Then there is the issue of telling monomeserial which instance has control of the monome hardware. It is one thing to adapt max patches for maxforlive but it is another thing entirely to construct them so they can handle multiple instances without stepping all over each other by accessing the same data. Now, he’s going one step further, to try to make the undifferentiated grid of the monome work as a fully-functioning control surface, integrating multiple applications without ever having to leave the monome’s buttons. Matthew Davidson, aka stretta, has long been both a virtuoso performer and master developer for the monome.
Maxforlive: monome integration from stretta on Vimeo. Stretta, Live, and the Musical “Application”
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stretta’s work, also using Max for Live, goes another direction, making the monome a generic controller for any number of performance “applications.”įor people working with Live, 7up is more functional in Max for Live than it was as a Java standalone. Equally significant, you get a set of predictable modules for various tasks, as pictured. You can learn 7up and build muscle memory with it.
One strength of this approach is that, even with 7up’s various capabilities, controller assignments are fixed. 7up 2.0 builds upon an earlier version written as a standalone application in Java.ħup takes the grid and builds a single performance tool that has multiple functions. The biggest news is that 7up, the popular multi-page, multi-module performance app for the monome, is reaching a big new release. At the heart of that concept is embodying both in an “application,” and making that application work on the grid. There is a greater sense than ever that what computer performance is treads a line between composition and live playing. Even past the grid, what we see is people beginning to refine the idea of live electronic performance into reusable, modular components. What’s exciting to me is that a set of ideas is emerging that may go beyond any one tool. And that could make the coming months very interesting, indeed. These efforts are running in parallel, taking ideas from one another, responding to each other as a challenge.
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Other development efforts, built in free tools, work from the ground up instead of the top down, and may use code in place of patches. But it would be a mistake to see this as a phenomenon limited to Max for Live. Many of these creations in recent days have been coming to Max for Live ( site | cdmu tag), taking advantage of the potent combination of Live as a host, third-party plug-in instruments as sound sources, and Max’s own capabilities with sequencing and sound. Spurred by the blank-slate, minimal grid of the monome (and its design as mirrored in similar controllers from Livid, Novation, and Akai), musicians are re-imagining the step sequencer in new permutations. In an evolutionary breakthrough, what previously had appeared in a period of months is showing up in a period of days, as long-simmering ideas come to the fore. What if the world of musical performance suddenly started moving a whole lot faster? That’s certainly the case among a handful of monome- and grid-wielding electronic artists. 7up 2.0 – Introduction from makingthenoise on Vimeo.
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