The second issue in August
The publisher : Shigeto Wada
[email protected]
http:// www.geocities.com/Vienna/Studio/5919/
Actually, this MAX i MUM is wrote in
Broadstairs (UK), Weiden (D),
Praha (CZ), St. Polt始 and Mautern a.d. Donau(A), also
distributed from Wien (A).
Let us sang the praises of potential capacities of
network !
Praise be to Muse !!
For
who wants to read MAX i MUM in Japanese.
日本語による購読を希望される方は、
こちらからMAX
i MUM...J version...へ再登録下さい。
http://www.geocities.com/Vienna/Studio/5919/maximum/maximum-j.html
Contents
Basic
usage of MAX (1)
Q&A
"Serial
Pincermovement" ~An example of passive composition~ (2)
At
the starting of MAX i MUM
What
MAX is.
The
imprint
Next issue will be on 9th September.
You
are able to download
this magazine from hear
to read after disconnecting.
' MAX i MUM ...E version... The second issue in August '
This free monthly magazine is distributed
by "MAGUMAGU".
The name of magazine : MAX i MUM ...E version...
The format : HTML
The ID number : 0000015074
The application and withdrawal of the magazine should
be at MAX
i MUM Home Page.
Moreover, if you had an opinion, a wish or a contribution,
please send me a mail.
Basic
usage of MAX (2)
Thank you for reading MAX i MUM again indeed.
I thought the content of MAX i MUM distributed monthly
may be thin. In this time, you think it is a bit hard to read because there
are various technical terms. An opinion such as "I can't manage so much
contents at once!!" should be sent by e-mail. I am slightly afraid that
the number of subscriber may decrease (^_^;)
Anyway, I mentioned in the previous issue that MAX
is a programing software as you can compose all from the beginning. I am
going to explain in this issue that MIDI firstly, and develop the example
patch made in the previous issue into a patch which can *synchronize
with other software at play.
In the next issue, I will bring new example which
is useful for playing practically.
MIDI. The following is the explanation of it on
the previous issue but what is MIDI exactly.
MIDI : Musical Instrument Digital Interface
: An international format for sending data between electronic
musical instruments.
The word, "format" shows that MIDI itself doesn't exist
as an object. So it is not a thing you can touch. MIDI is a kind of language
which musical instruments exchange data each other, like which is used
when you are chatting with friend. The English speak in English, the MIDI
instruments speak in MIDI format each other. It can be said that MIDI is
a group of commends which may need at performance with musical instruments.
MIDI doesn't have the word, "I love you.". (^_^;)
There aren't "I hate you!" or "Well done." of cause. But they certainly
have "Part 1. Play C for 2.43 seconds." and "Part 12. Change your timbre
to violin.". As English has more seasonal vocabulary than Arabic, there
is no vocabulary which is never used but vocabulary which is used are perfectly
ready for playing.
And the instruments which can understand the language
are mostly electrical musical instruments and computers. You are not able
to use an electric guitar, which is slumped at the corner of your room,
or a violin which is left for a long time because it used to scream badly.
But nowadays, they can be MIDI instruments by installing certain apparatus.
You can modify your favourite musical instrument into a MIDI instrument.
Well, what is the grammar or usage of MIDI.
MIDI is modified as you can manage 16 *parts. 16
part is quite enough. For example, 16 musical instruments parts are piano,
first violin, second one, viola, cello, double base, piccolo, flute, clarinet,
oboe, horn, trumpet, trombone, timpani, snare drum, cymbals. You can manage
most of instruments of basic orchestra. By using MIDI *patch
bay etc., you can manage 256 parts more. Additionally, "part" is sometimes
called "channel" or the abbreviation, "ch.".
MIDI can send only one command, which makes sound
starting and stopping etc., at once. It sounds very cheap but, you can
listen the sound at the same time because commands are sent very very quickly.
