Several rely heavily on amazing existing work by members of the open-source community: Ivica Ico Bukvic, Ji-Sun Kim, Dan Trueman, R. These modules don’t do anything particularly new on the inside. To any users who have played with BEAP, this will be a familiar approach - the difference being that where BEAP focuses on sound synthesis, the 264 Tools provide ways of working with recorded and live audio input.
264 Tools is a collection of patches for Max that can be loaded in bpatcher modules, providing ready-to-use playback, processing, and analysis tools with graphical interfaces. It is possible to teach this type of programming in a semester, but probably not in a class where you want much music to happen.īy building 264 Tools we tried to circumvent these challenges for both new and more advanced Max users. Building a delay unit or even a versatile sound file player takes time. The process of moving from some kind of controller input, handling that data, and mapping it to some audio processing takes time. Besides, there are important reasons for not just sending someone off to learn by themselves or assuming prior knowledge.Įven if one is familiar with Max, it takes time to build things that can start to be musical and responsive. It favours abstract thinkers and people with existing programming experience, but may be less useful to someone without that experience who wants to start making music. The common approach to Max-learning of spending time with the famous tutorials can be helpful, but what to actually do with all this list processing, data type explanations, and mathematics can be less clear. I wanted to write up some of our experiences, in particular focusing on a package of Max patches I built for the class called 264 Tools. Last semester I assisted Hans Tutschku with a class called Music 264 at Harvard University on improvisation with electronics, and we used Max as our main tool for students to build their own electronic “instruments.” Faced with students ranging from Max beginners to more experienced programmers, and wanting to spend as much time as possible making music, we needed a solution that would allow us to teach Max and simultaneously start exploring performance.
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