Midi Fighter Multi-Sample Max for Live patch

Some time ago a friend showed me this video, in which multiple samples are being assigned to a single trigger button on a Midi Fighter. I’m not exactly sure how it’s working in this context but the Note Length MIDI Effect is present in the Drum Rack and is clearly responsible. Interestingly, if you listen for the moment when the camera shot sample is triggered, the beginning of one of the other samples assigned to that trigger button can also be heard. In any case, I figured I could throw together a small Max for Live patch to perform a similar job, while at the same time remove the audible overlapping of samples as identified in relation to the camera shot.

Having finally found a bit of spare time over the summer, I designed a patch which allows for up to three separate samples to be assigned to any of the trigger buttons on the Midi Fighter by applying different output velocities to the triggered MIDI note depending on the duration for which the button on the Midi Fighter is depressed. The velocity zone editor in a Live Rack’s chain list can then be used to set different samples to respond to specific output velocities from the Midi Fighter. The three velocities are all customisable, meaning that the patch can also be used to trigger the same sample at different velocities by bypassing the user of the velocity zone editor in a chain list; as is the response speed for the triggering of each of the three samples, with available options of fast and slow.

The patch can be downloaded here.

Any feedback would be greatly appreciated and l hope it will come in handy for some people.

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ScreenPlay Test

A recent test of ScreenPlay, the interactive computer music system I have been developing as part of my PhD research into human-computer interaction in music at the University of Salford.

The TouchOSC graphical user interfaces hosted on the four iPads communicate with Ableton Live 9 via a series of Max For Live patches and function much in the same way as does the Ableton Push MIDI controller; allowing for the button-matrix-style, grid-based playing surface to be locked in a specific key signature/scale or played chromatically, and for any standard triad within the selected key/scale to be formed using the same hand-shape in any position on the grid.

The next stage in the development of the system will be the introduction of both generative and transformative algorithmic procedures reliant upon second order Markovian processes and the alteration of rhythmic and textural/timbral characteristics, as well as the pitch-classes of the source-material respectively.