-> VISIT KEVIN'S NEW MAX/MSP PAGE WITH FREE STANDALONE APPLICATIONS HERE


kevin bLechdom's msp patches     (1999)

Uhm, dude so like i used to make these programs in MSP, but then i was like, fuck this i'm gonna start using a MIDI wind controller with ReBirth, but then i just got so obsessed with the infectious rhythms of communal drum circles, that i threw my computer into the toilet. When i pound out beats in a drum circle, i really "feel" the music, through my whole body, it's physical and I sweat with strangers that have become my friends because we "groove" together. and computers are so isolating... and un-physical, i mean it's barely even music-making, it's more like sewing or something...(anyway, it's not from the soul, if that's what you're wondering) After the life changing drum circle event (on Telegraph), i realized i missed my wind controller and Rebirth and even MSP, SO, I've decided to make my own "MSP" drum circle, right here, right now, and you, my friend, my dear dear friend, you and me, we're grooving together right now. we're like vibing, you know what i'm sayin'?
download kevin's disorganized late-20th century MSP patches! join the circle!


This is the patch i over-used and then kept on over-using. God, pretty much every bLectum from bLechdom thing i've done has been with this sequencer, on tape and especially live. It was born in summer 1998...and i've tried to show a bunch of people how to use it and they were always interested at first, but very rarely were willing to sit with it long enough to do anything worthwile, televazquez got his teeth into it... but everyone else was just like why would you want to limit yourself with all these frustrating limitations... like the fact that its a 64-step sequencer and i never spent the time to figure out why that last step wouldn't trigger, so all along it's been a 63 step sequencer... and also, nothing is really labelled and you have to open like 16 different preset files from disk in order to load a song which takes too long, and you have to save like 16 different preset files in order to save a song, and even then there's no way for it to remember what samples you had loaded and the worst is the preset triggers if you don't trigger them at the right time.... they double trigger and then all your measures begin with click clunk so it's impossible to make a "smooth" transition.... But i believe that it's these kinds of limitations that can challenge the unchallengable. When i sit with other "PRO"-grams, there's just too many options and and it doesn't fuck up enough. But over time these limitations become all-too-apparent and cripple the mind and body and therefore the funk becomes the junk and you become the poo... and then there's only one thing to do, find the nearest drum circle and bang on that drum until you are red in the face and have seen god, and only then can you return to your dungeon of under-developed and lazily-programmed music software. But it's already set up for the Roland MCR-8 MIDI controller.
This is the sequencing abstraction (sub-patch) i use in the patch above and in lots of other places. This example has 64-step on/off triggering and floating point control for three parts simultaneously... you send it numbers counting from 0-63 at a certain speed and it spits out what you've entered into all the little boxes. Straight up step-sequencing. One problem is that since this is an abstraction, you can't save the presets with the patcher so, you always have to write the presets to disk and then load them up when you want to play them too. Should of used colls instead.
the morpheloper is a morphing enveloper. Basically there's an envelope (also set up for the Roland MCR-8 MIDI controller) and you save it. and then you make another envelope and save it. and then you can morph between envelopes. there's always eight points so the points match up in each preset and then you can set how long you want it to take to morph between envelopes... slow morph or fast morph.... and then the 64-step sequencer above is set up so you can make rhythmic sequences and also sequence the changing of the envelopes and sequence the amount of time between envelopes. this is definately buggy (the sequencing part) AND, the envelope controls (knobs and sliders) take some set up and getting used to. So all these knobs and sliders are relative to the neighboring points' positions. you probably have to play with it to see what i mean.... But when you load the patch the envelope is in a stuck state... with all the points squished all the way to the left. and to set it up, you have to move the rightmost knob all the way to the right, then you have to move the second most right knob almost all the way to the right, and then the thirdmost right knob, and keep going and see the envelope stretch itself out. you always have to begin by making sure your envelopes are stretched out and ready to go. and then the sliders move the points up and down. also, you may need to give the envelope a height and width before you set it up, so it knows how big it is.
the loopette is a soundfile processor that just loops inside a soundfile and then you can move where the loop is looping and you can change the length of the loop and reverse and pan it too.
these are on/off sequencers built with the LCD object. Precursor to the kLardiscopic remedy.
this is my first max patch. it is the early version of the 64-step+++ module. It's a good starting place for simple sequencing.
Okay, the double pumper has some theory behind it, so bare with me. See, there's this thing called pythagorus' comma. It's the phenomenon that the circle of 5ths isn't a circle, but a spiral. This patch is an attempt to demonstrate this spiral and the different ways we can make it and hear it. So i'll try and explain this comma. A fifth is an interval between two notes. Another interval is the octave. An octave is the interval between two sound waves when one is twice as fast as the other. if we're talking in HZ, a 400Hz sound wave is an octave higher than a 200Hz sound wave. And a 200Hz sound wave is an octave higher than a 100Hz sound wave. A fifth is smaller than an octave. Two notes that make up an octave have a ratio of 2:1 while the two notes that make up a 5th have the ratio of 3:2 (another interesting intervalic phenomenon is the tritone (in certain tuning systems) - the exact middle of an octave (c to f#) - has a ratio of (square root of 2):1 - whats interesting about this is that the square root of two is an infinite decimal, an irrational number... this interval was also not allowed in early church music because it was considered the "devil's interval") back to fifths. The idea of the circle of fifths is that you keep going up a fifth and then a fifth above that and then a fifth above that, and eventually you'll hit a version of the starting note octaves higher. I forgot to mention that octave intervals are often considered the same note, for instance C and high C are both c's although one is higher.
So, let's try this out:

