A MAX/MSP program by Barton McLean
Availability: The PLAYPEN is not for sale. Rather, I have decided to offer it free to composers with whom I have had a chance to work. This means that it would be available during my university residencies in situations where I could work with the recipients for a few days, and then be able to follow up via email or phone. This could be as a part of a regular McLean Mix visit, or as a separate residency.
The following is the first few pages of the 40 page manual
Chapter I: PRELIMINARIES
Section A: Introduction
A-1. THE COMPOSERS' PLAYPEN is a program developed by me on MAX/MSP which enables very sophisticated MIDI control of existing synthesizers, sound modules, and samplers. Originally inspired by "M" and "Jam Factory," it builds on these seminal programs by offering many more ways and different approaches of manipulating note and chordal material. It uses a collection of single-track sequences and MIDI loops as its basic units. Once these are recorded, they are manipulated in many ways, some never before seen in programs of this nature. There is opportunity to keep everything completely live, or to save some or all of the material for future performance.
The Composers' Playpen, therefore, has the advantage of using an elegant MAX/MSP program for unique and comprehensive areas of control while maintaining utilization of any existing MIDI synthesizers or samplers. As such, it will not make existing setups obsolete, but rather will enhance them.
The original impetus for The Composers' Playpen was a residency at the University of Wisconsin-Madison, and I thank my friend and colleague Joe Koykkar for inviting me to try it out on his students. Halfway through its development, however, it took on a life of its own, and wound up as more elaborate and powerful than I had first imagined. As of this writing, it is up to version 4.8.
The PLAYPEN up to version 4.3 deals only with MIDI control. It has no sound producing objects. It has no audio processing (except for one optional stereo reverb tacked on which is totally separate from the PLAYPEN and must be entered and exited separately via audio input/output). It merely accepts MIDI input via keyboards and a MIDI continuous controller, and outputs MIDI note and controller information.
Beginning with version 4.4, the Composers Playpen contains a set of audio processors, including a dual delay system with flange, a pitch shifter, all going out a stereo reverb. This is optional, and is disengaged by default. To operate, see more at the end of this manual.
A-2: WHAT YOU NEED TO KNOW IN ORDER TO USE THIS PROGRAM; No particular skills on MAX/MSP are necessary, but you should be somewhat familiar with MAX presets. You will also need to understand the MAX object "loadbang." Far more important for you is the ability to set up sounds on your synthesizer, sound module, or sampler, ready to be controlled. You should also have a good knowledge of MIDI, program change, MIDI controllers and how they operate, how various kinds of MIDI data control various parameters of synthesizers. You should also have a working knowledge of Macintosh protocol in terms of files, saving material, mouse and keyboard usage, etc.
First, a rough guide to the Composers Playpen. Then what follows will be a detailed summary of exactly how to work with each section.
Section B: A Brief Overview
The INSTRUMENT CONTROLS WINDOW is where you will record everything, manipulate MIDI loops, play sequences, and set up your sound characteristics in terms of MIDI channel, sound program number, filtering, density, loop length, etc. This is the main level window that opens when you open the Playpen.
The SEQUENCER CONTROLS WINDOW is where you will play and manipulate your sequences more elaborately, once they are recorded. You will undoubtedly be going back and forth between the two windows during performance, alternating between MIDI loops and sequences, or perhaps even playing them together. To access the SEQUENCER CONTROLS WINDOW, double-click on its patcher in the lower right corner of the main (INSTRUMENT CONTROLS) window.
B-2: DEFINITION OF MIDI LOOP/SEQUENCE: In order to understand the concept of the PLAYPEN, it is necessary to distinguish between the MIDI loops and the sequences. The MIDI loops reside exclusively with Instrument #1 on the INSTRUMENT CONTROLS WINDOW. Each of the 12 modules has one MIDI loop. The composer plays musical material from a keyboard, and the music, whether chordal or single notes, enters a MIDI loop, which, via the MAX "pipe" object, recycles continuously. If left alone, it will sound exactly the same each time. There is no way to save this loop (unless you record it into a sequence – more later about that), and once the program quits, it is gone. Its advantage is that there are many more avenues of exploration and manipulation of this material via the MIDI loop than there are with the sequences.
