Max For Live Sneak Peak from max4live on Vimeo.

Suddenly, I have an image of American Ableton hackers patching on their MacBook over Thanksgiving turkey.

After a long, long wait, a public beta of Max for Live is available. The software incorporates the full version of Max/MSP/Jitter – complete with visual output, video processing, and 3D capabilities – with the Live host. Max patches operate with all their usual capabilities as devices inside Live. User interface elements are available to give Max patches conventional Ableton device interfaces, and there are even pre-built elements for useful functions like frequency displays and MIDI patterns. Via the Live API, Max for Live patches are also able to control most elements of the Live interface.

Because of Max’s networking capabilities, Max for Live devices can also be used to route OpenSoundControl data into Live. That isn’t necessarily with the same ease as you might route MIDI, and there’s still no native support in the Live interface, but it is a step forward.

Our friend Michael at max4live.info has been busy documenting the new software. His overview video is at top, and for OSC coverage, see his tutorial [part 1 | part 2].

Updated: Pricing has now been announced.
Max for Live is not included with Live 8 or even (perhaps surprisingly) Live Suite. It will be a US$299 / EUR249 download, available separately, on top of the cost of Live 8 or Live Suite 8. If you already own Max, you’ll have a set of crossgrades available:
1. You own Live. You can add Max for Live for US$99.
2. You don’t own Live, and want just Live. You can get that and Max for Live for US$449.
3. You don’t own Live, and want the whole Suite. Suite plus Max for Live crossgrade, US$699.

Total cost:
Max owners without Live: US$449-699
Live owners without Max: US$299 + cost of the upgrade to Live 8
Max + Live owners: US$99 + cost of the upgrade to Live 8

I think this could arguably be worth the investment, but given the discontinuation of support for developing VST, RTAS, and AU plug-ins in Max – a feature that was formerly free – I expect some resistance. Also, as previously announced, there is no known Max for Live “runtime,” meaning Max patch developers don’t really have a distribution outlet for work made in Max for Live, other than other Max for Live users.

Sign up for the public beta on Ableton’s site, and you’ll be able to grab the downloads (details below). You must be an Ableton Live 8 owner, though you don’t need to own Max 5:
http://www.ableton.com/maxforlive/beta

At the bottom of the page, you’ll have a direct link to download Live 8.1 (the official current build of Live is 8.0.9 otherwise), and a link to Cycling’s site to download Max. (Note: the Max link worked this morning, then promptly disappeared, so it’s possible they’re uploading an updated build is now back up.)

There are full instructions there. I was able to simply click a button and become a beta tester; hopefully you have the same experience. You’ll need to install two pieces of software, both Ableton Live 8.1 on the Live side and Max 5.1.

For the Python-based Live API, and the MIDI and OSC interfaces based on it, this should also come as good news. Live 8.1 should theoretically represent a more stable, feature-complete, fully documented version of the Live API under the hood in Live. That means even without Max for Live, it may be possible to, say, route an OSC input into Live as easily as a MIDI control surface.

If you’d like to join in with other people working on hacking Ableton Live and ask questions, try out our Noisepages group, which should now be functioning properly with a forum, wire, and networking features. More to come with this, with Max for Live, with OSC, with other tools, with… yeah, I’m glad I own a coffee maker.

http://noisepages.com/groups/ableton-hackers

It’s round, it’s mechanically-resistant, it’s tangible, it supports multi-touch and gestures. Yep – it’s the turntable, and outdoing it would mean reinventing the wheel, literally. And so it is that more than a few Ableton fans have wondered how they might work vinyl into their software axe of choice.

Ableton and digital vinyl vendor Serato have announced they’re doing “something,” and then announced at the beginning of October that an announcement would be announced on January 14, 2010 at NAMM. Oh, and they said it will “unleash your creativity,” which sounds good. (It’s better than, say, “Ableton and Serato’s creative partnership will unleash two dozen angry badgers,” or “if you own Ableton Live, what we will say in 2010 is that we will unleash an unspeakable, nameless evil, known only to the ancients, which shall bring about the endtimes.”)

