Max MSP Projects
During my Master's program, I completed a number of projects in Max MSP, a audio and visual programming software. Below are two projects I completed using audio and visual interactive components including videos of the patches. Each patch can also be downloaded using the buttons in each section.
01
Cymatics Synthesizer
This project was created for my Programming Interactive Systems course in during my master's program. The goal of this system was to create a simulation of cymatics similar to a Chladni plate that uses both microphone input and midi input to create an auditory and visual response. The basic creation of the Chladni plate simulation was based on the equations presented Rian Hunter in his “Creating Digital Chladni Patterns” article and the patch presented by Hearing Glass | Umut Eldem in the YouTube video “Cymatics - Max/MSP Tutorial.” I then created the rest of the patch including microphone and midi inputs, timbral analysis, color changes, and synthesis. A video explaining and showing the project can be found below.
The patch receives input from a microphone and midi keyboard to affect the color and vibration pattern of a Chladni simulation. First the pitch of these inputs impacts the frequencies used for the movement of the particles. Then the pitch of the midi input affects the saturation of the color of the grains with higher values becoming more saturated and the pitch of the microphone input affects the hue value changing from red to yellow to green to blue to pink as pitch increases. The luminosity of the color is affected by the timbre of the microphone input. The synthesizer, created using subtractive synthesis, that harmonizes with whatever live sound enters through the microphone is controlled by the midi input and camera input. The pitch and on/off timing are controlled by a midi keyboard. The tone is controlled through the camera using the presence of red and blue. Red controls the cut off frequency of a resonant low pass filter used in the synthesis and blue controls the resonance of that filter. Higher amounts of red and blue respectively increase the cut off frequency and resonance values. The patch was organized using subpatches and send and receive ([s] and [r]) functions and a UI was created in presentation mode for an easy user experience.
02
Sound Stripes & I V I Camera Variety Pack
This project was created for my Introduction to Max MSP course in during my master's program. The goal of the two systems was to use MAX MSP to create a connection between visuals and sound. A video showing how each patch works can be found below.
In the first patch, Sound Stripes, sound was used to create a visual output. The system takes in audio from the user’s microphone employing real time spectral analysis to find the pitch, amplitude, and timbre or spectral density of the live sound applying [sigmund~] and [bonk~]. These are then mapped to various aspects of an image using pixel editing. Spectral density is mapped to brightness in black and white stripes. Pitch is mapped to color with blue being low notes, green being medium notes, and red being high notes. The vibrancy of these colors is determined by the amplitude of the input with louder input being brighter colors and softer being more muted colors. The black and white and color processes were done separately and then combined with [jit.multiplex] to create alternating stripes.
In the second patch, I V I Camera Variety Pack, input from a live camera is used to produce a sound response. The system measures the amount of movement as well as the density of red, green, and blue pixels. The density of each color was determined by separating the input image into RGB channels and finding the mean value of the now white pixels present. Movement was determined using luminosity values and frame differencing. The system alternates between an arpeggiated C major and G major chord based on how much red or green is shown in the camera. If there is more red, C major will play, and if there is more green, G major will play. The sound of the notes is created using subtractive synthesis and a low pass resonant filter. The amount of blue seen determines the resonance of the filter with more blue creating a darker timbre. The speed of movement changes the tempo of the arpeggiated sequence with quicker movements increasing the tempo.