u/remo_devico

Stretch Quartet is an audio effect for Ableton Live

dedicated to time-stretching techniques.

It provides four independent buffers where you can record audio sequences ranging from 2 to 60 seconds, simply by clicking the Off / Rec button.

Each recorded sequence becomes an autonomous temporal layer with its own set of controls.

For every buffer you can adjust:

Pitch, from –48 to +48 semitones

Time-stretch playback speed, with negative values playing in reverse and positive values preserving forward time

Gain, allowing precise control over the balance between the four sequences

Stretch Quartet features five stereo outputs:

one master output containing the full mix,

and four dedicated outputs, one for each buffer.

This routing system allows you to build custom effect chains per sequence and to manage spatialization with great precision.

Stretch Quartet is a powerful tool for transforming a single sound into evolving textures

example: https://youtu.be/KS_pFiy7wKA

Html Instruments

is a Max for Live device that lets you open and play

any Web Audio HTML instrument directly inside Ableton Live.

 requires Ableton 12.4.2

 HTML Instruments is completely free

I'm happy to share it with you.

The download includes a few free Web Audio tools you can use right away to test the device.

I recommend creating a dedicated folder for your own instruments.

HTML files are fully editable, so you can customize and extend any tool to fit your needs, which I find genuinely exciting.

free download: https://www.remodevicocomposer.eu/maxforlive/html-instruments/

Have fun.

Granular Hand Sampler is a browser-based instrument that turns your hands into a granular synthesizer.
download: https://www.remodevicocomposer.eu/maxforlive/granular-hand-sampler/
programmed by Remo De Vico

#electronicmusic #experimentalmusic #granular #html #standalone #sound #sounddesign #sounds

No plugins, no installation — just double click on html file, a webcam, a browser and your audio files.
Load any sample and its full spectrogram appears on screen, with time on the horizontal axis and frequency on the vertical.
Point your fingers at the spectrogram to play:
each open finger triggers an independent grain — a short looping window of the sample, filtered to the frequency band you're touching.
Move left or right to scrub through time, move up or down to shift between frequency zones.
Use both hands simultaneously to control two independent samples, each with its own sound engine.
Pinching your thumb against any finger switches that finger into parameter control mode:
index controls grain size,
middle finger controls pitch,
ring finger controls reverb,
pinky controls delay.
Your hand movements update the parameters in real time, with visual feedback directly on the spectrogram.
Each channel includes grain size, filter Q, volume, reverb, delay, pitch transposition (±24 semitones), reverse playback, and a randomized pitch mode that cycles through pitches automatically at a controllable rate.
Record your performance at any time and export it as a stereo WAV file at 48 000 Hz / 24-bit — ready to import into any DAW without conversion.

Granular Hand Sampler integrates naturally into professional production environments. In Max for Live it can be loaded directly inside a device using the jweb~ object, which embeds a browser window with full audio routing into the Live signal chain. On any other DAW, a virtual audio cable such as VB-Audio Virtual Cable on Windows or BlackHole on macOS routes the output as a standard audio input, making it available to any track or plugin. Ableton Live is also currently developing a feature in beta called External, which is expected to allow web-based tools like this to be opened and integrated directly from within Live — no virtual cable required.

The Circle Machine generated all kinds of strange sounds that went into Scott’s work on commercials and advertising music,
but what really stood out on Circle Machine was its sequencer.
The device had 16 light bulbs arranged in a circle,
and a rotating arm passed a photocell above the bulbs as it spun.
The brightness of each bulb determined the pitch of a step in the sequence,
while the rate of the arm spin would dictate the rhythm.
The operator had control over the spin rate and the brightness of each individual light bulb.
The Circle Machine’s analog wave generation in tandem with its unconventional sequencer,
resulted in otherworldly whirling timbres and tunes.
It is interesting to remember that at that time Robert Moog frequented Raymond Scott's studio.
I tried to recreate this amazing instrument on max for live.
I have to say I'm very satisfied, obviously there are some changes that keep the original functions and allow you to have more control over ABLETON.
All parameters are mappable, even turning the sequencer notes on and off
(those dots near the knobs on the circular sequencer).

download: https://www.remodevicocomposer.eu/maxforlive/circle-machine/

GLITCH MACHINE is a tool designed to create rhythmic noise and audiovisual glitches.

The special thing about it? It's written entirely in HTML. No installation, no plugins, no setup. Just double click the file and you're ready in one second.

The interface is immediate — a 5-voice step sequencer with click, pulse, tone, sub and noise burst, each with its own independent pattern. You can build complex glitch rhythms or let it randomize everything in one click. The visual engine generates black and white geometries in real time, synchronized to the sound — data streams, flashes, scanlines, datamosh, all in the style of Ryoji Ikeda.

