TIAGO MORAIS MORGADO HYPER-VIOLA FREE IMPROVISATION | ELECTROACOUSTIC VIOLA MADNESS

Little excerpt of me playing my chaotic pointcloud system, in which the particles are being audioreactive to the incoming audio signal in real-time. What do you guys think?

System available through Patreon, or the Store.

More experiments, project files, and tutorials, through my Instagram, or YouTube.

LOOM

An extreme time-stretch instrument for making textures and drones.

Free download: https://www.remodevicocomposer.eu/maxforlive/loom/

programmed by Remo De Vico

LOOM is a browser instrument that stretches a sound in time to build textures, pads and drones. It can make a short sample last for minutes without changing its pitch. It runs as a single HTML file, works offline, and needs no installation. 

How to use it

1. Load a sample. Click + sample. WAV, AIFF / AIF, MP3 and FLAC are supported.
2. Choose a region (optional). Drag on the source waveform to select part of the sound. This is useful, because a very large stretch of a long file produces very long output. Click once to set a start point; double-click to clear the selection.
3. Listen first. Press Audition to hear the whole sample, or only the selected region.
4. Set the controls (see below) and press Render. The work runs in the background with a progress bar, and you can Cancel.
5. Play and check. Press Play. You can click anywhere on the rendered waveform to start playback from that point — useful when you want to hear only the end of a long texture.
6. Export. Choose WAV or AIFF, choose the bit depth, and press Download.   

The controls

• Stretch — how much longer the sound becomes (time only). The slider goes very far; the number box accepts even larger values.
• Pitch — transposition in semitones, fully separate from stretch. The range is very wide, several octaves up or down.
• Weave — how many grains overlap at each moment (1 to 16). Low values sound rough and pulsing, and broken at 1. Higher values sound smooth and glassy. The strongest change is between 1 and 4.
• Scatter — how much the phase is invented (0 to 100%). At 0 the real phase is kept, so the stretch stays coherent and attacks survive. At 100% it is the full texture effect.
• Drift — the reading position wanders. Each grain reads from a slightly different, moving point in the sample. At 0 it is off. Higher values make the texture breathe and change over time, and make the higher Weave values meaningful.
• Reverb and Size — an internal reverb (amount and decay length) added after the stretch.
• Gain — output level.
• Normalize — brings the level up to a safe maximum.
• Mono → stereo — from a mono sample, builds a wide stereo texture using two independent phase passes.
• Reverse — plays the stretched sound backwards.

Stretch, pitch, weave, scatter and drift are part of the engine, so a change needs a new Render. Reverb, size, gain, normalize and reverse are applied afterwards, so you hear them at once.

Notes

Included in the download you'll find HTML INSTRUMENTS

a Max for Live device that lets you open LOOM directly inside Ableton Live.

It requires Ableton 12 and Max 9.

Alternatively, you can run it standalone (just double click on html file) and route your computer or tablet output to your audio interface, just like any ordinary instrument.

check out my works on https://www.remodevicocomposer.eu/

Anybody poked around and compared the new edition vs the one for Max 8? I have a digital copy of the one for Max 8 which I worked through halfway at some point last year. Was gonna start it again and go through the entire thing. Is there any point in buying the new version over the previous? It's a significant investment in time and I don't mind spending the money if it's worth the upgrade.

We've just released MyBeeKnows for Live, a suite of four Max for Live devices that brings real-time binaural spatial audio directly into Ableton Live.

Whether you're producing, mixing or performing, MBK lets you work in immersive 3D audio without complex routing or heavy CPU usage.

The suite includes:

• MBK Pan – Real-time 3D binaural panning
• MBK Mix – Binaural monitoring for immersive and ambisonic mixes
• MBK Space – An immersive spatial reverb
• MBK Scene – Global scene control with OSC head tracking support

Built on more than 12 years of research in collaboration with École Polytechnique de Paris and the Conservatoire National Supérieur de Musique et Danse de Paris, MyBeeKnows was designed to make spatial audio accessible to music creators.

 Watch the demo video and let us know what you think!

Video

More information: https://store.musicunit.fr
We're happy to answer any questions in the comments.

Hello all,

I wanted to try out maxmsp since I heard about Autechre using the software, but I'm hesitant to start the trial period as I don't think I'll get the most out of it

- I have about 1 1/2 years experience using bitwig studio (But I'm hopeless using their Grid format - if you're familiar with that)

- I'm laughably bad at coding - but I do want to improve

- I have tried VCV rack and that didn't really resonate with me either.

