Objects			page : 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62
Modal Analysis	External		The Modal Analysis object analyzes notes played during a user specified window of time and tells what mode you're playing in. created by V.J. Manzo The modal_analysis object takes incoming notes in its left inlet and determines in what mode and tonic you’re playing when a bang is sent to its right inlet. The object attempts to filter out repetitions and organize notes to infer a mode. Double clicking the object will reveal a window similar to that of the modal change object which shows the mode as well as the scale degree distances that make up the scale and the particular mode’s context within the larger pitch collection. The ordered scale degrees are output as a list from the objects left outlet and the scale degree distances are output from its second outlet. The modal analysis+ object does everything modal_analysis does, but is also set to integrate with the modal change object to trigger a new mode change when a mode is analyzed. A user could conceivably play a scale, have it analyzed and then generate chords from that scale in real-time. created by V.J. Manzo www.vjmanzo.com | www.vincemanzo.com
Modal Change	External		The Modal Change object is a compositional algorithm to control modality. It outputs scale degrees and creates tables and lists that adhere to one of the 7 modes. created by V.J. Manzo The Modal Change object allows a user to specify a tonic and diatonic mode in its two inlets and get the pitch class value of each scale degree out its eight outlets. A user can send a pitch class number or a letter name message to its left inlet to set the tonic. A message box with a mode name such as major, minor, Phrygian, Lydian b7, can be sent to the right inlet to build up a scale from the given tonic. The object will output the scale degrees for any tonic within the modes of the major scale, the melodic minor scale, the harmonic minor scale, and the harmonic major scale (the major scale with flatted 6). Instead of using one of the mode names to build a scale, a user can also send a message with the number of whole steps and half steps desired to build their scale, and receive the scale degree pitch classes from its outlets. Double clicking the object will open a display that allows the user to see what mode they’re in and other information related to the mode including scale degree distances that make up the scale and the particular mode’s context within the larger pitch collection. The object can receive all of the organized pitch class data into a table or by using an internal table with the argument table1. The object can also receive the organized pitch class data into a coll list or by using an internal coll list with the argument scale. The coll list also has an added feature: it will take any incoming pitch and filter it to the nearest note from the selected scale. This allows you to set the tonic and mode, and filter all incoming pitch data so that whatever note is played, it will conform to the diatonic pitch collection you’ve selected. created by V.J. Manzo www.vjmanzo.com | www.vincemanzo.com
Modal Messiaen	External		The Modal Messiaen objects organize and calculate the pitches for Messiaen's modes of limited transposition. You create custom modes by sending the scale degree distance maps to the object. created by V.J. Manzo The Modal Messiaen objects operate similarly to the modal_change object, but output the pitch classes of Messiaen’s Modes of Limited Transposition. You can send it messages like C Whole Tone or E octatonic to receive the pitch classes of that mode. These objects are also useful for creating modes with 6, 8, 9, or 10 unique scale degrees as it also accepts scale degree distances. created by V.J. Manzo www.vjmanzo.com | www.vincemanzo.com
Modal Mutation	External		The Modal Mutation object is similar to Modal Shift in that it finds modal relationships, but restricts relationships to those sharing a common root. created by V.J. Manzo The modal mutation object is identical to the modal_shift object, but it outputs only those related modes sharing a common tonic or a semitone inflection of the tonic. Related modes are defined as the object takes the pitches of the scale and moves each scale degree up or down one at a time to see if a new diatonic mode can be formed. This process will list 42 related modes for any of the major scale modes, 28 related modes for any of the melodic minor scale modes, 21 related modes for any of the harmonic minor scale modes, and 21 related modes for any of the harmonic major scale modes. created by V.J. Manzo www.vjmanzo.com | www.vincemanzo.com
Modal Prog	External		The Modal_Prog object takes n chord functions and displays the triads of user inputted chord progressions. created by V.J. Manzo The modal prog object takes a list of chords (as in a progression) in its right inlet and outputs each of those chords one at a time to the modal triad object when a bang is sent to the left inlet. The object integrates with the modal_triad object and will interpret any message that modal triad does. By default, a new list of chords triggered when a list is currently being played will sound on the next bang received. With the optional argument '@immediate 0', a new list of chords triggered when a list is currently being played will sound as soon as each chord from the first list has been played. created by V.J. Manzo www.vjmanzo.com | www.vincemanzo.com
