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@atlantamusictechnology

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Atlanta Music Technology is committed to educating people on audio programming, building music hardware, and Max/MSP.
@walrusmuse @_rei_low_

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@atlantamusictechnology R&D

Working on an app right now that's taking up most of my time, but I decided to try my hand at some autechre-styled drums. I think this is close to the technique they're using throughout SIGN.

If you're a big outdoor cardio fan and an electronic music fan, get in my DMs so I can send you my app. It synthesizes persistent spatial soundscapes while moving around outside. by @atlantamusictechnology

don't ask me where im going... im lost too!

I'm experimenting with 2nd order markov chains in Max for MIDI sequencing. Here, a Dorian scale is modulated using the circle of fifths, and the output is sent to a gtm.markov object to generate melodic lines. Then another voice of that chord is transposed up a fourth, and it adds a Scriabin mystic chord quality to the music. Drums are driven by probabilistic messages from phasors to preserve timing somewhat, and all of that is drawn on a multislider for visualization. Also, I used Swarm to generate tonal spatial artifacts.

#max #algorave #algorthmicart by @atlantamusictechnology

adventures in all-pass phase distortion

no wavetable required by @atlantamusictechnology

one stop shop for all your foley needs

#horsesintheback #max @c74connect by @atlantamusictechnology

Strongly Timed Organized Sound:

Ordinarily, MIDI is used to control synthesizers and play back samples, which is partially utilized in this patch. However, the drum break chopping is done entirely using signal ramps, and the playback is what computer musicians describe as strongly timed.

CPUs perform instructions in chunks, and the chunks for MIDI notes have the potential to be mistimed since they can only be processed inside a chunk. It's like a frame drawn for an animation. However, since we hear sound continuously, the CPU processes audio at a faster refresh rate, called a sample rate, that we hear as synthesized music. You could think about it as a synth controlling another synth.

💪💪💪 by @atlantamusictechnology

Disjunct - Sound From a Different Perspective:

Disjunct is a spectral spatialization Max for Live device that splits incoming audio into three bands, each binaurally panned. The high end of your sound might be in a completely different position from the bass in the stereo field, while the midrange is behind your head, spinning. Think of it like a three-band EQ combined with an auto-panner.

The device is powered by ambisonic spatialization techniques and is inspired by Cubism. Analytic Cubist painters studied perspective– how light and tonality are affected by point of view. Their practice is interpreted through spatial sound design and a thoughtful Max for Live implementation.

The positions of the frequency bands are represented by stylized painterly spheres in the user interface, and the spheres' positions map 1-to-1 onto the ambisonic position of the bands.

Link in Bio for Free Download

Ableton Live 12.4 is recommended for performance and full OpenGL visualizations, but a version for Live 11 is included. Results may vary with earlier Live installations. by @atlantamusictechnology

a fresh perspective on spatial panning, disjunct is an experiment in cubist sound design.

the cubist method defines its aesthetic- the painter changes their point of view and represents their subject from another angle.

disjunct uses four frequency bands to slice up incoming audio into highs and lows and spatially render those bands. the high end of a synth might be behind you, while the low end is down and to the right.

sound from a different point of view.

headphones recommended. coming soon :) by @atlantamusictechnology

April 17th, this Friday, @pocket.noise and @_rei_low_ will be hosting the third (or fourth?) Atlanta Music Technology event at @thesupermarket.atl !

This time, Braxton will be building a generative sample chopper in gen~, and if we have time, we'll play with signal rate to midi event sequencing and some multichannel audio synthesis!

Special guest Renny Hyde will be showing us their techniques for using the various JavaScript objects in Max and how to extend the functionality of Max using v8!

Any and all levels are welcome, and BRING YOUR COMPUTER IF YOU CAN!

Find Us:
🚪 The Supermarket’s main entrance is located at 638 N Highland Ave NE. Our door is between Big Softie and Colette Bakeshop leading you down a hallway and a staircase. See a helpful map here and watch our reel on Instagram here!

🚪 Our secondary entrance is through a residential courtyard. Enter through the black metal gate on the side of the Otto's building from the parking lot (at N. Highland and Blue Ridge). Be quiet when leaving events this way after dark as this is a residential courtyard. Note this entrance has a few stairs.

♿ Need no stairs? We got you! Signage is in the works but, in the meantime, please call to be escorted to our back entrance. (404) 458-1738.

🚘 Nearby Parking and Prices:
Limited Parking spots in front of The Shops at Otto's on N. Highland Ave. Must register with ParkMobile. Free for 1 hr before 6pm. Paid after 6pm. (Zone# 3241)
Small lot beside Otto’s Apartment Hotel at N. Highland and Blue Ridge. Must register with ParkMobile. (Zone# 3240). Do not park in 'resident only' spots.
Public lot at N. Highland and Ponce (behind and in front of Plaza Theatre). "Scan to Pay" signs. Mon-Sat: 7am-10pm. Free for 15 min. $5 for 1hr, +$1 for each added.
Six story deck at 675 N. Highland Ave. $5-$6 for up to 2hr, +$1 for each hr added. $14 daily max.

special thanks to @walrusmuse and @c74connect for being awesome by @atlantamusictechnology

Harness 3D audio with Swarm, a generative spatial grain delay.

The first-of-its-kind device utilizes ambisonic panning, a zero-gravity particle system, and audio effects such as feedback loops, pitch shifters, and grain parameters to engulf the listener in a glitchy swarm of generative spatial artefacts.

Each dot represents the speaker's position in space, and the listener is positioned at the center.

Name-your-price link available in bio or at reilow.gumroad.com by @atlantamusictechnology

Stochastic Memories: Modulating Time and Frequency

Borrowing from Mark Fell via @p__meyer, this project structures itself around quartal subdivisions of randomly selected numbers. The ramps triggering the notes modulate a complex FM algorithm that evokes Morton Feldman's atonal compositions, met with the unflinching asceticism of inharmonic FM tones.

Envelopes, pitches, timbre, and time are all subject to change. by @atlantamusictechnology

Geist: Chaotic Modulation and the Auditory Hall of Mirrors

A double pendulum's motion is chaotic and aperiodic, that is, it doesn't repeat, and its behavior is completely dependent on the initial conditions. When modulating an FM algorithm by the position of the double pendulum, we were able to produce infinitely different FM tones in a musical context.

We then routed this to a 100-voice granular delay with stereo feedback controls, resulting in an auditory hall of mirrors- chaotic FM synthesis folding in on itself in millisecond windows.

Geist by Rei Low

Stream now on all platforms by @atlantamusictechnology

Spectral Ecological Research:

The sound of the rushing Chattahoochee and the cries of a murder of crows are passed through a spectral filter that only passes frequencies above a certain amplitude threshold.

Any sound louder the the cutoff specified by the dials is resynthesized in the fft patch and then summed independently of each other through their own filters.

Who needs to touch grass when you have Max? @c74connect by @atlantamusictechnology