It is different according to the transmitting speed of MIDI of PCs or musical
instruments how many sounds could be heard at the same time, but please
note that you would recognize the time lag of chords if you used 100 sounds
at once. How many sounds you can play may be determined by a instrument
and is 16 or 32 or 64 normally. Though some latest instruments can make
128 sounds at once, you may not use like this. More than 64 sounds could
be required when you play the contemporary music as you play it without
getting off your feet from a damper pedal of piano.
MIDI instruments can communicate each other by connecting
them with *MIDI cable. There are 3 places which MIDI
cable is plugged in, and are described as "MIDI IN", "MIDI OUT" or "MIDI
THRU". Literally, "IN" is the plug receiving data, "OUT" is the plug transferring
data, and "THRU" is the abbreviation of "through" so the plug which data
goes through the instrument.
The wiring may be complicated for beginners. When I was teaching computer
music, everybody used to be confused by this work. You should just connect
IN and OUT, but THRU is especially complicated. Practically, data is transmitted
from IN to THRU. As can be seen from the figure, it is used for building
the system which MIDI data having 8 channels are received by 2 instruments
setting up to receive certain channels. Most of MIDI instruments have "IN"
and "OUT" only one each, therefore this system may be provided for using
more than 3 instruments.
There are already a lot of technical terms and stories
but, there are more MIDI descriptions(^o^) Hold out!
MIDI information is categorized as following shows.
Voice Message
: Commands concerned with
making sound.
(e.g. Start making sound and stopping / *vibrato)
Mode Message
: There are 4 kinds commands
determined by combination
of Poly/Mono Mode and Omni On/Off Mode.
Exclusive Message
: Commands for manufacturer
and is used for transmitting
timbre data, *sequence data etc. to certain instrument.
Common and Real Time Message
: Commands to control play
such as starting or index search etc.
Well... So what.
You have various voice such as deep voice, high voice,
trembling voice and so on. Things like this, there are a lot of way of
playing musical instruments. Voice message is for determining how you play.
There are not only Note On/OFF (start sounding and stop it) but also *Damper
pedal to make the effect like using piano pedal.
According to Mode Message, Poly/Mono Mode may be
the abbreviations of Polyphonic Mode and Monophonic Mode!? As under Poly
Mode, you can use more than 2 sounds like a piano, on the other hand, you
can use only 1 sounds like a flute under Mono Mode. The sounds could be
like a real one by selecting certain mode according to the instrument you
play. Moreover, if you set an instrument to Omni On mode, the instrument
sends all channel of MIDI data. If you set it to Omni Off mode, it sends
only one channel of MIDI data according to your setting up. For example,
an instrument set up Omni Off mode of channel 3 sends all data which are
changed into channel 3 data. It is used for distinguishing instruments
when you play many keyboards.
Exclusive Message is bit special. I hardly ever use
it and don't know so well. Because, exclusive message is not directly concerned
with musical performance. It is used for exchange of numerical parameter
or sequence data among musical instruments. For example, the parameter
of a musical synthesizer which defines a timbre is saved by exclusive message.
Moreover, exclusive message is put between "F0" (beginning) and "EOX" (end)
and so on....... you can make music without this message (^_^;) but, you
must need this to use applied programming on MAX.
And Common and Real Time Message is for play recorded
sequence data. For example, "FA" represents "Play" and "FC" represents
"Stop". You may not also need to understand the details of this message
for musical activities. Nevertheless, it is needed for the applied programming
on MAX.
What is "FA" and "F0" ? In fact these are numbers.
Though we commonly use the decimal system as a numerical position is carried
when a number reaches 10, computers use the binary system and the hexa-deciaml
system as a numerical position is carried when a number reaches 2 or 16.