Exporting is effortless: record a 16-second buffer as 48kHz 24bit WAV, or capture the glitch visuals directly as HD video. Perfect for building sound libraries and noise video content without touching any other software.

To integrate it into your DAW you have two options. If you work with Max 9 and Ableton 12, you can load it directly into Max for Live using the jweb~ object — GLITCH MACHINE runs inside your set like a native device. Alternatively, use a virtual audio cable like VCable to route the audio into any DAW.

video example: https://www.youtube.com/watch?v=2Xr1r-Sue6A

Queen of Cage

free download: https://www.remodevicocomposer.eu/maxforlive/queen-of-cage/

programmed by Remo De Vico

On the night between March 5 and 6, 1968, in Toronto at the Ryerson Theatre, Marcel Duchamp and John Cage play a game of chess on stage. Reunion is the title of the performance. They play a single match; it is Duchamp’s last public appearance—he would die a few months later. Duchamp wins, even though he gives his opponent the advantage of a piece by playing with one knight fewer. The chessboard, like Cage’s prepared piano, is modified: the 64 squares contain an equal number of photocells sensitive to movement, and each photocell is connected to a sound-generating system that resonates throughout the theater with compositions by Gordon Mumma, David Behrman, David Tudor, and Lowell Cross, the latter being the creator of the prepared chessboard.

Queen of Cage is a Max for Live device inspired by that historic chessboard.

You have two different modes of use.

Sampler Version

You can load up to 64 samples into the squares and explore the chessboard by moving the queen or by using MIDI with the X and Y knobs. At the center of each square the pitch plays at normal speed and decreases toward the edges. You can drag samples directly onto the upper part of each square. (very important!!!)

Synth Mode

By clicking the Sampler button you can enter Synth mode. By moving the queen across the squares you will activate an FM synthesizer designed for extreme noise usage; each square will be a surprise. Of course, an aleatory and random function inspired by the work of John Cage could not be missing. It operates at four different speeds, allowing you to create interesting generative sequences, both in Synth mode and in Sampler mode.

Small Secret Tricks

The first has already been mentioned: you can drag a sample onto the upper part of each square. I chose not to add visual indicators in order not to clutter the graphics, which I preferred to keep clean.

The second concerns the use of the queen: you can mute everything by moving the queen to the outer frame of the chessboard, or that square will play in a loop. This means that if you leave the queen on a square and click on Sampler or Synth, you can make both play, creating interesting connections.

The third concerns the outputs: each of the 8 rows of the chessboard has its own dedicated stereo output. This allows you to create families of samples and therefore build dedicated effect chains in Ableton Live (9 Stereo outputs in total). This will help you a lot in the spatialization of the sound.

Tips

When using Queen of Cage, I recommend recording everything onto a new audio track, especially to save your improvisation. To save your preset, click the Save button on the device in the Instrument Rack.

Curiosity

There are more than 2,000 connections in this patch.

PDF included in the download

I just released a new example combining two tools I find genuinely fascinating for sound design and generative composition in Ableton Live.

The first is an FM synthesizer: you can choose the waveform for both carrier and modulator, dial in their ratio with a potentiometer, shape the harmonics and brightness, and sculpt the sound with a full envelope. It's free and honestly one of those tools I keep coming back to.
https://www.remodevicocomposer.eu/maxforlive/colette-synth/

The second is Newton Generator: a physics-based generative MIDI device where falling apples trigger notes within a chosen scale and key.
https://www.remodevicocomposer.eu/maxforlive/newton-generator/

The result is melodic sequences and textures that feel alive, never repeating, always in key.

While working on Noise Labyrinth, I started wondering — what would this instrument sound like if, instead of FM synthesis for noise generation, it used pure oscillators?

That question became Texture Labyrinth: 48 sine oscillators arranged in a circular labyrinth interface, designed for drone, ambient and texture design.

free download on https://www.remodevicocomposer.eu/maxforlive/noise-labyrinth/

LFO for GRANULAR is a free Pure Data patch implementing stereo granular synthesis with dedicated LFO modulation.

Thanks to PlugData, you can use it as a plugin on Ableton

Load any audio file and sculpt its texture through a granular engine built on phasor~ and tabread4~ objects. Two independent LFOs — sinusoidal and sawtooth — modulate a dual low-pass filter in real time, creating evolving, organic timbres from any source material.

Features

• Stereo sample playback with dual audio buffers (channelL / channelR)
• Granular engine with independent control over speed, grain length, and starting point
• Two LFOs (sine and sawtooth) routed to filter cutoff modulation
• Dual VCF low-pass filter with resonance control
• Main volume slider with real-time output monitoring
• Waveform display for both channels

Parameters

Speed · Length · Starting point · Cutoff · Resonance · Sine LFO rate · Sawtooth LFO rate · Main volume

Download

Free download at https://www.remodevicocomposer.eu/pure-data/lfo-for-granular/