Here’s the surprise – you likely won’t have to wait for Serato to get integrated digital vinyl control. It’s already working with Ms. Pinky, and that means more choice, more DIY possibilities, and a broader variety of ways to integrate turntables and Live.

You see, there’s this little thing called Max for Live, which allows the use of Max patches inside Live as seamless instruments and effects. And one of the best – if least-known – vinyl control systems out there has long featured Max integration: Ms. Pinky. People have already made use of VST plug-in integration, but because Max for Live also connects to the Live API for control of Live itself, the functionality of the two can be expanded.

Via our friend Luthier.Lab, we get a first look at the Ms. Pinky plug-in. And this should be just the beginning, as Ms. Pinky and its Max/MSP support could be a great construction kit for building your own solution – something that may not be possible with Serato.

Ms.PinkyforLive [Luthier.Lab - en Español]
Google Translate (which has some very funny ideas about how to translate Spanish)
Discussion on the Ms. Pinky forum

While you ponder the possibilities, it’s time for a video from Daito Manabe demonstrating that not all turntablists sound quite the same.

Design in music in a digital world can be about the object as the sound – musical ideas translate from one medium to many others. And just when you think you’ve seen it all, someone comes up with a new visual metaphor, a new creation for manipulating music.

OTTO is a functioning prototype combining interactive hardware and computer software, the invention of Luca De Rosso. He produced the design as a thesis project for his masters’ degree in Visual and Multimedia Communications at IUAV University of Venice. It uses the Arduino open source hardware platform and Cycling ’74’s Max/MSP software, and Luca accordingly is quick to credit the assistance of those two communities. In that sense, two, I think it points to lots of new design in the field of integrated hardware and software – not just standalone hardware or standalone software or generic controllers for anything, but hardware that itself behaves like software.

All photos here courtesy Luca and used by permission; see his Flickr account.

OTTO ~ demo.01 from Luca De Rosso on Vimeo.

Luca sends along some more details of the behind-the-scenes workings just for us. (Thanks, mate!)

Luca actually had assistance from his father working on the case. (I love that – father-son collaboration!) All the electronics are on a single Arduino board, and the patch works in Max. (Max has features that make it well worth using, but it’d be nice to see a Pd port, too, making the whole setup open source – and giving you an easy way to run it on Linux.)

OTTO ~ Getting Started from Luca De Rosso on Vimeo.

Luca sends us a view of the innards of this device – you saw it here first:

The first prototype is done, says Luca, with three more coming in coming days as he heads to a festival in Croatia. Plans for the future: no commercial availability yet, but Luca says he’d be happy to hear from anyone interested in manufacturing. (Capital remains the big challenge, even as fabrication gets easier.)

I also love the way he’s designed the documentation. Music tech industry, please, this is how it should be done – with all due respect and without naming names, we really would love if you just showed us your gear and didn’t have some swarmy dude gushing about lots of hype. In fact, we’d be equally happy to buy your gear if the design spoke for itself rather than having your name and circuit diagrams and random text plastered all over it.

But this is really visually inspiring, creative work. And to top it off, it looks insanely fun to play. Putting the beats in a circle opens up all kinds of other possibilities, and suggests thinking in terms of cycles rather than the grids we see on other hardware. As with the monome, you can imagine other software applications that would hook into this basic, minimal hardware design. I hope we see more of this design and concept.

http://www.lucaderosso.com/otto/otto

More videos:

OTTO ~ demo.02 from Luca De Rosso on Vimeo.

OTTO ~ demo.03 from Luca De Rosso on Vimeo.

Take a powerful game engine (for animation, 2D and 3D graphics, physics, and on-screen interaction). Add the flexibility of a visual development environment for programming with virtual patch cords, for rich sonic and musical capabilities plus easy interaction with data and input. That’s the idea of combining something like Unity 3D with Max/MSP. In the example from earlier today, the solution simply routed basic data from a Unity-based game to a responsive music engine in Max.