the
decimal
system |
the
binary
system |
the
hexa-decimal
system |
the
decimal
system |
the
binary
system |
the
hexa-decimal
system |
| 0 |
0 |
0 |
9 |
1001 |
9 |
| 1 |
1 |
1 |
10 |
1010 |
A |
| 2 |
10 |
2 |
11 |
1011 |
B |
| 3 |
11 |
3 |
12 |
1100 |
C |
| 4 |
100 |
4 |
13 |
1101 |
D |
| 5 |
101 |
5 |
14 |
1110 |
E |
| 6 |
110 |
6 |
15 |
1111 |
F |
| 7 |
111 |
7 |
16 |
10000 |
10 |
| 8 |
1000 |
8 |
17 |
10001 |
11 |
"FA" is represented by 15 times 16 plus 10 so
it is 250 in the decimal system. This is not so complicated system. Simply
bolded 16 to the power of any is changed into 10 to the power of any, it
becomes the positioning system of the decimal system, for example, 250
is represented by 2 times 100 plus 5 times 10 plus 0. You
may not need this very often.
(I have no knowledge of composition about mathematics.
I would be grateful if you improve my sentences.)
Well, there is huge expertise, therefore, how are
they in connections with MAX.....
I think, there are 6 following tools in the previous
issue.
Calling from left hand side, toggle, dial, metro, vertical
slider, makenote and noteout. If you forget or do not know the work of
them, please read the previous issue. Here
is the back number on Homepage.
And, this is the patch I mentioned in the previous
issue.
Well, there is a toggle that is a On/Off switch of metro also this patch.
Toggle is sent 0 and 1 in tern therefore the patch is stopped and started.
Metro is sending "bang!" in certain tempo determined by dial.
These function is not concerned with MIDI directly.
So, how can we make other software starts when this patch starts.
At first, let's make a switch which has the same
function for other software. Common and Realtime Message may be concerned
with. We know, a command which make MIDI instrument to start play is "FA"
and to stop play is "FC". These commands are sent to instrument by MIDI
and they start and stop performance. Moreover, as "bang!" is sent from
metro to beat tempo, "F8" called Timing Clock is sent to beat tempo by
MIDI.
Therefore, just we need to attach something that
sends "FA" and "FC" mutually, also send Timing Clock in time to the "bang!"
sent by metro.
Such a patch is......
like
this.
Please note that tools below metro, such as 3 vertical
sliders, are omitted.
Here are 2 new tools. Former is 
Ggate.
This function is that data is transmitted from B to C when A receives 0,
and from B to D when A receives 1. It is like a rail junction switch. So
when toggle is Off, it sends out 0 from C, also when toggle is On, it sends
out 1 from D.
Some suspect that this usage of Ggate does not work.
Actually, this works. It is good idea to follow the way of data transmission
refer by reference to the previous issue that the transmission route of
data was mentioned.
250, below Ggate, is "FA". So this is a number of
starting in the decimal system. 252 is "FC" so this is a number of stopping
in the decimal system. 248 connected beneath metro is Timing Clock"F8"
sent by "bang!" from metro. Such a place which we wrote numbers or letters
or words is called Message Box. When it receives something above, it transmits
the number or letters etc. The receiving things can be anything.
3 numbers, 250, 252, 248, are sent from 
midiout
to a *MIDI sequencer or a *drum
machine. These instruments play to Timing Clock. This midiout is a
tool that is for transmitting MIDI message in itself to MIDI instrument.
What is MIDI message in itself.
People having an experience to use musical softwares
might have seen before, the elements of sound are often expressed by Pitch,
Velocity and Duration in musical softwares. These elements are already
changed for us to make good understanding and manage sounds easily. Data
which sent to MIDI instruments is not exactly the same. There is a bit
more complex exchange of numbers.
I am sorry for omitting the details but I will mention
about this if you give a question to Q&A.
Moreover, there is minute materials on MIDI
Manufacturers Association Homepage. I suppose that there are many kinds
of homepage explaining MIDI. If you know good one, please contribute the
address of homepage by e-mail. I will introduce it in the magazine.
To return the main topic, I explained that a patch
that starts and other software starts. How about the opposite way that
this patch starts when other software starts with tempo synchronization.
Nothing is difficult. I mentioned a little while
ago, the patch sent 250, 252 and 248. So now, the patch just have to receive
these. But how to built this function on the patch needs a bit different
technique. Anyway, I combine all function together.
