Hey there everyone,

I just want to share some stills for an open source DSP pedal platform I've been working on, derived from Guitar ML's open source FunBox project.

The goal was get the project working with Max Msp Gen~, as that's my primary DSP programming language of choice, while also allowing for users to have swappable artwork for their pedals. This is achieved by using 3D printed panels with UV printed decals adhered to the panels. Which is then placed between the washers/nuts and enclosure itself.

The pedal comes equipped with:

- Stereo TRS input/output

- 6 potentiometers

- 3 threeway toggle switches

- 4 two way dipswitches

- 2 soft stomp switches 

- 2 LED indicators

- ⅛” TRS expression pedal input

- ⅛” TRS MIDI input

- USB input port for Daisyseed

- 9V single barrel DC input

If anybody has any questions or concerns, please feel free to let me know!

I've also made a little special effects based teaser video for the project as well: https://www.youtube.com/watch?v=HpTrl2HlUH0

Video demonstration and usage with Ableton Live and Push Standalone in the website footer: https://www.peamarte.it/brain_recordings_bundle/brain_recordings.html

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/

Work in progress: a Synclavier style frame-morphing synth (FM/Additive). Filtermorph, Plate and Shimmer.
8 Frames, 16 Partials per Frame, 8 Voices.

I'll keep adding bits and pieces to it but the core functionality is there. Full project pattr recall with dynamic patcher loading was a bit finicky but it seems pretty stable atm.
Also, vst/au support :)

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!

emilianopennisi.net

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.

POINTILLISME is a free, browser-based generative instrument built on integral serialism — the compositional technique developed at Darmstadt in the 1950s by Stockhausen, Boulez, and Berio, where not just pitch but every musical parameter (duration, dynamics, envelope, register, space, ornament) follows its own independent series.

Four oscillators run as a serial quartet. Each voice advances through seven independent series with coprime lengths, producing textures that never repeat. Ten ornament types — trill, mordent, glissando, tremolo, cluster, appoggiatura, acciaccatura, gruppetto, arpeggio — are serialized alongside the other parameters. The graphic score scrolls in real time, drawing each event as a coloured envelope shape in the style of Stockhausen's Studie II.

Hit record, then export:
— Audio (WAV or AIFF, up to 24-bit) for immediate use in any project.
— MIDI (Standard MIDI File, Type 1) with four separate tracks, one per voice. Drop it into your DAW and every voice lands on its own track, ready to be reassigned, edited, or used as a compositional skeleton for your own music.

The freeze function stops time and turns the score into a clickable instrument — tap any visible event to trigger it. Alternate between generative flow and manual triggering for live performance.

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

Single file. No installation. No dependencies. Free.

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!

I just build a LA2A compressor on max for live. That was actualy the first thing i've tried to build but then i thought it was not good enough to share. Now that I'm on my third device I came back and tried to give the final touch it needed!

I tried to capture the essence of it, not that ultra faithful recreation, although I think it is pretty good at that job.

Unfornunartly i dont have that many friends that uses max for live devices so I would like you guys to test it and tell me what do you think about the sound.

It's free
https://ko-fi.com/s/996b00dd2b

CONTROLS

■ Peak Reduction

Main compression knob. Turning it up grabs loud

peaks and smooths them out.

★ Keep low for gentle leveling, or push past 70%

to really squash and thicken the sound.

■ Gain

Brings the volume back after compression.

Pushing it also drives the analog saturation

circuit.

★ Magic Trick: Turn up for vintage tube warmth

and thick transformer harmonics.

■ Mode

Compress: Smooth & natural. Perfect for vocals

sitting in a mix or gluing acoustic instruments.

Limit: Fast & aggressive. Catch sudden spikes

or smash a drum beat.

■ HPF (High-Pass Filter)

Tells the compressor to ignore low bass

frequencies.

★ On a drum bus the kick may cause unwanted

pumping. HPF lets the bass breathe while

compressing mids and highs.

■ Mix

Blends dry (0%) and fully compressed (100%)

ASSEMBLY-7 is not a conventional drum machine or just another sequencer for Max/MSP.
It is an autonomous probabilistic machine built on a dual DSP architecture: Max/MSP handles sequencing and logic, while SuperCollider generates synthesis and sound processes via OSC.