In the case of [myu] – the Max Unity Interoperability Toolkit – that integration goes further still. Developed at the DISIS (Digital Interactive Sound & Intermedia Studio) at Virginia Tech, [myu] allows bi-directional integration of the Unity engine with Max or Pd. The two tools use netsend/netreceive to send data via TCP and glue the two together.

For visualists using Jitter, you can even exchange texture data, which offers some mind-blowing powers for live visuals.

Download at Virginia Tech — bonus, an extension of the aka.wiiremote object so you can use the lovely Wii Fit controller, among various other projects
Discussion on the Unity Community Forums
Discussion on the Cycling ‘74 forum
Virginia Tech DISIS

As an interactive prototyping tool, this should have a lot of potential for lovers of patch-style programming.

Thanks to Dr. Ivica Ico Bukvic, DISIS Director and researcher, for sending in his project. I’ll be curious to see what other people might do with this.

Ever feel like you’ve found the seam dividing past and future?

The past: restrictive UI frameworks requiring pages and pages of code to produce dated-look 2D displays. Proprietary software with rigid interfaces. Input bottlenecked through the x and y coordinates of a single mouse pointer.

The future: UIs whipped together graphically or with a few lines of code. 3D mixed with 2D. Open-source, friendly frameworks. Creating your own interface or drawing upon a community of creative software makers. Input that uses multitouch for gestures, collaborative input, manipulation of 2D and 3D space, and … well, just a lot more fun.

There’s no need to wait around for the future. Creative software inventors are building it for themselves. Here are two of the most promising multitouch interface projects I’ve seen in my inbox.

In no time at all, you’ll be painting a cow! (Okay, more on that in a moment…)

Make Max Multitouch

Max Multitouch Framework by composer Mathieu Chamagne makes turning your Max patch into a multitouch interface a breeze. When I first reviewed the Lemur, I was frustrated by the hardware-style abstraction between your software and the interface. Why was I having to go through Max patches painstakingly assigning Lemur controls to Max controls – why not just make the Max controls appear on the multitouch screen? Well, that’s exactly what you get with MMF. Using a set of Max abstractions, all you have to do is build your Presentation Mode style UI and add in the MMF ingredients – it automagically becomes touchable on a variety of displays.

It’s not hard to imagine how great this could be for musicians, especially those who have already been building original sonic creations in Max/MSP. Best of all, you don’t need an expensive, non-portable table with a projector inside, either – commodity hardware works just fine right now.

Requirements :

- cycling’74 Max5 (version 5.0.6 required)
- any multitouch interface that sends TUIO messages.

MMF has been tested and works fine with : Stantum SMK-15.4 multitouch screen, HP XT2 tablet pc (windows7 + W2TUIO), Demand Evolution + home made multitouch screen + Reactivision / Tbeta , …

MMF (Max Multitouch Framework) @ Mathieu Chamagne’s Site

Hmmm… apps that send (cough) TUIO, eh? Ah, yes, but that’s why you need companies like Apple to tell you what qualifies as useful in an iPhone app. You see, without Apple’s app review team and their superior wisdom, I might wrongfully assume this sort of app would be something I’d want. Now I know better – thanks! (Sorry, couldn’t resist.)

Back to the on-topic discussion, this does demonstrate a real advantage of Max: it has its UI absolutely nailed, and the open-source alternative Pd is woefully behind. It also demonstrates that the beauty of Presentation Mode is, by abstracting the UI from the underlying guts, you can consider alternative interfaces. We should see that in Max for Live, as well.

Pd is fantastic in other ways, but if there’s anyone out there who fancies writing a lightweight new front-end, it could use it – perhaps in Python. Which brings us to the next item.

pymt demo reel from Thomas Hansen on Vimeo.

PyMT: Juicy Multitouch, Just a Few Lines o’ Code

PyMT is a glimpse of what future development could look like. While Microsoft putzes around with their Windows-only Surface, PyMT makes multitouch platform agnostic, open, and easy. That frees up artists to dream up creative new ways of applying this interface to expressive musical and visual creations (among others). Instead of reinventing the wheel as far as plumbing, you can focus on the reason for using devices in the first place – your art.