Instruments 2 and 3 also have a non-sequence mode not unlike the MIDI loops, in that they too are temporary. The difference is that in Inst. 2 and 3 once you have finished entering your keyboard performance the instrument will not repeat exactly what you have performed, but rather will improvise on it. And so we may call these "improvisational quasi-loops."
SEQUENCE: The sequence resides in all three instruments. There is one sequence per module in Inst. #1, and one sequence each for Inst. # 2 and 3. The purpose of the sequence is twofold: first, it allows the composer to store and save and recall the material as per the MAX "seq" protocol. This is important when one is compiling a complex set of sequences to form a larger hierarchy of structure. Second, the sequence allows exact control of playing start times, exact tempo changes, transpositions. And in the SEQUENCER CONTROLS WINDOW, one can do several of these tasks together, under control of a preset (along with limited playing of sequences in the INSTRUMENT CONTROLS WINDOW). The composer records material into the sequence in a way somewhat similar to that of a MIDI loop, and will often be recording material into both at once.
B-3: Ways to manipulate MIDI loops (or quasi-loops) (refer to Instrument Controls window, from top to bottom):
Loop length (Inst. 1 only)
Sound Program # (& bank # if called for)
MIDI Channel #
Play status on/off, in normal and enhanced modes.
Density
Collapsed rhythm (Inst. 1 only)
Velocity and random velocity
Modulation Wheel
Breath Controller (or ctrl # 7)
Transposition
Random pitch (Inst. 1 only)
Tempo on the fly (Inst. 2 & 3 only)
Duration (Inst. 2 & 3 only)
Various auto functions
All except collapsed rhythm are non-destructive, in that one can return to the original MIDI loop (or quasi loop) after the manipulation has taken place.
B-4: Ways to manipulate sequences (refer to Sequencer Controls window):
Tempo (not on the fly-must be set before sequence starts)
Start/stop at will (Unlike MIDI loops, sequence ALWAYS starts at the beginning)
Continuous sequence repeats on/off
Delay time between repetitions of sequence
Transposition on the fly (more versatile than that with MIDI loops)
All are non-destructive
B-5: Manipulations shared by MIDI loops, sequences:, and improvisational quasi-loops (these are all
accomplished in the Instrument Controls window):
Sound program
MIDI channel
Modulation Wheel (MIDI controller #1)
Breath Controller (MIDI controller #2)
To reiterate:
MIDI loops (and their Inst. 2 &3 counterparts improvisational quasi-loops) are temporary, have more abilities for manipulation
Sequences are more permanent, have more exact controls as to start times, tempo, transposition
Only Inst. #1 has MIDI loops. Inst. 2 & 3 have improvisational quasi-loops. All instruments have sequences.
Each module of Inst. #1 has its very own MIDI loop. Inst. 2 and 3 each have their own improvisation system (they are identical systems). And each module of Inst. #1, and each of Inst. 2 and 3 have their own individual sequences, for the purpose of saving and recreating what you did at a later date.
Both can and will exist simultaneously in a live performance, and can be recorded into each other and, while playing, alternate between each other.
You can begin to see already that this is going to be one doozy of an experience in creative music juggling and juxtaposition.
B-6: DEFINITION OF INSTRUMENT/MODULE: There are three instruments in the Playpen (do not confuse the word "instrument" with something that makes a sound -- these are control instruments). Instrument #1 is further divided into twelve modules. Instruments #2 and 3 are not divided into modules. Instruments 2 & 3 and the modules of Inst. 1 have similar functions in that they each deal with one MIDI channel of synthesizer sound. They also share many identical or similar control characteristics (program change, modulation wheel and breath controller manipulation, play on/off, velocity, etc.). Finally, they can each be recorded into a sequencer (which is the "seq" object in MAX), saved, and re-constituted at a future time.