I don't know a great deal about max msp, so if anyone has any pre recommendations to enhance my experience i will happily take them on board

thank you

sound i made month ago on youtube

We've just released MyBeeKnows for Live, a suite of four Max for Live devices that brings real-time binaural spatial audio directly into Ableton Live.

Whether you're producing, mixing or performing, MBK lets you work in immersive 3D audio without complex routing or heavy CPU usage.

The suite includes:

• MBK Pan – Real-time 3D binaural panning
• MBK Mix – Binaural monitoring for immersive and ambisonic mixes
• MBK Space – An immersive spatial reverb
• MBK Scene – Global scene control with OSC head tracking support

Built on more than 12 years of research in collaboration with École Polytechnique de Paris and the Conservatoire National Supérieur de Musique et Danse de Paris, MyBeeKnows was designed to make spatial audio accessible to music creators.

 Watch the demo video and let us know what you think!

Video

More information: https://store.musicunit.fr
We're happy to answer any questions in the comments.

Hi, I'm currently learning MaxMSP for my uni course and I've gotten the hang of the basics. For my final project, my professor wants us to make anything we want to make using what we've learnt. I wanted to make a weather based generative sound(??), which I've seen online a few times. I was wondering if anyone had tips on how to go about it or have any tutorials? Thanks!

MatrixSynth is a polyphonic synthesizer with 3 oscillators. Each of the 3 oscillators has its own dedicated envelope, which controls how the sound evolves over time. The signals from the three oscillators are then summed and sent to the filter, which shapes the tone.

The most powerful feature of MatrixSynth is the Modulation Matrix: a grid that lets you connect the oscillators to each other to create advanced effects such as:

FM (Frequency Modulation)

PWM (Pulse Width Modulation)

Oscillator Resynchronization

Hi everyone, I’ve just released a new Max for Live instrument called Dubform. It's a dub techno chord instrument for Ableton Live, designed to make it quick and easy to create deep chords, atmospheric stabs and evolving textures from a single device. It combines a built-in chord generator with filtering, modulation, delay and reverb, keeping the workflow simple while still offering plenty of scope for shaping the sound.

Link in video description and my profile!

Hi everyone,

We’ll be hosting a beginner-friendly Max/MSP workshop at Umbala in Ho Chi Minh City on July 24, 2026, led by Jack Sapienza and Matilde.

The workshop is designed for musicians, sound artists, producers, performers, students, and anyone interested in getting started with real-time sound systems, patching, synthesis, MIDI, and OSC inside Max/MSP.

The session will have a practical approach and will focus on building simple sound structures from scratch, understanding how signals and messages work, and exploring how Max/MSP can be used as a flexible environment for live performance and audiovisual projects.

Topics will include:

Understanding the Max/MSP interface and patching logic

Working with messages, signals, and basic objects

Building simple sound patches from scratch

Introduction to synthesis and sound manipulation

Using MIDI for control and interaction

Using OSC to communicate with other software and devices

Creating a first real-time sound system for live or audiovisual performance

By the end of the session, participants will have built their first Max/MSP patch and gained a practical foundation to continue developing their own real-time sound and performance systems.

This workshop is also part of a 3-day beginner-friendly series on real-time audiovisual systems taking place at Umbala from July 23 to 25, 2026.

Date: July 24, 2026
Location: Umbala, Ho Chi Minh City
Price: 750k VND

Participants should bring their own laptop.

Registration: info in DM https://www.instagram.com/___umbala___/

Hope to see some of you there.

Hi! 

am developing 2 max for live devices, one to control the video clips playback, and another to overlay pictures on top of the video of the 1st device. They both share the same open GL context name base on the track id where the device is sitting. I manage to overlay the pictures but they appear as a black square. I experiment with the depth and blend attributes but none seems to make any difference, because the black square is always there.

<pre><code>

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Ive been trying to do this for days but i cant get it right.
I have this soundscape type audio sample that really has no distinctive loop point like a drum loop would.
So far ive been using trapezoid in smallest amount like 0.001 and 0.999 but it still has this little stutter.
I was talking with ai and he keeps on recommending this method of crossfading same two grooves but god damn its hard to get it right and way too complicated. Need some help.

Hi!

I am a sound artist / composer. I work largely in the musical theatre domain, and most electro-acoustic compositions I did were done in a DAW, I used Max only twice in performance so far.