100 *3/2 = 150 *3/2 = 225 *3/2 = 337.5 *3/2 = 506.25 *3/2 = 759.375 *3/2 = 1139.0625 *3/2 = 1708.59375 *3/2 = 2562.890625 *3/2 = 3844.3359375 *3/2 = 5766.50390625 *3/2 = 8649.755859375 *3/2 = 12974.6337890625

the number western tonality wants us to land on is 12000, BUT NO, WE GET 12974.6337890625, and if we keep dividing by two and dividing by two eventually we get down to: 101.364326477051 which IS NOT 100! so this space between 12000 and 12974.633... is pythagorus' comma. Now with this patch i do a little cheating. With the example above we keep going up and up and up and soon we'll be out of human hearing...so in the patch, i've made an upper limit on the frequency and when a pitch gets above that limit, it is divided by two (an octave lower) to keep it within the range of human hearing. So there's two of these spirals in this patch and some rhythmic thingies to add flavor.
this is an abstraction for the Roland MCR-8 MIDI controller.
I used to believe in music. I used to imagine "perfect" music, and this music was made out of sine waves and sine waves made out of sine waves made out of sine waves forever
and it would make everyone happy
This is an envelope of envelopes. See, the envelope in the upper left-hand corner has 8 points in it, it is the master envelope. The 7 segments between its 8 points control the dimensions of the 8 smaller envelopes.(the eighth envelope is the segment between the last point and the first point, if the envelope is looping) I think the x and y coordinates of the control envelope determine the height and length of the smaller envelopes. Right now it just controls eight sine waves, but you can put other sound modules in their place. So, the control envelope is acting like a step sequencer and each of the smaller envelopes control the shape of the sound. So to alter the rhythmic content of the sequence, you would change the shape of the control envelope. it's definately a crude way to try and do this. And again, the same applies to these envelope controls as it does to the morpheloper's with needing to be initialized in order to work.
this was from when i tried to undertand ffts, but gave up.
the kLardiscopic remedy is my secret weapon. this is not available because it is the sound of the future, and whoever controls it controls the world. i say this now, you will believe me tomorrow. the kLardiscopic remedy is only available to "blood" relatives of kevin bLechdom, and her current lover(s). the shape of the musical line is shaped without releasing the mouse button, control of 64 steps with only one click. Basically it is the magic wand o' music. And you should get down on your knees and begin begging eternally that you may someday be blessed with the ultimate gift of seeing this baby in action.