INSTRUMENT #1 allows for 12 separate and independent control modules of synthesizer MIDI channels via MIDI loops which are first recorded via keyboard and then modified. Each channel of control is called a "module." If no modification takes place, the recordings remain intact. The feature can accept chords as well as single notes. After the material is recorded, just about any parameter can be modified, either manually via MIDI continuous controller, or via global controls (i.e. the Mac keyboard) which can be set up beforehand.
INSTRUMENTS # 2 & 3 utilize a method whereas the composer enters melodies or generic pitch/rhythm/velocity keyboard strikes, and then the instrument remembers these along with the durations and improvises on them. Unlike INSTRUMENT #1, the details are always changing, relying on probability tables which correspond to the material entered by the composer. Again, during performance, many details of the process can be changed.
All material entered in all three instruments may be automatically stored as sequences (or it may not, depending on how you set up your recording--see below), so if the materials become altered beyond recognition through your manipulation, the original is always just a click away if it has been recorded into its sequence. You do need to press a couple of addition keys to initially enter your recording into the sequencers. In all three instruments, the sequencers are an additional item apart from the routine recording/playback functions of the instruments. The sequencers, then, may be labeled "backup" devices.
In all three instruments, it is possible to save the material entered into the sequencers via the traditional Macintosh save window and protocol, and start up the next session with the material automatically called up and ready to play.
Section C: Tech Requirements and Setup
C-1: Software/hardware requirements;
Macintosh computer, 400 MHz (probably can go lower), system 9 xxx or above without audio processing. With audio processing engaged it may take a bit more power.;
2 keyboard MIDI controllers with 5 octaves, each with sustain pedal output (Ctl # 64)(only one pedal if audio processing is not engaged). Controller keyboard is MIDI ch 2, performance keyboard is MIDI ch. 1;
MIDI standard sustain pedal plugged into KB controller MIDI Ch. 1. Controller # 64.
An additional MIDI sustain pedal plugged in KB controller MIDI 2, if audio processing is engaged.
MIDI interface with 1 in and 1 output.
Stereo audio interface if audio processing is wanted.
Continuous MIDI controller with control nos. 1-120, such as a Knobby Slidemate or JL Cooper Fadermaster.
External MIDI sound modules, synthesizers, samplers with up to 16 MIDI channels;
Output mixer for sound modules and sound system;
MAX/MSP 4.09 or 4.1, either the full program or the runtime version (System 10 will be coming soon0);
Opcode's OMS 2.3.8 for System 9.. For preparing your MIDI instruments for performance with the Composers Playpen, see the MIDI setup instructions below.
Screen optimization: Composers' Playpen is optimized for a 14" screen with a resolution of 1024 x 768 pixels.
C-2: Installation. The Composers Playpen works with either a full-scale version of System 9 MAX/MSP (30-day tryout or permanent version), or with the runtime version, where you can't edit anything (although you can save your own settings and presets and sequences and everything you'll need to make music).
To use the Playpen on another computer, you need to copy the whole Playpen folder onto its hard drive. There should already be a working copy of MAX/MSP 4.0.9 or 4.1 on it, along with the Opcode OMS 2.3.8. DO NOT COPY THE PLAYPEN INTO THE EXISTING FOLDER. Rather,
1. Move the MAX/MSP application (only the basic application file, alone) from its MAX /MSP folder into the Playpen folder on your hard drive.
2. Open the Composers Playpen and under the Options menu, select "file preferences." Then in the choose boxes, go through each one and choose the specific folder but do it in the Playppen folder. There will be equivalent file names both in the Playpen folder and your original MAX/MSP folder. Make sure you are choosing the one that is in the Playpen folder. If the files are unique to the Playpen folder, choose them anyway.
3. In order to produce proper colors in the Playpen, take the Max Preference file included in the Playpen folder and substitute it for your already existing Max Preferences file in your system folder under "Preferences." Before doing so, move your existing Preferences folder to a safe place so as to be able to reinstall it if there are any problems.
