“It was being paid by IRCAM, which was the 'Institut de Recherche et Coordination Acoustique/Musique,' which is this research institution in Paris that was run by Pierre Boulez. Talking to Puckette in San Diego where he teaches at UCSD, he explained how Max was developed in 1988, at IRCAM, because he had a concert scheduled. Its simple form denies its most innovative qualities, as it’s creator Miller Puckette once noted, “Most of what is essentially Max lies beneath the surface.” It scrambles and deforms and filters a complex landscape of sound sources, and yet can be used in an intuitive way. It can connect anything to anything else. Its interface is minimal yet utilitarian, with a protocol for scheduling control and audio sample computations, an approach to modularization and component intercommunication, and a graphical representation and editor for patches.
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