One 4 One on 8/4/8

4 08 2008

I’ve just added a new album on amiestreet.com. One 4 One is a live recording of interactive electronic music from a performance at the Impulse/Response series in Troy, NY. The title of the album is a play on the direct, one-to-one relationships between performer and computer that I was deliberately avoiding. Plus, the performance took place on January 4, 2001, hence the title. Every 390 days since (give or take) I’ve been meaning to do something with the recordings. Luckily I got around to it before 2013. (Drop me a line if you figure that one out and I’ll send you a special little something.

Check it out on amiestreet, or listen to the tracks below.

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Max 5 First Impressions

17 05 2008

Over the last few days I’ve begun to dig into Cycling 74’s Max 5. Here are my first impressions of the update. I haven’t yet performed with this version of the program or used it to run an installation, so I don’t have any information about stability or performance.

First the obvious change: the interface is bright and shiny–definitely not the clunky old Max look. I can’t say I’m immediately in love with it, but I do believe by the time I tweak the default settings a little I’ll be quite comfortable with the new look. I very much appreciate the options for changing the appearance of objects (even though some inspector windows are daunting when you first open them).

I love the usability features of Max 5:
• the search function
• the ability to double-click on a message in the Max window and be taken immediately to the part of the patch the message pertains to
• the keyboard shortcuts (damn, it’s so easy to get used to typing ‘n’ or ‘c’ or ‘m’ or ‘t’ or ‘b’ and having an object just show up). I suspect I’ll rarely use the gussied-up new object palette since the keystrokes are so convenient.
• support for long filenames (it’s the little things, really. OK, it’s the little, long things.)

I also love the new timing options, though I haven’t had a chance to use them extensively. I’m looking forward to creating polyrhythmic mayhem using a few transport objects all running at different tempi.

I like the idea of presentation mode, I just haven’t actually implemented it. I’ve always done something similar anyway: create a separate subpatch for just the controls I need, and since presentation mode only seems workable in a single subpatch I suspect it won’t radically change my workflow. Presentation mode would be more useful for me if any object in any subpatcher could be added to the presentation mode of a particular window. But that already sounds too complicated to manage (which object? in which subpatch? to which window?), plus the this is already possible using standard Max objects like send and receive.

I have mixed-feelings about the integrated documentation. I like the convenience of having help always at your fingertips but miss the portability of a pdf file. If you’re not running max, it’s tricky to get to the documentation. (Of course, you can always go to the Cycling 74 site.)

I’ve had a harder time with file-path issues and object conflicts in Max 5 than with other upgrades. This is likely just me and my convoluted setup. I have a bad habit of downloading almost every third-party Max object and freeware VST–not that I use them all. In fact, upgrades are often the times I evaluate the third-party objects that are essential to my work. The short list: LObjects, LitterPro, fiddle~, and a handful of others.

I’m looking forward to getting deeper into Max 5.

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Max 5 Release Date Announced

12 04 2008

From the Cycling ‘74 Users Forum: “This new version will be available as a download on April 22nd, with packaged versions available shortly thereafter. Compatible versions of MSP and Jitter will be released at the same time.”

max 5 screenshot

Exciting stuff. I’ve got a few shows right around that time, so I’ll probably wait a week or two before upgrading. But I’m looking forward to digging in to a new version!

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Maps Breaks $1. Maps is Free. Long Live Maps.

25 03 2008

The price for my Maps CD on amiestreet.com recently broke the $1.00 barrier (see below). To celebrate I’ve the posted the album in its entirety at grabrarearts.com. Go here for complete information or use the link below to get it all in one swell foop. This is part of my pledge to make more of my music available for download in 2008. I’ll have more coming up soon, so stay tuned.

Download the full album including artwork: hopson_maps.zip

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Old Alabama

13 03 2008

Here’s a video from my recent performance at LEMUR. It’s the first outing for this brand new piece, complete with all the hesitations, misfires, fuzziness and fun of a premiere.

I’ll be playing with the LEMURbots again in early April–details to be announced.Thanks to Nicole Peyrafitte for grabbing this video on-the-fly. Check out Nicole’s new blog, Collectages. (Yum…spätzle.)

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Monkey vs. Robot

26 02 2008

This month’s residency at LEMURplex is coming to an end which means the performance is coming up soon! Details are below. It’s been great getting to work with the robotic instruments. I’m looking forward to performing some new pieces for clawhammer banjo and robots, and hearing the other artists’ work, too. Lucky for us we get an extra day this month to work the wrinkles out, or at least to iron our monkey suits.

