonification, I wonder how they are also reliant and maybe even drawn towards their objectification. Bringing these disparate emotions into play is at the heart of tonights investigation. In today’s climate fractures exist between so many aspects of our lives. These performances seek to bring some of them together, compatible or incompatible as we might discover.

You can watch the proceedings via live Internet stream, for the majority of you not in Berlin for the live show.

www.leapknecht.de

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About the Author

Kristin Trethewey is a Canadian video artist, cinema performer, and curator. She holds an MFA from Brooklyn College in Performance and Interactive Media. A multi-disciplinary curator and artist for the past ten years, she has recently completed a residency at the Node Center for Curatorial Arts, was co-Director/co-Curator of the INDEX Festival. She currently lives in Berlin.

Look around the room you’re in. Drum your fingers against some of the objects around you. Now imagine that you could turn those touches into any imaginable sound – and all you’d need to play them is a single contact mic. And we’re not talking just simplistic sounds – think expressive, responsive transformation of the world around you, all with just that one mic, thanks to clever gestural recognition.

Bruno Zamborlin has made that idea a reality, with hold-onto-your-chair results. It’s not available yet for public consumption, but it’s coming.

Bruno explains to CDM:

Mogees is a novel way for transforming any surface into a musical instrument.

By putting a (very cheap) contact microphone over a surface, the software can recognise different types of touch and associate them with different synthesisers.

Users can train the software with their own ‘gestures’, using both bare hands and objects. In the video demo we put the microphone over different surfaces such as kitchen tables and balloons.

The sound synthesis is based on two different techniques:

1 – physical modeling, which consists in generating the sound by simulating physical laws. Different materials can be simulated, such as membranes, strings, tubes and plates

2 – mosaicing, that works as follow: first, users load a sound folder; then, the noise coming from the microphone is analysed and the software continuously finds and plays its closest segment within the sound folder.

Mogees has not been realised yet. It could be published as Max4Live patch in some month.

Yes, we’ll be watching for future versions and publication, with bated breath and eager hands.

http://www.brunozamborlin.com/mogees

Update: Readers point to similar earlier work; obviously, contact mics have long been readily available. I’m not always concerned with whether something is new or not – old and cool can be cool. But what does appear to be new here is the additional gestural analysis to work more accurately with location. That takes an existing technique and refines its musicality. -PK

For fans of slicing, dicing, glitching, reversing, and shuffling incoming audio streams, this Max for Live Device is for you. Shuffler 2.0 is the latest in a series of “modular” Max for Live devices from developer Isotonik Studios. Mappable to MIDI, the suite of Devices focuses on simpler tasks in ways that can be combined. There are interactive Follow Actions, for instance — a feature I’ve long argued should be native to Ableton Live — plus tools for more easily mapping MIDI to envelopes. There’s a convenient Looper.

From last week, there’s a module called Smart, capable of mapping some eight macros to one knob.

The entire series is sold as a subscription for 17 quid:
http://isotonikstudios.com/modular/

Check out the Follow actions in the video below.

Sound and light artist, guitarist, Max patcher, and all-around sonically-fascinating guy Christopher Willits has opened up his “Tiger Flower Circle Sun” record on Ghostly to remixing. Halfway through the project, we talk to Chris about what’s going on – and what the results so far sound like. And we share, from earlier this fall, a composition in which you can recharge.

The project begins not with stems, but with samples, the raw materials on which the album was based. Christopher walks CDM through the audio highlights, one sample at a time. Along the way – as with all these samples – you begin to appreciate the process by which Christopher makes his decisions, how he moves from samples like pieces of wood to the finished structure. And of course, by opening these up to remixing, you have an opportunity to hear the work differently in his finished, released form, as well as to find your own, distinct decision-making process. It’s perhaps obvious in a remix project, but what this does is to allow the sounds a life separate from the fixed set of decisions that produced the album.

And that can even change Christopher’s own view of the work, he says. He tells us:

I think it’s fun to play the set like an album. I’ve heard these pieces so many times that it’s really refreshing to me to hear them alone. Now I hear the pieces differently.

That was actually one of the thoughts behind sharing all of these sounds, so people can hear the layers, and if they wish, tune their ears to the subtleties and intention I wanted to create in the mixes.