Now you should be ready to roll.
C-3: MIDI SETUP
This is set up so that the Composers' Playpen sends MIDI information to 16 separate MIDI channels. These may be one synthesizer (or sampler) in multi mode, or several in poly mode, or a combination. Setup as follows:
KEYBOARDS: Plug your MIDI pedal (cont. #64) into the pedal input of KB controller MIDI Ch. 1. Set its MIDI channel output to 1. If audio is wanted, plug a second pedal into the KB controller MIDI Ch.2. Set its MIDI output channel to 2.
INTO THE COMPUTER: The two keyboard controllers and MIDI continuous controller all go into the input of your MIDI interface. You will need the appropriate MIDI merging to do this depending on your setup. The MIDI interface connects to the computer's USB or Firewire or other port.
OUT FROM THE COMPUTER: From the computer via the interface, connect from the MIDI interface output directly to the synthesizers/sound modules via MIDI cables. Each module should have the MIDI going in, and then out its "thru" to the next module.
Program changes are designed (as in multi mode) to affect only the program on that particular MIDI channel. With synthesizers in poly mode, the program change will affect all channels, which drastically limits your options. In multi mode, most synthesizers will allow separate program change messages to affect only that MIDI channel. Make sure your synthesizer is not set up to also accept program changes that also change the multisetup.
HOW TO SET UP YOUR SOUNDS: Go into the external control section of your synthesizer and designate MIDI controllers 1 (modulation wheel) and 2 (breath controller) as your external controllers. Basically, the COMPOSERS' PLAYPEN is designed to work best when the breath controller (MIDI controller #2) controls a low pass filter on the instrument, so that the value of "0" is close to inaudible and "128" is a full volume. I have designated the modulation wheel (MIDI controller #1) to affect various miscellaneous areas depending on how you want to set up your sounds. Some possibilities are, (1.) use it to control the amount of modulation (the traditional use), (2), control the patch select, where it selects one of two or four different sounds as it passes through its values. No doubt other uses are possible, depending on the capabilities of your instruments.
CONTINUOUS CONTROLLER SETUP: If you have a synthesizer which uses another controller number rather than the modulation wheel (controller #1) for patch select or other purpose that you want to utilize, I have a little setup area that will accomplish this. This area substitutes controller 70 for controller 1 in the modulation wheel (MW) controller area on all instruments and modules (70 happens to be the patch select controller on the ASR-10 which I use). Just to the upper left of the visible main screen, scroll to two deep yellow number boxes, above which is labeled "Choose MW Controller vs Cont. #70." These two boxes define the range of MIDI channels that will output to the traditional modulation wheel (MW) on your synthesizer. All MIDI channels not selected in this range will then see the Mod Wheel controller information output to controller #70. And so, if you do not have an ASR-10 or other synthesizer which utilizes controller #70, THEN YOU NEED TO CHOOSE THE NUMBERS 1 AND 16 to ensure that all MIDI channels (1 thru 16) are outputting to controller # 1, which is the standard MW controller number. If you have a little MAX knowledge, then you can easily substitute another number for 70 by following the patch cords.
A second pair of yellow number boxes to the left of the previous ones provides a similar choice between the breath controller number boxes in the Playpen controlling either their standard controller #2, or otherwise controlling the MIDI volume (cont.#7). It is labeled "Choose BC controllers: # 7 vs # 2." Just follow the instructions to set up your controllers.
Both pairs of controller number selectors are fixed into a loadbang setup in this MAX program, as can be readily seen nearby the area under description. When the program is first loaded, the loadbang object sends a bang to the message boxes which have the appropriate numbers as described above, and they provide the correct numbers to the number boxes. To change these, just change the message boxes attached to the loadbang to reflect your choice of controller numbers.
SYNTHESIZER MAPPING: Each individual sound should play across the synthesizer range, from C -2 to Bb 5, keeping in mind that you will be using MULTI mode. DO NOT MAP SOUNDS BEYOND Bb 5, since the notes B5 and C6 in KB MIDI 1 are used for other purposes.
