A guide to seven powerful programs for music and visuals
Dom Aversano
What should I learn? A guide to seven powerful programs for music and visuals.
The British saxophonist Shabaka Hutchings described an approach to learning music that reduces it down to two tasks: the first is to know what to practise, and the second is to practise it. The same approach works for coding, and though it is a simple philosophy that does not necessarily make it easy. Knowing what to practise can feel daunting amid such a huge array of tools and approaches, making it all the more important to be clear about what you wish to learn so you can then devote yourself without doubt or distraction to the task of studying.
As ever the most important thing is not the tool but the skills, knowledge, and imagination of the person using it. However, nobody wants to attempt to hammer a nail into the wall with a screwdriver. Some programs are more suited to certain tasks than others, so it is important to have a sense of their strengths and weaknesses before taking serious steps into learning them.
What follows is a summary and description of some popular programs to help you navigate your way to what inspires you most, so you can learn with passion and energy.
Pure Data
Pure Data is an open-source programming language for audio and visual (GEM) coding that was developed by Miller Puckette in the mid-1990s. It is a dataflow language where objects are patched together using cords, in a manner appealing to those who like to conceptualise programs as a network of physical objects.
Getting started in Pure Data is not especially difficult even without any programming experience, since it has good documentation and plenty of tutorials. You can build interesting and simple programs within days or weeks, and with experience, it is possible to build complex and professional programs.
The tactile and playful process of patching things together also represents a weakness of Pure Data, since once your programs become more advanced you need increasing numbers of patch cables, and dragging hundreds – or even thousands – of them from one place to another becomes monotonous work.
Cost: free
Max/MSP/Jitter and Max for Live
Max/MSP is Pure Data’s sibling, which makes it quite easy to migrate from one program to the other, but there are significant and important differences too. The graphical user interface (GUI) for Max is more refined and allows for organising patching chords in elegant ways that help mental clarity. With Max for Live you have Max built into Ableton – bringing together two powerful programs.
Max has a big community surrounding it in which you can find plenty of tutorials, Discord channels, and a vast library of instruments to pull apart. Just as Pure Data has GEM for visualisation Max has Jitter, in which you can create highly sophisticated visuals. All in all, this represents an incredibly powerful setup for music and visuals.
The potential downsides are that Max is paid, so if you’re on a small budget Pure Data might be better suited. It also suffers from the same patch cord fatigue as Pure Data, where you can end up attaching cords from one place to another in a repetitive manner.
Cost: $9.99 per month / $399 permanent licence or $250 for students and teachers
SuperCollider
SuperCollider is an open-source language developed by James McCartney that was released in 1996, and a more traditional programming language than either Pure Data or Max. If you enjoy coding it is an immensely powerful tool where your imagination is the limit when it comes to sound design, since with as little as a single line of code you are capable of creating stunning musical outputs.
However, SuperCollider is difficult, so if you have no programming experience expect to put in many hours before you feel comfortable. Its documentation is inconsistent and written in a way that sometimes assumes a high level of technical understanding. Thankfully, there is a generous and helpful online forum that is very welcoming to newcomers, so if you are determined to learn, do not be put off by the challenge.
An area that SuperCollider is lacking in comparison to Max and Pure Data is a sophisticated built-in environment for visuals, and although you can use it to create GUIs, they do not have the same elegance as in Max.
Cost: free
TidalCycles
Though built from SuperCollider, TidalCycles is nevertheless much easier to learn. Designed for the creation of algorithmic music, it is popular in live coding or algorave music. The language is intuitive and uses music terminology in its syntax, giving people with an existing understanding of music an easy way into coding. There is a community built around it complete with Discord channels and an active community blog.
The downsides to TidalCycles are the installation is difficult, and it is a somewhat specialist tool that does not have as broad capabilities as the aforementioned programs.
Cost: free
P5JS
P5JS is an open-source Javascript library that is a tool of choice for generative visual artists. The combination of a gentle learning curve and the ease of being able to run it straight from your browser makes it something easy to incorporate into one’s life, either as a simple tool for sketching out visual ideas or as something much more powerful that is capable of generating world-class works of art.
It is hard to mention P5JS without also mentioning Daniel Shiffmen, one of the most charismatic, humorous, and engaging programming teachers, who has rightly earned himself a reputation as such. He is the authour of a fascinating book called The Nature of Code which takes inspiration from natural systems, and like P5JS is open-source and freely available.