You may see each function. Red area is the new part I add. This function
is to receive start, stop etc. from other software. The function of blue
part is to transmit start etc. to other software. Finally, yellow part
is the part I mentioned in the previous issue.
Well...... New tools again (^_^;)
"rtin"
may be abbreviation of real time message in, and it is a exclusive tool
to receive Real Time Message from MIDI musical instruments or MIDI softwares
connected with MAX. You can choose the instrument which you want to receive
data by *doubleclicking rtin. Alternative choice
window is appeared.
"route"
has literal meaning. This receives data from the upper left hand side,
and distribute data to a certain exit on the below. It looks like a machine
which distribute letters to a certain box according to postal code. In
this case, there are 3 exits for 250, 242 and 248, and the lower right
hand side exit is for other data.
And 
button.
You can click this as like as toggle, but this has no On nor Off. This
sends "bang!" by each click. Also, if button receive something on the above,
it sends "bang!" from the bottom. In this case, when button receives 248
from the above, it converts message into "bang!" and transfers them to
3 vertical sliders below.
By the way, this patch does not work. It seems that
all data flows correctly, but there is one problem.
Here, it is the problem to attempt to get the same
tempo by receiving "248". According to this patch, when this patch receives
"250", toggle receives 1 and metro starts moving. Nevertheless, the tempo
of metro is not modified to synchronize to another software, therefore,
metro sends "bang!" freely. Also this patch make sound when it receives
"248", so "bang!" is sent to vertical sliders twice. In other words, double
sounds are given out.
Therefore, just the patch should be set as it sounds only when it receives
"248". Namely, the patch does not need to receive commands of start and
stop of other MIDI instruments or softwares. So it is needed to remove
250 and 252 from rtin. Now route distinguishes only 248. "248" is converted
into "bang!" by button. The left example is the improved patch. You can
see that "bang!" transfers to 3 vertical sliders when other MIDI instruments
or softwares beats and sends Timing Click.
Finally, the patch, which sounds at interval of determined
time length, pitch, velocity and duration, synchronize with other devices.
It can be well used for performance through good ideas.
You can add various functions and tools to a fundamental
part on MAX. I will mention later, you can build a massive patch by using
more than one patches simultaneously. In the previous issue, I finished
the article with the words, "Sunday musical carpenter". In this time, it
is just like that a back and an armrest are added to a chair we made before
(^_^)
Anyway, this article may be quite professional and
difficult. If it is too difficult or obscure, please write to me by e-mail.
I will answer in Q&A.
In the next issue, I am going to explain about echo
with practical and useful sample patch. Please don't miss my next instalment.
synchronization
: To move more than 2 instruments hand in hand. The abbreviation
is sync or synch. In this case, other sequence software moves in the same
tempo to MAX. About "sequencer", please refer to "sequence".
part
: An instrument or a group of them which has certain
function; a division of musical form, in a musical composition.
patch bay
: It is called "patch board" as well. A thing which gathers
and arranges input and output terminals on the same place. Frequent change
of a channel of terminals can be done easily by reconnecting of patch cables.
MIDI patch bay is for MIDI, and it can centrally manage many MIDI
cable connection on the one place.
MIDI cable
: A exclusive cable for MIDI connection. 5 pin DIN terminal
is used for it. It is good idea to use less than 15m length cable because
of accuracy of data transmission.
vibrato (Italian）
: To slightly up and down the sound pitch. It sounds
like trembling voice. It is frequency modulation to an electrical term.
Normally, the speed is 3~8 Hz, and the band width is among a semitone.
sequence
: To MIDI, it means the order of sounds in a data of
performance. Software for recording the order of sound performed is called
sequence software or sequencer.
damper pedal
: A pedal on the right hand side of acoustic piano. It
is called "pedal" also and is classical music term. It is also called "sustain
pedal" to MIDI. All strings are opened and free to vibrate, therefore sound
is sustaining. To MIDI, it is the same effect as omitting all "Note-off".
