Max and MaxForLive, Part 3: Controlling Live With MaxForLive

1. Introduction: Hey everyone, welcome to And Max for Live part three. Controlling Live with Max for Live. In this class, we're going to focus everything we've learned so far in the first two parts on Max for Live. Now with Max for Live, we have three goals. First thing we're going to learn how to do is to ask live what it's doing, okay? We're going to pull information in from live. And then we'll be able to do all kinds of insane things with it. Like what is the tempo, what bead are we on, What our effects doing, What is our automation, What are our Midi notes? All of those things. We'll be able to generate our own plug ins based on what Live is currently doing. Second thing we're going to be able to do is tell Live what to do. We're going to be able to say, set this fader to here, set the pan position to this, create these notes, launch these clips. That's part two. And the third thing we're going to learn to do in this class is take audio and Midi directly from live on a track, and process it in some way. And then send it back through that track, basically acting just like any other kind of effect or I'm going to give you a bunch of files to work with in this class. In the end, we're going to make some of my favorite little patches. Including one that I use on almost every project I've released in the last five or six years. If you're not familiar with what Max is, Max is a programming language designed for audio and video. It's a very different kind of programming language. You're not going to be writing codes, You're going to be moving little boxes around and connecting things almost like a giant bunch of little guitar effects pedals. I've been using Max for embarrassingly long time, and I've been teaching it in my university classes for probably about ten years. The curriculum I've developed has helped thousands of people learn how to use Max even though it is. Yes. Quite a complicated thing. But I promise you if you go step by step with me, you'll understand how it works, how to think like Max. And most importantly, my own personal little motto. You will learn how to learn math. This class, like all of my classes, is endorsed by the International Association of Online Music Educators and Institutions, which holds it to the highest possible standards for online education and classes. With that, let's dive in start learning how to build audio and video plug ins. And Max. And max for live. Here we go, Updates. There it goes, really slick and nice. Okay, so this is our get information from live mini patch or snippet. Let's save it. Right now we're not hearing that because this plug in isn't sending the signal back to plug out. Right? If we look down here. Okay. Next I've set up a little set here that just has a bunch of clips. You could do this with clips or audio clips. What I'm going to basically do is tell it to pick a random and a random clip and launch it with all that we have already. This is actually pretty simple and I bet you can figure this out on your own net. This last one, I think this is my legit secret weapon. I think way at the beginning I said that a lot of people use Max to make their little secret weapons that they keep close. I made this a long time ago and started experimenting with this idea. And then, um, I've been using this all the time. It's a subtle effect, it's kind of wacky. 2. Recap of Parts 1 and 2: Okay. It is impossible to summarize everything that we've done in parts one and part two to get into this class, let me just tell you that if you're just diving in here, if you haven't taken part one and part two, you're just going into part three. I would highly encourage you to go back to at least part two and part one, we really focused on finding Max patches that we can take apart and play with, how we become part of the community, the community of users and makers of Max patches. Then in part two, we really got down in the weeds and learned how to program Max. Now we didn't learn everything. One can't learn everything. One thing I said in that class way too many times, and I will probably say in this class way too many times, is that the way to learn Max is you have to learn how to learn Max. That is the secret to using Max. If you really want to be able to program your own plug ins, synthesizers, and effects in Max for live, you really need to understand the Max language we say, which is really just these boxes connected to other things like you can see around me here. Please go back to part two and start there. Part one would be even better, but at least part two because I'm going to assume that you've watched part two as I start building projects in this class, part three, Cool. Now that we're on the same page, let's move on and talk about our set up issues here. 3. Setting up M4L: Okay, since they, meaning Ableton. Since the Max for Live, there has been a few different iterations of how it's worked. Because Max is its own program. Live is its own program. There's a version of that runs within Live, but that may or may not be the full version that runs outside of live. It's a little confusing. I have noticed that even I think might be playing with how this works. This might be different by the time you watch it. But let me show you how best to figure out what's going on. I'm going to go to my Settings in Live. I'm going to go to files and folders and go to Max Application. And then look here, it says I can use the bundle version or I can browse. If I browse, I'm going to pull up my copy of Max. What I can see here is I have two options. I can browse and find my full version of Max's just called Max, there it is. Okay. So now I'm using Applications Max app. I'm using my full version of Ma and it is going to run inside Ableton. But if I wanted to use the bundled version which is different, I would click on this use bundled version. Okay. And then it's here, it's just going to I'll do it. Say I need to restart for that to work. But it says you're using the bundled version of Max. There are two different versions right now. As far as I can tell. The two versions are essentially the same. Very little different between the two versions. It doesn't really matter if you bought suite and you have the bundle version, that's great use that, you don't need to buy Max. But if you want to use Max outside of Ableton, then you might want to buy a separate license to it. Like what I have. Maybe just to keep things simple, I'm going to use the bundled version of Max since that's probably what most of you are using. Okay, I'm going to leave this on the bundled version and I'll use that for this class. I'm going to restart. Then if I go to something like, let's just make a max for live something, you see it here. I'm going to hit this button to actually open the editor. This is where Max is launching. It takes a second the first time you do it. Okay, now I'm in the bundled version of Max. It looks exactly the same. 4. Differences in M4L and Max: Okay. I did just say that the bundled version of Max for live and the full standalone version of Max don't have much that are different. There are some things that are different between the two. I actually just found a list. Let's take a quick look at it. This is on Cycling 74 website. They're saying you can do all these things, direct audio, driver access, doing things like rewire and multi channel audio, you cannot do in Max for live. That's not something you're going to really need or want to do, especially multi channel audio in Max. If you're handling audio in live, doing multi channel audio stuff is cool. But you can still do that in live, right? Your inability to do it in Max here is not really that big of a deal because you can still do it in live. Unlimited Midi hardware messages, looks like they're restricting some things about Midi hardware messages. Author and edit. En and MC is multi channel patches. En is like another package that lets you do some really advanced stuff. We won't really get into En in this class, but it is super powerful. I would highly recommend you check out Gen after you get comfortable using Max. But you won't be able to make En patches in Max for live. However you can use them. Export code from Gen can output raw code. But we don't really have access to Gen, this unlimited operation. I'm not really sure what that means. I don't, I don't know, I don't know what they mean by that here. But these are pretty niche things. All the code, everything we've learned so far, that's all the same. They're similar, right? It's really just gen in the multi channel stuff. You're pretty much good with the built in version of Max. The only real reason to buy the standalone version of Max is if you want to build some tools outside of Ableton like some standalone applications. 5. Our Three Main Goals: Okay, so when it comes to using Max for Live, there's really three things that we need to be able to do, right? Everything that we can do with Max for Live comes down to these three things, okay? The first is getting information from live. Okay? We can ask live, what are you doing? What is the state of this fader? What is the state of the tempo? What is the transport doing? What is this effect doing? We can get information from live with that information. We can do all kinds of fun stuff. But that's the first thing, learning how to ask Live for information. The second thing is how to control live. Right? So we can say, set that volume to 50. Set that pan position to this, launch this clip. Mute this track solo, that track. Rename this track. Right, Like that's controlling live. Okay, that's the second thing, controlling live. Then the third thing is processing audio from live. Be able to take the sound that's on a particular track, route it through our max device, and then send it back to that track, right? Be able to process that audio within max for live. Those are the three things that we need to learn how to do that makes it sound so simple, right? The way I've organized this class is we're going to start with six objects, we're going to focus on six objects. These objects are really designed to be used together. At least four of them are funky objects, like they're tricky to really wrap your head around, but these are going to be the objects that we're going to learn that are going to help us do those three main things. Okay, what we're going to do is we're going to build the tools to do those things. Like we're going to build a little patch that goes and asks for information from live. Then we're going to save that as a snippet. We looked at snippets in the first class. We're going to build those together so that you have them. You have a little arsenal of tools that you can use to go get information, send back information to control live and to get audio for processing. Then we're going to go through how to use those little snippets in all kinds of different ways. How to ask for different information, process different information, and do a whole bunch of stuff. And then at the end, we're going to make a whole bunch of really cool projects, trust me. All right, let's dive in. 6. The Three Types of M4L Patches: Okay, I think I mentioned this already, but I just want to drill down a little bit more on the three different types of Max for live projects or Max for live patches, just to make sure that that's really clear. If we go here to our Max for live stuff, the browser of live, we have three different things. Max audio effect, max instrument, and max Midi effect. Now here's the most important thing to know. No matter which of these you start building with the code, and everything is the same, okay? You can use all the same code. If I open audio effect, I have here a blank audio effect. That's the one I'm going to use to start building my own stuff. Then I also have a whole bunch of other projects, things that people have made. That's cool, but if I want a blank slate, I'm going to open Max audio Effect. Now in Max audio Effect I'm going to get this. It's going to have plug in and plug out, that means I can get the audio signal from live effectively. This audio signal, what shows up here is going to go straight into this plug in. And this plug out is going to go straight to here. Okay. I can build whatever I want right there and do all kind of cool stuff, okay? When I open and max instrument, I need to put it on a Midi track. It's going to say Midi from live. All the Midi data from right here. Anything going into this track is going to go straight into my project. The max instrument is by default, set up to give you Midi output audio, right? This Midi information is going to go straight to Midi. In then at some point in your project, you're going to generate sound. That's what an instrument does, it makes sound. You're going to the sound that you make into this plug out and it's going to go