Cost: free
Tone.js
Like P5JS, Tone.js is also a Javascript library, and one that opens the door to a whole world of musical possibilities in the web browser. In the words of its creators it ‘offers common DAW (digital audio workstation) features like a global transport for synchronizing and scheduling events as well as prebuilt synths and effects’ while allowing for ‘high-performance building blocks to create your own synthesizers, effects, and complex control signals.’
Since it is web based one can get a feel for it by delving into some of the examples on offer.
Cost: free
TouchDesigner
In TouchDesigner you can create magnificent live 3D visuals without the need for coding. Its visual modular environment allows you to patch together modules in intuitive and creative ways, and it is easy to input midi or OSC if you want to incorporate a new visual dimension to your music. To help learn there is an active forum, live meetups, and many tutorial videos on this site. While the initial stages of using TouchDesigner are not difficult, one can become virtuosic with the option of even writing your own code in the programming language Python.
There is a showcase of work made using TouchDesigner on their website which gives you a sense of what it is capable of.
Cost: All features $2200 / pro version $600 / free for personal and non-commercial use.
Build Max for Live devices using Ableton Live’s API / On-demand
Level: Intermediate
In this series of workshops you will explore concepts and techniques associated with Ableton Live’s API and the Live Object Model (LOM). The LOM provides a detailed level of control of Live via M4L and it can be used to underpin unique and novel M4L devices. These workshops aim to expand your knowledge and use of the Live API and the LOM within the M4L development environment, which can be leveraged by M4L developers to enhance their practice and provide unprecedented control of Live.
Series Learning Outcomes
By the end of this series a successful student will be able to:
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Identify the LOM structure, LOM paths and LOM Object ids
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Utilise API Object types, Classes, Children, Properties and Functions
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Deploy datatypes, debugging, notifications and javascript with the Live API
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Observe and control Live parameters via the API and M4L
Session 1: The Live Object Model Pt.1
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Live Objects (hierarchy, properties, functions)
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Object Paths
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Root Objects
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Max Objects (live.path, live. Object)
Session 2: The Live Object Model Pt.2
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Max Objects (live.remote~, live.observer)
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Controlling Ableton Live parameters
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Observing Ableton Live
Session 3: Creating a Max for Live device with the Live API
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Work with Control Surfaces
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Route MIDI / audio
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Practical examples of API use
Session 4: JavaScript
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The LiveAPI Object in JS
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Summary of course
Requirements
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A computer and internet connection
- Access to a copy of Live Suite (preferably Live Suite 11) trial or full licence.
About the workshop leader
Mark Towers is an Ableton Certified Trainer and a lecturer in music technology at Leicester College. He specialises in Max for Live, as well as working with Isotonik Studios to create unique and creative devices for music production and performance such as the Arcade Series.
MIDI Programming in Ableton Live – On-demand
Level: Beginner
By turning off the quantize function on his MPC J Dilla ushered a new era of groove in electronic music production. Composing beats using both rushing and dragging feels while also making sure that notes remained musically coherent. This workshop intends to equip you with the skills to program hip hop beats and music ideas with a drunk drummerfeel inspired by producers and musicians such as J Dilla, Questlove, Flying Lotus, or Kaytranada.
Session Learning Outcomes
By the end of this session a successful student will be able to:
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Develop an understanding of pulse, subdivision and polyrhythms
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Acquire an understanding of the Groove
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Using the Groove Pool and Warping to program beats with both MIDI and audio content
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Identify & apply the right quantization values to apply to your programming
Session Study Topics
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Drum rack for composition
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Audio & MIDI warping for rhythm programming
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The groove pool and timing features
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Audio effects for enhancing rhythms
Requirements
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A computer and internet connection
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A web cam and mic
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A Zoom account
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Access to a copy of Live Suite or Standard (i.e. trial or full license)
About the workshop leader:
Simone Tanda is a musician, producer, multi-media artist, tech consultant, and educator.
Based across London & Berlin he is currently creating music for his own project, as well as multidisciplinary artists, film, and commercials.
Creative MIDI CC’s in Ableton Live – On-demand
If you’d like to support the Music Hackspace to continue to build a program of free workshops, a voluntary contribution would be much appreciated.
Level: Intermediate
Ableton Live offers a vast playground of musical opportunities to create musical compositions and productions. These include techniques to deploy MIDI Control Change messages (CC’s) to manipulate and transform musical ideas. In this workshop you will creatively explore and deploy a range of MIDI CC’s manipulation tools in a musical setting. This workshop aims to provide you with suitable skills to utilise the creative possibilities of MIDI CC manipulation in the Ableton Live environment.
