Don’t forget to also sign up for the Live AV Performance by Leon Trimble followed shortly after this Masterclass – Live AV Performance by Leon Trimble – Music Hackspace

Masterclass Date & Time:  Friday 16th April 5pm UK

The Gravity Synth is a musical instrument combining the instrumentation used to detect gravitational waves, and a modular synthesiser. The experimentation with the scientific and musical equipment has been a collaboration between researchers at the Institute for Gravitational Wave Astronomy at University of Birmingham and audiovisual artist Leon Trimble. This is a parallel journey exploring the similarities between the processes of art and science. Leon Trimble has been working on the gravity synth since 2016 when, having sat down next to Dr.Hannah Middleton (Gravitational wave data analyst). From that moment on they started meeting and Leon & Hannah planned how the sound of a Michelson Interferometer (IFO) could be shaped into a performance. As time went on and the interferometer bedded into the performance, Leon upgraded parts of the modular synthesiser to accompany the IFO and Aaron refined components of the IFO to more accurately make sound.

Link: https://gravitysynth.tumblr.com/

Supported using public funding by Arts Council England

Requirements

• A computer and internet connection
• A Zoom account

Level: Intermediate

Whether at a concert or in a music video, visual effects can do so much to enhance the listener/viewer’s experience and create a lasting impression. This workshop aims to demonstrate how, using TouchDesigner, one can convert MIDI and acoustic audio signal into dynamic visual performances.

Session Learning Outcomes

By the end of these sessions a successful student will be able to:

PT1:

• Design and implement generative visual effects which evolve over time

• Map out a show control system with high-level hooks for updating state in production

• Create simple audio +/ MIDI signal workflows

PT2:

• Persisting/loading custom presets with Python + JSON

• Map a visualization onto any performance environment, whether physical or digital

Session Study Topics

PT1:

• How to build custom UIs with widgets in TouchDesigner

• Encapsulating new and existing VFX patches in reusable components

• Basic MIDI input with TouchDesigner

PT2:

• Programming advanced actions with Python in TouchDesigner

• Making custom MIDI mappings which plug into a global control system

• Outputting anywhere: projection mapping, NDI streaming, DMX / lighting fixtures

Requirements

• A computer and internet connection

• A free (or higher) license of TouchDesigner

• A text editor for programming, such as Sublime Text 3 (recommended)

Recommended:

• Webcam and/or microphone

• A text editor for programming, such as Sublime Text 3 (recommended)

• Virtual audio routing software (e.g VB Cable on Windows, Soundflower / Loopback Audio on Mac) you can use to send audio to TouchDesigner directly from other software on your computer, such as Spotify

About the workshop leader 

Ben Benjamin is a programmer and performer based in Los Angeles. He is obsessed with the intersection of media, culture, and technology.

Level: Beginner +

Brian Eno used arranged tape loops for composition in the 1970 Discreet Music and Music For Airports. This M4L device takes those ideas and uses them for a simple but effective loop playback device. In this workshop you’ll learn how to work with audio file playback objects like buffer~ & groove~ along with send & receive concepts and sub-patches.

By the end of this session a successful student will be able to:

• Build a basic audio file playback device.

• Explore signal routings using send & return objects.

• Use sub-patch encapsulations in M4L.

• Describe the signal flow in a M4L device.

Session Study Topics

• Max objects for audio playback.

• Audio signal flow.

• Encapsulations in Max.

Requirements

• A computer and internet connection

• A web cam and mic

• A Zoom account

• Access to a copy of Max 8 (i.e. trial or full license)

About the workshop leader

Johan Englund is a music producer based in St Leonards East Sussex and an educator for Tileyard Education (London) and Bimm (London). He has been engaged as a professional in the music industry since the early 1990s and as a lecturer since 2005.

Level: Intermediate Ableton Live users

Live 11 offers a wide range of creative effects and updates that can help create unique sounds.

In this intermediate level workshop you will learn how to build your own unique Drum Rack using random foley sounds, apply processing, get creative with Macro Variations and also explore some of Live 11’s new creative effects. This workshop aims to provide you with creative strategies to take your ideas to the next level.