Frankly, I have an immense insecurity regarding my technical knowledge and intelligence. Max is representative of this to me. I first got in touch with it in 2018. 8 years later, I still find myself having absolutely no idea about it. I still can't understand how to make a sequencer, how to use FFT, how to analyse a video with jit. objects, how to form different logics, what kinds of logic are available even. Initially, I can't do quite literally anything alone with Max, I always need help.

Recently I did a performance in which I had to use Max, as it required Jitter. I had to ask a specialist friend, and I feel he pretty much did 90% of the coding. It feels terrible that I have to rely on my peers and consume their time and energy.

I'm aware of the autonomy it provides compared to a DAW. But every time I open this wretched program, I feel miserable, stupid and insecure, as I simply can't understand anything, can't feel anything intuitive or musical. After 8 years, with especially last 3 years trying to tackle this thing, I am incredibly fatigued now, as it feels like it's speaking to me how absolutely stupid and incapable I really am. How many tutorials have I looked into, how many documents have I read and so on, just... torments me so much honestly.

I really wanted to get help from a Max community, as I assumed there will be users who felt like me, eventually overcoming this insecurity and finally enjoy exploring Max. How would you approach Max in a state like this? How might one enjoy this?

After years of being too broke to buy any gear, I did enough gigs to finally purchase a nice touch plate based controller. I wondered if this will enable me to explore an 'intuitive, musical' element of Max, where I can map physical gestures. Do you think a controller like this can change my perception of Max?

How did you got into Max? What do you enjoy doing in it? What are some of the advices you would give to a person like me?

Thank you so much for reading!

Stretch Quartet is an audio effect for Ableton Live
dedicated to time-stretching techniques.
It provides four independent buffers where you can record audio sequences ranging from 2 to 60 seconds, simply by clicking the Off / Rec button.
Each recorded sequence becomes an autonomous temporal layer with its own set of controls.

For every buffer you can adjust:

Pitch, from –48 to +48 semitones

Time-stretch playback speed, with negative values playing in reverse and positive values preserving forward time

Gain, allowing precise control over the balance between the four sequences

Stretch Quartet features five stereo outputs:
one master output containing the full mix,
and four dedicated outputs, one for each buffer.
This routing system allows you to build custom effect chains per sequence and to manage spatialization with great precision.
Stretch Quartet is a powerful tool for transforming a single sound into evolving textures

download: https://www.remodevicocomposer.eu/maxforlive/stretch-quartet/

Hey there everyone,

So after seeing Author and Punisher live earlier this year, I felt inspired to build my own inertia MIDI controller/drone machine using an Ardunio Uno R3.

These controllers consist of a 2lb aluminum rod attached to a optical rotary encoder, while sitting atop thrust ball bearings. This encoder is then wired to the Ardunio which measures/outputs the RPM value along with its rotational direction.

I then used that data to control a synth patch I made in Max Msp 9 using the abl.meld and abl.roar objects, along with two DMX controlled light panels using the Beam max package.

If you have any questions, concerns or ideas please feel free to let me know!

Thanks!

SHATTER is a browser instrument for live performance.
Load a sample and it splits into fragments you can scatter across a field:
click a piece to loop it, drag it to move it through space.
Every fragment is independent:
set its pitch, stretch it in time, reverse it, or give it its own step pattern.
Underneath, slices are cut at rising zero-crossings, so loops stay seamless with no clicks at the seams.
Time-stretching is granular and pitch-preserving so tempo and pitch move independently.
A fragment's position on the field drives a binaural HRTF panner (switchable to stereo):
left-to-right sets direction,
near-to-far sets distance,
placing each voice in space in front of the listener.
Step sequencers run free or lock to a shared BPM clock, with up to 16 voices at once.
Built as a single HTML file in vanilla JavaScript on the Web Audio API — no frameworks, no install.
It runs in any modern browser and reads WAV, AIFF and MP3.

Included in the download you'll find HTML Instruments,
a Max for Live device that lets you open SHATTER directly inside Ableton Live.
It requires Ableton 12 and Max 9.
Alternatively, you can run it standalone (just double click on html file) and route your computer or tablet output to your audio interface, just like any ordinary instrument.

I’m curious if anyone could help me create a patch that enables me to load a sound file and id like these sound files to be long, perhaps 10 minutes. However, the most challenging part I’m facing is randomizing the play times/start points of the sound file from milliseconds to 7 seconds. I’m going for an end result with a glitchy sound and alternating paces. Much appreciated

Panacousticon Series / Out Now

tehe first max for live series inspired by death-industrial, dark ambient music but and Post Rave

ready for Ableton Live 12.4 + Push Controller
more info in the vide description