Modal Triad	External		The Modal_Triad object generates chords in root position or inversions. It takes traditional chord names, chord function numbers, Roman numerals, tonicizations, etc. It even takes altered chords like Ebdom7b9#11. created by V.J. Manzo The modal triad object allows a user to play tertian chords of any quality. It receives scale data from the modal_change object and, when a tonic and mode is selected, the object receives the numbers 1-8 in its leftmost inlet to output the notes of the chord function associated with that number. For example, in major keys, the numbers 1, 4 and 5 are always major chords, 2, 3, and 6 are minor, so, if C Major is selected, a 2 sent to the modal_triad object will yield the notes of a d minor chord. For each selected chord, the notes of that chord are sent to the object’s 7 outlets in the following order: root, third, fifth, seventh, ninth, eleventh, thirteenth. Alterations like flat ninth or sharp eleventh are inferred by the chord function as it relates to the selected tonic and mode. The second inlet of the object allows the chord tones, received as pitch classes, to be restricted to one octave. The object also takes Roman numeral functions to yield chords. The standard capital Roman numerals for major, lower case Roman numerals for minor are used. A lower case Roman numeral iv in the key of C Major will yield an F minor chord regardless of the fact that chord has non-diatonic chord tones in it, the Ab. A capital Roman numeral with a plus sign next to it will yield an augmented chord, and a lowercase Roman numeral with a zero next to it will yield a diminished chord. In the same manner, a user can use letter names to build chords. A capital C will yield a C Major chord while a lower case e will yield an e minor chord. A capital C plus will yield an augmented chord and a lower case d zero will yield a d diminished chord. (set to C Major) This object also receives messages for tonicizations. A user can send the message Roman numeral V/5, to yield the 5 of 5 (a D Major chord in the key of C Major). The V Chord Tonicizations produce a Dominant 7th chord for each scale degree in the selected mode. That is, the root, 3rd, 5th, and 7th will form a Dominant 7th Chord exactly one perfect 5th above a given scale degree. The 9th, 11th, and 13th pitches of the chord are inferred according to the selected mode and NOT the mode from which the tonicizing chord prevails. Similarly the object allows other types of tonicizations including leading tone tonications and minor four tonicizations. Augmented 6th chords and Neopolitan chords can also be implemented. It even takes altered chords like Ebdom7b9#11. created by V.J. Manzo www.vjmanzo.com | www.vincemanzo.com
modal_chord_analysis	Abstraction		The the modal_chord_analysis object identifies a list of notes as tertian chords. The root, chord quality, harmonic function, inversion, and bass note are given as output. For added notes beyond the triad, M is used to indicate major intervals, m for mino The the modal_chord_analysis object identifies a list of notes as tertian chords. The root, chord quality, harmonic function, inversion, and bass note are given as output. For added notes beyond the triad, M is used to indicate major intervals, m for minor intervals, P for perfect intervals. # and b are used to indicate alterations in perfect intervals. created by V.J. Manzo vjmanzo.com/mol || vjmanzo.com
modal_fuzzharm	External		The modal_fuzzharm object outputs a fuzzy logic chord harmonization based on incoming pitch classes. a.k.a. an auto-chord harmonizer. created by V.J. Manzo The modal_fuzzharm object outputs a fuzzy logic chord harmonization based on incoming pitch classes. The object integrates with several objects in the modal_object library including the modal_pc_match object to determine if the incoming note played is diatonic or chromatic and that notes relationship in the context of the specified tonic and mode. For example, is the incoming note scale degree 1? Is it chromatic scale degree #4? If so, how do we want to harmonize that note when we receive it? Double clicking the modal_fuzzharm object allows a user to see a table of chord symbols that the modal_triad object can interpret. The user can increase the probability weight to the table by clicking on one of the cells in the column for the desired chord/function listed in the top row. By default, all probabilities are set to zero. For example, if the incoming note matches scale degree one, you’d probably want to harmonize that note with the I chord, the IV chord and the vi chord since that scale degree one is present in all of these chords. Other chords may be used to harmonize that note as well, but you’d probably want the object to choose some chords more frequently than others, so we give them a higher table weight by clicking further down on the cells. A bang sent to the modal_fuzzharm object will choose one of the chords to harmonize that note with based on the weightings you’ve specified. The table can be opened and presets can be saved. In the help file for this object, the seven diatonic scale degrees all have modal_fuzzharm objects connected so that when one of these scale degrees is played, the note will be harmonized in any way the user specifies. A specified table file has been loaded for each modal_fuzzharm object when the help opens which illustrates some default probability settings that harmonize these notes with diatonic chord functions. created by V.J. Manzo www.vjmanzo.com | www.vincemanzo.com
