Thats why Max for Live is perfect for my needs
Thats why Max for Live is perfect for my needs
In this video I am running Ableton Live (7), Max/Msp with my software "brontologik4" all controlled by the monome.....
Max in Live is going to be the perfect step for making software like this.....
http://vimeo.com/3108734
best wishes
pyrolator
Max in Live is going to be the perfect step for making software like this.....
http://vimeo.com/3108734
best wishes
pyrolator
You are right Christian - actually the one on your photo was version2,
here is another one in "empty" mode:
here it is in a performance from 1981 (a lot of cables...):
In the 90th I was writing it as software (brontologik3) for Max/Msp, still using it in performances, looked like:
Version4 for the monome looks like:
I am using it anyway with Live, so programming in and for Live would match perfectly these two worlds - really looking forward to it...
best wishes
pyrolator
here is another one in "empty" mode:
here it is in a performance from 1981 (a lot of cables...):
In the 90th I was writing it as software (brontologik3) for Max/Msp, still using it in performances, looked like:
Version4 for the monome looks like:
I am using it anyway with Live, so programming in and for Live would match perfectly these two worlds - really looking forward to it...
best wishes
pyrolator
Holy cow, that is a lot of patches! I will have to take a look at your link when I get home!
Damn.
This collaboration is going to make it so much easier for installation work too. I am revising a technical rider for a new media artist atm and it's not easy to spell things out to low-wage earning gallery attendents. I should know, I am one.
I am thinking that MFL will be a great help to many industries.
Damn.
This collaboration is going to make it so much easier for installation work too. I am revising a technical rider for a new media artist atm and it's not easy to spell things out to low-wage earning gallery attendents. I should know, I am one.
I am thinking that MFL will be a great help to many industries.
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It's mainly someone playing with a grid of light while someone else is playing percussion. Then there are different layers of random.Geezus wrote:I have no idea what the fuck is going on in that video even with the descriptive labels
Heh, Hut ab, Mr. Pyrolator, that looks definetly like a whole lot of fun .
Thanks for the nice comments.
Actually brontologik4 is:
6 layer sending midi data (pitch, velocity and 2 controller)
1 layer starting clips in ableton live
8 variations each layer
8 modes (for each layer) to manipulate and arrange pitch, velocity, controller, scales, transpose, key, pattern length, randomness and probability of playing.
load and save single pattern or complete data.
What is the "bronto"-logik about it? What made the hardware so flexible, that I was transforming it into software?
Simple: Different clocks running at the same time (8 per layer) and this is a different concept than "traditional" Daws. Polyrhythmic/interlocking pattern are created very fast. I love Live, but I was allways missing this possibility, and M4L is going to give this back to me within Live:-). The second strength is the independancy of pattern length for pitch, velocity and the controller (which is also a great feature in clipp editing in Live).
About "random" playing: In the late 90th i was reading all this book about fuzzy-logic and I got the idea to get some of this ideas into music programming.
In the brontologik4 are two different ways of get a certain randomness.
One is the probability map: Tell the sequencer, that the downbeats are only played 75%, and upbeats in 95% of the time, and you get nice variations of percussive loops. The randomness can be adusted for each 16th note or whateever timebase the pattern has.
Or in the video: The bass is playing the 4th note only in 25% of the cases, and you might hear the simple but effective variations.
Hope that gave you an idea,
best wishes
pyrolator
Actually brontologik4 is:
6 layer sending midi data (pitch, velocity and 2 controller)
1 layer starting clips in ableton live
8 variations each layer
8 modes (for each layer) to manipulate and arrange pitch, velocity, controller, scales, transpose, key, pattern length, randomness and probability of playing.
load and save single pattern or complete data.
What is the "bronto"-logik about it? What made the hardware so flexible, that I was transforming it into software?