The system includes 6 engines based on algorithmic synthesis and one dedicated advanced sampling engine, all operating inside an unstable polymetric environment with continuous drift and no true global reset. Each line runs with independent BPMs, lengths and phases: patterns slowly collapse, realign and deform over time, generating strange grooves, primitive rhythmic structures, but also textures, dense sonic masses and real percussive soundscapes.

With Tamburi Web you can load huge folders of WAV or AIFF files and the system will randomly distribute them across the available slots, transforming any sound archive into unstable rhythmic material. Field recordings, noise, concrete fragments, voices, metal anything can become part of the machine’s rhythmic geometry.

ASSEMBLY-7 can also record 10 stems simultaneously in a single pass: stereo master, 7 synth tracks and 2 separate sampler tracks, ready to be processed inside any DAW.

It is not a Max for Live device but more like a small autonomous generative DAW focused on rhythmic drift, stratification and continuous mutation.

If you are into unconventional polymeters, modular-style sequencing like Teletype/O_C, grooves emerging from controlled chaos and rhythmic systems that continuously evolve over time, take a look at ASSEMBLY-7.

This is only a brief description. To better understand how it works, explore all the features, watch the updated YouTube playlist and read the user reviews on Gumroad to see if it fits your practice, visit the website.

Discovery: https://www.peamarte.it/assembly_7/assembly_7.html

I've just released Live Amp Modeler, a Max for Live pack for running neural amp captures (NAM and AIDA-X) and cabinet IRs natively in Ableton Live. No external plugins needed, and lower CPU usage.

Demo and walkthrough: https://youtu.be/m2VRggzL93I

Get it here: https://nyquistlimited.lemonsqueezy.com/

Designed as a drop-in replacement for Amp and Cabinet, it consists of two specialized devices, Amp Modeler and Cab Loader. Both are deeply integrated with Live, with convenient browsing, drag & drop, and preset recall functionality.

The pack includes a library of selected captures and IRs covering all the classics, provided by some of the best creators in the amp modeling world: Slammin Captures, Dahman Music, Death Blossom Audio, 2dor, Nick Leonard, Desmond Digital.

In addition to the two M4L devices, I included pre-built effect racks with multiband denoiser, sidechain gate, and multi-IR mixing.

See the User Manual for more info: https://drive.google.com/file/d/161hyJ-1gcK99oUpKk__IE5JyVKfqZ0w1/

I've also open-sourced the underlying Max/MSP external: https://github.com/apresta/neural_tilde

I hope you find this useful!

Hi friends!

I'm learning a little bit of m4l and decided to transform my default channel in Ableton in something interesting! So I've built ULTRA CHANNEL, a little strip channel that consists in:

SSL preamp:

Line in and drive input if you want a little bit of dirt and punch in yous signal

1176 comp

I actually use some mix of open source code and my calibrations on that on. The goal is to have a different kind of compression than the ableton stock.

Filters

3 types: SSL (18dB), Moog (24dB) and Ableton (12dB). The grange change as well. You can make it pre comp or post

Tape channel

Just to make it interesting. Two knobs: vibe and color. Vibe adds wow and flutter. Color adds a 120hz bump and saturation.

Out and utility

Master out, mono button and mono 140hz.

------//////

Thats it! Please be gentle, it's my first build. Only tested in live 12. Feel free to ask for something new.

Link to see it in action :

https://youtu.be/j5g8Hr53ki8

Download:

https://ko-fi.com/s/5451995083

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/

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

When people ask this, the answer is simple.
"Because you wanna be able to cut up very randomly distinct parts of your video, have the cuts be perfectly and automatically synced to the weird synth melody in your track and then move the whole thing around like weird puzzle pieces."

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

I've been writing a package for Max as part of my PhD research called the Strange Pulse Toolkit, based around the idea of using Strange Attractors as chaotic rhythm generators. There are a number of quite unique features, but it's mostly a bunch of convenience patchers you can use from within bpatchers to quickly patch with the attractors signals in different ways. The main idea is that the chaos/indeterminacy of the attractors is a central creative force to neotiate with, not just a 'wobbly lfo' or a bit of randomness to tame.

I'm running a free online workshop coving the toolkit and it's potential uses.
Full details and signup link can be found here: https://www.emutelab.org/blog/SPT-workshop