Session Learning Outcomes

By the end of this session a successful student will be able to:

• Build at least one custom Rack

• Layer sounds and use Racks inside Racks

• Develop a deeper understanding of the key and updated features of Racks

• Utilize creative FX processing

Session Study Topics

• Building a Drum Rack out of random Foley sounds

• Racks inside Racks, layering foley sounds with Max for Live Drum Synths

• Macro Variations and other key features of Racks

• FX Processing techniques and an overview of some of the new devices in Live11, such as Spectral Resonator and Hybrid Reverb

Requirements 

• A computer and internet connection

• A web cam and mic

• A Zoom account

• Ableton Live 11 Suite – if not, participants should be advised to download the trial version

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.

Level: Beginner

Live coding is the act of manipulating algorithms in real time to change an ongoing artistic process, like music or visuals. In this workshop, we will begin with an introduction to live coding, highlighting various technologies and artists, before learning how to live code sound using TidalCycles. This workshop aims to provide an introduction to live coding to encourage others to incorporate live coding technologies and techniques into their practice.

Session Learning Outcomes

By the end of this session, a successful student will be able to:

• Create a variety of patterns

• Use functions to vary sequences

• Add effects to manipulate and process sounds

• Identify various technologies and practitioners of live coding

Session Study Topics

• An introduction to various live coding technologies and artists:

  • Sonic Pi

  • TidalCycles

  • FoxDot

  • Hydra

• How to create various patterns and sequences

• Functions for varying sequences

• How to add effects to sound

Requirements

• A computer and internet connection

• A web cam and mic

• A Zoom account

TidalCycles
Software to download:

• Atom

• SuperCollider

• Atom-tidalcycles

Note: To run TidalCycles on your machine, you will need to install software in addition to the applications/packages listed above. Follow these instructions to see how to do this on your machine.

To use an online version of TidalCycles (*no installation required):

Visit the Estuary Live Coding Server. Select ‘MiniTidal’ as your language of choice.

About the workshop leader 

Melody Loveless is an artist, creative technologist, and educator based in Brooklyn, NYC. Her work ranges from live coding performance, generative sound installations, multisensory performance, and more. She currently teaches at Hunter College and Harvestworks and is part of Cycling 74’s Max Certified Trainer Program.

Level: Beginner

Programmed rhythms can lack the expression of real players. This is particularly evident when sequencing drums. In this workshop you will learn to program a variety of drum patterns, utilising a range of expressive techniques in Ableton Live. This workshop aims to provide you with transferable skills to enable you to breathe life into your MIDI programming.

Session Learning Outcomes

By the end of this session a successful student will be able to:

• Program at least one drum pattern with variations;

• Understand groove and learn how to implement it;

• Use MIDI devices (such as random and velocity and MaxforLive) to humanise parts;

• Utilise the Convert to MIDI function to analyse existing patterns and provide inspiration.

Session Study Topics

• Drum sequencing in session view

• Applying groove and swing

• MIDI effects, LFO device

• Converting audio to MIDI

Requirements

• A computer and internet connection

• A web cam and mic

• A Zoom account

• Ableton Live 11 Suite – if not, participants should be advised to download the trial version

About the workshop leader

Mel is a London based music producer, vocalist and educator. 

She spends most of her time teaching people how to make music with Ableton Live and Push. When she’s not doing any of the above, she makes educational content and helps music teachers and schools integrate technology into their classrooms. She is particularly interested in training and supporting female and non-binary people to succeed in the music world.

Level: Beginner

Brian Eno once described a set of chimes being blown in the wind as an example of generative music. Adapting this philosophy of music-making to a digital setting, we can create environments where a series of musical elements can be triggered semi-randomly, akin to the blowing of wind.

In this workshop you will learn to create such a system in Max/MSP, building a simple synthesised bell-like sound with variable timbre which will then be ‘played’ by a loose algorithm that you will construct. This will involve learning a form of subtractive synthesis using a bank of resonant filters, applying variable controls to both its generation and post-processing through reverb and delay, and finally using combinations of random number generators to make digital ‘wind’.

This is just one way of approaching generative music, but by the end of the workshop you will have a better understanding of the underlying axioms and be able to go on to apply them to your own systems.

Topics

• • Max
  • Generative Music
  • Subtractive Synthesis

Requirements 

• You should be comfortable with the general workflow and data formatting in Max.