Setting up your synthesizers to accept Modulation Wheel (cont. #1) , Breath Controller (Cont. #2),Volume controller (#7) and Controller #70: This is covered under Section G-9.
Section D: DESCRIPTION OF CONTROLLERS (For reference only - more detail included later).
D-1: KB Controller, MIDI CH 1 (This is the KB on which you will play your music, except keys B5 and C6);
C -2 - Bb 5 -- regular notes;
B-5 Enables backup recording to a sequencer for module that is selected in INST # 1. For INST. #2 and 3, B-5 is played just before a recording is made, in order to enable the first note of your recording to sound its full duration. Otherwise, you will just get a short blip for the first note since the timer has not been properly set to accept it.
C-6 Ends recording for module selected in INST #1. In INST #2 and 3, it clears previously recorded material.
Sustain Pedal (Ctrl #64). Enables Inst. 2 & 3 record.
D-2: KB Controller, MIDI Ch. 2 (This is the keyboard upon which you will enter global controls and turn things on and off);
C1: Selects Instrument 1 for recording, manipulation;
C#1: Keyboard thru. Keyboard will sound apart from any instruments. You can test your sounds also by changing the MIDI and the program controls in yellow (all number boxes in yellow can be changed via mouse). You can play this live while the instruments are chugging along with their loops.
D1: Solo/mute. Allows keyboard thru material to sound and mutes all others. Also you can manipulate MIDI and program information as in KB thru.
D#1: selects Instrument 2 for recording, manipulation;
E1: Selects Instrument 3 for recording/manipulation.
F1: Enables simultaneous recording of all 12 MIDI loops in Inst. 1 into their respective sequencers.
C2 - B 2 Starts & stops sequences in Inst. 1
Bb1 – B1: Starts & stops sequences for Inst. 2 & 3
C3 -B 3 --Selects Inst. #1, Modules 1 – 12 for recording or deleting;
C 4- B 4 Plays whatever is looping on Inst. 1, Modules 1 – 12 (with toggle deselected). Starts sequence (with toggle selected);
...If play key is hit hard, random rhythm will activate. To deactivate, hit it softly. This can be defeated via toggle;
C 5 Plays Ins. 2 (with toggle deselected). Starts sequence (with toggle selected);
C# 5 Plays Inst. 3 (with toggle deselected). Starts sequence (with toggle selected);
D 5. Turns play off on all instruments. Whatever was cycling will cease.;
D# 5. Turns play on for all instruments Whatever was cycling previously will resume;
F 5 clears notes from selected module in Inst. #1;
F# 5 clears all modules in Inst. #1;
Note: It only clears material that has already entered the MIDI loop. If a sequence is playing its initial run, this will not affect it.
G 5 Plays once the sequence previously recorded in any selected instrument or module. This is used to restore a sequence that has been previously been recorded and then cleared. To restore it, in all instruments you first need to select that instrument, D# 1, or E 1)) and then press G 5. The sequence will then play once and act as if recorded on that instrument. For Inst. 1 you need to take one further step. After selecting the instrument (KB MIDI 2, C 1), you need to select one of the modules 1 - 12 so that it is in record and the red button lights up.
G# 5 clears all modules in all instruments (unlike F# 5 which only clears those in Inst. 1).
Note: It only clears material that has already entered the MIDI loop. If a sequence is playing its initial run, this will not affect it.
A 5 Plays simultaneously all sequences that have been previously recorded, saved, and then called up. With G5, you first need to select that instrument or module. With A 5, no preselection is necessary (except that, of course, a set of sequences must be first loaded into the sequencers).
Bb 5 -In Instrument #1, it enables the sequencer for the selected module to accept a dump of notes from the MIDI loop that is currently playing on that module. To begin recording, play B 5.
B 5 In Instrument #1, it initiates recording of the currently selected and playing MIDI loop into that module's sequencer.
C 6 In Instrument #1, it stops record of the currently selected and playing MIDI loop into that module's sequencer.