PyMT is profoundly portable, using Python and OpenGL to deliver windowing and multimedia features across platforms. Documentation and code are both under heavy development, but there are already some friendly-looking resources. This is almost enough to shake me from my loyalty to Java, though, in fairness, you can do some of the same things with Java and other tools. What’s most important is that there are libraries that are providing standards, like TUIO, and implementations in cross-platform languages that can be easily developed.

There’s good reason to be bullish on the future of this tech. And if you want to see it happen, don’t wait – you can get involved in the project directly.

PyMT at Google Code

PyMT Project Page

If you haven’t been following Max 5 updates, the folks at Cycling ‘74 have been aggressively bug squashing. The changelog for 5.0.6 alone is exhaustive. (Via @rekkerd on Twitter, of rekkerd.org.)

Updated: Also new in Max 5, it’s now possible as of 5.0.6 to properly save your patches to a version control repository. Don’t know what that is? Now’s a perfect time to find out — it means it’ll be easier to track changes you make to your own patches, and easier to collaborate with other people. And it’s free. From adamj, on comments:

RE: the diff’ing issue I was talking about above. Timothy Place (one of the Max developers) shared this helpful tidbit:

“Since the change log is a mile long, I’ll point out an obscure new power-user feature in Max 5.0.6.

You can send a new message to Max like this (or put it in an init file):
;max sortpatcherdictonsave 1

This makes it so that the JSON files that are use by Max for saving patches will keep the dictionary in the same order (alphabetized) every time you save. If you are keeping your patches in version control (e.g. SVN, GIT, CVS, etc.) then this should make your diffs a lot more usable.”

See: Version Control and Sharing for Patching: Keep Those Max, Pd Patches in Order with Git

And in other Max news, Expo74 will be a full-blown Max conference in April in San Francisco. You still have a few days to lock in the US$295 intro price (through 3/1). On the menu:

• C74-taught workshops for users: live looping, 3D, Max for Live, new timing objects, etc.
• Workshops for developers: C programming and the Max external API
• Special guest speakers, including Robert Henke — but also Miller Puckette, the creator of the original Max and developer of Cycling ’74’s open-source rival Pd.
• An afternoon on teaching Max
• A “Science Fair” for sharing projects
• Field trips
• A “Relationship Manager” – a sort of conference concierge – plus access to the C74 folks, a bit like the Apple Worldwide Developer Conference

Expo74

It’s good stuff. And the price seems a very reasonable deal for a conference.

You know, it also reminds me that some of the events around the open-source tools could be friendlier than they are. And we like science fairs. I’m not sure that I’ll be able to make it out to California in April (I’ll be there in March for the Game Developer Conference), but eager to hear how this goes.

But speaking of open source, don’t want to spend April at an event for a proprietary tool? Prefer the East Coast to the West Coast? Like code better than patching? Like tools that begin with the letter “S” better than the letter “M”? Want tools that make you think of supermassive black holes? Oh, April in North America has you covered regardless of what you like. One moment while I write up another post…

We get the “where do I go to learn this stuff” question a lot in the inbox. With Max for Live coming later this year, bringing the powers of Max to Ableton Live, I imagine the hunger for knowledge on that tool will be all the greater. (At the same time, I think the growing popularity of DIY tools means that it won’t make alternative tools like SuperCollider, Pd, Csound and the like less popular — I think we’ll see a growing trend toward all of these tools, provided we can show folks how to use them and get better at them ourselves!)

I know one route that has been successful for many people is the coursework at Harvestworks, the storied research and study center in New York. I can heartily endorse this one and say that, while I know and am friends with all the faculty, I have absolutely no investment in this. Dafna Naphtali, Hans Tammen, and Zach Seldess will all be teaching week-long intensives at Harvestworks in Manhattan. They’re not cheap – $1275 for the whole week – but I know some people have even flown to New York from other parts of the world to study up.