MIDI sequencer
: Please refer to "sequence".
drum machine
: Electrical machine which make the percussion sounds.
It can be played by setting a pattern, so can be used for like a MIDI sequencer
for drums.
double click
: To push mouse button twice quickly. Tick!Tick!
Q&A
Followings are the questions written to. Thank you
indeed.
Question : What is MAX !? I ask
you actually !!
Answer : From my younger
brother of all men. Read this magazine, MAX i MUM !
I have been worried about the future. You know, this
had been the mail I was received first.
But soon, an interesting question came.
Question : I want to have a sound
making by sonnargram, formant or voiceprint analysis, so please tell me
something you have known.
And I would be grateful if you send me a software which can input audio
data and use VST plug-in because I want to know the detail of MAX.
Answer : I am going to answer
in connection with MAX. I have been looking for but there are no free or
share wares which can output or record numerical values of result data
of sonnargram analysis. What I can imagine now is that you can scan the
result to graphic data and convert the graphical data of each pixels into
elements of sound, also convert the figure of graphical data into musical
form. A lot of people may be having similar idea, moreover some of them
have already distributed some softwares with this kind of idea, so you
can ask them. Unfortunately, I have no knowledge about C programming because
I do not need it now. If there were the software which can provide the
data in real time or to text data, of cause you would be able to input
them to MAX and edit it.
Moreover, about using of VST plug-in, the manufacturer
of MAX (Opcode Inc,.) does not support VST plug-in. It is possible that
there is a 3rd party object which can take VST plug-in into MAX. Additionally,
such object can be programmed by C. On the other hand, you can set MAX
and MSP to receive sound output from other musical softwares, so you can
manage sound data with using some softwares include MAX at the same time.
And it would be enough possible (if you knew the structure for it) to materiarize
the same function as VST plug-in on MAX. Nevertheless, if you want to use
ready-programmed plug-in with audio data, there are a lot of excellent
softwares such as PRO TOOLS or Cubase etc. and it must be enough. Finally,
I am sorry that I can not give you the software you requested personally
because I am too busy to make it now.
I am strongly interested in a sonnargram analysis software
etc. as a device. If somebody knows a software or a hardware which can
output such data in real time, I would be grateful if you contribute the
information to MAX i MUM.
Anyway this is the all, 2 questions (actually there
is 1 question).
I am happy if you send me any questions. Also, to
ask a question of a question is good idea. (e.g. What's a sonnargram? etc.)
I must say something to my brother (^_^;)
"Serial
Pincermovement" ~An example of passive composition~ (2)
I mentioned "determined sound" in the previous issue
and to determine a series of sounds is considered as a composition. But
I also mentioned it is very difficult to show rich development by simply
arrange a series of sounds determined.
The thing which not only human but even all animal
are easily influenced is reiterating phenomena. Reiteration of certain
stimuli inscribe information in a brain. Moreover, the stimulation repeats
frequently or makes a strong impression, the memory becomes more unforgettable.
Needless to say, we can be very easily chained to our daily occurrences.
When a series of sound
is determined and made an effective development, though it is a *motive
or a *music series, the method firstly done must be
reiteration.
"reiteration" provides variation and also strongly
preserves the condition. The former is "excitement" and the process between
former and latter is "weariness", also the latter is "stability" which
are not realized because it is a daily occurrence.
The second topic is a reiterated sound.
"reiterated sound", viz. the great effectiveness
of reiterating a determined pattern of sound is historically demonstrated.
Additionally, the methods are indeed various.
To repeat the same sound or sound pattern is a very
primitive form of music, and it is impossible to disobey the effect brought
by this. The main effect which is brought by reiterating a determined sound
pattern, is a magical or hypnotic suggestion.
It can be generally said that the origin of music
is to convey an aim or a purpose to his party, in brief, telecommunications,
moreover, his party can be God (could be plural). And the correspondence
of shamanism with God is represented to reiterating a determined sound
pattern. The fixed pattern used is a spell or music, sometimes it could
be a natural sound such as a fire sound. Therefore, the purpose of music
is "reiterated sound" and exactly magical suggestion.