straight out of your track. Then the third one is a max midi effect. With that one, we've got Midi coming in mid, straight from there. Any Midi going into that track is going to go right in there. Mi going to send it right back out to live. So we're going to put an instrument out here or something. Those are the three types of things, but remember everything that you build within them is the same. This is just like the starting point, right for the effect. Okay, I just wanted to make sure that was super clear. Must go. 7. Launching MaxForLive: Okay, before we get into these objects, let's just real quick, make sure that we're all on the same page. When it comes to actually launching Max for Live and the Max for Live editor, there might be a faster way to do it, but here's how I always launch it. Click on Max for Live over here. Now you've got your three different things here. I always just go to the first one, then you've got all these devices. Your list might be different here, but I always just grab this first one here, Max audio effect. This is just going to be a blank effect. Throw it onto a, throw it onto an audio track. Okay, now we get this. Okay, really simple little patch. We'll explain what this is doing later if you can't figure it out. But what we really want to do to open our whole editor is hit this button right here. Okay, Now the first time you hit that in a day, Max has to. It can take just a minute. You can see it spinning to show you that it's doing it. Okay, now Max is launched. I have a ton of windows open. Let me close all of these. Okay, this is the only thing we really need here. It launched that patch and now I've got my editor. First thing I always do, make this window nice and big. Okay, so that's how we launch Max. Now while we're here, I will point out this little vertical line because this might be something you notice that's different than standalone Max. This line doesn't really do anything when it comes to programming. We can go under it, we can put stuff wherever we want. But what it's doing is it's telling us that this amount of space above this line is what we're going to be able to see in live down here. Okay? This is what we're going to be able to show on the screen. Anything under that line is going to be like down here. We're not going to be able to see it. You can program all you want. But when you build your presentation mode and you want things to look really nice, you want to move everything above that line that you want to see. We'll deal with that later. But that's what that line is doing, and that's why it says device vertical limit. And this is just a comment. You can delete that if you want. It doesn't matter. Okay, so now that we know how to launch Max for live, let's go through these six key objects. 8. Live.observer: Okay, our next object is going to be live observer. Okay, now let's look at the help file for this one monitor, changes in live objects. Live observer is used to listen to changes in the values of properties in the live object. Object works in conjunction with a live path object which sends ID numbered messages into the right in let of live observer. Cool, here's what that means. Live observer is going to report the value of whatever we tell it when that value changes. Which is great. That's when we need to know it. The way we're going to tell it what to look for is with the live path object. Cool. Now, in order to do this we need to add one other little thing in here. We need an object called trigger. This is a weird object, it's always been really confusing to me. But basically with trigger trigger, basically you send it something and then it outputs it a bunch of different ways. The first thing to know about trigger is that we can use the word trigger or we can actually just use A okay, means trigger. Now, anything I give it after, it is going to tell it how I want it to format its outputs. Okay, I'm going to say B, L, L, here's what that means. What I've said is that this is a trigger object. Out your first outlet, send a bang. Out your second outlet, send a list. And out your third outlet, send another list. Okay? We're going to need all three of those eventually, but we don't quite need them all yet. We need the first two. Okay. I'm going to go, I'm going to take the ID from live path and put it into the trigger object. Then I'm going to send a bang. Oops, no, not skip. One more thing. I need a message in here that we're going to bang, that's going to be property value. This message we're going to bang from the trigger object. Send that into live observer. This is just like you always need to send this to live observers. Strange, but that's the way it goes. Then the list we're going to send to the right in let of live observer. Okay, now here's the cool thing. This much of it is we're basically going to save as a snippet once we're done with it, like if the trigger thing is confusing, you don't worry about it. We're going to save it. And it's going to work because this is always the same. This part of it is always the same. This part you're going to change every now and then. Let's look at the result. I'm going to look at the volume of track one. I need a floating point number for this, because the volume is going to be 0-1 okay? And that's what I need now. I should be able to see my volume whenever it's changed. Let's lock it. Let's make sure this path got sent to live path. As soon as I clicked it, you can see it update there. But let's do this and this now. When I move my volume of that first track, I see it live. I've successfully gotten that value from live. Now I've opened a huge door, right? Because as long as I can figure out how to format this path, I can basically get anything with this set up. Let's, let's just change the last word to panning. Okay, everything else is the same. Live set, track zero, mixer, device panning. Okay, let's send that to the live path object by clicking on it. Now, if I change my panning position, I can see it in live, right? I can get access to basically anything that I want as long as I know how to figure out the path to get there. And it doesn't even need to be The track on this patch that we've built is on track one. Or as max for live thinks of it track zero. But what if I wanted to get the volume of this track right? I could do that. I got to type in, I got to change my path live set. What, what do we want to call that? Track? If you said three, you're right. Track three, right? Because this is T zero. This is track 12.3. Tracks three. I don't know why there's an on tracks, but whatever. Okay, now I resent to this message. Every time you change this message, you have to resend it to live path, not captured track three. Oh, I'm still on panning. There we go. I just got to get the panning. Okay. If I want to get the volume, I got to change this back to volume. All right. We send it again. And now here's my volume. All right. Live path and live observer working together to report information from live. All right, let's go on to the next one. 9. Live.object: Okay, up next is live object, let's look at the help file for that. Perform operations on live objects. Now we're getting into the realm of controlling live. Let's add to this crazy thing that we have here because that is how it's best used. Watch this, I'm going to take live object, Let's see what it wants inside of it. It says get set, call, get ID, bang, get info, get type, or get path, basically wants the path in there and the ID in there, okay. So if I put this at the bottom of this little path here, I need one little message. I just need to say set value $1 dollar sign one, okay? Set. Now this is an interesting little message. I don't think we've seen these yet. But what this means is that when you see dollar sign one, it means I'm going to send you in something. And you can do this with a message. This is a weird way that a message can actually process things a little bit. I'm going to put in a number here. It's going to basically replace this dollar sign one with that number. If I put in a two here, it's going to output set value two. Okay? And then I can change that all I want. What I'm going to do, let's put this into it, then take that out and into the live object. Now I'm also going to swing back up here and get this list and put that in there. That's going to help us get the path that we need out of it, right? Because this list is the path that we're getting for the volume of track three. In this case, we're sending that path down to this live object also. Okay, that's it, check it out. Now I've made a double situation here. These objects are built this way to be able to do this, let's put this over here and then this over here. Let's make sure we still have that message in there. Okay, Now I can move the slider and I see it showing up in my patch. So I can get it, but I can also move it here and get it into patch, right. I can control it from within the max patch. I can send a number here and through the live object, it's going to send it there. I can control it in either place now. Okay, now doing it this way does have a slight problem. It's giving us some errors. Let's tighty it up just a little bit. I'm going to get rid of this number box. I'm going to drop this down a little bit because I think we're getting a feedback loop here. In order to prevent that, I'm going to put this slider in here. And then the set one in and set value out. That'll make it. So now I can control things because of the way the inputs and outputs are here. It prevents a feedback loop from happening. Now I can go both ways, just fine. I've got a nice UI to boot, okay, Live object. 10. Live.remote~: Okay, the last one of these tricky objects and then we have two more, but they're really easy, don't worry about it. This next one is a little bit different. This is live remote, this is Tilda remote. Tilda. What does that tell you? You know that if it's got a Tilda that it's working at audio rate, it's sending or receiving audio. It has something to do with an audio signal. Now, this is not the object that we want to get the audio signal that's going into live and then do stuff with it. This has nothing to do with a live audio signal. What this has to do with is controlling live with audio rate objects, which is a fancy way to say LFO's okay. If you want to put an LFO on, something you're going to want is something that cycles. What better object then cycle. Cycle makes a sine wave, we can give it a value, let's give it a value of 0.5 Okay? That's super low, and that's going to be a great LFO. Now I can run that into live remote, then the only thing I need is our live path. I'm going to grab our live path from right here and put that into live remote on the right side. That's it. Now we're going to control whatever our path is set to up here with this LFO, okay? I'm going to click this again to get it going. Then it doesn't work right away. Okay, this is another case where we might need to save it before it starts operating. Let's say save a few times. Now I'm going to send it the message again. There we go. Now it's working okay. We can see it's got that LFO just cruising on it. You could do this without live remote just with this, but you'd have to do some funky stuff to get a number to go up and down and up and down and up and down. This is just a lot easier if you want to do things like this where you're creating LFO's all over the place. Live remote is a smoother way to do it than live object. It's relaxing to watch, actually. Weird. Okay, now let's go on to the easy ones. 11. Plugin~ and Plugout~: All right, our last two are just going to be the two we need to get a signal from live and send it back out. Okay, so those are what are our defaults up here? Plug in and plug out. Let me actually just go back to a default audio effect here. Okay, let's start, let's get rid of that one for the moment, Okay, When we start audio effect anyway, we have this from live plug in audio to live plug out. Okay, so this is our signal. It's going to go right through there. Let's prove it. Sure. Let's put that on this track and just get it going. Okay, Our signal is happening. We can see it here. Let's interrupt it. If I disconnect these, our signal now is stopping here. It's not doing anything. It's telling us to build your effect in between these two things. And of course we're going to do that. This stuff is all just comments. So we can delete it, but if we want our signal back, we can put it there. All right, if we want to do something to it like what ight we do maybe we want to do some crazy filtering. I think we use this object in the last but so we could do something to it and then send it back to live. There it is, right? So cool, right? Getting it in and out is easy as long as what we want in and out is on the same track. Now, this is going to basically interrupt this down here. If we want to get audio from a different track, that's actually quite difficult to do. I think you can do it with a send and receive like you saw us do in the other class doing sends and receives, but that isn't typically what we want to do. Plug in Tilda just gets the signal from live, plug out Tilda, sends it back to live on the same track for any audio effect that you're going to build. These two are probably going to be at the top and the bottom of your patch. And then you're going to do something interesting in between. Pretty simple. 