And what does all this mean? Well, it means you can turn Street Fighter, the game, into an improvisational ballet as instructor Zachary Seldess has done (above). Among other things, of course.

If it’s all out of your budget, don’t worry; we’ll have some other learning resources for you soon. But for those of you who can take the plunge, here are some details:

(apologies for copy-and-paste, which I always smugly say I don’t do, but I’m in a rush)

HARVESTWORKS DIGITAL MEDIA ARTS CENTER, NEW YORK

—–> MAX/MSP/JITTER FULL WEEK INTENSIVE COURSE

Dafna Naphtali / Zachary Seldess / Hans Tammen
Mondays through Fridays 10am to 6pm
Section A: March 23 through 27
Section B: August 31 through September 4

Cost: $1275 (incl. Harvestworks Membership)

Location: Harvestworks (http://www.harvestworks.org)
596 Broadway #602
New York City, NY 10012 (at Houston St)
Subway: F/V Broadway/Lafayette, 6 Bleecker, W/R Prince

From its central SoHo location in New York City, Harvestworks brings together innovative practitioners from all branches of the digital arts, and provides a vital context and catalyst for creativity in the field. For the last thirty years we have offered artists on-site recording studios, programming services, workshops, classes and one-on-one tutorials in emerging technologies supporting the pioneers of computer music with equipment and instruction. As a tool for artists, Max has been a central part of the Harvestworks program for almost 20 years. We offer regularly scheduled year-round classes and workshops on a wide variety of topics relating to Max/MSP and Jitter; as well as our Certificate Program, a flexible course of one-on-one instruction.

Now, Harvestworks is offering a full-week, 40hr crash course in the basics of Max/MSP and Jitter, run by veteran Max programmer Dafna Naphtali, Harvestworks engineer and teacher Zachary Seldess, and Harvestworks’ Deputy Director Hans Tammen. The course is designed for beginners who want to get a head start with this software package. The course may be especially appealing to artists living outside of New York City who don’t have the opportunity to learn Max in their own hometown and who would enjoy a week in New York City.

The cost of the course is $1200, plus $75 for the annual Harvestworks membership that is required to take the course. The courses are Mondays through Fridays 10am to 6pm. Working in our computer lab after 6pm can also be arranged. Lecture demonstrations will alternate with practice time, and some of our Max-savvy interns can be available to assist during practice time. Workstations with Max/MSP/Jitter will be available, but it is also recommended that you bring your own laptop. The course will provide lots of practice and sample patches. Students enrolled in Max/MSP/Jitter related classes at Harvestworks are eligible for Cycling 74’s educational discount when purchasing the software. The course is limited to 10 students.

We will not provide meals or snacks for the course, but can point to lots of cheap dining places in the neighborhood. We also cannot provide accommodations, but can help with posting requests or bringing you in contact with other artists who might be able to help.

To sign up for the course, or if you have further questions, please call Hans Tammen at 212-431-1130 ext 13, or go to our webstore at
http://www.harvestworks.org/cms/index.php/Classes/Classes-new.html
In his interview on Cycling74’s website, Hans Tammen gives a few insights into Max teaching at Harvestworks: http://www.cycling74.com/story/2008/9/15/113650/347

MAX CRASH COURSE OUTLINE:

Day 1 – The Basics: Objects vs. messages vs. comments; ordering of operations; math in Max; scaling and mapping ranges of numbers; playing sound files.
Day 2 – Basics of modular programming; live audio input; recording sound files; simple data storage.
Day 3 – Controlled chaos; useful GUI objects; more data storage; basics of synthesis.
Day 4: Interfacing with the outside world. Overview of MIDI, the HI object (game controllers), Wii controller, the Harvestworks Sensor Station, using a Wacom tablet. Wireless Miditron. Data storage.
Day 5: Introduction to Jitter: Jitter matrix; basic matrix processing; playing and basic manipulation of QuickTime movies; basics of Open GL.