You can find the remix project at:
http://willits-sample-library-vol1.herokuapp.com/

“The stuff i’ve heard so far is AMAZING,” Christopher tells us. “I can’t wait to feature the best of the best. We’ll be releasing a free comp on [Christopher's experimetal label] Overlap and Ghostly will feature my favorite remix on a free comp, too.” Winning remixes get Ableton and SoundCloud prizes.

Let’s hear a few words from Christopher about the sounds he’s produced.

A Tour of the Sounds

A lot of the samples are about variation of common materials, so there’s plenty to explore. Christopher tells us that just one sample – like this guitar solo – can take on very different meanings with different processing, heard in two variations.

Guitar process solo1-Sun Body-Willits-120 by Willits

Guitar process solo2-Sun Body-Willits-120 by Willits

This tone is created from a custom-made Big Muff > BOSS distortion > Fender Twin with a couple power tubes removed for low volume and max distortion. This is a trick that ted from Flipper showed me around that time, and it created the exact orange laser beam i was hearing in my imagination.

Guitar solo long noise-Sun Body-Willits-120 by Willits

Guitar solo-Plant Body-Willits-120 by Willits

The whole piece “Plant Body” came from this guitar improvisation. With releases like “Folding and the Tea” and “Seven Machines for Summer,”

I set the process to be only the guitar recordings. With this release, I gave myself a new set of constraints and permissions, allowing my imagination to add whatever comes up for me. No judgement on which one is better to me, they are just different. There are infinite possibilities within any process I determine, yet discerning the process that resonates with my true intention is what creates the shapes and forms and colors that feel like love.

Guitar process4 fold-Plant Body-Willits-120 by Willits

The drum samples come from:

…my great friend Jeff Pierre – one of the best drummer I’ve ever worked with, and the youngest, as well. All of Jeff’s takes were one take; this sample is shortened from the original length, but you get the idea.

Drum2-The Hands Connect To The Heart-Jeff Pierre-Willits-120 by Willits

Drums distorted1-You Are Always Surrounded By Stars-Jeff Pierre-Willits-120 by Willits

I just love the lightness and feel of this sound — like the funkiest insects in the jungle, getting down.

Perc1-The Hands Connect To The Heart-Willits-120 by Willits

Someone please make a disco track out of this.

Synth arp-The Heart Connects To The Head-Willits-120 by Willits

Me and my friend Reiko were messing with patterns; then we would find a loop. We were laughing so hard as we were playing this stuff.

Perc-Intend-Evolve-Willits-120 by Willits

Check your volume for this one — probably should have exported it at a lower volume for this set! The heat of this, the crushed distortion, is from a technique called input flipping on the SSL. This is an input flip with the preamps cranked, with odd harmonics.

Ryan (Ryan Kleeman) and I just about lost it when we first input flipped like this for a distorted sound. It became a theme in a sense that resonated with this orange laser beam electromagnetic sound that much of the work stems from.

Synth arp noise-The Heart Connects To The Head-Willits-120 by Willits

You can also hear it here- and a few other places on the record, to a less extreme degree. There is something about this texture that has a cleaning function to me. Washes things off, away, cleans the ears out. Resets your space.

Branches Into Flowers-Willits by Willits

“Could hear many more strings and horns in this piece.”

Guitar2-You Are Always Surrounded By Stars-Willits-120 by Willits

“Love this floating feeling.”
Guitar lasers-You Are Always Surrounded By Stars-Willits-120 by Willits

“This pattern makes me want to get down.”
Perc distorted1-You Are Always Surrounded By Stars-Willits-120 by Willits

“Love this kind of generative sound.”
Subconscious Transmission-Willits-120 by Willits

Two samples that were not used in “Light into Branches.” Made the baritone thing in one mode of listening, came back and asked myself, why did I put a baritone guitar solo in the middle of this song? Did I really think that’s what it needed, or did I just want to play my baritone along with this song for fun? The answer was the latter. But here it is anyway.

The ambient layers sample was to create more depth of field in the mix, have it floating behind at a low volume, but it was not doing was I wanted it to, so I cut it out.