12. Abstractions: Okay, those are six key objects that'll get us talking back and forth to live really quite easily. Live path, live observer, live object, live remote, plug in and plug out. But there are a whole bunch of more objects. In order to explain them, I want to talk about this concept of an abstraction. Now there's a trick we can do in Max where we might a patch that does a thing, a utility thing, something that we need to do all the time. We could save it as a snippet. That is something we could do, but there's something else we could do. We could save it as its own object. This is a weird idea, but the snippets thing is relatively new. Before snippets, this is what we did all the time. You might make something that you do all the time and then you save it as an object. And then you can recall that chunk of max code just by making that object the object that you named it, right? For example, I could make an inlet here and say, I don't know that goes into the whatever. I could make an outlet. Let's just leave it with one inlet. There's one inlet here and no outlets. I could save this as its own patch as long as it's in the right place. As long as I save it in the right place, then I could name it like J thing. Right. After I did that, I could just open up any object and write j thing and hit return and it would make my object right. And then I could double click on it to open it. It's turning orange dish here because that doesn't exist. The reason I'm telling you about abstractions is that there are a bunch for live already built in. Let's go up to our menu bar here. Go to Extras, then you should have this Max for Live API abstractions. Okay, let's open that. If you don't have this, I think this comes built into Max for live now. But if you don't have it, search around the Internet for exactly this and you can install this, but it should be there. This is giving us a whole bunch of abstractions that we can do. For example, if we want to launch a clip, let's click on that. Okay, this is what just opened up over here. What it is is L fire selected clip. Okay. We could do that and it's going to launch a clip. I could double click on this to open it, and we can see the guts of it, how it works, but we don't really need to. But this will make sense. There's a live path, there's live object, there's more abstractions in it. If I click on it, there's more stuff you could make. All of these on your own, but I just want you to know that these are here. All of these are really handy things. Select parameter of a device, select the device, um, save live path, get points, observe transport, toggle transport. There's tons of fun stuff here. Know about this that you can grab it and you can use any of these if you want to use a muse type min, like watch this fire selected clip. Okay, let's look at that. If I go to Ymax patch and I make an object called pre selected clip, there it is. And then I can use it and it just takes a bang, so I just put a bang on it and it'll work. You can load these up anytime you want. So keep an eye on that list of abstractions file that's in your version of, it's got a lot of really cool time saving things in it. Okay, Let's build some stuff using these things that we know how to do now. 13. Building the Snippet: Okay, let's get into a whole bunch of things we can do by getting information from live or listening to live. So the first thing I want us to do is build a snippet. I'm going to start from scratch, I'm going to go to Max for live, max audio effect. I'm going to throw it on a track and I'm going to open up the editor. I'm going to make it big. I don't even care about this right now, not even going to use it. I'll leave it there. Okay, This snippet is a lot like what we already built itactly the same thing. But let's walk through it again just to make sure we understand it. And then we're going to save it. Okay, first thing we need is that message box. And the message is going to look something like Path Live set tracks zero or whatever. Mops mix device. And then the parameter volume. Okay, now we're going to save this as a snippet, but every time we pull it out, we might be changing this to get a different thing. We'll see the next thing we need is live path, because it needs to handle that path. Okay, let's make this a little bit bigger, okay? All right, now we need that funky trigger object, Funky trigger. That's funny for me to say because my mother's maiden name is funky, it's a funky trigger. Anyway, we're going to go at the middle outlet of live path. If you're wondering why it's only because what we really need is the ID of the path which I'm not exactly sure what that is, but this is, it works. Okay. So we've got trigger bang list list. In fact we really only need one list here. Let's just do that to keep things simple. All right, now let's go to a property value because we are asking for the value of the property. And the property being the thing we're pointed to here. All right, now we're going to go live observer and we're going to give that property value. And we're also going to give it this list. Okay? Then we can do a few things here to see it. And I'm going to set up a few ways that we're going to see it. Let's do set one for that value, then let's do that slider. We can see it. We'll also throw a flu in here. I'm just trying to think of how best to look at the data that's coming in. Okay, so this is two different ways of looking at that data that's coming in. All right, let's test it. I click on that, I can already tell it worked because it got the current value and jumped right to it. But let's change that value and make sure it updates. There it goes, really slick and nice. Okay, this is our get information from live mini patch for snippet. Let's save it. I'm going to unlock it. I'm going to select everything in this little thing, then control click on it. I say save snippet. Okay, down here it's asking for a name. Let's say listen to live return sweet snippet saved. Now if I go over to my snippets, which is here, there it is. Listen to Live. If I want to use this, I can just click and drag it and drop it right here. Boom, there it is. And I can change it, I can play around with it, I can do whatever I want. Okay, cool. Let's do some fun stuff with this. 14. "Property Value": Okay, hi everyone. This is me from the future. I got done filming this class and then I jumped backwards because I don't think I've explained very well this property value bit. Let's talk about that for just a minute. If we go to live observer, there's a weird little max trick you can do that we haven't looked at yet. Which is you can delicately hover your mouse over the left side here, you can get this little greenish lime colored play button. It looks like if you click on that, you can see all things that this particular object receive can do. You can change, it's like the inspector. It gives you a link to open the inspector, but you can change the way it looks. But most importantly for now, you can look at the messages that it can take. We can give it a bang. We can, we can say get ID, which will tell us the ID, which we already know because we're giving it the ID for the thing we're looking for from the live path object. We can ask it to get property, which I think would probably list for us the available properties that we have. We can say get type, which will tell us what type of thing we're looking at. We can tell it an ID, which we're doing in the right inlet where it says ID in, we're giving it the ID already. And then property variable we can say what we're saying here is property value. Like what is the value of the property that we're looking at right later? We're going to have to change this, we're going to ask live observer something else. But you can think of this as a question like what is the value of the property that we're looking at? The property that we're looking at is at the moment volume. Okay? That's why we keep sending this. Every time we update this live path, we're going to shoot out property value saying like, what is the value of that property? This is just a question we keep asking, and then it keeps giving us the answer and setting it here. Hopefully, that explains it a little better. It's a confusing idea. This whole little segment here is hard to wrap your head around sometimes, but hopefully that helps. Okay, back to regularly scheduled programming. 15. The Live Object Model: Okay, so as we go into learning how to get more information, essentially by customizing this message, what we need to know is how do you find what the parameter is called, like is called pan or is it called panning? These are important, one is going to work and one's not. I can't find any documentation that just lists everything that you might want. However, there is some documentation called on what's called the live object model that basically gives you all of that information. It looks like this. What this is telling us is we have tracks, we name the track, and then mixer, mixer device. And then these are the parameters in the mix device, right volume. Panning is called panning. We have sends cross fader, song tempo, Q, volume, et cetera. By setting up different devices like we're using the mixer device so far, but there are other devices, right? We can get those parameters. This document can help clue you in on what the parameter you're looking for might be called. I'll link you to this document in the next segment. Keep an eye out for that, okay? If you're really digging for something, you might want to be able to pull this up. Maybe bookmark this thing, okay? That being said, we know how to find volume, right? Let's do another one. Let's do panning. 16. Getting the Pan Position: Okay, the pan position is going to be super easy because it's going to be all the same, except for this last word. We're going to switch that to panning. Okay, now we've got the pan position. Let's test it as my pan position. Oops, I didn't resend this message. Always got to resend that message whenever you change it. Okay, great. Now we're working just fine. What if we wanted our Pan position to look like it looks in live? Let's try that by getting a live dial. This might not work right off the bat because my ranges might be different. But let's try it. Nope, it's getting zero in one. Okay. So the live dial, its range. What is its range? Let's ask it. Its range is zero to 127. And we're sending it, we're sending a negative one to one. Okay. Well, that's easy enough. I think in the previous class we looked at the scale object. Let's look at that again. Scale, scale is a super useful object. This one I just have memorized takes four arguments. The first one is the low number coming in, that's going to be negative one. The second one is the high number coming in, it's going to be one. Third one is the low number coming out, it's going to be zero. The fourth one is the high number coming out. That's going to be 127. So this object is going to take the range of negative one to one and map it to zero to 127. Okay, so it's going to do all the ugly math for us. Okay, let's take that. And now it should just about match, there it goes. It's got a little more flexibility than the dial has the dials only going down to zero. It's not doing my negative numbers at all. This is a better one for the panning. But there we go, panning. 17. Getting Tempo: Okay, let's do a little more complicated one and get the song tempo. There's a whole bunch of reasons you might want to do this. For this, everything can stay the same. But we do need to adjust our message a little bit more. Let's look at the live object model. Down here is song tempo. We know we need to format it like that. Okay, song tempo, however, see this diamond here? That's a little clue. If we go all the way up to the legend up here, that diamond is telling us master track. Okay, cool. How do we tell it we're on the master track? Well, you can see here, master track, just master underscore track. What that means is that instead of tracks, we need to change that to underscore just one. Then mix device, we still want to be on the mixer device for this because that's where it is in the live object model. Then we need song underscore tempo. All right, and that should give us tempo 1205125. Great. If I change the tempo, we should see it updating down there. Now, not updating the sliders, which is odd because it's way too high for that. Yeah, this number is just way too high for these dials. But that's okay. It's showing it to us right here. That's how you would get the tempo. 