Re: MIDI Loops

[Paolo Valladolid <pvallado@waynesworld.ucsd.edu>]

> 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 
>its
> "seed" number and Feedback while playing and stay synced between all 
>delay
> 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.  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.  Last I heard, there was a substantial
repository of Max objects programmed by Max enthusiasts, but I forgot the
ftp location.

> The Notebook and the price of the program is a drawback for whom uses it
> for this only. Ofcourse you record and organized the instruments too,
> handy.

What I gather from the community of interactive computer music folks is
that Max is a great tool for prototyping interactive music systems.  Some 
of
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.

> Well, for my music, I am not interested in using MIDI. It reduces
> expression too much for my taste. Probably even ZIPI would have been 
>little
> intuitive.
> But:
> ** I think it would be great to use similar tools and codes in audio- and
> MIDI loops so we can play together, transfer, synchronize easily. **

My professor is not interested in using his trombone to trigger 
synthesizers
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 (actually
his program is also capable of initiating its own improvisations without
any input from its human partner).  So while audio looping technology has 
the 
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.


Paolo Valladolid
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