INSTRUCTOR BIOS:

DAFNA NAPHTALI has been a Max teacher and programmer at Harvestworks since 1995. She earned a degree in Music Technology at NYU. She was Chief Engineer of the NYU Music Technology Studios until 1998, and has taught Max there as an adjunct instructor since 1996. Naphtali is also an academic advisor for both undergraduate and graduate students in NYU’s Music Technology program. She was a programmer for two years for many artists and her own projects at multi-channel sound gallery Engine 27. As a composer, writing custom Max/MSP programs since 1992 has enabled her to perform and compose using her laptop-based noise/audio processing “instrument” to alter the sound of her singing, vocalisms, personalized recordings as well as the sound of any musician playing with her. She has received commissions and awards from New York Foundation for the Arts, New York State Council on the Arts, Meet the Composer, Experimental TV Center, American Composers Forum, Brecht Forum, and has held residencies at STEIM (Holland), Music OMI and iEAR at Rensselaer Polytechnical Institute. http://www.dafna.info

ZACHARY SELDESS currently works at Harvestworks as a resident Programmer/Teacher, and at Brooklyn College CUNY as adjunct faculty. He also works at The CUNY Graduate Center’s New media Lab creating interactive virtual sound environments in 3D Game Space using the Torque Game Engine and Max/MSP. He is currently pursuing a PhD in composition at The Graduate Center CUNY where his primary teachers are Amnon Wolman and Morton Subotnick. Previously he worked as a performer, composer, private teacher and adjunct professor at Wilbur Wright College and Harold Washington College in Chicago. As a composer, Zachary has collaborated with artists in many mediums including theater, dance, film, and poetry. He spends much of his time these days creating interactive media artwork, particularly within the Max/MSP/Jitter programming environment. Programming projects include work with Jane Rigler on Manhattan New Music Project’s “Music Cre8tor”, a sensor/software music-creating interface for developmentally challenged children.
http://www.zacharyseldess.com/

HANS TAMMEN is currently Deputy Director at Harvestworks, and is responsible for the oversight of all projects related to Max/MSP/Jitter and Physical Computing, as well as managing the education program and the studios. In this position he encounters the projects of approx. 250 clients, students and Artist In Residence per year. After an initial degree in Adult Education in 1988 he taught as an adjunct at Kassel University, and as part of his works as a union technology consultant from 1992 to 2000 he held about 120 one to five-day seminars using modern seminar techniques like metaplan, role-plays, and others. As a composer/guitarist he is best known for his “Endangered Guitar” works, interfacing his guitar with Max/MSP. Signal To Noise called his works “…a killer tour de force of post-everything guitar damage”, All Music Guide recommended him: “…clearly one of the best experimental guitarists to come forward during the 1990s.” http://www.tammen.org.

Many people are asking about what Max for Live can do. That’s a short answer: everything Max/MSP/Jitter can, plus some new stuff to make it work with Ableton Live. It might be better called “Max in Live.” Max for Live has all the objects that Max/MSP and Jitter have – all of them. Right now, I’m gathering a big part of the testing Cycling ‘74 is doing is to try to make anything not work, but so far, it sounds as though everything does. That means Max for Live is an environment for JavaScript and Java. It means you could have Processing sketches, wrapped in Max patches, running in Live.

And it also means you get Jitter, which gives you video playback, processing, and output, plus 3D visuals. You’ll apparently be able to open a window for output, just as in Jitter. So you could have Live sets that trigger video clips, all from within the same tool – or, if that sounds unwieldy on one machine, have a Max patch that communicates with any visual app you like on another machine.

You can’t open Max patches directly, but so long as you own Max 5, you can adapt them to Max for Live into a device.

This also means that whether or not Live 8 supports OSC (it looks as though it doesn’t), you will be able to add that support however you like via Max for Live.

On top of this, you’ll get a collection of new objects that allow Max for Live to use UI elements from Live, interface with the program as Devices, and listen to and control events in the Live interface (like manipulating clips, Devices, warp markers, and whatever else they choose to support). It’s this interface area that’s really new, and that I hope to cover more soon.