18. Getting Transport Status: Okay, let's do one that's a little bit different. Let's figure out if the transport is running. This can be useful for a lot of different effects, especially rhythm based things. The transport is running, meaning the track is playing, time is progressing, or whatever. Then it tells us, it tells us if it stopped. It tells us when we hit play or stop. Let's start with our snippet. This one, we're going to have to change a little bit, so much so that we might want to save this as a different snippet actually. Okay, so for this one, let's zoom in a little bit here. Okay, We don't need to know track or device, so we're just going to say path live set because all we need to know is what is the live set doing here? Okay? Then we're going to go into trigger just the same. Now the thing that the trigger asks is a little bit different. We don't want a property value, we want property is playing. We're asking if it's playing to the live set basically, we're going to send that into live observer. Now we're also going to change this a little bit how we report it. Let's say, let's use the object change, which will get rid of repetitions of a number. This will only show us the result when it changes. We could also just look at the raw result, which in this case won't really look much different since we're using a number box. Okay, let's see it. Let's send live set. Make sure we send that path. We're not playing now we are playing now. Stopped playing. Stopped playing. So we get a zero on one. Cool, We could map that to whatever we wanted. If we wanted it to say yes or no for example, That would be easy to do. We could do something like this, if we want to get a little fancy with our UI stuff, we can say select 0.1 Let's go right out of that change. It's going to bang here if it's a zero, and here if it's a one here we'll say yes. We'll say no, we'll bang that. Then I don't know if we want to just get even a little bit more fun. We could do this. Let's do a comment, right, is the transport playing? And then we could fill a message with this. We could say, all we'd have to do is say pre pen set, Run that into there. And then I think on the right side probably won't matter in this case. Okay. This is a, this is extra stuff that I'm just doing for fun. But basically when this gets to zero, it's going to bang out this outlet. So it's going to get Yes, the transport is playing. That's actually backwards of what we want here. Let's fix that. No, yes. Okay. When it gets to zero, it's going to say no. Then pre pen set means it's going to put the word set before that message. It's going to say set, no. Which I guess I don't really need to do in this case because the message can take it in actually, I take that back. We don't need that. We could just do this I think, and it should just write it. Yeah. Okay. Now we can move that right there. It's just going to say no. We're going to put it into the right inlet of another message box and it's going to set that message to it. Now if I hid all of this stuff, and this was all you saw, and I went and hit play and stop. Stop. Play, Stop. Now it says yes or no. You have to do a little bit of different things for the path and for the message that you're asking of observer. But it's the same basic format. 19. Getting 16th Note: Okay, let's do something totally different. There is a different way to get some information that doesn't use our little snippet. And one thing in particular that I want to make sure you know about, because it's really important for a lot of the things that I build, the tools that I build, what I want to have more than anything in the world is a 16th note from live. Right? I just want to tete so that I can map that to different things happening and make these glitchy effects that I like to make. Let's figure out how to get that. There are some ways we could do it that would be the same as what we've been doing. We could build, tell the live path to go to the transport, get the bars, beats and 16th notes that way. But there's an easier way actually for this one. What we can do is take advantage of the transport that's built into Max. Now the transport is new thing in Max. If you're using Max by itself, you get this internal transport. If you don't know, what I'm talking about is the play stop record part. The part that says play and stop, that's what we really care about. It also says the tempo, the BPM, all that stuff. If you use the transport object in a max for live device, it's going to go and talk to the transport transport. Cool. Let's go over how to do that really quick. Okay, so I'm going to make a new object called transport Now in order to get transport running, I need to do strange things. Basically, every time I send transport a bang, it's going to report and say what the status of stuff is. If I want to find the 16th note, I need to be like pinging it like often and fast. I'm going to use a metro to bang it. Remember, metro is like a metronome where we can give it like a certain number of milliseconds. Let's start off by just saying four n, that means quarter four. I'm probably going to need to hit it faster than that, but let's go with that for now four n. Then to give it an attribute that I'm going to do with ampersand. What I need to do here is just say, you can see the attributes there that automatically come up. What I need to do, active, active, and then the number one, what that means is only run this metro when the transport is active. Okay, so I'm going to plug that in now. When I start my live transport, it's going to start hitting this every quarter note, which is great. Transport outputs a whole bunch of stuff. Let's look at what we got here. We have bars, beats, units, current resolution. What else do we have here? Tempo. Let's look at our tempo just for fun. Time signature. Sure, let's look at our time signature. I'm going to put a message there. Put that into the right, in let transport state. That's what we figured out in the last one. Raw ticks and clock source list of things telling us what's going on. Okay, let's start it and see what happens. Here's my transport now. It's running, okay. What we see here, bars that were on beat. What was this one again? Units. I'm not really sure what that is. This 480 is current resolution. Tempo is 120, time signature is 44. Neat, I got all of that stuff from live. Now if I want to 16th note, I'm going to have to do a little bit more. I might be able to just ask it here, but I don't think it's actually reporting the 16th note. It's giving us ticks here, but that's actually that I think that is going to work. Okay, here's what's happening, this unit number, I'm not sure what that is, but that's not the 16th note. However, it is changing very rapidly. I'm asking for it every 16th note, which means this number is changing every 16th note. If I just convert that to a bang, that's a 16th note. I don't care what the number says, I just care what that says. In theory, I want to test this and see how accurate that is. I'm going to take both those bangs and I'm just going to click here. Okay? And then I'm going to go to my plug out and throw that in there. Okay, that's a 16th note. This is sending this number four times for every time that we see it change. They're actually both sending 16th notes at this point. If I wanted to get just quarter notes from this one, I could use that change object we saw a minute ago. Get rid of that only output when it changes. Now it should give me a quarter note. Yeah, and it's totally solid 11. If I'm counting it out loud and it's not lining up, it's because of the delay in video recording. It sounds lined up to me, but there we go. Now I have a 16th note and a quarter note. I could get a whole note here if I wanted. Cool, that's how you can get a 16th note that'll follow along with your tempo. This is great for doing any gating or patterning or something like that, which I like to do a lot. 20. Building the Snippet: Okay, let's go into controlling live. The opposite of what we were doing. For this we're going to need live path and live object. Let's do the same thing. We're going to build this as a snippet and then save it. So that we can modify it for any reason that we need. There's actually two ways we can do this. Let's start with a simple way. First, let's make my window a little bit bigger here. And zoom in just bigger touch. Okay. First we need live path to get our path. And then we need a message box. The path messages here are exactly the same. Let's go to our volume. Okay, I said tracks two here because I want this one because it's our only audio track that has a volume fader on it, even though the effect is this is what I'm going to control that volume, okay? So I'm going to plug that in there. Okay. Next I need one of those trigger objects. This is all the same. I just need one list here though, trigger bang list. Now we're going to put in our controlling object. Our object that's actually going to control the thing. This is a volume. No, I'm going to put a floating point number. Depending on what you're controlling, you may want to put something different here. Now, I need a message box to do set values, value dollar sign one. Oops, not being able to spell today value dollar sign one, that's behaving strangely. Okay, and then live object. Then just one more thing. I need to connect this live path list over to this live object also on the right inlet. That's it. Let's look at this one more time. We've got the path going into live path. This I did wrong, this is the second one we need. The ID goes into trigger object, then what we're going to send to that object and then we need to set value one and send that to the live object that should do it. That's really all it is, It's really similar to our other one. Okay, let's go over here, let's send this message and then let's control it. We can see it's working just great. Okay, now you may have seen, earlier we did one where both were watching it and controlling it. With this one, we can't watch it. If I change it here, it's not going to update over there. Okay, let's save this. Select All control, click save snippet. And let's call it control live, Save snippet. Okay, now I have that one, Everything we had just talked about. That'll let us control basically all the same stuff. Let's do it the other way, where we build a patch where we can both observe and control. 21. Building the Snippet Another Way: Okay, in order to modify this so that we're both observing and controlling, we basically need to do one thing to make sure we don't get a feedback loop. This top part is the same, our trigger is the same, except we need another list here because we need one for the observer. Let's get rid of that for a minute. Let's get rid of that. We need a message box. And here we're going to go back to that property value thing and we're going to bang that. And then we're going to send that into live observer. This is the same as it was before, but now let's take a message box here. Set one again. Whatever comes in here is going to be this dollar sign. One gets replaced with whatever that is. This says set. That should prevent it from always outputting. If we put like a slider of some sort here, let's see, we'll have to scale these values, but I think it'll be okay then we take these values out then I'm not sure this type of slider will work, but let's find out. I need to connect a few more things. So I need this list to go into this observer and other list to go into the live object. I think that's it. All right, so let's test it. I'm going to send my path, let's see if I can control it. Ooh, I get all kinds of good errors. Look at that. Take the parameters range, right? Okay, so this is sending a zero to 128 or something like that, and this wants a zero to one. There's a few different ways we could deal with that. We could use that scale object again. Okay, let's use this slider here. That should work a better, because it's already in the right range. Okay, Now I can control the volume. And watch the volume here. Perfect. Let's save this one. Now This one I'm going to save, control and observe, Observe, live, boom. Okay, so now I have two ways to do this. That's great. Okay, so now let's do some stuff with it. 22. Controlling the Pan Position: Okay, let's go through some of the same things that we listen to, but now control them. Let's go to our snippets and say, should we do control and observe, or control? Let's just do control for the moment. Okay, here's our snippet. Let's change this to panning. Now for each of these, we're going to need to change our value here a little bit. This one I think will work by value. What I should have said was the range, right? And maybe even the UI object sometimes. But I think this one will work for us. Our panning position I believe is going to be negative one to positive one. Let's send that there now. We should be able to go, oh, we save this to track two. That's here, there we are, that one, okay? Getting 1 million errors here. And it's because I went too high, right? What I need to do is go back to zero and set this to be a maximum value. Now this is interesting, there's a few different ways I could do this. I could do that with the scale object like we did for the other things, but I could also just go into the inspector. Let's move this over a little bit. I believe I can set a minimum and maximum value right here. Minimum value should be negative one, maximum value should be one. Now the trick with doing this, now that we've done it, it's going to work great for panning, right? That is perfect. However, the problem is, if you are in the habit of doing what I do a lot, which is just, oh, I need another number box and grab that one. Now this one is going to be at that minimum value and maximum value. There's nothing in the interface that shows you that you changed the minimum maximum value. It can cause problems later if you're not paying attention. That's why I like to use the scale object because it's like you can really just see what it's doing much easier. But setting the range of an object like that works too. All right, so now we're controlling panning. 