Session Learning Outcomes
By the end of this session a successful student will be able to:
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Identify MIDI CC’s messages
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Map MIDI CC’s to parameters
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Manipulate Clip Envelopes and dummy Clips via MIDI CC’s
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Utilise MIDI CC”s to create novel musical and sonic elements
Session Study Topics
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MIDI CC messages
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MIDI Mapping CC’s
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Clip Envelopes and dummy clips and CC’s
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Creatively using MIDI CC’s
Requirements
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A computer and internet connection
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A web cam and mic
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A Zoom account
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Access to a copy of Live Suite (i.e. trial or full license)
About the workshop leader
Anna is a London based producer, engineer, vocalist and educator.
Anna is currently working as a university lecturer in London, teaching music production, creating educational content and working on her next releases as ANNA DISCLAIM.
Creative Audio and MIDI in Ableton Live – On-demand
If you’d like to support the Music Hackspace to continue to build a program of free workshops, a voluntary contribution would be much appreciated.
Level: Intermediate
Ableton Live offers a vast playground of musical opportunities to create musical compositions and productions. These include converting audio based harmony, melody and rhythm to MIDI, alongside techniques such as slicing audio into sampling tools which can be triggered via MIDI. In this workshop you will creatively explore and deploy a range of Audio and MIDI manipulation tools in a musical setting. This workshop aims to provide you with suitable skills to utilise the creative possibilities of Audio and MIDI manipulation in the Ableton Live environment.
Session Learning Outcomes
By the end of this session a successful student will be able to:
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Convert Audio to MIDI
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Slice Audio to MIDI
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Manipulate Audio via MIDI slices
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Utilise Audio and MIDI to create novel musical and sonic elements
Session Study Topics
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Converting Audio to MIDI
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Slicing Audio to MIDI
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Manipulating slices within Simpler
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Creatively using Audio and MIDI
Requirements
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A computer and internet connection
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Access to a copy of Live Suite (i.e. trial or full license)
About the workshop leader
Anna is a London based producer, engineer, vocalist and educator.
Anna is currently working as a university lecturer in London, teaching music production, creating educational content and working on her next releases as ANNA DISCLAIM.
Discover the new features in Max for Live 11 – On demand
Level: Intermediate
MaxforLive allows users to develop their own devices for use in composition, performance and beyond. In the recent release of Live Suite 11 there are a myriad of new features and tools for musicians and programmers alike. In this workshop you will explore these new tools and features and be able to leverage them in your own musical works and patches.
By the end of this session a successful student will be able to:
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Explore new MPE possibilities
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Utilise the new devices
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Identify the new integrations and objects
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Understand and deploy the new features for developers
Session Study Topics
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MPE and Max for Live
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New Max for Live devices
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New integrations and objects in Max for Live with Live 11
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New features for developers of Max for Live devices with Live 11
Requirements
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A computer and internet connection
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Access to a copy of Live 11 Suite & Max for Live (i.e. trial or full license)
About the workshop leader
Mark Towers is an Ableton Certified Trainer and a lecturer in music technology at Leicester College. He specialises in Max for Live, as well as working with Isotonik Studios to create unique and creative devices for music production and performance such as the Arcade Series.
Supported by
Audio visual creation & performance with TDAbleton – On demand
Level: Beginner to Intermediate
This workshop will show participants how to build their own audio visual performance using TouchDesigner and Ableton. TouchDesigner is a visual programming language for real time interactive multimedia content. Using the TDAbleton tool, a vast array of audio elements within Ableton can be used to automate an audio reactive visual show.
Session Learning Outcomes
By the end of this session a successful student will be able to:
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Understand the TDAbleton tool
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Link a number of audio elements in Ableton to drive visual content in TouchDesigner
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Begin to build their own audio visual set for live performance
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Consider different approaches to audio visual performance and creation.
Session Study Topics
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TDAbleton tool
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Triggering different TouchDesigner visual sets with Ableton midi clips.
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Controlling TouchDesigner visual parameters with Ableton macros
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Touchdesigner operators- TOPS, Maths Chop.
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Performance Mode.
Requirements
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A computer and internet connection
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A Touchdesigner free license (https://derivative.ca/download)
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Ableton Live 10 or 11 ( for Live 11, you will need to use the latest version of TouchDesigner and select the TDAbleton beta plugin)
About the workshop leader
Nilly Brook lectures various visual technologies across a number of institutions including: The National Film and Television School, Central Saint Martins, Wimbledon School of Art, London South Bank University and Private clients.
