MaxforLive | Control Devices, Sequencers |
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Cellular Degradation combines a cellular automaton with a polyphonic tone generator. Each stereo voice of the tone generator corresponds to each column of the cellular automaton’s grid, while each row corresponds to the associated tone generator’s audio parameters. The changing values of the cells from the cellular automata modulate the audio parameters of the tone generators.
The tone generators roughly follow this chain:
Sample playback (at a very low rate, like an LFO) >> SVF (LP/HP Morph) >> Delay Line >> Normalization via Envelope Following >> Feedback and cross-modulation (between left and right channel pair, modulates FM, AM, and sample lookup).
FEATURES:
Fractal Filters uses a visualization of Julia Set fractals to create a set of amplitudes for a 50 band filterbank. It does so by taking a ‘slice’ of the 2D image (either a single row or column) and using that list of values as the filterbank amplitudes. Noise or input audio is sent through the filterbank.
The Q of the filters can go really high as to create tones if desired, and there are scale and tuning options for the filterbank. Additionally, Scala files (.scl) can be dropped onto the ‘Scale’ menu to use custom tunings!
THIS DEVICE IS INTENDED TO BE USED WITH MODULATORS. Otherwise, it will have no dynamics. So map away and have fun!
FEATURES:
This device is a collaboration between Dillon Bastan and Carlo Cattano.
Turn an image into a wavetable to be used by Live’s wavetable (and others). With the new Ableton Live update users can drop their own wavetables on the native Wavetable Instrument. Simply drop an image, save as wave, and then drop that file onto Ableton Wavetable (must be Live 10.1 or higher!) Oh, and make sure ‘Raw’ is enabled on the Wavetable or it won’t look right!
Super simple device. Could of course be expanded, so have fun doing that if you are inclined.
NOTE: Some transparent background PNGs won’t work! Just save them as jpegs.
FEATURES:
The Logistic Mod MaxforLive device for Ableton Live uses the logistic equation for modeling population growth, which exhibits chaotic behavior when the growth rate coefficient (r) is above roughly 3.57.
Chaotic behavior is aperiodic, non-repeating, yet self-similar and fractal. Therefore, the signal will have endless complexity, yet with somewhat familiar repeating patterns from time to time.
If (r) is below 3.57, it goes through a series of period-doublings leading up to the chaotic behavior (starting at r=3 when the first period-doubling appears in a 2 cycle period).
Logistic Mod gives you an alternative for a stepped modulator with a bit more nuanced possibilities, as well as interpolation and smoothing options. Overall a simple device that may be just what you need in a given situation!
Use the Markov Variations MaxforLive device to transition between Variations (Variations are the new presets/snapshots feature in Ableton Live’s Racks) using Markov Chains.
The device detects the stored variations on an assigned Rack, then it transitions between them with probabilities (using Markov Chain).
You can change the way that a new transition is triggered (either with a mappable button or automatically at a set interval or when detecting transients). There are features for gliding and changing other functionalities relating to probabilities.
Also included is the Note Trigger Map device within the live pack that sends a trigger when MIDI notes are received to a mapped parameter. This is useful if you want to trigger transitions from MIDI notes.
Screaming Janus has 2 main components: a simulation of Janus Bunch Oscillators and a corresponding bank of brutal oscillators.
JANUS BUNCH OSCILLATORS:
To best understand what these are I recommend going to this interactive webpage, which is where I was inspired and grabbed the model from.
I will briefly explain (skipping over details) in case you don’t want to read. A Janus Bunch oscillator state is made of two phases. The model can describe synchronization (between the internal phases as well as external oscillators) by coupling both internally and externally.
This allows for very interesting and complex movements of the phases. Additionally for this implementation, the oscillators are given XY positions determined by the two phases and a rotational speed.
Their colors and Z positions are also determined based on the deltas of the phases. So all in all we get from each Janus Bunch oscillator voice: 2 running phases, an XYZ position, and a color value. These are visualized in the center of the device by squares. NOTE: The Janus Bunch oscillators in this device DO NOT CREATE SOUND themselves, but the positions, phases, and colors are used to drive and modulate sound in the brutal oscillators described below.