23. Selecting the Track to Control: Okay, let me show you another little trick we saw down here. We can do a message with this dollar sign. One thing what we know that that does now is if we send a number into the message, it's going to use that number in place of where it says dollar sign one. Okay, this is going to output what's going into live object is set value 0.88 That dollar sign one basically is a placeholder. With that in mind, we could format this message a little bit more to customize what we want it to do. Here's what I mean, watch this. What if I replaced the track number with dollar sign one? Then I put a number box up here. Okay, let's actually just look at what that's sending by putting a print object on it. This is, using print is just a great way to confirm that things are doing what you think they're doing. Okay, If I type in nine, here's what happens first, I'm going to get an error. That error is cool, because what that error is telling me is that there's no track nine, right? We don't have that many tracks. That's why that error is there. Let's say track three because remember track three is going to be the fourth one here. That's as many as I have. I say track three but then look at what is printed path live set track three, mixer, device panning With that, what I can do is put that number box there and modify this message as needed, right? So this is cool, because I could now have a little more flexibility in this message. If I was doing something where I wanted to change the panning of track three, I could do that. But maybe then while I'm doing it, some event happens that switches this to track two. Now I'm controlling track two. And then something switches it and moves it to track zero. And now I'm controlling that, right? So we can use this dollar sign one to modify this message. Oops, just triggered a bunch of errors. I could even get crazy with it. Like let's say random three and then put a bang button here. Okay. Now I could do this all day long and I'm just switching between tracks randomly that are getting controlled by this pan right on here. Didn't work because that's this track in its Midi track, doesn't have a panning position. But this will work with everything, both listening and sending. Whenever you have something in there, you can just dollar sign one and replace it with whatever you want handy if you're trying to do something to multiple tracks on. 24. Controlling Transport Status: Okay, let's control the transport. Let's start and stop the track from within max. We need to do a few funky things to get this to work. Now there's a few different ways we could do this. This is the more complicated way, but I'm going to use it to help us learn a couple more objects. First, we need to set our path just to be live set, just like we did when we were listening to the transport before we're going to go live path into our trigger. I think we're going to need another list here. Okay, Just hold on to that for a minute. Okay, Now we're going to get rid of that because what we really need here is just a button at the top. And we're going to use that as a toggle. Now we need a message. We saw this before when we were asking live what it's doing because we still need to ask it. We're going to get rid of that. Go with that, we're going to go into our live object. We're going to ask the transport if it's playing. Now we're going to get a little fancy here. We're going to use a route object. Let's look at what route does route selects output based on input matching. Basically, what you can do with route here is we can say, take in a whole bunch of different things into its first inlet and then it'll output them to different outlets depending on its argument. The first thing in what we give it, for example here it says to wash the cat. The second argument here is a number two. If I click on that, it's going to output wash the cat out its second outlet. Right. It really lets us just parse things out. Okay, maybe we'll make more sense once we do it. What we're going to do is we're going to say we're going to use route and then we're going to evaluate the message is playing. If live object says something is playing, it's going to say zero or one. And then is playing. We want to select zero. If it says zero is playing, we need to grab that zero. Then we need to send it a message that says start playing. We're going to do that with a message. Start Play. Oops. Let's slide that up just a little bit. We're almost done, okay. And then that is going to go into another live object, we're going to say if it's not playing. So let's go through this part one more time. We're going to ask the live object, he is the transport playing. That's what we're doing here. Get play. Is it playing? Live object is going to return. Either going to say zero is playing or one is playing. We're going to look for is playing and we're going to select it. If it's zero, we're going to say start playing to the live object. By that same logic, we're going to say if it is playing, we're going to say stop playing. And we're going to use the other side of select here. Now this is funny little trick here because what select does is we can say select zero. If it matches zero, it's going to output a bang out its left outlet. If it is anything other than zero, it's going to send it out its right outlet. Now this is going to send zeros and ones. This is just a shorthand I could do. Also select one, but I don't need to because it's either going to be zero or not zero. This is just a shorthand way to isolate the ones Google. Then I'm also going to need my other list here so that live object knows what we're talking about, what we're looking at. Okay. Another convoluted one, but it should work. Let's try it. There's our transport. I'm going to bang it. And it starts playing, I'm going to bang it again. And it stops playing Hurray, it worked. I can start and stop it all day long. 25. Controlling Track Names: Okay, maybe you remember, way back at the beginning of part one of this class, I showed a patch that I think it was just called stupid Max for live tricks or something like that in it. One thing I did was changed the track names to be funny things in the middle of the track. Here's how I do that. This is actually pretty simple. Let's take the controlling live snippet, zoom in just to touch. All right. All we really need is let's do it to the first track. We just need that much live set tracks zero, we need to know live set and we need to know which track we're talking about. Okay, then all we really need here is this live path needs to go into live object on the right. Then here we just need to set name space, whatever we want to say here, let's say Pickles. All right, Then we just need to click that. Okay. We could put a button on it if we wanted, but if you want to do this, we're going to go like that to make sure it's got the right path. And then we're just going to click this here. It says track one miti. If I click on this, it says Pickles. Now another thing I did was I set up a thing where it started toggling between two names. Here's how I would have done that. Two names, let's do sandwiches. Pickle sandwiches. Okay. I need something that's basically going to bang these like one then the other than the one and the other. This has nothing to do with Max for live. This is just some silly ableton stuff, but maybe it's a fun little break, silly stuff, but let's do it really quick. I need a Metro that's going to go at the speed I want, 60 or so, 200 milliseconds. That's pretty fast. Then I need to turn that on. Let's organize things a little bit here. We'll go about that fast. That's a little fast. Let's go 300 shut, remember this is milliseconds we're looking at here. Let's go five. Okay, That's a half a second. Okay? Now, I just needed to alternate the way I always do alternating. I think it's probably an easier way to do this, but I always do counter counter one is going to with a maximum of one. It's just going to count 010101 that can go in there. I need one more thing which is select zero. We can use that same trick we just use here. If it's a, let's put it bang there. If it's a zero, bang that if it's not a zero, which in this case means it must be a one bank. Now we can see it's alternating pickle sandwiches. Neat. Now luckily, I've given myself a way to turn that off this time, which I don't think I did in the other version. If I just turn that off, it's doing that. But don't do this. There's no good reason to do this. It's just kind of funny. I suppose if you wanted to make the weirdest plug in ever, you could make some setting where some combination of notes happened. And then like it started changing your track names. It'd be like a hidden feature or something like that. But let's leave that behind. Okay, moving on. 26. Controlling with Abstractions: Okay, last thing in this section that I want to remind you about, because I don't think this is new information, we've already talked about it. But look at that. Max for live API abstractions, remember you can find that by going to extras. And then Max for live API Abstractions give you a lot of cool things you can do. We'll do a clip in a minute. I want to do processing audio, then we'll go back and do launching a clip. Some stuff with mities, scenes, devices, global track, a lot of different things you can do. This is definitely not an exhaustive list of things you can do. These are just some standard abstractions. Don't forget about this. This is an awesome little shortcut to get you doing some stuff that you might want to do. 27. Controlling Tempo: All right, let's control the tempo. All right, let's go to controlling live with our snippet. Zoom in a little bit. Now we remember the message we need to send here. Instead of track two, we're going to go master then mixer device. And the tempo is our message, same as when we were monitoring it and everything else should be the same. Let's give it a shot. So I'm going to send that, okay. It's saying invalid range because our tempo, our possible tempo range in lives, I believe it bottoms out at 20 BPM and it goes up to 200. Let's use a fresh number box, not a floating point, although we could use a floating point, it certainly can handle that. Sure, let's use a floating point, but we need one that has the right. Let's go here. Let's go to our inspector again. All the way at the bottom and let's change this. Minimum 20 and maximum I believe is 200. All right, now I shouldn't get any more errors and I should be controlling our tempo up here. And I am cool. Let's learn another new trick we could. Let's say we wanted our tempo to go from a number to another number over a certain amount of time. There's an object that would do that. That object is called line. Draw a line between two numbers. What we need to give line is a message that says starting point, ending point space, length of time. Let's say our tempo is like 80, but we want to get up to 160, okay? I need a comma between those. 