Sustain pedal: Turns all sequences off and clears all MIDI loops (unlike G#5, which clears all MIDI loops and quasi loops but leaves sequences that are playing intact).
F1, Bb5, B5, and C6 all deal with the functions of recording MIDI loops into sequencers.
NOTE: (1) In the Instrument Controls window, look at the number boxes in the upper-middle left area. If there is a continuous controller or a keyboard note specified above a number box, then the values must be entered via the specified keyboard note or continuous controller number. In these cases, entering the value in said number box via the Macintosh mouse may not actually change the sound. Rather, in these cases, all possible values must be entered via the specified continuous controller or keyboard controller. However, when there is no specified continuous or keyboard controller, such as in the MIDI channels or the sound program numbers in all 3 instruments, then the values must be entered via the mouse. These are then best stored and changed via the Sounds Preset.
One exception: In the "loop length in seconds" number boxes, you have the option of either using the mouse or the mac keyboard to set loop length (see below). When the toggle is engaged, you can use the mouse. This means you can set very long loop lengths. With the toggle de-selected, you can use the mac keyboard to change loop lengths on the fly during live performance.
(2) A continuous controller (such as those for modulation wheel or breath controller) will modify material on whatever MIDI channel is selected for that module in all instruments, irrespective of whether or not that module or instrument happens to be the one selected for recording. And so, for example, if you have MIDI 1 selected for, say, Inst.1 module 3, and also Inst. 2, then the breath controller for either instrument will affect the sound of either instrument. Thus, it is probably better to not duplicate MIDI channels among the 12 modules of Inst.# 1 and the modules of Inst.& 2 and 3. That is, they might better be set on all different MIDI channels to avoid controls of one module affecting those of another with the same MIDI channel. If you do wish to have several modules/instruments on the same MIDI channel, just be aware that when one controller changes on that MIDI channel, all the same controllers on that channel in other modules/instruments change along with it.
D-3: CONTINUOUS CONTROLLERS (These are generic MIDI controller designations. See above for Slidemate equivalents).
M1, 3, 5, 7 INST #1: Mod. 1-4. randomness of pitch up to 1 8ve up and down;
M2, 4, 6, 8 INST # 1: Mod. 1-4. Random pitch range in semitones;
M9-11: INST #2 modifications (density,tempo,duration);
M13-15: INST. # 3 modifications (density,tempo, duration);
M17-24: Modulation wheel.
M25 - INST #2 Velocity;
M26 - INST #2 Velocity randomness (up = totally random);
M27 -INST # 3 Velocity;
M28 - INST #3 Velocity randomness;
M33-36: INST #1 Mod 9 – 12. Modulation wheel
M37, 39: Mod. 9 & 10: randomness of pitch up to 1 8ve up and down;
M38, 40: Mod. 9 & 10: Random pitch range in semitones;
M41-48: INST.#1, Mod. 1 – 8: breath control.
M57--63: INST #1 Mod 1 - 7, velocity;
M65-69: INST #! Modules 8 - 12 velocity;
M70 (Cont. 70). ASR-10 sampler Patch select (not implemented):
M71-72: Random pitch mod. 11;
M73-76 INST #1-breath controller;
M 77, 79: INST #2 & 3, MW;
M 78, 80: INST # 2 &3, Breath Controller;
M89,91,93,95: INST #1, Mod. 5-8: randomness of pitch up to 1 8ve up and down;
M90,92,94,96: INST #1, Mod. 5-8: Random pitch range in semitones;
M97; Controls all BC on all instruments.
M104: Inst. 1 combined density on all modules.
M105-112: Inst. 1 Individual Density, Modules 1 - 8.
M113-116: Inst. 1 Individual Density, Modules 9 - 12.