THE BRUTAL OSCILLATORS:
This is what we hear in the device. Each brutal oscillator voice corresponds with an associated Janus Bunch oscillator. Here is roughly the signal path of each brutal oscillator voice:
There are parameters on the device for applying modulation to the following parameters:
Delay time Left and Right, Feedback amount Left and Right, Highpass and Lowpass filter cutoffs, Gain.
The modulation sources include the Janus Bunch oscillator positions, colors, and phases as well as a static spread between each voice.
Spectral Attractors uses a physics simulation and a phase vocoder. The phase vocoder sounds whatever spectral content is in the current “state”. The “state” is attracted to up to 4 other spectral “states” called “attractors”, which attract the state via the physics simulation with two different modes:
(1) FFT Mode: physics simulation is in 12288 dimensions (a bit higher CPU as a result) in which every FFT frequency bin amplitude, phase value and previous frame value for both left and right channels is a dimension, which results in a complex soundscape and combination of spectrums.
(2) 2D Mode: physics simulation is in 2 dimensions, in which attractors are spread out on a 2D plane based on their spectral differences. The sounding “state” then depends on how close it is to the attractors in a 2D space, resulting in spectra closer to the original attractor states. This mode also includes an option for either interpolating or crossfading based on distance to attractors.
Attractor states are selected by taking “snapshots” of audio in a buffer, which can either be a dropped sample or recorded live from routing audio from another track in Live. Additionally there are parameters for controlling the physics dynamics and real time frequency domain pitch shifting.
FEATURES:
Strange Mod is a MaxforLive device for Ableton Live that uses several Strange or Chaotic Attractors to produce a moving 3D coordinate.
The coordinate may be mapped to various parameters in Live similar to an LFO.
The difference is that chaotic attractors do not repeat the exact same progression, although each has its own structure.
So you can get tons of endless variety while having similar flows for each attractor.
This is a simple device and there have been many implementations of chaotic attractors (especially Lorenz) in sound/music, have fun exploring!
A sequel to ‘Swarmalators T’, except this version is a MIDI effect that outputs MIDI notes! Swarmalators applies the ‘Swarmalators’ model to control MIDI note outputs. More info is in the link below about Swarmalators. Because Swarmalators’ positions and internal oscillators are all interconnected, they offer different dynamic possibilities from swarming to harmonic synchronization. The Swarmalators’ XY positions can be mapped to the note out parameters like pitch, velocity, and duration.
There are also various scale options for the pitches, as well as a mode that detects the pitches of a drum rack. The device can create generative melodies, harmonies, and drum patterns.
More info about Swarmalators: here
FEATURES:
Swarmalators applies the ‘Swarmalators’ model to a bank of oscillators as modulation. More info is in the link below about Swarmalators. Because Swarmalaotrs’ positions and internal oscillators are all interconnected, they offer different dynamic possibilities from swarming to harmonic synchronization.
The internal oscillators of each Swarmalator is applied to basic LFO shapes, which together with the XY positions can be mapped to the audio oscillator parameters. The audio oscillators additionally have tuning options (Scala files can be used for custom tunings, including microtonal ones!), FM, and resonant lopass filtering.
This allows for sonic possibilities from lush textures, to glitchy and harsh soundscapes, as well as generative melodic and harmonic patterns.
FEATURES:
Double click on the .ALP file whilst you have Ableton Live open.
Dillon Bastan is a Los Angeles based sound artist, developer, music producer, and performer. He constructs interactive and intuitive experiences with sound as art, music, or tool. He uses a variety of programming languages, softwares, technologies, and a musical background. His passion for nature and interest in technology pulls him to blend the organic and synthetic.
Dillon draws on experiences from music, traveling, programming, meditation, and construction/carpentry for inspiration and solutions to his projects. He is constantly collaborating, learning, and exploring new possibilities in sound, art, and technology.
MORE DILLON BASTAN PRODUCTS – CLICK HERE
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Giovanni Arenas –
Amazing set of tools, gets you in a creative mood! will check other stuff for sure!
oscar burotto –
wonderful