Simple: Different clocks running at the same time (8 per layer) and this is a different concept than "traditional" Daws. Polyrhythmic/interlocking pattern are created very fast. I love Live, but I was allways missing this possibility, and M4L is going to give this back to me within Live:-). The second strength is the independancy of pattern length for pitch, velocity and the controller (which is also a great feature in clipp editing in Live).
About "random" playing: In the late 90th i was reading all this book about fuzzy-logic and I got the idea to get some of this ideas into music programming.
In the brontologik4 are two different ways of get a certain randomness.
One is the probability map: Tell the sequencer, that the downbeats are only played 75%, and upbeats in 95% of the time, and you get nice variations of percussive loops. The randomness can be adusted for each 16th note or whateever timebase the pattern has.
Or in the video: The bass is playing the 4th note only in 25% of the cases, and you might hear the simple but effective variations.
Hope that gave you an idea,
best wishes
pyrolator
Thanks for talking a bit more about it. I am looking forward to seeing what your software will be able to do in MFL. It makes me wonder how customizable the APC controller is going to be, as it may be resourceful to implement with it.
A couple quick questions though:
A couple quick questions though:
I am not sure what you mean by this.pyrolator wrote:The second strength is the independancy of pattern length for pitch, velocity and the controller (which is also a great feature in clipp editing in Live).
What is the second?pyrolator wrote:In the brontologik4 are two different ways of get a certain randomness. One is the probability map:
Normally the syntax of a midi note-message consists of the note-number, the velocity and the midi-channel.LOFA wrote:I am not sure what you mean by this.pyrolator wrote:The second strength is the independancy of pattern length for pitch, velocity and the controller (which is also a great feature in clipp editing in Live).
In the brontologik the note no is independent from its velocity. So you could create a note-no pattern with 16 steps and a velocity pattern if 13 steps and the pattern will repeat the same every 195 steps. In Live you can create pattern like this with pitch and volume in the clip-view.
If you now send a controller (with a cutoff filter or something else) and the pattern length there has only 7 steps. Can you imagine the result? Very alive sounding sequenzes. :)
LOFA wrote:What is the second?pyrolator wrote:In the brontologik4 are two different ways of get a certain randomness. One is the probability map:
There are two parameter: random amount - this is the span of the variation in the scale, and: random xnote - this gives you the possibilty that, for example, only every 12th note is affected by the random-generator. This gives you pattern which variate, but not as much as a complete randomness. And, if the scale function is on, the random-notes will stay in the choosen scale.
In the brontologik3 there where so called "random-tables" implemented. (you see them on the right side of the screen in my posting before)
The software remembers all the notes, which are played so far and put them in percental "weight", and melody-phrases of a choosen length. So the random-function is only using note-material, which was played before.
This made a good "duo-partner"... Maybe I will implement this function in the version4 as well.....
best wishes
pyrolator
Got it! Nice!pyrolator wrote:
Normally the syntax of a midi note-message consists of the note-number, the velocity and the midi-channel.
In the brontologik the note no is independent from its velocity. So you could create a note-no pattern with 16 steps and a velocity pattern if 13 steps and the pattern will repeat the same every 195 steps. In Live you can create pattern like this with pitch and volume in the clip-view.
If you now send a controller (with a cutoff filter or something else) and the pattern length there has only 7 steps. Can you imagine the result? Very alive sounding sequenzes.
Very cool. I am nterested how both of these are implemented. I look forward to checking out your software.pyrolator wrote: There are two parameter: random amount - this is the span of the variation in the scale, and: random xnote - this gives you the possibilty that, for example, only every 12th note is affected by the random-generator. This gives you pattern which variate, but not as much as a complete randomness. And, if the scale function is on, the random-notes will stay in the choosen scale.
In the brontologik3 there where so called "random-tables" implemented. (you see them on the right side of the screen in my posting before)
The software remembers all the notes, which are played so far and put them in percental "weight", and melody-phrases of a choosen length. So the random-function is only using note-material, which was played before.
This made a good "duo-partner"...
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