r/MaxMSP

ASSEMBLY-7 is not a conventional drum machine or just another sequencer for Max/MSP.
It is an autonomous probabilistic machine built on a dual DSP architecture: Max/MSP handles sequencing and logic, while SuperCollider generates synthesis and sound processes via OSC.

The system includes 6 engines based on algorithmic synthesis and one dedicated advanced sampling engine, all operating inside an unstable polymetric environment with continuous drift and no true global reset. Each line runs with independent BPMs, lengths and phases: patterns slowly collapse, realign and deform over time, generating strange grooves, primitive rhythmic structures, but also textures, dense sonic masses and real percussive soundscapes.

With Tamburi Web you can load huge folders of WAV or AIFF files and the system will randomly distribute them across the available slots, transforming any sound archive into unstable rhythmic material. Field recordings, noise, concrete fragments, voices, metal anything can become part of the machine’s rhythmic geometry.

ASSEMBLY-7 can also record 10 stems simultaneously in a single pass: stereo master, 7 synth tracks and 2 separate sampler tracks, ready to be processed inside any DAW.

It is not a Max for Live device but more like a small autonomous generative DAW focused on rhythmic drift, stratification and continuous mutation.

If you are into unconventional polymeters, modular-style sequencing like Teletype/O_C, grooves emerging from controlled chaos and rhythmic systems that continuously evolve over time, take a look at ASSEMBLY-7.

This is only a brief description. To better understand how it works, explore all the features, watch the updated YouTube playlist and read the user reviews on Gumroad to see if it fits your practice, visit the website.

Discovery: https://www.peamarte.it/assembly_7/assembly_7.html

Audio-reactive geometry TouchDesigner + AE patch I made some time ago. Hope you guys enjoy it!

If you're curious about my experiments, you can watch more [and even access its project files] through my YouTube, Instagram, or Tools Store.

using a dirty guitar equipped with a fishman triple play to trigger everything in real-time time with nothing pre sequenced

https://youtube.com/@marsona_sound?si=LL3NEa9XghOUskce

Recording and Reamping Feedback Soundscape from Vortessa 3.0 to Ableton and 2 Modular.
Download and Discovery (url in the comment)

A collection of experimental instruments for sound design, field recording transformation, lowercase synthesis, feedback systems and polymetric rhythm generation. Designed for exploratory composition, emergent structures, textural manipulation and non-linear audio processes across studio, performance and experimental research contexts.

emilianopennisi.net

#sounddesign, #experimentalmusic, #fieldrecording, #lowercase, #noise, #electroacoustic, #musiqueconcrete, #feedbacksystems, #generativemusic, #maxmsp, #supercollider, #audiosynthesis, #soundart, #modularsynth, #polymeter, #glitchmusic, #ambientmusic, #computermusic, #algorithmiccomposition, #experimentaltools

Hello. I want to get started with jitter in Max for Live so I followed a tutorial on a simple audio-reactive patch using .jxs shaders on a png. As you can see from my very organized patch I'm only using 3 shaders.

I have a humble laptop with AMD Radeon 780M and as soon as I try to read the image (4000x4000 px) my GPU use rockets to >90% and Live becomes unresponsive. My CPU doesn't crash so I think it's only using GPU? I know I have a crappy card but I didn't think it was thiiis bad. I also know my image is quite big but is that all?

Do you guys have any tips on improving this situation on my laptop, or am I cooked? I figure if I can't load this picture onto jitter I should forget about making more advanced stuff lol :( Let me know!

I’m putting these three systems together in the same video because that’s exactly where something interesting happens: they’re not three separate tools, but three different ways of letting sound emerge.

Orbit is the only one living directly inside Ableton, as a Max for Live device. It’s compact but very dense, a feedback system built in gen~ where internal relationships constantly shift, reorganize, collapse and regenerate. It’s perfect when you want to stay inside a timeline but keep that unstable, evolving behavior.

The other two live outside, and that matters. Vortessa and Interfera run as standalone Max patches, so to bring them into Ableton I route them through Blackhole. But that’s not required, all three systems have their own internal recording engines, so they can be used completely standalone without a DAW.

Interfera is the most open toward the world. At any moment you can geolocate field recordings by description, cities, environments, keywords like ocean, airport, wind. Or use its seeder connected to freesound.org to directly access the database and process sounds instantly inside the patch. There’s no separation between searching and composing, it’s a continuous flow. Inside Interfera there’s also a very powerful sampler based on Mutable Instruments Rings (Volker Böhm implementation), which allows you to turn any fragment into resonant textures and complex soundscapes.

Across the systems, sound can also be organized and explored through audio classification using FluCoMa and DataKnot, introducing a layer of machine learning that lets you navigate, cluster, and reshape material based on its intrinsic features rather than fixed categories. This adds another dimension where composition becomes interaction with a learned sonic space.

Vortessa is a much larger and deeper environment, and it’s fully multichannel. It’s built around feedback networks, non-linear interactions and layering. You’re not writing sound, you’re setting a system in motion and observing how it evolves. On the recording side it can capture up to 40 separate mono channels, or render directly to stereo. This means you can preserve every internal component for later reconstruction, or just print the final result.

When used together, something very specific happens: Orbit keeps a foot inside Ableton, while Vortessa and Interfera inject continuously evolving material. Field recordings transforming in real time, feedback generating structures, systems reacting to each other. It stops being a linear chain and becomes an ecosystem.

If this approach resonates with you, you can find these tools and others from the series on my Gumroad, designed for cinematic sound design and contemporary musique concrète.

You can find these tools and others from the series in my gumroad (in the comments)

emilianopennisi.net

#sounddesign, #musiqueconcrete, #experimentalmusic, #generativesystems, #feedbacksystems, #maxmsp, #maxforlive, #abletonlive, #fieldrecording, #freesound, #granularsynthesis, #nonlinear, #soundart, #electronicmusic, #avantgarde, #soundscape, #modularmindset, #genpatch, #audioprocessing, #cinematicsound, #noiseart, #drone, #algorithmiccomposition, #digitalaudio

Hey there everyone,

I just wanted to share a little jam featuring a Euclidean Tremolo pedal I built on an Electrosmith Daisyseed with Max Msp Gen~.

This tremolo pedal allows for rhythmic chopping based on the mathematics as found with Euclidean sequencing. The "Generating Sound and Organizing Time" book was a huge source of guidance and inspiration when it came to programming the effect.

So for this video I enabled random mode on the pedal and then generated rhythms on the fly with a synth loop running on the OP-1. 

Euclid is fully MIDI compatible, so you're able to keep things tightly in sync with the MIDI clock as opposed to feeling it out with the Rate knob. In this particular instance I was clocking it with the Dirtywave M8 so I could set the pedal to 70bpm.

If anyone has any questions, concerns or ideas please feel free to let me know.

Thanks!