• Some basic knowledge of frequencies (hz) in relation to music-making would be a plus.

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.

Date: Thursday 14th January 6pm GMT

Level: Intermediate

Cycling 74’s Max / MSP offers a vast playground of programming opportunities to create your own synthesis devices. In this workshop you will build your own synthesis device that utilizes an advanced  Wavetable architecture. This workshop aims to provide you with suitable skills to begin exploring advanced Wavetable synthesis devices in the Max MSP environment.

Session Learning Outcomes

By the end of this session a successful student will be able to:

• Build advanced Wavetable oscillators via MSP oscillator objects

• Explore advanced Wavetable’s spectral sonic properties

• Construct modulation sources for Wavetable synthesis devices

• Define the sonic timbre and strengths and weakness of Wavetable synthesis

Session Study Topics

• Advanced MSP oscillator objects for Wavetable

• Sonograms, scopes and the frequency domain

• LFO, line & envelope properties

• • Wavetable’s timbre. Strengths and weaknesses

Requirements

• A computer and internet connection

• A good working knowledge of computer systems

• An basic awareness of audio processing

• Good familiarity with MSP

• Access to a copy of Max 8 (i.e. trial or full license)

About the workshop leader 

Phelan Kane is a Berlin & London based music producer, engineer, artist, developer and educator. For over twenty years he has been active in both the music industry and the contemporary music education sector, with a focus on electronic music and alternative bands.

He specialises in sound design and production techniques such as synthesis and sampling, alongside audio processing and plug-in development. 

He is currently running the electronic music record label Meta Junction Recordings and the audio software development company Meta Function, which specialize in Max for Live devices releasing the M4L synth Wave Junction in partnership with Sonicstate.

Date: Thursday 7th January 6pm GMT

Level: Intermediate

Cycling 74’s Max / MSP offers a vast playground of programming opportunities to create your own synthesis devices.

In this workshop you will build your own synthesis device that utilizes an Additive architecture. This workshop aims to provide you with suitable skills to begin exploring  Additive synthesis devices in the Max MSP environment.

Session Learning Outcomes

By the end of this session you will be able to:

• Build  Additive oscillators via MSP oscillator objects

• Explore Additive’s spectral sonic properties

• Construct modulation sources for  Additive synthesis devices

• Define the sonic timbre and strengths and weakness of Additive synthesis

Session Study Topics

• MSP oscillator objects for Additive

• Sonograms, scopes and the frequency domain

• LFO, line & envelope properties

• • Additive’s timbre. Strengths and weaknesses

Requirements

• A computer and internet connection

• A good working knowledge of computer systems

• An basic awareness of audio processing

• Good familiarity with MSP

• Access to a copy of Max 8 (i.e. trial or full license)

About the workshop leader

Phelan Kane is a Berlin & London based music producer, engineer, artist, developer and educator. For over twenty years he has been active in both the music industry and the contemporary music education sector, with a focus on electronic music and alternative bands.

He specialises in sound design and production techniques such as synthesis and sampling, alongside audio processing and plug-in development. 

He is currently running the electronic music record label Meta Junction Recordings and the audio software development company Meta Function, which specialize in Max for Live devices releasing the M4L synth Wave Junction in partnership with Sonicstate.

Level: Intermediate

Cycling 74’s Jitter offers a vast playground of programming opportunities to create your own visual devices. In this workshop you will build your own visual device that utilizes a audio signals to manipulate imaginary. This workshop aims to provide you with suitable skills to begin exploring the jitter environment.

Session Learning Outcomes

By the end of this session a successful student will be able to:

• Discover the basics of the Jitter framework.

• Explore options for analysing audio signals to gather data to control visuals

• Deploy objects suitable for making visuals

• Apply processes from data acquired from audio signals to control visuals.

• Apply UI elements and save into a Max For Live device.

Session Study Topics

• The jitter landscape
• Audio analysis
• Using visual objects
• Control visual objects
• UI & M4L devices

Requirements

• A computer and internet connection

• A good working knowledge of computer systems

• An basic awareness of audio processing

• Good familiarity with MSP

• Access to a copy of Max 8 (i.e. trial or full license) or Live Suite (M4L)

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.