It may be sufficient to bodily feel being in communication
with God that spiritual uplift or ecstasies which is brought by frequent
repeating of determined sounds. Even now, Matsuri-Daiko (Japanese drum),
African drumming, gamelan (Bali) etc. are used in shamanism. Generally,
this is accompanied by repeating simple body movement and the effect enhances
markedly.
You may imagine people who are dancing in a club
or a dance hall.
Dance music shows that a determined sound pattern
are repeated and gradually exciting. Then finally, it finishes with recovering
its composure or splashing. This gives one hypnotic and ecstatic feeling.
In this mean, dance music is internationally common. Winner Walzer, flamenco
and Bonn-Odori are given by the common form. It is very interesting that
Japanese "Mai" does not have certain rhythm, nevertheless it is exceptional.
There are various method and form to repeat sound,
and this is deeply concerned with the purpose the music has. Now I mention
minimal music as a example owing to the given notice in the previous issue.
Minimal music is one of the music style in late 20th
century indicates how can "reiterated sound" be used effectively. The fundamental
concept of minimal music is to repeat a determined *sequence,
in other word, a determined sound.
The purpose of dance music is "excitement", while
minimal music represents "stability".
Phasing which was presented by *Steve
Reich and *Philip Glass etc. may be the most basic
form of minimal music. *"Come Out" composed by Steve
Reich is a very experimental composition which faithfully reflects phasing.
When I have listened it for the first time, I got tired. Because it is
the first time for me to listen minimal music which has the original meaning,
and I now imagine the reason that I have been in the middle statement between
"excitement" and "weariness". But it took a minute to reach "stability".
Because "Come Out" is very long piece for its intricacy. I passed a condition
of "weariness" and have not paid attention to the music even if it is played.
I would like to introduce the fundamental concept
of phasing because it is simple. The following figure is everything.
Phasing is often used for *musique
concr師e, and it is represented by repeating one kind or few kinds
of *sample. The length of the one of samples is slightly
shorter. And 2 samples are played also started at the same time. These
2 samples are the same therefore they are heard as like only one sound
at the beginning. But when a time lag is perceived after a time lapse,
it begins to provide an effect of undulation.
Commonly, these music using phasing are started with
samples at the same time and suddenly finished. It could be also common
that it is finished by a point of time which is a common divisor of a sample
length. You can see that this music simply provides "undulation" at an
interval given by reiteration. This interval provides an upsurge and a
subsidence with repeating at the each interval of common divisors.
This "upsurge" and "subsidence" can be changed into
"dispersion" and "convergence". This upsurge of movement, which is also
in a condition of "stability", is similar to the process of the space progress
and to daily occurrence.
Phasing is a great idea and the representation is
significant, but it is not useful itself. If they solely composed a lot
of works with phasing, only few people would listen it. So, they have begun
looking for a potentiality of "reiterated sound". This was a quest of music
which provides people with feeling of "excitement" also "stability" simultaneously.
Then, they have found a musical form puzzle. This can be new retrogression.
It is a renaissance of classic.
How to use the theory for actual audiences have been
becoming important, because the significance of expression of minimal music
had been already presented by phasing. This advance is valuable.
The music which was came from pursuit of fun is not
only very enjoyable but also making a shamanic approach to us.
In the next issue, I am going to make confirm about
the mentioned effects by an analysis of the Steve Reich's composition,
furthermore, how minimal music was introduced into "Serial Pincermovement",
also mention about "passiveness".
motive
: A just necessary and minimum independent element
to compose musical work. A motive of classic shows 2 downbeats and the
length is 2, possibly 4 measures. Therefore, it can be called a motive
even if it has only 2 notes.
music series / Tonreihe (German)
: A determined group in order of sounds among 12 notes
in 1 octave. All notes does not have to be used. In a broad way, all generally
known scales are examples of music series. "S屍ie" (French) is "row" in
English and it is not the same meaning. It shows more broad meaning that
is a determined group in order. Actually, it is often used as the same
meaning to music series. The definition is ambiguous.
sequence
: It means a motion of same sounds by repetition,
generally, the repetition of a relatively short figure or a harmonic motion.
