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Re: MIDI Loops

>> Paolo helps:
>> >I used an Opcode Max patch that had eight delay lines, each of which
>> >pitch-shifted to a different interval and each of which had it's own
>> >"seed" number to multiply with the input MIDI velocity value to produce
>> >a delay time.
>> So you choose any time into which delay you want to load and can change 
>> "seed" number and Feedback while playing and stay synced between all 
>> lines, if you want. Yes?
>With my particular patch, no, but Max would let you add whatever "objects"
>you need to do the job. For example, a fader object to adjust the
>"seed" for each delay line could be connected.

Yes, I see. And then another object measures time between two Controller
comands and feeds "seed" so you can control it by taping, right?

>If you fail to find a Max
>object in the included object library supplied with Max to do a particular
>job, you can write up your own in C.

Me? No. Did you? Does it require additional compiling soft or licence?

>Last I heard, there was a substantial
>repository of Max objects programmed by Max enthusiasts, but I forgot the
>ftp location.

Maybe there is a secret loopist!

>What I gather from the community of interactive computer music folks is
>that Max is a great tool for prototyping interactive music systems.  Some 
>them then go and program their systems in a faster language like Forth,
>after using Max to quickly build a prototype.
>The Powerbook is nice for its portability, which is a big plus for live
>performance.  Last I heard, all five members of the computer music band
>The Hub had switched to Powerbooks as the computer of choice for live
>computer music because of the portability and the ability to run Max.

Is this an exeption or a market (soon)? Certainly Max is great for
prototyping but will non engineer musicians use it commonly in the future?

>> ** I think it would be great to use similar tools and codes in audio- 
>> MIDI loops so we can play together, transfer, synchronize easily. **
>My professor is not interested in using his trombone to trigger 
>directly via MIDI.  Rather, he is interested in using the computer as
>an improvisational partner which analyzes his playing and formulates
>a response instead of attempting to reproduce his phrases exactly 
>his program is also capable of initiating its own improvisations without
>any input from its human partner).  So while audio looping technology has 
>advantage of greater sonic expression, MIDI-based interactive technology
>is currently more capable of real-time analysis of an incoming stream of
>notes from a human musician.  When the two can come together it will be
>an exciting time indeed.

Very well said. Work for another decade.