The only catch to this is you have to make an investment in software before you get started. If you want to run Max for Live, you need to buy Live 8 and buy Max for Live as an add-on. (Ableton has said it’ll be a separate product, but no word yet on pricing.) If you already own Max 5, you’ll still need to buy Max for Live (though again, no word on discounts). And you will still need to own the standalone Max if you want to use your patches without starting Live.

For more discussion, there’s a thread on the Cycling ‘74 forum:

"Max for Live"?

Jeremy Bernstein of Cycling ‘74 says it best here:

Max for Live is, well, a superset of Max. :) MaxMSPJitter + special features for Live integration
If you want to create a Max Device from a Max patch, you can currently copy and paste the main patcher into an empty device. We’ll probably offer a simple converter at some point, as well.

Right. What he said.

What Might it Mean for Open Source?

You can see that this is good news for:

• Max and patching (a huge boost to DIY software)
• OSC (the open communications protocol, supported – indirectly – for the first time)
• monome (because all those patches can be adapted for Live, which was a popular app to use anyway)

It’s not such fantastic news for the open source world or competing tools, because this is a very proprietary and vendor-specific solution. That’s not a criticism, just an observation – I know fantastic people and friends who are supported by the business model that’s here. But it is worth noting, because I believe healthy software ecosystems incorporate both free and commercial models, and fully open and fully “integrated” (which are sometimes more closed) solutions. There’s no question where this lies. You’ll need the full version of Max to use these patches with even another host – and you’re likely to miss some of the specific solutions here.

That said, I think it’s still an opportunity for open source alternatives to differentiate themselves, and for the two to coexist harmoniously. For starters, open source software will have an easier in when it comes to talking to Live, if there’s a friendly set of Max for Live patches that help communicate with other tools. Also, open source software can be two things this solution is not – lightweight, and free. It’s also an opportunity for open source hardware to interface with this solution (again, see: monome, which I still think has some elegance things like the APC40 lack).

In fact, there’s so much power by the time you put together Live and Max and all your plug-ins (too … much … POWER!!)  that I could see some people finding it refreshing performing with just a simple Processing sketch and turning everything else off.

I might even go so far to say that, by association, Max’s open-source cousin Pd could benefit from this. (I don’t see Pd working in Live any time soon, though.) I do hope that Max patchers release at least some of their work as open source patches for others to use. Flash is a great example of a proprietary tool that has generated fantastic open source tools around it. That means you get Adobe’s support and quality level, but you can still share code – and clearly, the Max world can do some of the same things.

These are ultimately all tools. I’m pretty excited about developments in the open source world, and I believe that most people will use a combination of free and commercial tools. 2009 should be a great year for both, which means you’ll gravitate toward using the right tool for the job, and for your budget. For those who can’t afford all these glitzy new toys, you won’t exactly be suffering. (Next week, I’m going to try to put together a virtual, open-source “NAMM” rounding up some of those developments.)

If you asked me to wish for everything I’d want to come together, for the kinds of things we advocate on CDM, I couldn’t do much better than we’re doing already – and we’re only part of the way through January.

It’s been a long, long wait, but it’s now official: Ableton and Cycling ‘74 have collaborated on Max for Live, which integrates Max/MSP with Ableton Live. There’s tons of information on the Cycling ‘74 site, and I’ll be doing some follow-up interviews for CDM soon with more details, but here’s the overview.

What is Max for Live?

Max is an add-on product for Ableton Live 8, which will be announced in a press conference shortly. Note that it isn’t just Max or just Live – it’s a separate, add-on product. No pricing information yet; availability later in 2009.

What Will You Be Able to Build?

• Step sequencers
• Instruments
• Effects
• Stuff to control Live
• New hardware integration features, with your own instrument / effect / sequencer creations, and with Live itself – think, build your own hardware mappings

What I’ve heard is that via native controls, you’ll be able to control anything you can control in Live with a mouse, down to moving warp markers around. That’s obviously huge, but expect the specifics of these details (and eventually, how to do it) on this site over the coming days and months. I’m also eager to find out if it’ll be possible to use Max for Live with OSC inside Live.