modal_pc_match	External		The modal_pc_match object takes an incoming note in its left inlet and compares it against the diatonic pitch classes of any scale. created by V.J. Manzo The modal_pc_match object takes an incoming note in its left inlet and compares it against the diatonic pitch classes of any scale as defined by the modal_change object. If the incoming pitch matches one of the pitch classes of the scale, the object outputs a bang from one of its first seven outlets. The object also defines the chromatic notes between diatonic scale degrees. If an incoming pitch matches a chromatic scale degree, the object outputs a bang from one of the next 14 outlets. For example, a C# played in the key of C Major is between scale degrees 1 & 2 - C & D - a whole step. An incoming C# in any octave will send a bang out of the outlet marked “Match Scale Degree #1” [read Sharp One]. The incoming note may also match a chromatic scale degree between a step and a half (3 semitones). In this case, two chromatic notes are next to each other separated by a half step. The lower of the two chromatic notes is referred to as the “#1” (assuming that the step and half interval is located between scale degrees 1 and 2 as is the case in the sixth mode of the harmonic minor scale, Lydian #2). The other chromatic note is closer to the higher scale degree and would be referred to as “b2”, thus the object would output the message “Match Scale Degree b2”. For example, imagine a G played in the key of A Harmonic Minor (between scale degrees 6 & 7 - F & G#). An F# is interpreted as “#6” and the G is interpreted as “b7”. Note: only the harmonic minor and harmonic major scales and their modes have two scale degrees separated by a step and a half. In addition to matching chromatic pitches, the modal_pc_match object also outputs the chromatic pitch classes out of its last 14 outlets. Note that this means some notes will be redundant. For example, scale degree_b2 will be the same pitch as scale degree_#1 in Major keys. Once again, this will not be the case in the modes of harmonic minor and harmonic major where two pitch classes are separated by 3 semitones. created by V.J. Manzo www.vjmanzo.com | www.vincemanzo.com
motormix.in	External		The motormix.in object takes channelized data from the motormix The motormix.in object takes channelized data from the motormix (such as the fader message, which is fader ), removes the channel number and sends the data out a selected output. The first outlet outputs data that is not channelized (like the bank and group buttons).
motormix.out	External		The motormix.out object takes non-channelized data from your Max patch and adds an appropriate channel number. The motormix.out object takes non-channelized data from your Max patch and adds an appropriate channel number. For example, if you send the message "fader " into the first inlet, the result will be "fader 0 " (since channel 0 is the first valid motormix channel). Messages that don't need to be channelized (like the bank and group messages) can be sent any input, and will be output without change.
mousefilter	External		Pass a message only when mouse button is up Use mousefilter when you want to change something with a slider or other user interface object only after releasing the mouse, instead of continuously. This could be useful when the slider's output initiates a time-consuming process which would otherwise destroy the "feel" of the user interface.
mousestate	External		get information about the mouse/cursor
movie++	External		A replacement for the standard movie object in Max. It does everything movie does, and: reports length and dimensions of the current movie or any movie file A replacement for the standard movie object in Max. It does everything movie does, and: reports length and dimensions of the current movie or any movie file (without loading in a window); allows the window size/position and autofit & border status to be set with arguments or via messages to the object, and can remember them as new movies are loaded; plus other minor tweaks. (If anyone in the Pittsburgh area has a firewire camera they can lend me for a week, firewire output can happen.....or just buy jitter.....)
Mp3Enc	Javaclass (mxj)		MP3 encoder. Convert one or multiple .wav / .aif files to .mp3 usage : (options) (source file>) [(source file)...] (options) may be a combination of the following: -q (quality) Quality of output mp3 file. In VBR mode, this affects the size of the mp3 file. (Default middle) One of: lowest, low, middle, high, highest -b (bitrate) Bitrate in KBit/s. Useless in VBR mode. (Default 128) One of: 32 40 48 56 64 80 96 112 128 160 192 224 256 320 (MPEG1) Or: 8 16 24 32 40 48 56 64 80 96 112 128 144 160 (MPEG2 and MPEG2.5 -V VBR (variable bit rate) mode. Slower, but potentially better quality. (Default off) -v Be verbose. -s Be silent. -e Debugging: Dump stack trace of exceptions. -t Debugging: trace execution of converters. -h | --help Show this message. Requirements : - tritonus_share.jar + tritonus_mp3.jar libraries : http://www.tritonus.org/ - LAME.dll encoder : http://www.jthz.com/~lame/ - tritonus_mp3_encoder plugin : please read the ReadMe file for installation notes
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Libraries
ag.graular.suite	debug: SELECT prenom, nom FROM auteurs RIGHT JOIN auteur_libraries USING (id_auteur) WHERE auteur_libraries.id_library='166'Adrian Gierakowski	The ag.granular.suite is a collection of Max/MSP patches for generalised granular sound processing and microsound composition written using FTM/Gabor libraries (developed at IRCAM) and encapsulated as Jamoma modules. Main features include: subsample accurate scheduling, multichannel output, granulation of multiple soundfiles at the same time (with interpolation of two sources per grain), parameter randomisation and sequencing, control via OSC, preset management, preset interpolation. Its modular architecture makes it possible to easily extend it with new algorithms for grain scheduling and parameter control.