80 to 160 is what we're going to tell it to do. Then I'm going to say space. I'm going to say do it over the course of, I don't know, 2 seconds. Okay? Now, when I hit that, which I could just click on it by going, put it bang to be fancy. When I hit that, it's going to generate those numbers. Let's put a number box on it and just look. Watch. Boom. There goes, okay. Took 2 seconds. Great. Let's just pump that right into there. Watch our tempo up here. When I click this, our tempo ramps to the next spot. We can get fancy with formatting this message to make it then do the opposite. And other things for musical purposes, we might want this to be longer. We might want to be over like 10 seconds. Which would be that, see now it's like slowly going. You could use this in like a crazy, weird build up where I'm just basically going double time by doubling the tempo. That could be a fun effect, but okay, so that's how we control our tempo. Check out line, you can do some fun stuff with it. If you look in the help file, there's ways to do a little bit more with it. It's a fun object. 28. Getting Audio: Okay, we made a snippet and talked about how to listen to what live is doing. We've done a snippet where we built a way to control live, to send information back to live. That's two of our big three things that we wanted to accomplish in this class. Our third thing is getting audio and Midi in and out of live. Let's start with audio. I'm going to go to Max Audio effect and put that on an audio track, Okay. Now like I said before, when I was talking about the three types of Max for live patches, the audio effect, instrument and Midi effect. The audio effect by default is exactly what you want. There's really no snippet to build here, because this is it. What you're supposed to do here is we're going to open this up. Okay? I'm going to make this window bigger. I'm going to take this, I'm going to slam it down there, and then delete these by clicking on them. Press a delete key. Now I'm going to build my patch. Okay, this plug in object is a very specialized object that gets your audio directly from live. Right? If we just want to see it, to do something with it, let's take a audio signal and we'll be able to see whatever we put into live here. Right? Let me grab a clip. There's a clip now. It's playing right now, We're not hearing that because this plug in isn't sending the signal back to plug out, right? If we look down here, our sound is coming in here. It's inside the max effect, but then it stops because we haven't connected it down. If I did this, we're going to hear it out of left channel here. We're going to hear it out of the right channel. This really couldn't be simpler. Plug in is just grabbing the audio and plug out is just sending it right back. Cool. No snippet required. 29. Getting MIDI: Okay, let's do the same thing for Midi again. Super Simple. No snippet required. Let's go to a maxi Midi effect and put it on a Midi track. Here, let's open it up. And this Midi in and Midi out are basically just a piped directly into live. If I do this, let's get rid of these comments. I just look at what's happening here. Let's just print the raw Midi data. Okay, this is just going to show us all the Midi data that's coming in in the max window. Okay, Now I don't have a Midi keyboard hooked up right now, but I could just do this. Let's just make a little clip there, okay? Now, there's a bunch of Midi data coming in. And there it is, right? Let's go back to, okay, there's our Midi data coming in. We could now, if you remember from the previous class, part two, when we talked about doing all of this stuff, we made a Midi delay. We made a whole bunch of stuff using numbers. One thing that you might want to know is that the Midi in object is getting the raw Midi basically. It's a whole bunch of stuff like see all these numbers that are just flying through here. That's fun, but not entirely useful. Sometimes we need to parse this out a little bit. You can do things. There are a couple other objects that will go and get the Midi information too, like Nin. Nodin is just already piped into live. It already knows what we're doing with nodin. We can look at only notes if we want. And look at pitches and velocity and channel. That might be a little more useful to you if we're just looking for notes. You can see that already coming in. I don't need to connect note in Midi in or to anything if I want to see controller information. There's CTL in that's going to show me just controllers, things like mod wheels and any dials or anything like that that you have connected to your computer or that you're playing with. I don't have any right now that are sending anything. There's nothing here. If you really just want to get into the weeds with Midi in, there's also an object called Midi parse that will help you peel out all of this information from Midi. In I've never had good luck with this Midi parse. It's just a lot, it's a lot of information. Usually for my projects, I just need the note info or the control info. But that's something that you might want to think about. Now if you want to send things back to live, you just have to dump them back into Midi out. Or actually you can just do note out as well that will do the same thing. That'll send right back to live, any note information that you made within here. The same thing with control CTL out that will send controller information out. These three objects just magically know how to make their way to the Midi output. You can do whatever you want with them. 30. Processing an Audio Signal: Okay, let's do some audio processing now that we know how to do that. Now the way I thought I'd do this is we did a lot of audio processing in the second class where we learn real code stuff. Let's take one of those patches and turn them into a max for live patch. Okay, here's what I've got going here. This is one of the patches I gave you in the second class. This is a max pat file that's not going to open in live. It just gives me the circle with the line through it. That won't work. But here's what will, right now I have this patch opened in normal max. This is in Max for live. Okay, Even though I can't open file in Max for Live, it's still all the same code. What I can do is just copy all of this and paste it over here. Now I just need to connect it to live. I don't need all the selector stuff, the SF play stuff or even the ADC there. Let's get rid of all of those things. This is what's going into my level meter from the selector. That's what I need to come from my plug in object. Okay, now this deck in standalone max, we would send everything out. The deck, I don't need that. Instead I need everything to go into this plug out. Give myself a little more room. I can really see what I'm doing here. Whenever you're doing this, I like to do them one at a time. Let's connect those and then delete those so that we don't miss them. Move this over here, just so I can see it. I think this one was left, This one was right, and this one was both. Maybe. Yeah, Sometimes just moving stuff around just helps you see it a little bit better. Okay. Now we can delete the deck and everything works. We don't need that. We can close this patch and go back to live. And if we play this through initially, nothing happened, but it's because I need to give in volume. Hey, there's our dry signal, the delays. Not the coolest thing in the world. Now I'm noticing we're not seeing our level meters here. I must have had those connected separately. That's okay, we can do that. And that the easiest way to convert something from a max patch to a max for live patch, just to copy the code into a Max for live device and then replace your audio or Midi inputs with the correct thing. Either the plug in mid in. Then replace your outputs with plug. Then you're good to go. 31. Processing a MIDI Signal: Okay, let's do the same thing with one of the Midi patches we made in the second class. We have this Midi delay here through random notes. Now this is really interesting because I think when we made this, I told you that what's going to happen here with this random thing is that we're going to be making this randomly, moving our pegiator's quite difficult to limit it to only picking random notes within a key. That's actually really quite hard to do. We could do it in Max by making a list of available pitches that it could choose from, limit it to a key that way. But there's an easier way now that we're in Max for live. It's much easier. It's a lot easier. That's a better way to say that. Let's convert this to a Max for Live patch. I'm going to copy all of this, then I'm going to go back to Max for Live. Now this is a Midi effect. Let's just use Midi. Put that there. Open her up, okay? I don't need you anymore. Let's make this nice and big, and paste it in there, Okay? So first Midi in. Do we need Midi in, or are we just generating Midi notes here? I think we're just generating Midi notes. We don't need a Midi in. Our note out is one of those special objects I can talk right to. Ableton. It's going right out and it's going to generate some notes on its own. Wonderful. This can stay exactly as it is. I don't even need this. I could leave it here, but maybe I just want to sever that to make sure that it doesn't pass through anything on that Midi channel. Can do that. Then it should start going. If we launch it, let's give it like something now. We could connect this to the transport if we wanted to. That's actually probably a good idea, but let's get some sound out of it first. We can see notes are happening, so everything's working. But I don't hear anything because I don't have an instrument on here. Let's just throw a good old fashioned analog default. Okay, cool. Let's stop it. Let's pull that down for a second. We stopped it before I got a note off, but that's fine. Let's not worry about it. Okay, let's make this conform to the key, to any key, and then we'll next connect it to the transport. The easy way to get this in key is actually not to do it in Max. There are some things that Max is really good at, there are other things that we have tools for that are just as good, that are better. I'm going to go to our Midi effects and I'm going to go to scale. Let's select just like a minor scale. Minor scale, okay. Now what that's going to do if you've used max Midi effects before, and this one in particular, what it's going to do is every note that comes out of our Midi effect is going to run through this. And it's basically going to quantize the Midi notes to be something in this scale. In this case, C minor, because I have C right here. Okay, So everything now is going to be in C minor. Oops, let me turn my volume back up. It's rather pretty. I can prove to you that we're in C minor, Let's just duplicate this, and let's maybe just put a piano on it. I'm just thinking this might sound nice. Um, give me just plain old piano, grand piano, cool. Let's see, I don't want that. I'm thinking. Let's just play some big old C minor chords. Let's take, let's go down here. Do that, Let's take longer. Let's go F. Let's go down and we get two or single core question in C. I want you minor, let's you get the record flat, flat. Okay? Then maybe we'll do another C minor. Sure. Okay, so just a little little core progression just for fun. Okay, slow it down just to touch and let's try it. So let's launch this. Okay, cool. I heard two things that I would change is that it not being in perfect time with the chords, make it a little annoying. So we'll fix that when we look at the transport. But another thing I might do just for fun is move everything down on an octave. I think I could do that with a midi effect also. So I'm just going to put this pitch Midi effect on here and dial it into negative 12. I'm just going to take everything down an octave, make it a little less abrasive. And you know what, I'll time I do. Let's move the piano over onto it. Well, that's a whole lot nicer, isn't it? Okay, let's connect the transport to it. Let's go to a new video for that. 32. Connecting the Metro: Okay. We saw not that long ago how to deal with the transport. Let's do it the easy way and go transport. Then we need Metro four, let's get a quarter note metro here and we'll go at Active One. What that's going to tell us is we want a metronome going at a quarter note. Go to Live and get all the tempo and all that stuff also start when Ableton starts. Okay, so here is our bars, beats, and units. Let's see, do we want this to be at an eighth note or a quarter note is going to be probably too slow. Let's do that thing that we did before. Let's go to an eighth note then. Actually, we don't even need the transport. All we need is that metro object to replace this metro object, we can just grab that right there. We'll be good to go. In this case we don't need the transport. I could use the transport to connect our metro and make it be the same value as the transport by converting, figuring out how many milliseconds each 16th note is at our current tempo and then putting that into our metro. That's a lot of math though. This should work just fine. We're going to say, give me an eighth note start when the transport starts. That should do it. Let's try it. Okay? I see one thing