It is different meaning with one to MIDI mentioned in "Basic usage of MAX".
Steve Reich
: A representative composer of minimal music. The
important works are 'It's Gonna Rain'(1965) , 'Come Out'(1966) , 'Different
Train'(1988) , 'City Life'(1995) etc.
Philip Glass
: Also a representative composer of minimal music.
The important works are 'Satyagraha'(1980) , 'Einstein on the beach'(1975)
, Music in twelve parts'(1974) , '"Heroes" Symphony'(1996) etc.
Come Out
: Steve Reich 'Early Works' (Electra Nonesuch
WPCS-5052)
music concr師e
: A music given by recording the outside world, processing
with electrical sound effectors and being fixed on a medium such as a tape.
sample
: In this case, it indicates sound material. All sound
recorded on anything is sample. To record an actual sound and use as a
source of generator is "sampling" and the instruments for using sample
to music is "sampler". Additionally, the time length of sample is called
"sampling time" expressed in ms etc.
At
the starting of MAX i MUM
MAX i MUM is
distributed to widely encourage people to make use of MAX, a musical programming
software developed by IRCAM.
Thus the content includes
quite basic usage of each objects and description of terms, also introduces
the interfaces which are provided by MAX and the optional software or hardware
of it.
Moreover, it would be really
welcoming that applications of readers which agree the above purpose.
MAX is a rare and excellent
software which gives chance of making up musical works with well thought
of logic and mathematics of creators, in other words, without concerned
with special skills such as reading scores or playing musical instruments,
to the persons who want to approach music actively.
I do hope at the starting
of MAX i MUM that a lot of readers would be interested in composition,
arrangement, also sound engineering, furthermore, here would be a place
that we exchange enjoyable information each other because of this magazine.
First, July, 1999
The publisher Shigeto Wada
What
MAX is.
Beginning in
late 1986, MAX for Macintosh was developed in IRCAM (Institut de Recherche
et de Coordination Acoustique- Musique) by Miller S. Puckette, and was
put on the market by Opcode Systems, Inc. in 1990. Later, it has further
being developed by David Zicarelli. Originally a non graphical language
intended to control IRCAM's powerful 4X synthesizer. Additionally, original
Objects can be made in C-language because MAX has been written in C-language,
also Patches can be programmed by Text editor.
" Max is a graphical music
programming environment for people who have hit the limits of the usual
sequencer and voicing programs for MIDI equipment." (Miller Puckette,
Max reference manual, 1988)
Program written by Miller Puckette and David Zicarelli,
�1990-1999 Opcode Systems, Inc. / IRCAM.
Opcode Systems, Inc.
365 East Middlefield Road
Mountain View, CA 94043
http://www.opcode.com
MAX can control
only musical instrument with MIDI. But there are an optional software,
"MSP" from Cycling'74, which real sound will be added to be dealt with
MAX, in addition, whose original system is ISPW (IRCAM Signal Processing
Workstation).
MSP(c)1997 David ZicarelliﾑAll rights reserved
based on Pd by Miller Puckette, (c)1997 The Regents of
the University of California
MSP and Pd are based on ideas in Max/FTS, an advanced
DSP platform (c)IRCAM. Used by permission.
Cycling '74
1186 Folsom Street
San Francisco, CA 94103 USA
[email protected]
http://www.cycling74.com
The
imprint
All rights reserved.
No part of this publication may be reproduced or transmitted
in any form or by any means,
electronic or mechanical, including photocopy, recording
or any other information storage
and retrieval system, without prior permission in writing
from the publisher.
The publisher
and distributor : Shigeto Wada
The publishing
office : Shigeto
Wada Music Studio
e-mail address
: [email protected]
Published
on 8th August, 1999 as "MAX i MUM, the second issue in August"