How Integrated is It?

• Native Live API controls: Max now gets a native API for controlling Live, with live.object, live.path, live.observer objects. This is actually arguably the most important part, because it means you could in fact use Max to control Live in place of the Python-based Live API. That raises a bunch of questions and unfortunately, this is the part of Max for Live about which we know the least, but you know this site will be all over the details as soon as we can get hold of them. (The only bad side of this that I can see is that it may mean fewer options for Live users who want to use their own development tools instead of Max, but I’ll investigate.)
• Preview mode: This lets you edit in Max while devices continue processing audio/MIDI as if running inside Live. It updates in-place in Live’s device view. That’s been possible previously using things like Native Instruments’ Reaktor plug-in or the combination of FL Studio and Synthmaker, but it’s certainly new to the Max environment.
• UI controls: You can create Ableton-style interface controls for your patches. This is really extraordinary: you build a patch as normal, and what Max 5 calls its Presentation Mode now looks like an Ableton-standard UI in the program, with full support for color schemes. You even get descriptive text in Info View when you mouse over something, just like the official Ableton stuff.
• Multiple undo: Undo in Live applies to Devices created with Max for Live.
• Tempo sync, sample-accurate automation: I need to get the details of this, but normally syncing tempo is a major pain using MIDI, ReWire, or even plug-ins – this appears to allow more direct integration.
• A step sequencer object: Previous efforts like SynthMaker in FL have made it pretty easy to build instruments and effects, and it’s certainly possible to build sequencers in tools like Reaktor or Pd. But what’s unique about Max in Live is that it provides a sequencer with a Live-style interface that integrates with tempo.
• File/preset integration: This is where it gets really awesome – juggling Reaktor patches, for instance, can be a pain.
• Web collaboration: Ableton Live 8 adds web collaboration options, which extends to Max devices. 

What Devices Are Included?

So far, you get a nice set of Devices to use with Max for Live:

• Step Sequencer, with four 16-note sequences, shift, random, MIDI control
• Loop Shifter, with automated mapping and playback, for Max-style looping
• An extension for the new Akai APC40 that turns it into a step-sequencer editor for Live MIDI clips

Now, note, on that last item, you don’t necessarily need to run out and buy Live 8 and Max for Live and a new APC (though there are worse things to happen to someone). The new features should open up new controller integration features and custom software-controller creations for all kinds of hardware. For instance, the monome (site | cdm tag) should greatly benefit from the features in Max for Live. It’s already got a rabid community of Max patchers behind it, and there’s no reason you couldn’t do something wild with Live, Max for Live, and the monome – including additional features you can hack into the monome, like tilt sensors/accelerometers/IR range finders. (Yum.)

And in fact, the monome community is already on it without the aid of Max for Live: Pages, built in Java, is an elaborate app for automating access to some of Live’s power. You can imagine that the availability of Max for Live should mean even more of this sort of thing.

Where to Read Up

I’ll update this as more information comes through, but here’s what to get where:

David’s Tools for Creating Devices in Live is probably the most important read, as it shows how the integration works – already juicy, though we need to find out more about those native controls for actually manipulating Live

David Zicarelli’s "Perspective on Integrating Max and Live" talks about the genesis of the project and what it means to existing Max users

If anyone stops by NAMM booth 6314, we’d love some other perspectives.

What this stuff means:

Max for Live is best understood as Max/MSP/Jitter in Live. Here’s a full explanation, with more details to come on exactly how they integrate:

Max For Live is Max In Live: MSP, Jitter, OSC, and All; The Open Source Side?

And yes, I will be following up on open source alternatives, because they have their own strengths and weaknesses.

NYCPatchingCircle @ Pd wiki (thanks to Hans-Christoph for making this happen)

See you there if you’re in the area. 540 W. 21st Street, (between 10th and 11th Avenues).