Perseverance did win out though, and I found that from my first basic test tone patches I could gradually tweak and attach until I had something that produced (almost) musical sounds. It often took quite a bit of thought and a liberal dash of arithmetic to get things working the way I intended. This can make things difficult because making sound in Max/MSP is based around the manipulation of numbers ( wavetable values, amplitude calculations etc). Because values going to and from MSP objects are updated 44,100 times every second, you can't just stick a number box in the middle of a patch to determine what's going on. The difficulty I found, though, was trying to work out what was going on inside a patch cable. Familiar territory it would seem, but MSP has some important differences too: things work a lot quicker than in Max (a result of having a 44,100Hz sample rate), MSP objects interact with each other and with Max objects in different ways, and MSP patchleads are eye-catchingly stripy.īut really, creating basic patches with MSP isn't too troublesome.
It often takes quite a bit of thought and a liberal dash of arithmetic to get things working the way you intend"įirst off, I learnt that MSP works in a similar way to Max: there are objects which perform specific tasks, you patch them together with patchleads, and you need to be far better at maths than me to avoid hours pulling your hair out in front of the computer. "Sound in Max/MSP is based around the manipulation of numbers.
I was actually just impatient to get some noise out of my machine, so it was back to the tutorials for me - this time to the MSP section.
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