AHRS Max Library	debug: SELECT prenom, nom FROM auteurs RIGHT JOIN auteur_libraries USING (id_auteur) WHERE auteur_libraries.id_library='168'Giuseppe Torre	The AHRS Library (Attitude Heading Reference System) is a set of Max externals that allows you to perform a series of basic calculations for 3D/4D vectorial math used in aerodynamics. If you are using a three axis accelerometer and a three-axis magnetometer check out the"ahrs_triad" object which enables you to find the orientation of your cluster of sensor with respect to the Earth fixed coordinates.
boids	debug: SELECT prenom, nom FROM auteurs RIGHT JOIN auteur_libraries USING (id_auteur) WHERE auteur_libraries.id_library='112' Jasch Sier Eric Singer Wesley Smith	Based on Simon Fraser's implementation of Craig Reynolds' Boids algorithm. Boids is free for non-commercial use. Boids is a bird flight and animal flock simulator. It is based on the same algorithm which was used in Jurassic Park for the herding dinosaurs. Boids takes an integer argument which is the number of boids. Each time Boids receives a bang, it calculates and outputs the new positions of the boids. The output consists of thew coordiantes for each boid, the number and type depending on the mode. The flight parameters can be changed with messages. Use the 'dump' message to output a list of the current parameter settings. For more information about the Boids algorithm, see Craig Reynolds' Web site at "http://reality.sgi.com/employees/craig/boids.html".
cv.jit	debug: SELECT prenom, nom FROM auteurs RIGHT JOIN auteur_libraries USING (id_auteur) WHERE auteur_libraries.id_library='19'Jean-Marc Pelletier	cv.jit is a collection of max/msp/jitter tools for computer vision applications. The goals of this project are to provide externals and abstractions to assist users in tasks such as image segmentation, shape and gesture recognition, motion tracking, etc. as well as to provide educational tools that outline the basics of computer vision techniques.
FuzzyLib	debug: SELECT prenom, nom FROM auteurs RIGHT JOIN auteur_libraries USING (id_auteur) WHERE auteur_libraries.id_library='139'Alain Bonardi Isis Truck	When manipulating human knowledge such as perception, feelings, appreciation, veracity of facts, etc., the classical logic that recognize only two truth degrees (true or false) is not always the most suitable. To solve this problem, more than two degrees are considered in the non-classical logics. The fuzzy logic is one of these logics. In this logic, facts are represented through membership functions: when the membership value is equal to 1 the fact is exactly true; when it is equal to 0 the fact is exactly false; in between there is an uncertainty about the veracity of the fact. These membership functions are called "fuzzy subsets". They can be of different shapes: gaussian, trapezoidal, triangular, etc. Thus the aim of the fuzzy logic is to propose a theoretical framework for the manipulation - representation and reasoning - of such facts. The Fuzzy Lib library implements all the tools that are necessary to handle this manipulation: representation of a fuzzy subset (among them are the fuzzification, defuzzification and partitioning), reasoning process (generalized modus ponens, fuzzy implications, t-norms, t-conorms, etc.). This version 1 of the Fuzzy Lib enables to implement fuzzification, uncertain reasoning and defuzzification for any number of data in the framework of Max/MSP environment.
imp.dmx	debug: SELECT prenom, nom FROM auteurs RIGHT JOIN auteur_libraries USING (id_auteur) WHERE auteur_libraries.id_library='157'David Butler	imp.dmx is a cross-platform collection of Max/MSP/Jitter abstractions for dealing with DMX data in various forms. It focuses around the use of jitter matrices to store data, which the objects then read and write to. The aim is to provide the bridge between your patch and whatever object or method you use to output DMX from Max. The abstractions use native Max objects only, excepting the Art-Net patches which use some custom java networking objects, included in the distribution package. If you have any questions or suggestions, please contact me at david@theimpersonalstereo.com. Check for updates at http://www.theimpersonalstereo.com.