Baritone solo unused-Light Into Branches-baritone-Willits-75ish by Willits

Guitar layers unused-Light Into Branches Willits-75ish by Willits

Videos

From the original record release:

More information:
http://ghostly.com/releases/tiger-flower-circle-sun

Soak in a Sound Bath

Another release from this year revealing Willits’ musical approach, “GOLD” is an ambient piece in you can inhabit, in which you can restore yourself, according to its maker:

GOLD is a 24 minute and 17 second sound bath / ambient piece to soak into. Listen, relax and recharge. This harmonic weaving of sound was created with the vibration of affinity, love.

Made with voice, processed guitar, and a low-frequency oscillation out of a Nord Lead synth, Christopher actually encourages people to share how they “used’ the piece and how they made it felt, a kind of design experiment for spiritual being in sound. Have a listen or pay-what-you-will on Bandcamp:

Read up on what he has to say about this release:
New Release – GOLD [Sound + Light - Chris' blog]

Infinite

It seems only appropriate to close with this reflection from Christopher:

After working on this project, I’m realizing so tangibly what I’ve always known — that any mix is a sonic photograph of vibrational affinity, and even with a grounded intention behind any mix, and a very clear outline for a process in which you allow that intention to emerge, there are infinite possibilities of expression. Infinite. It is so beautiful.

If you liked the generative, probability-based sequencing seen earlier this week, here’s another example – and it’s free and open source, so if you do want to pick it apart and you own a copy of Max/MSP or Max for Live, you can. Co-creator Giuseppe Sorce points us to the work:

This is a simple generative music synthesizer built in Max/MSP created by Diego Caponera, Nicolò Paternoster and Giuseppe Sorce. It involves 5 FM generators which play notes randomly based on a root key and intervals defined by the user. It’s an university project made for an exam for Sound’s Science degree ( Math Department of Roma Tor Vergata ).

The software is distributed “as is”, without any warranty, under a GPL license.

Not bad for an exam project. A heck of a lot more fun than a paper (and, believe me, I say that wholeheartedly having done a bit of university teaching).

Grab it:
http://code.google.com/p/smilesynth/

Labeled as ready for IDM or “Braindance” music, The Uncanny Sequencer could be something tasty for those tired of regular rhythms. The creation of Julien Bayle, The Uncanny Sequencer is a graphical, generative, multi-part sequencing Max for Live device built for Ableton Live. At its core, it creates polyrhythms and irregular rhythms by making the appearance of each beat probabilistic rather than determinate.

Thanks to Julien for sending this our way. (Matrixsynth and Synthtopia deserve credit for being faster.)

Features, as described by its creator:

• 8 channels (meaning 8 sequencers in one)
• from 1 to 32 steps in each channel (every number choosable)
• generates MIDI notes to any devices (inside or outside Ableton LIVE)
• based on probabilities
• unique sequences generation
• huge presets bank engine (including morphing between 2 presets)
• 10 pages documentation

€15,00, available for download.

http://designthemedia.com/products/file/13-the-uncanny-sequencer/

Compare the complex model of what a computer can use to control sound and musical pattern in real-time to the visualization. You see knobs, you see faders that resemble mixers, you see grids, you see – bizarrely – representations of old piano rolls. The accumulated ephemera of old hardware, while useful, can be quickly overwhelmed by a complex musical creation, or visually can fail to show the musical ideas that form a larger piece. You can employ notation, derived originally from instructions for plainsong chant and scrawled for individual musicians – and quickly discover how inadequate it is for the language of sound shaping in the computer.

Or, you can enter a wild, three-dimensional world of exploded geometries, navigated with hand gestures.

Welcome to the sci fi-made-real universe of Portland-based Christian Bannister’s subcycle. Combining sophisticated, beautiful visualizations, elegant mode shifts that move from timbre to musical pattern, and two-dimensional and three-dimensional interactions, it’s a complete visualization and interface for live re-composition. A hand gesture can step from one musical section to another, or copy a pattern. Some familiar idioms are here: the grid of notes, a la piano roll, and the light-up array of buttons of the monome. But other ideas are exploded into spatial geometry, so that you can fly through a sound or make a sweeping rectangle or circle represent a filter.

Ingredients, coupling free and open source software with familiar, musician-friendly tools:

• Two projectors
• A monome
• Processing, the elegant and artist-savvy free software for visual code
• Ableton Live and Cycling ’74′s Max for Live, acting as the interactive glue with the sound world
• Drumaxx, Image-Line’s tasty physical-modeled drum synth
• Native Instruments Battery, the sampled drum engine
• Eclipse, the free IDE, for Java coding in this case
• Community Core Vision and reacTIVision (based on our previous info, at least), free and open source community-based projects for making the interfaces you see in movies happen in real life.

