From cycling74.com
http://cycling74.com/wiki/index.php?title=MIDI_and_the_vst~_object
From cycling74.com
http://cycling74.com/wiki/index.php?title=MIDI_and_the_vst~_object
Today I built a VST plugin in gen~ using instructions…
at the Cycling 74 Wiki
http://cycling74.com/wiki/index.php?title=Gen_Code_Export_VST
local files:
code:
By Michael Lyons
http://www.kasrl.org/publications.html
Gestural control without primary feedback. i.e.. Theremin.
Perry’s Principles (perry cook)
human/artistic
Technological
This app was built with Max.
[wpdm_file id=21]
Projection mapping on moving surfaces
By Bot and Dolly
By Charlie Roberts
Notes by Sam Tarakajian from the Cycling 74 blog.
“My second workshop is with Charlie Roberts, the furiously talented man behind the Control app for iPad and iPhone that was in many ways the inspiration for Mira. This workshop was advertised as an introduction to the Web Audio API, so I’m imagining that we’re going to spend the afternoon talking about the complexities of working with audio in a high-level language like Javascript, and the challenges of getting audio to run in the browser on multiple platforms. As it turns out, Charlie has basically solved all those problems already, and so instead he takes on a three hour tour of Gibber. Gibber is a Supercollider-like wrapper around Web Audio that lets you build sample-accurate sequencer and synthesizers in Javascript. Oh, did I mention it’s runtime re-configurable? Anyway, it nearly melts my brain to think about how Charlie’s work could fit together with Max. Imagine a Max-like program running in the browser, with something like Gibber providing the backend to a patchable interface. Imagine using that interface to build and deploy interactive audio to the web. Or, switch your brain with me to Totally Unwarranted Speculation mode and imagine being able to turn any webpage into a programmable patch. It’s a bit of a pipe dream, to be sure, but why bother coming to NIME if you aren’t going to entertain impossible ideas?”
Important links from that talk include:
By Sam Tarakajian at The Cycling 74 Blog
Michael Lyons, a NIME veteran and researcher in musical interaction, leads the first workshop. His presentation does a great job of filling in the gaps in my knowledge on NIME related topics, subjects like primary versus secondary feedback (secondary feedback is the sound an instrument makes, primary feedback is everything else it does). He also provides a thought provoking overview of why people make NIMEs in the first place, which I find particularly interesting. Beyond techno-fetishism and fascination with the human-machine relationship, he posits that the #1 reason that people are interested in building new instruments is because of an insistence on cultural fluidity. People want new ways to make sound because they want their own tools–they don’t just accept what’s given to them. No wonder so many NIME builders use Max.
As Michael brings the presentation to a close, my mind is humming with new ideas to take back to the Cycling ‘74 think tank:
By Chrome Web Lab at Cycling 74
http://cycling74.com/2013/08/12/control-max-patches-via-websites/
From Berklee Music Network.
57 jobs from a search on “dsp”, a google search for Max/MSP jobs, and postings from Ableton.com, and Soundcloud.com
Design Engineer – Guitar Electronics (Fender Musical Instrument Corporation)
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Skills, Knowledge & Competencies:
Essential Requirements:
Pluses:
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Summary of Skills required: Max/MSP, serial data, MIDI data
Project description: [Client is] looking for someone who can build a Max/MSP patch that separates and sorts serial data received wirelessly from 10 wearable devices containing multiple sensors. Once the data is sorted, a user interface will be required that allows a technician to calibrate the sensors for each wearable device. This patch/interface needs to be integrated into an existing interface that turns serial data into midi notes.
Length of project: Would like to start ASAP and finish no later than October 31, 2013.
Remuneration: Negotiable
CONTACT: Interested? Send your information to Loretta at lorettaf{~at~}rogers{~dot~}com
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We are looking for a designer with the taste and vision to create the next generation of interfaces for Ableton’s products; someone that understands that design is about how it works, but that things usually work better when they look better.
You understand UI design in the context of music and believe that software has more to offer than pictures of hardware. You know the language and practices of software development and can work with developers, product owners, testers, and other designers.
What you will do
What you need to bring
What will make you stand out from the crowd
You make music with Live (or other software.)
The ability to prototype and build your designs.
Experience with software font rendering and localization.
Sounds like a great opportunity?
If you meet these criteria, please submit your resume including a cover letter and your portfolio. Please let us know your possible starting date and your preferred salary.
You want to learn more about Ableton and why we think you will like it here? Go back to our jobs page.
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Are you a hybrid designer and developer that wants to build some of the most creative projects using sound on the web? In this role, you would work within the creative team at SoundCloud and collaborate closely with outside brand partners to design, develop and build engaging experiences that demonstrate the power of sound.
You’re an amazing creative thinker first and foremost, as well as a nimble coder with an appreciation for good design. Ultimately, you understand the messages we and our partners want to share, and are able to develop ideas to do that to a huge audience.
Responsibilities
Requirements/skills
To apply, send us an email along with your portfolio, CV and some ideas of how you’d change the way sound can be heard on the web.