- Status
- Available
- Released
- Aug 19th, 2011
Learn the fundamantals of Max For Live and begin designing your own uniques Devices, Instruments and Effects in Ableton Live...
Tired of the same old sounds, modulators and effects? Learn how to design your own instruments! That’s what Max For Live is all about! Join M4L expert Danny Piccione, as he introduces you to the basics of programming in Max For Live. Learn all about Max/MSP’s objects: what they do, how they work and how to patch them together to roll-your-own cool instruments and effects that work seamlessly in Live.
Danny starts off with an introduction to Max/MSP and how it is integrated into Ableton Live. He then explains the different object types and how the Max For Live UI works. Next he takes a look at some of the cool Max Objects—which handle the MIDI side of things— showing you what they do how you can use them.
From there Danny explains audio processing using the MSP Objects, which create and process audio. He even show’s you how to build a basic amplitude modulator synth! Finally, Danny wraps it up by showing you how to build a very cool random note Note Sequencer!
Max/MSP and Max For Live require a bit learning and practice. In this comprehensive tutorial, Max For Live: Basics, Danny Piccione will get you started on you way to becoming a real M4L programmer!
Check out our complete Ableton Live library of tutorials:
- Live 8 101: Core Live 8
- Live 8 102: The Simpler Sampler
- Live 8 202: Live's Effects: Plugged In!
- Live 8 203: Live's Sampler: Explored
- Live 8 204: Exploring Drum Racks
- Live 8 205: Live DNA!
- Live 8 207: Hooked On Racks!
- Live 8 303: Ableton Live 8 TNT Tips and Tricks 1
- Live 8 402: Designing Sounds for Dance Music
- Live 8 403: Remixing in Live
- Live 8 404: Making Electronic Dance Music
- Live 8 405: Max For Live: Basics
- Live 8 501: Working with Live 8 - Level 1
- Live 8 502: Working with Live 8 - Level 2
For a full list of the topics covered, see the Tutorial Outline
or click the button below to Preview this tutorial.







