very very tempted to make a king of the hill alarm clock just to go with this

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very very tempted to make a king of the hill alarm clock just to go with this

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a little nervous to share this wip but here you go
(Rhys Channing)
Projection performance at 576
Live musical performance with responsive digital visuals and VHS tapes presented on 3 projectors
From top: VCR + analog video mixer
Live audio gear
2Ā āProjector towersā - a final third projector hangs from the ceiling overhead
View of projection wall
PA system
Max 7 patch for MIDI responsive visuals
Been teaching myself MAX 7 lately. Hereās a look at my first sequencer patch I built from scratch !Ā

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Max 7
Using FaceOSC facial recognition software with Max 7 programming to play musical notes by moving facial muscles.
Adding some interactivity to my sample-cuing magic anime machine!
A few great Max objects
It has been interesting to get back in to Max 7 after having been on a hiatus from the software since version 5 (several years ago). I have resurrected an old patch for an old piece that requires me to do one of the many things that Max 7 does: process live audio, signal generation and control, and audio file playback.
It has been a bit frustrating at times, but I might say that I think Max is finally starting to make sense to me even more so than it has before. I am nearly done with the initialĀ ārebootingā of the Dixie Highway patch (for the piece of the same name) and will start to really create a streamlined, although not entirely attractive UI, for the performance. Mostly, I want to offload most event triggers and audio captures/looping to my Impulse 49 keyboard. Iām especially stoked about aĀ ābrown noiseā patch that I get to trigger with the drum pads.
In the meantime, I busted balls to figure out how to close and open the various signal paths that are coming in and out of all of the patchers. I discovered the non-binary version of the matrix~ object. It is super confusing at first, but awesomely powerful. You can go here for more info on it. But basically with the @ ramp function I can open and close inputs and outputs with a nice crossfade. I chose 80 milliseconds. In a way, matrix~ acts as a virtual mixer. Now I can blend my signals in a very controlled yet fluid manner.
Meanwhile, Iāve been on the hunt for a great granulator for a neat section of the piece where I take my precorded voice and bring it back in an improvisatory manner. It turns out that Robert Henke of MonolakeĀ fame created an amazing Max for Live Granulator. But, since I am not using Live, I couldnāt quite figure out how to encapsulate and use it inside my clumsy pile of cables and objects. Then, I remembered John Gibsonās (from Indiana University) super easy-to-use granulator. (called jg.granulate~). This is basically what I am using now, with some modifications (including a record~ object).Ā
Hopefully, if the performance goes well enough, I will post the video up here!