She is also a musician, producer and audio-visual performer working on two separate solo projects.
Non-linear strategies for composing with Live & M4L – On demand
Level: Intermediate – Advanced
The creative path is not a straight line. In this workshop, you will develop a workflow focused on experimental approaches utilizing randomization, stochastic methods, polymeters, polyrhythms and more using Live and M4L. Experimental audio processing and non-linear mixing activities will be included in the compositional process to create unique sound qualities as well as overcoming creative blocks.
Session Learning Outcomes
By the end of this session a successful student will be able to:
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Examine various forms of (non)linear compositional strategies
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Identify approaches that provide musical contingency
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Select Ableton’s techniques & M4L devices to use in the writing process
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Design generative methods for complex compositional systems based on the Ableton and M4L environments
Session Study Topics
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Randomization & Stochastic methods
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Polymeters & polyrhythms
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Racks, Audio & MIDI FXs chains
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Max4Live LFO, Shaper, Buffer shuffler, Multimap pro
Requirements
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A computer and internet connection
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A web cam and mic
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A Zoom account
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Access to a copy of Ableton Live 10 Suite, or Ableton Live 10 with a Max For Live license
About the workshop leader
Simone Tanda is a musician, producer, multi-media artist, tech consultant, and educator.
Based across London & Berlin he is currently creating music for his own project, as well as multidisciplinary artists, film, and commercials.
Melody Generation in Max – On demand
Level: Intermediate
The importance of the melody in traditional musical composition is difficult to understate. Often one of the first components the ear latches onto, being able to write a good melody is something of an artform. Producing basic algorithmically-generated melodies using Max/MSP is quite easy, but in order to produce something more ‘musical’ we must refine the generation process.
In this workshop you will learn some ways of generating more complex melodies in Max. This will involve implementing occasional phrase repeats to balance predictability and surprise, locking in some of the more important rhythmic elements and incorporating planned octave jumps alongside more restricted pitch-based travel.
By the end of the workshop you will have constructed a melody generation patch that can be set to play along with your compositions, with a greater understanding of some of the ways in which we can sculpt melody in Max.
Topics
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- Max/MSP
- Algorithmic Composition
- Melody
Requirements
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You should be comfortable with the general workflow and data formatting in Max.
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Knowledge of MIDI format and routing to DAWs (Ableton, Logic etc) would be a plus, although Max instruments will be provided.
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You should have some basic knowledge of music theory: chords, scales, modes etc.
About the workshop leader
Samuel Pearce-Davies is a composer, performer, music programmer and Max hacker living in Cornwall, UK.
With a classical music background, it was his introduction to Max/MSP during undergraduate studies at Falmouth University that sparked Sam’s passion for music programming and algorithmic composition.
Going on to complete a Research Masters in computer music, Sam is now studying a PhD at Plymouth University in music-focused AI.
Abstract Performance in Ableton and Max For Live – On demand
Level: Intermediate
Ableton and Cycling 74’s Max For Live offer a vast playground of opportunities to create unique and rich electronic music performances. In this workshop you will create a performance instrument. This workshop aims to provide you with suitable skills to begin exploring improvised performance in Ableton Live and Max For Live.
Session Learning Outcomes
By the end of this session a successful student will be able to:
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Discuss various forms of performance approaches in Ableton and Max For Live plus their advantages and weaknesses.
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Explore one approach that gives most flexibility and ease for performing.
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Gather assets in Ableton and Max For Live to use in the performance and how to fit them into our chosen approach.
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Develop the approach into a complex performance orientated instrument based in the Ableton and Max For Live Environments
Session Study Topics
- Deploy Ableton and Max For Live devices to create a musical performance.
- Load and organize sounds into Ableton’s Drum Rack.
- Enhance the performability of our instrument using midi processes.
- Develop the approach using Ableton and Max For Live effects.
Requirements
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A computer and internet connection
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A good working knowledge of computer systems
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A basic awareness of music theory and audio processing
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Good familiarity with Ableton and Max For Live
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Access to a copy of Ableton Live 10 Suite, or Ableton Live 10 with a Max For Live license.
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A midi controller is desirable.
About the workshop leader
Ned Rush aka Duncan Wilson is a musician, producer and performer. He’s most likely known best for his YouTube channel, which features a rich and vast quantity of videos including tutorials, software development, visual art, sound design, internet comedy, and of course music.