Another terrific video, which gets into generating a pattern:

Now, I could say more, but perhaps it’s best to watch the videos. Normally, when you see a demo video with 10 or 11 minutes on the timeline, you might tune out. Here, I predict you’ll be too busy trying to get your jaw off the floor to skip ahead in the timeline.

At the same time, to me this kind of visualization of music opens a very, very wide door to new audiovisual exploration. Christian’s eye-popping work is the result of countless decisions – which visualization to use, which sound to use, which interaction to devise, which combination of interfaces, of instruments – and, most importantly, what kind of music. Any one of those decisions represents a branch that could lead elsewhere. If I’m right – and I dearly hope I am – we’re seeing the first future echoes of a vast, expanding audiovisual universe yet unseen.

Previously:
Subcycle: Multitouch Sound Crunching with Gestures, 3D Waveforms

And lots more info on the blog for the project:
http://www.subcycle.org/

Perhaps you’ve seen the demo videos, as people do astounding things by moving their body around and using the Kinect camera to make music. Now, a set of Max for Live devices makes it reasonably easy to access your body as input inside Ableton Live.

FaceOSC Mapper

Pictured at top, this builds on Kinect superstar coder Kyle McDonald’s face-tracking tool and lets you use your face – position and even facial movements – to control Ableton Live parameters.

Kinect Camera

For use with the V-Module and vizzABLE systems, you can plug in one or more Kinect cameras, and get tilt, distance filtering (to remove backgrounds), depth maps, RGB and IR modes, and plug in your depth-sensing camera for more goodness.

Kinect – OSCeleton

The home run: look at skeletal tracking for extremely precise human control of parameters, as seen in the video. It only gives your left and right hand, but stay tuned for further developments. See also this example patch.

Example video shows how to “track hand positions and translate to volume and send levels.” Not impressed? Remember, it’s a proof of concept: you can assign to other parameters, practice your movements, change the musical content, and even modify the patch to make it work better.

It’s Electronic Body Music! (Sorry, couldn’t resist. Kids, ask your … parents jeez we’re getting old, aren’t we?)

Cycling ’74′s Max 6 is now available. See our previous previews:
For Home-brewing Music Tools Graphically, Perhaps the Biggest Single Update Yet [Create Digital Music]
In Max 6, Big Banner 3D + Animation Features for Jitter, Alongside Usability Improvements [Create Digital Motion]

Along with the release comes an updated site, which does a really nice job of presenting different applications, from sound to physical computing to visuals and show control:
http://cycling74.com/products/max/

Pricing details:
US$399 retail (Max 6, now includes Jitter at last)
US$199 Max 6 upgrade
US$249 discounted bundle of Max 6 upgrade + Gen
Academic discounts, including a new annual subscription plan for institutions

Those academic plans finally cover a year instead of 9 months, just in case you want to patch through your summer break.

Gen is the set of low-level objects that allow you to create more sophisticated tools from scratch without coding externals. I’m a little sad to see it priced separately, even if it makes sense from a business perspective, in that users of Gen won’t be able to easily distribute their work to the rest of the user base. Scratch that – yes, they will; they just won’t be able to edit them. So that’s a good compromise! See the upgrade FAQ.

That said, for anyone thinking gen~ is comparable to Reaktor’s Core, here’s a good explanation:
Comparing gen and Reaktor core level [Cycling '74 forums]

(It certainly is in terms of goals, but the way it behaves is very different.)

Max for Live users…

So, what if you’re using Max for Live? Now that Max 6 is available, Max for Live incorporates the new release – if you have a separate license for Max 6. That should be especially useful to Jitter users, who will get all the new Max 6 stuff and a full-featured copy of Jitter that’s otherwise lacking in Max for Live alone.

If you have only Max for Live and not a separate copy of Max, for now, you’ll continue to use Max 5, until an updated Max for Live is available. (When that happens, we’ll be sure to carry the news.)