If you have a Slidemate controller, here are the Slidemate names and their corresponding MIDI controller numbers (for those who wish to revise the numbers on the INSTRUMENTS CONTROL PAGE to match your own setup);
Slidemate A 1 - 8: MIDI 1-8;
Slidemate B1-8: MIDI 9-16;
Slidemate AB 1-8: MIDI 17-24;
Slidemate C 1-8: MIDI 25-32;
Slidemate AC 1-8: MIDI 33-40;
Slidemate BC 1-8: MIDI 41-48;
Slidemate ABC 1-8: MIDI 49-56;
Slidemate D 1-8: MIDI 57-64;
Slidemate AD 1-8: MIDI 65-72;
Slidemate BD 1-8: MIDI 73-80;
Slidemate ABD 1-8: MIDI 81-88;
Slidemate CD 1-8: MIDI 89-96;
Slidemate ACD 1-8: MIDI 97-104;
Slidemate BCD 1-8: MIDI 105-112;
Slidemate ABCD 1-8: MIDI 113-120;
D-4: MACINTOSH KEYBOARD:
LOOP LENGTH CONTROLS:
"v,""b,""m,"or "n" --In Inst. #1, enables mac keyboard numbers to set loop lengths. Must be pressed before any number is entered. Here is how to do it (have a loop already recorded to hear the effect produced).
1. Module must be first selected (MIDI KB 2 C3 – B3)
2. Click on any neutral area to deselect any stray number box
3. press v,b,m,or n.
4. Press any number from 1 – 9 and it will appear in the selected loop length box as follows:
"v" –After pressing "v", pressing a number will see that number as the loop length.
"b" --After pressing "b", then pressing a number, this doubles the loop length the number will designate.
"n" -- After pressing "n," then pressing a number, this multiplies 3x the number you will select for loop length.
"m" -- After pressing "m", then pressing a number, this multiplies 4x the number you will select for loop length.
Numbers 1 – 9: These enter the loop length values for the selected module in INST. #1. See above
"a" --when pressed, and a number pressed, activates changing all loop lengths at once in Inst. 1 to that number..
"s" -- when pressed, reverses the above, reverting to single module length control.
REMEMBER TO DESELECT THE TOGGLE "LENGTH VIA MOUSE ON/OFF in order to get any of these Mac controls of loop length to work. Also remember to click the mouse in a neutral area so that no stray number box is selected.
TRANSPOSER CONTROLS:
"q" reverts all modules to original transposition
"w" signifies upward direction for transposition
"e" signifies downward direction for transposition
Shift plus (numbers 1 - 9) signifies transposition interval.
Shift plus 0 signifies the interval of a tenth
Shift plus - signifies the interval of an 11th
Shift plus = signifies the interval of an octave
ENTERING VALUES: Values are entered via the two MIDI keyboards, one set for MIDI output of channel 1, and the other for MIDI channel 2. and a continuous controller with 120 separate controls (MIDI Ch. 1, cont # 1-120). Most of these can also be entered via the mouse or MIDI keyboard. A few values are also entered via the Mac keyboard. Beside each value box can be seen the number of its note or controller. How can you tell which is which in the MAX INSTRUMENT CONTROLS window (the main screen)? Here's how;
KB Controller MIDI 2 values are note values (but these do not play traditional notes -- KB controller MIDI 1 does that. These are all seen in the main INSTRUMENT CONTROLS page, such as those above the "Record/Select status" or the "Play status." They are color coded in orange. The continuous controller values are color coded in blue.. Since colors vary somewhat between computers, on the main Instruments Control Page, if you scroll a bit to the left, you will see the color code for your machine in a square box (see above about moving the MAX preferences file).
Thus ends this excerpt of the beginning of the COMPOSERS' PLAYPEN manual. For more information as to implementation, please contact Barton McLean.
"Your residency at UW-Madison was very inspiring to my students since your work with MAX, especially the "Composer's Playpen", opened new ways of creating and structuring music in live performance. I know that these students will now look at exploring your program, and then apply what they like in their future electro-acoustic music projects. It was a much-needed exposure to how MAX/MSP can be brought to life in a real-time musical environment for these undergraduates."
Thanks so much!
-Joseph Koykkar, Professor
Interarts & Technoogy Program
UW-Madison