we did wrong, and that's that if we don't have the tempo, then these aren't figuring out their delay amounts correctly. We need a number for them to figure out how they should delay. Okay, well, that's just fine, Let's do it the other way then. 33. Connecting the Transport: Okay, So this I think, is going to get a little cumbersome, so stick with me here. First, I'm going to take my Metro down to a quarter note. Okay. I'm going to pull up a transport. Okay. And now I want to get my tempo Tempo. There it is. So give me a number box hoops, is that the right one? Nope, that's time signature tempo. Okay, so that's going to give me my tempo. Let's adjust the tempo just so that that number updates. There we go. Now that's 18. What I could do here, well, what I have to do is I have to convert this one oh eight BPM to milliseconds. Okay, let's see how could we do that? There's a weird math way we can do it, or we could count milliseconds in between beats. Okay. This is a convoluted way to do it, but I think it'll be fun for you to see. Here's what I'm going to do first. I need to isolate every other beat. You've seen me do this before. Well, okay, let me explain one more time what we're doing here. We need to convert 18 BPM into milliseconds. We need to figure out how many milliseconds it is. What I'm going to do is I'm going to set up a little system that will always be counting milliseconds in between two beats. Every time we update the tempo, it will continue to count milliseconds in between beats. And that will keep us with a current number, that is how many milliseconds per beat? Okay, trust me. So we've seen this before, counter one, that's going to count 101010. Okay. Now, let's go select 0.1 I know I showed you before, I don't need to do the one. I could just say what's out the other. But this time I want to do zeros and ones just because it seems like a good idea. Okay? Now I can already see why this isn't going to happen, why this isn't going to work. This is just our BPM. There's nothing to count here. What I really need to do is, is to take this number from this metro object. The metro is going to send quarter notes and we're going to move every other one is going to bang on each side of this. Let's make sure that's working perfect. Okay, now I need to count how many milliseconds happened between these two. If I remember right, Tim is an object that we want. For that, let's look at the help file report, Elapsed time between two events. We go this one and then that one, and it's going to output how many milliseconds happened between these two bangs. Perfect. That's exactly what we want. So we're going to go there and there, and then we're going to look at how many milliseconds happen there. Okay, let's start it. 555. Okay. So that means every quarter note is 555 milliseconds long. We could do the math on that and figure out if that's actually a quarter note at this tempo. But yeah, let's assume it is, okay? Now we have our bang happening here, so we really don't need this metro. But I do need this number box because it is controlling all of the delay times, right? So I need this to go into that. All right, so let's set our tempo to 100 and let's launch that and see if it worked. Did it took a second. There you have it. This is just counting the milliseconds between these two and reporting back how many milliseconds. We're using that to derive all of our delay times. Cool. 34. Launching a Clip: Okay, let's talk about launching a clip. This is something that I see a lot of people wanting to do in Max for live, and there's a couple of different ways we can do it. First, let's do it the easy way. The easy way is there is an abstraction. If we pull up this R max for live list of abstractions, there is a clip, selected clip. Now fire means launch here. If we use this, what that's going to guide us to do is it's going to open this and it's going to say, here's how you pull it up, fire the selected clip. Let me put this into my patch. So I'm going to make a new object and I'm going to make Mf reli fire selected clip. Okay, and then I'm going to put a bang on it. Okay, This is great and simple. What this is going to do is whatever clip is selected, meaning let's select that one. I'm just going to click it to highlight it. That's what this is going to fire. I click it and it's going to launch that. Okay, cool. That's easy. Let's look inside this abstraction now. Any abstraction we can command click on and see inside. And this is the guts of it. What if I wanted to not fire a selected clip, but I wanted to say which clip I want to fire. I really bottom stuff right, here's our path path to our clip. Live path, trigger bang list call fire is what we need to say to the object. Let's build it that way. Instead of saying I want to fire the selected clip here, I'm going to say I'm going to tell it which clip to launch, I'm going to go live path. Now I need a message in this message box. We're going to say live set Visible Tracks. Then we're going to say dollar sine one slots. Dollar sine two. What this means is of the tracks one, we're going to say which track and that's going to be the first number that comes into this. And then we're going to say clip slot, that's going to be the second number that comes into this. I need to send two numbers in, but not through the two different inlets. There is a way to do that, but that's not the way this is set up. I need to say, let's do it with a message box. Let's say track number 0123, clip number zero, clips go by zero, also 012. Let's launch that one. Okay, now I need to send both of these numbers into this thing at the same time. And we have a way to do that. I need to pack, need to pack them up, okay? And then shoot them into that list in pack. I really should give it an argument of what I'm giving it. It wants to know what's coming in. I'm going to write 00 just to say there are two numbers coming in, okay. Now that is going to go into live path. Now the rest of this is going to be a little familiar trigger bang list. We've seen this before. We're going to take, oops, now we're going to make our live object. We're going to take that list into the right inlet and we need one more message box where we're going to say, fire, fire that thing. It's kind of funny that they decided this should be fire for the clip. Okay, let's make sure our path is right first. So if I do this, oh, it's already working. It's going great. I think these clips are a little funny, but it's actually working, right? So I could bang the use both at the same time. And it's going to launch that clip over and over. Now. Let's do something careful. I'll stop that. What if I wanted it to launch a random clip? Let's try that. 35. 39 LaunchingARandomClip: Okay, next I've set up a little set here that just has a bunch of clips. You could do this with Midi clips or audio clips. What I'm going to basically do is tell it to pick a random and a random clip and launch it with all that we have already. This is actually pretty simple and I bet you can figure this out on your own. Let's do it now. Our maximum random number here is going to be three, because this is going to be for the track. Then each one of these has four clips. That means our random number for the clips is also going to be three. Actually, no, there's only three tracks. Our maximum number here is going to be two because 012. Okay. Okay. And Okay. That's all we need to do. All right, let me just do this. Pull this down just a hair and this should work. If we want to get even weirder with it. Let's, let's launch a new random clip every downbeat. Okay? So what I need is I need this set up again, and then I'm just going to look for beats bars. I'm just going to look for every time this bar changes, right? Every time that changes, we're on a new bar, right? Let's see if that works. It's not because the metro is shooting out a quarter note. Let's change that to change. I want to bang every time that number an there it goes. Okay, so I don't need that one. I'm just going to connect that bang to that bang. And then we're good to go. This is going to randomly launch one of these clips, the downbeat of every bar, and then it's going to just keep playing them. Now you might be thinking, if you're able to, you might be saying, you know what, I could do this with follow actions. Yeah, you totally could. This is just a fun way to do it and it gets us live. Okay. Before we start this, does anyone see the problem? There's an error already that I can see. And it's a simple one, but it's a common one. Let's walk through this. Random is going to generate a random number and it's going to put it into this message, which is then going to get packed and sent to this message. Now my problem is here is going to output a number, but then this inlet of a message really wants just a bang to send that message down. If I want to replace the contents of this message, oops, I need to go into the right inlet of it. I need to do that. Now, I'm going to change the content of this message, but I need to hit it. What I can do here is I can then use the same bang to hit it. What that's going to do, these numbers are going to change and then the bang is going to hit it the next time around. One thing I might do here just to make it easy is in order to hit these, I might make an object that's just ten, right? This is delay ten milliseconds. Small amount of time, I'm just going to take this bang. I'm going to delay ten milliseconds and I'm going to hit it. What that's going to do is it's going to this bang. Let these numbers let these messages update. And then this delay is going to come and hit them out and send them into the pack. Okay, maybe don't need this delay ten, but I like to put those in sometimes when I, when I want things to happen in a certain order just to be super sure that they do. Okay, let's try it now. We put some scents and pads and stuff in there too just for fun. Cool. Right. It's like AI, kind of, you could set up a big thing and just have this just generate your music all day and all night. Cool. So maybe I'll give you this one if you want. Sure. 36. 41 CartoonExplodingPiano: Okay, in this next section I thought, let's just do three projects that are not too complicated, kind of fun, kind of silly, but you know, they're cool little projects. This first one I call the cartoon exploding piano. Now what this is, I remember when I was a kid watching some cartoon, maybe it was like Road Runner or something. It was one of those, like classic Hanna Barbera cartoons or whatever, where there would be a piano. The one note of the piano would be wired to like a bunch of explosives. The person would sit down to play the melody, but they would keep screwing it up, so they stopped, they didn't play the note that was wired to explosives. Then the other character who was, who had set it up would chime in and would run up and be like, no, you're playing it wrong. And then they play the melody correctly and then explode themselves. So this is like some old classic cartoon trope or something like that. There's your piano bit, now let's see you play it. No, that's not it. Try it again. Oh, you stupid rabbit like this. So let's do it. So basically what we're going to do is we're going to make a Midi piano and we're going to select a single note. And once you play that note, we're going to t an explosion. Since I don't have actual explosives on me. We're just going to launch this clip pretty good, right? Okay, let's do it. I have a Midi track here. Let's go to Max for live. We could do this really anyway, but let's do it with a Midi effect, since that's all we're really going to need. Put that there. What we want to do here first, we need to listen for a note. Let's take note in. All right, let's look at our notes now. I don't care about velocity, I don't care about channel. I want to leave this Midi in and Midi out connected. Right? Because I don't want to interrupt that. I still want to hear the notes. I'm going to leave that doing what it does. Let's, let's say it's okay. I can see when I play it here, this is note number 64. Okay? Simple enough. Let's select 64. All right. Now let's put a bang button on it, okay? So now I can play this keyboard all I want. That's great. And when I play that, we'll go up to it. Okay, We get that, but if you noticed, we got it twice. Why is that? It's because we're getting it at both. A note on and a note off. We're getting it when I push my finger down and then when I lift my finger up off that note, we're getting it again. Okay. We need to throw out one of those because we don't want to trigger this sample twice. We could look for the velocity and say if the velocity is zero, ignore it. That would be one way. There's an object that I think might do us just perfect for this. There's an object called one bang. What one bang is going to do is it's like a throttle. If there's