Of course, dropping in Max 6 may cause compatibility problems, so France-based Julien Bayle has a tip at top on how to switch between your licensed copies of Max 5 and Max 6:

Switching Max5/Max6 inside Ableton Live (max002) [Design the Media; see video, top]

Of course, the good news here is, if you want to use the new Max with Max for Live, you can.

With great power comes great learning curves – or maybe not. Csound for Live, just announced this weekend and shipping on Tuesday, brings one of the great sound design tools into the Ableton Live environment. You can use it without any actual knowledge of Csound, without a single line of code — or, for those with the skills, it could transform how you use Csound.

For anyone who thinks music creation software has to be disposable, you’ve never seen Csound. With a lineage going literally to the dawn of digital synthesis and Max Mathews, Csound has managed to stay compatible without being dated, host to a continuous stream of composition and sonic imagination that has kept it at the bleeding edge of what computers can do with audio.

Csound for Live does two things. First, it makes Csound run in real-time in ways that are more performative and, well, “live” than ever before, inside the Live environment. Second, its release marks a kind of “greatest hits” of Csound, pulling some of the platform’s best creators into building new and updated work that’s more usable.

If you’re not a Csound user, you just dial up their work and see what your music can do. If you are, of course, you can go deeper. And if you’re somewhere in between, you can dabble first before modifying, hacking, or making your own code. And that means for everybody, you get:

• Spectral processors
• Phase vocoders
• Granular processors
• Physical models
• Classic instruments

More description:

It looks great. It works great. It sounds… beyond great.

CsoundForLive is a collection of over 120 real time audio-plugins that brings the complexity and sound quality of Csound to the fingertips of ANY Ableton Live user – without ANY prior Csound knowledge.

Capitalizing on the design power of Max For Live, what once took pages of text in Csound can now be accomplished in a few clicks of your mouse.

Move a slider on your APC40 and deconstruct your audio through professional quality granular synthesis…

Touch a square of your Launchpad and warp pitch and time with real time FFT processing…

Press letters on your keyboard and create sonically intricate melodies through wave terrain synthesis…

And Dr. Richard Boulanger, unofficial Jedi Master of the Csound movement, instigator of this project, and Berklee School of Music sound and music wizard, posts a bit more:

With my former student, and now partner, Colman O’Reilly, I have been working around the clock for months to collect, adapt, create, wrap, and simplify a huge collection of Csound instruments and make them all work simultaneously and interchangeably in Ableton Live. In this guise, I am able to “hot-swap” the most complex Csound instruments in and out of an arrangement or composition – on the fly. This is something Csound could never do (and still can’t!), but CsoundForLive can, and it makes a huge difference in the playability and the usability of Csound.

Two weeks ago, I played a solo concert in Hanover Germany, at the first International Csound Conference. There, all of my compositions, from 20 years ago to 20 minutes ago, were performed in real-time using CsoundForLive. Tonight, at the Cycling ’74 Expo in Brooklyn, NY, I will be demonstrating the program; and next week, I will be releasing this huge collection (on Tuesday, October 17th, at 12:01am).

A huge part of the complete collection is FREE, and I hope it will make the creative difference in your (and your student’s) lives that it is making in mine. This is a serious game changer for Csound. Check it out. Dr. B.

If you’re at Expo ’74, do say hello to Dr. B for us (and I think you’ll get some nice surprises with this project).

I’ve got a copy in for testing, so stay tuned. And I’ll be doing some follow-ups with Dr. Boulanger and company.

The only bad news here, of course, is that both a supported version of Ableton Live and Max for Live are required to be able to run Csound in this way. In fact, sounds like we have a nice four-horse race going. Max 6 overhauls how multiple patches work (on top of Max for Live), SuperCollider has its own possibilities for multiple real-time patch loading, someone suggested in comments using pd~ inside Pd to manage multiple Pd creations (something fairly new even to most experienced Pd users), and now we have Csound in Live.

But overall, Csound for Live looks like a no-brainer for Max for Live owners, no question, and an exciting taste of the ongoing convergence of cutting-edge creative sound and code with live music making for everybody. As I hinted at in the Max 6 post, I think it’s suddenly a Renaissance for all these platforms.

http://www.csoundforlive.com/

Silly geeky footnote: With pd~ for Max, I know it’s possible to run Pd for Max. And via another external, Pd can also run Csound. So we could theoretically run Csound in Pd in Max in Live. But let’s not get carried away.

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