I find the Steppy better when I am doing a track live but the drum sequencer on Push2 does allow me to move the timing around. I either use this from Push2 or I send in triggers from an Intellijel Steppy. (But on Max/Live the settings would be saved!)įor drums I use the Ableton/Max Drumrack that is part of Live 10 (I can't afford 4 dedicated drum modules, filters, etc.). I could do the LFOs and clocks from Max but this would tie up I/O ports. I use the CV Tools Clock to send a 48 PPQN clock to a Pam's New workout which then clocks or provides in-sync LFO to racked modules. The physical filters do have more personality that a Max object or a vst~ object. Initially I did try using Max/MSP as a sound source or for filters but I found the sound sources on Eurorack have a far richer sound quality. This can be presented in Max/MSP using the vst~ object and nearly all its parameters can be controlled via Max. I also use the EchoBoy plug-in which works well in Max or Live.
I find using Push2 for mix and effects is really efficient. All my effects are on the computer side, either as Live channel devices or on a mix bus. Like I do most of the module sequencing CV from Live using Push. I have MAX/MSP, Ableton Live and a Push2. And while a Lorenz module might make sense (see sloths) you probably wouldn’t build one for a Rossler attractor. A simple triangle LFO Is easily available as a module, so there’s little point in tying up a Max CV that could be putting out a Lorenz attractor. It depends on the complexity and rarity of the curve. Like "oh this is what I want the delay CV to be" and "oh I want to adapt the delay LFO to my filter cutoff" and so on in this fashion building an insane library of customized subpatches. For example, even with the control Maths/DUSG offers, I usually want to offset or attenuate and I end up changing the curve/times by ear, but in the computer I feel like it would be easier to make subpatches like you're describing specifically for known parameters. Surprising to me because I would think maybe LFO control would be nicer with a computer! (I only use slew based designs in modular because I think they're easier to work with). (Using a computer to generate a simple ramp voltage is a waste of CV bandwidth.) Here’s a clippy sequence I created using the tool.It includes more LFOs and envelope generators than I had originally planned because Max has no advantage to add there.
After all that I added in the ability to send the sequence to a noteout object, so it can be played via MIDI. I also added the ability for the user to set the velocity of each note in the sequence with a multislider object.īPM, note length, amplitude envelope, and master volume are all also adjustable. Then I wanted to be able to randomize the notes regardless of the length and range of the sequence. The first thing I wanted to be able to do was to allow the user to set the number of notes in the sequence and adjust the note range (click the image for a detailed view).
The user interface items all have a green background. The core of the sequencer is an itable object that contains the note sequence. This is probably not a tool that I’d actually use without some significant changes, but I learned quite a bit in the process of creating it. My intent was a to build a simple step sequencer, however it got more and more complicated as time went on. I built this step sequencer in Max/MSP today as an exercise.