a lot of activity going on that's going to bang through there, then we can tell it. If we give it a bang in the right inlet, it means reset it. This is only going to let one bang through until we give it another bang in the right inlet. Let's do delay. I don't know. And then we'll bang there. Okay, That means only one every hundred milliseconds can get through. Let's make it a little bit longer. Let's go 500 because we really just want this to happen once. Right, that works. Okay, so now we've isolated just the note on of that. Okay, cool. Now the next thing we need to do is fire that clip. We already know how to do this from our last project. I'm going to open that up because there's no need to do this all over again. You'll find that once you make something, it can be really handy to copy it. Okay. I don't need all of that, I just need this. Okay. So here is the stuff we need to trigger this clip. Now, we don't need this fancy stuff here, we don't need that print. All we need to do is say track 01234 and zero. Okay, That's it. Now it should work. Let's get rid of that. Okay, So let's try it. So I'm playing all the notes around the one I want. Okay, here comes the note here. I'll play a scale up to it. I did it. It worked. It's silly. But it gets you practicing, right? Okay. I probably should have set that not to loop. So all we're doing here is we're looking for a specific note. Get that note here. We're going to use this one bang to throttle it so that we don't get that. We only get it every 500 milliseconds or so. That's going to throw out the note off message. Then once we get it, we're going to do this and trigger this clip which is right here, which is our explosion. Neat. 37. The Random Beat-Based EQ: Okay, this last one, I think this is my legit secret weapon. I think way at the beginning I said that a lot of people use Max to make their little secret weapons that they keep close. I've made this a long time ago and started experimenting with this idea. I've been using this all the time. It's a subtle effect, it's way, but it's great on, it's great on pads. I put it guitars. I've even put it on vocals before when I want there to be like a little bit of chaos underneath the surface of the vocal. What we're going to make here is I'm going to make an EQ that moves around randomly, on an eighth note or even a 16th note, and it's just shifting around, madly. Okay, let's dive in. Okay, first thing I'm going to need a Maxra live effect, and this is definitely going to be an audio effect on this track. I've put this little drum groove. Okay, cool. Let's open this up. Let's take plug out and pull it all the way to the bottom because we're going to need it down there later. Let's get rid of the stuff. Okay. First thing let's set up a filter. I'm going to need a filter graph. I'm also going to need a, I think we looked at this are filter graph. But I'm going to go to the help file for filter graph because they have set up here this attribute that shows me all this stuff and I just really want to set it where it is. In fact, I'm going to copy all of this down here. Okay, So I'm going to delete mine and put that there. Okay. Now I'm going to thin this out. I really just want to see what these things are because this cutoff frequency is what I want to get at. That's why I'm going to start moving around. Okay, let's set it into a band pass then. If I start adjusting this cutoff frequency, that's when it's going to get interesting. I want to shrink down that cue a little bit, or actually push it up a little bit. Okay? I'm just going to do it like that now. I'm going to take my, my filter graph out and set it into the bi quad, Okay? Should we do this in mono or stereo? Let's do it in stereo. This whole thing twice. Okay? We're going to take the right channel, put it there. The left channel put it there. And then the right channel put it there, and the left channel put it there. Okay. That's all my audio processing that I need to do. The next thing I need to do is just get this moving around a whole bunch. First. I need a random number. I need it to really be, I don't want to go too low or too high. So let's see if it goes down around here, you're going to hear like a bump as it hits zero or close to it. I really wanted to bottom out around, let's say 160, okay 160. And we wanted to peak at about, let's say 2001, 60 to 2000. Okay. So what do I need my random to say? I basically need my random to be, the maximum value is 2000 minus 1601840. Yes, I needed a calculator for that. Come at me. Okay. So we're going to say random 18 40 and then we're going to say plus 160. All right. That is going to end up outputting the value that I want into there. Okay, if I put a bang on that. That went to the right spot. All right, now we should see my filter moving around. Just how I want it. Just going to click at a whole bunch. That looks great. Okay, and I'm going to do the same thing again for this one. I want my left and right channel moving separately. Great. If I now put a single bang to connect both of those, we see them moving around independently. Great. The only thing I have left to do is get that 16th note. So this is super simple. All we need is we've seen this a whole bunch of times, metro 16 active one, okay? So, stay in time and should be good to go. All right. Let's hear it. See, that's a cool effect. Let's open up a little bit. Oops, See, I mean, I like the que really high for this actually. Because it really gives it that narrow feeling. Yeah, let's make it stupid high. Okay, so the cool thing about this is that you can make this as subtle or extreme as you want. If you change this to low pass, you take your cue down to a negative. But around there, do you did it like this? It's going to be a bit more subtle. Actually, it's still pretty extreme. If you put like a little delay on this, it sounds even nicer. It's a quirky weird effect, but I really like doing it. It's just fun and simple. Make this, keep it in your little arsenal. In fact, you don't even need to make it. I'm just going to give this to you in the next thing. Okay, let's move on. 38. Presenting Your Patch in the Live Window: Okay, there's one major thing we haven't done yet, and that is how to make your patches look good in live. Now remember the idea of this line here means that if we want to show up good down here, we need everything to be above that line. Let's get this one looking nice and pretty. The first step in this is going to be the same as the step before when we did this in just standalone max. That was to add anything we want to the presentation view. I'm going to take this EQ, I'm just going to control click on it and say Add to presentation maybe. Yeah, this cutoff frequency. And the okay, I'll do the same thing down here at a presentation, this cutoff frequency. And the okay, the rest of this, I don't, I don't need that. I don't need that. Yeah, that's actually it. Okay. Now, if I go to presentation mode, I have just that. Okay, let's make these a little smaller, make identical here. Okay. Now let's add some texts. We'll say, right? The first thing we can do is give it like a fun, cool name. Let's call it, We Beat based. Q works based. Okay, maybe we'll make that cool by going to the inspector. We can change our fonts here. We can make it bigger. Let's do that. We can change font if we want, blah, blah. Okay, there's that. Okay. Now, let's, let's do I really need to see that there? Let's do that in. That should work. Now what we have here is filter type is fine. This I believe is the no that's cut off. Okay? So let's label that cutoff frequency and the Okay. Now let's double check and make sure we're above that line. I think we are. Okay. Next, let's just label this, right. I could do something fancier, but this works just fine. Just use text. Make that nice and big there. Now it says this is the right channel. Okay, let's do the same thing with the left channel. Line those up, put the edit mode, see what this is. This is cut off frequency, which means this must be the E. You can move things around with arrow keys if you're getting a little too close to make sure you're grabbing what you think you're grabbing. All right, cutoff frequency. Now you can go really bananas with making this look really cool if you want to, but I'm not going to right now. But that's pretty good. Okay, now I got to do one more thing. If I really wanted to look good in the window here, you'll notice it still doesn't look good down there. I have to go up to view. Click on Inspector Window. Now this is weird, let me walk through that one more time. We have an inspector over here for every object. But what I actually need is the patch inspector, the inspector for the whole patch. The easiest way to get that is to go to view and inspector window. Okay, This is going to show me some attributes of this patch. Scroll down to the view section and then open in presentation. We're going to click that. Okay, make sure that open in presentation is selected. Now when I go back here and hit Save, you can see it updated down there. Okay. Now you actually also see my line came back. You can see that we're really close to that line. Let's try select everything. And then I'm just going to use the arrow keys and move up. Even though it's pushing my text above the palettes up here, I think it'll be okay. Maybe not. It's a little too high. Let's go. Okay, that's not bad. This left and right isn't really showing up. I could make it smaller if I wanted, but there we go. That looks okay. Okay, now it's saved. I can close this, and there it is down there. Okay. So the most important part of that, the part that we'll have you googling everywhere, trying to figure out what to do is that open and presentation button. Make sure you get that just right. Okay. Now that we have this all cleaned up and cool as a max for live device, I'll give this to you again and then we'll move on to our very last section. 39. Learning How to Learn Max: There is so much more to go.: Okay. I'm going to say the thing that I've said many times before, the best way to learn Max is to learn how to learn Max. I'm really hoping that I've got you to that point where you have learned how to learn Max. What we've done in all three of these classes put together is maybe 1% of how Max works. If this was like a comprehensive textbook that showed you everything that was in Max, we've probably covered the first chapter and the introduction, right? There's a lot more to go. There's so much more. The best way to learn more is to come up with the project idea and then try to do it. In the process, you'll find new objects, you'll find tutorials, you'll find help files for those objects. You'll learn more that way. You can also be looking at some of the presets, both the built in ones and ones that you find on Max for live and other places. Download those and open them. Open them up and try to read what's happening. Try to read through, Okay, I understand this object is doing this, this is doing that. Start trying to understand those things. Pop in a little object if you want to see exactly what something's doing. If you don't get it. We've learned how to do a lot with Max, but there's a lot to go. But hopefully at this point you're able to continue learning on your own with the tools built into Max. 40. More Resources: Okay. At the very beginning of part one, I showed you some extra resources. I just want to remind you about those one more time. Max for Live.com is a great place to find all kinds of projects. The Cycling 74 website has community forums going there, asking questions, getting answers, reading the forums, other things that people have asked and gotten answered. That is a really great place to find help, to find other people trying to solve some of the same problems that you're solving. One of the best things about Max is that there's this huge user community. By and large, that user community is really interested in helping each other out. The best entry point for that community is the cycling 74 forums on their website. I'd put Max for Live.com It's a close second. There's also read it, Communities, discord, communities all over the place. You can check out some of those too if you really want to immerse yourself in the max for live communities, don't forget about those and don't be shy on them. As long as you're nice and polite, people will help you there. Okay, a few more things really quick as we wrap up. 41. Bonus Lecture: Hey everyone, want to learn more about what I'm up to? You can sign up for my email list here. If you do that, I'll let you know about when new courses are released and when I make additions or changes to courses you're already enrolled in. Also check out on this site. I post a lot of stuff there and I check into it every day. Please come hang out with me in one of those two places or both, and we'll see you there.