Friday February 29th, 8pm - 11pm
ReSiDeNt @ LEMUR: New Works, New Instruments, New Artists
461 3rd Avenue (between 9th and 10th streets)
Brooklyn NY
$5 at the door

  • Holland Hopson will bring Old-Time Appalachia to LEMUR by creating new pieces for the LEMURbots and Tru One, his clawhammer banjo/sensor interface.
  • Zach Layton will create a new work for improvising live trio plus improvising robots.
  • Percussionist Max Lord will perform on the Marimba Lumina with choreographer Ellen Godena in a work for robot percussion and spontaneous robot-inspired movement

Hope to see you there!

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Max with a Lisp

16 01 2008

Brad Garton has just released an updated Lisp interpreter that runs inside MaxMSP. More info here. Brad seems to be on a mission to make MaxMSP a veritable music operating system in its own right: Lisp, Chuck, RTcmix…

Checking out the Lisp object reminded me of my first forays into algorithmic composition and just how fun it can be to create work using simple processes. And how hard it can be to create compelling work that way!

Garton’s lisp object also gave me an excuse to pull out my copy of The Little LISPer. The book is an excellent example of learning by doing. After a brief introduction, the reader is asked to interpret LISP commands of increasing complexity and guided by a simple process of inquiry. There are no dry explanations only concrete examples. It’s made a lasting impression on my ideas of teaching and learning. Comparable to learning/teaching/performing Zorn’s Cobra–you do it, and then you know it.

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Pay What You Want for MaxMSP?

11 12 2007

Cycling ‘74 got a shout out from the New York Times in this article about Radiohead’s Pay What You Want CD release scheme. Pay What You Want for Max 5? Hmmm…an appealing idea. Pay What You Think It’s Worth? I don’t think I could afford that.

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Cycling 74 announces Max 5

29 09 2007

David Zicarelli has posted a preview of Max 5 on cycling74.com. It looks like a significant upgrade in terms of the user interface and usability of the program. I’m looking forward to finding out more as the release date (sometime in the first quarter of 2008) nears. Thanks to Create Digital Music for drawing my attention to this announcement.

Some features that I find interesting:

Read the rest of this entry »

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How Did They Do It?

7 09 2007

I’ve been playing with different tunings recently, inspired by a SuperCollider patch written by Travis Weller and Dave Benson’s book Music: A Mathematical Offering and Kyle Gann’s Anatomy of an Octave. I built my own little MaxMSP patch to demonstrate the Pythagorean comma. It transposes an oscillator up by 12 perfect fifths and then back down by 7 octaves. The resulting pitch is just slightly higher than the fundamental, a difference of 1.01364… called the Pythagorean comma or the ditonic comma. Fascinating stuff–and tracing the way tunings were pushed about until our prevalent equal tempered system took over illuminates an alternate history of Western music. (Another topic, for later…)

Playing with this stuff makes me wonder how the ancient Greeks figured it out way back in 500 BC. The way I imagine it, physically performing this experiment would require at least 3 strings (1 tuned to the fundamental, 1 tuned to the current target interval, 1 to be tuned to the next target interval) and plenty of retuning. Or maybe it was more like a lyre with 20 strings and plenty of time spent tuning each. In any case, the comma is so small that after tuning so many intervals, I’d be more inclined to explain away a tiny difference as something slipping, the instrument flexing, cumulative errors during the process, etc. But maybe that’s just the banjo player in me…

The answer to my question is likely: they did the math. It ain’t called the Pythagorean comma for nothin’.

Here’s the math:
1/1 (fundamental) up a perfect fifth (1) =
3/2 up a perfect fifth (2) =
9/4 up a perfect fifth (3) =
27/8 up a perfect fifth (4)=
81/16 up a perfect fifth (5)=
243/32 up a perfect fifth (6)=
729/64 up a perfect fifth (7)=
2187/128 up a perfect fifth (8) =
6561/256 up a perfect fifth (9)=
19683/512 up a perfect fifth (10)=
59049/1024 up a perfect fifth (11)=
177147/2048 up a perfect fifth (12)=
531441/4096 down an octave (1) =
531441/8192 down an octave (2) =
531441/16384 down an octave (3) =
531441/32768 down an octave (4) =
531441/65536 down an octave (5) =
531441/131072 down an octave (6) =
531441/262144 down an octave (7) =
531441/524288 = 1.013643264771 = the pythagorean comma

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