int.lib	debug: SELECT prenom, nom FROM auteurs RIGHT JOIN auteur_libraries USING (id_auteur) WHERE auteur_libraries.id_library='97'Oli Larkin	int.lib is a set of abstractions/javascripts that lets you interpolate between different presets by navigating a 2D graphical environment. It's similar in concept to the Audiomulch Metasurface, Color blobs and the Hipnoscope but implements a gravitational system, allowing you to represent presets with variable sized balls. As you move around the space, the size of the balls and their proximity to the mouse cursor affects the weight of each preset in the interpolated output.
Litter Power Starter Package	debug: SELECT prenom, nom FROM auteurs RIGHT JOIN auteur_libraries USING (id_auteur) WHERE auteur_libraries.id_library='53'Peter Castine	The Litter Power Starter Pack consists of about two dozen external objects, including a number of new MSP noise sources, a wide variety of random number distributions, time-domain mutation, and several very useful utilities.
MaxAlea	debug: SELECT prenom, nom FROM auteurs RIGHT JOIN auteur_libraries USING (id_auteur) WHERE auteur_libraries.id_library='96'Carl Faia	MaxAlea contains various objects for random distributions and functions. MaxAlea was begun as a Max port of an existing PatchWork Library created in 1991-2 by Mikhail Malt. While the distributions and functions found in MaxAlea are similar to those found in the Patchwork version ,there are many differences in their functioning. The environment of Patchwork is static and is not designed for real-time work. Part of the incentive for creating these objects to work with Max was to have a dynamic and real-time environment with which to experiment and work with these algorithms in a manner as simple and straightforward as possible. One can change variables and manipulate the output in many ways in real-time. There are several different versions of the various stochastic models/processes best presented in the now classic references by Denis Lorrain and Charles Dodge. Carl Faia has used a variety of sources for the creation of this library which include the Lorrain, Dodge and Malt implementations as well as sources found on the WorldWideWeb. The externals found in the package include several random distributions, examples of random walks and 1/f noise algorithms, as well as one or two utilities written specifically for the MaxAlea library. Carl Faia wanted to make a coherent collection (as he thought Malt had managed to do in PatchWork) of these various algorithms and provide an interface easily accessible using the Max environment for real-time control. All these algorithms have been created using a seeded version of the random function found in the standard AINSI library. That is, each time the function is first run there will always be a different set of random numbers (unlike the random funtions found in Max, PatchWork and other versions of random number generators).
Panaiotis Objects	debug: SELECT prenom, nom FROM auteurs RIGHT JOIN auteur_libraries USING (id_auteur) WHERE auteur_libraries.id_library='122' Panaiotis	The Mac version is UB. These Max objects have been enhanced since the documentation to the left was written. Help files for the objects provide information on enhancements. The matrix object has been substantially upgraded. It now combines features of unpack, spray, funnel, append, and prepend into one object. This makes a great object to place between controllers and jit objects because it acts like a multi-prepend. There are new configuration commands and enhancements to the old: even, odd, mod,and range, among others). Most commands can be applied to inlets of outlets. There is also a mute function that adds another layer of control. Matrixctrl support has been enhanced. See the help file for full details and examples. Most other objects now fully support floats. RCer and autocount will count in float values, not just integers. Notegen16 is a 16 channel version of its predecessor: notegen. It is more generalized and much more efficient.
PMPD	debug: SELECT prenom, nom FROM auteurs RIGHT JOIN auteur_libraries USING (id_auteur) WHERE auteur_libraries.id_library='81'Cyrille Henry	Physical Modelling. These objects provide real-time simulations, specially physical behaviors. pmpd can be used to create natural dynamic systems, like a bouncing ball, string movement, Brownian movement, chaos, fluid dynamics, sand, gravitation, and more. With pmpd physical dynamics can be modelled without knowing the global equation of the movement. Only the cause of the movement and the involved structure are needed for the simulation. pmpd provides the basic objects for this kind of simulation. Assembling them allows the creation of a very large variety of dynamic systems .
Toolkit	debug: SELECT prenom, nom FROM auteurs RIGHT JOIN auteur_libraries USING (id_auteur) WHERE auteur_libraries.id_library='46'Robin Davis	You can think of these tools as virtual instruments - record your jam sessions, and take out the good bits for use in your music.