r/MaxMSP

Hi friends!

I'm learning a little bit of m4l and decided to transform my default channel in Ableton in something interesting! So I've built ULTRA CHANNEL, a little strip channel that consists in:

SSL preamp:

Line in and drive input if you want a little bit of dirt and punch in yous signal

1176 comp

I actually use some mix of open source code and my calibrations on that on. The goal is to have a different kind of compression than the ableton stock.

Filters

3 types: SSL (18dB), Moog (24dB) and Ableton (12dB). The grange change as well. You can make it pre comp or post

Tape channel

Just to make it interesting. Two knobs: vibe and color. Vibe adds wow and flutter. Color adds a 120hz bump and saturation.

Out and utility

Master out, mono button and mono 140hz.

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Thats it! Please be gentle, it's my first build. Only tested in live 12. Feel free to ask for something new.

Link to see it in action :

https://youtu.be/j5g8Hr53ki8

Download:

https://ko-fi.com/s/5451995083

Probe FFT is a MaxforLive percussive synthesis instrument built on interconnected algorithmic processes and nonlinear signal networks.

At its core is a reconfigurable feedback matrix routed through low-pass gates a patchbay where multiple signal streams can be cross-connected, destabilized, and shaped in real time. Signals pass through a density-driven destabilization engine with feed, modulation, frequency, saturation, and harmonic trimming controls, each parameter individually randomizable.

A programmable low-pass sequencer governs spectral gating across time, while a dual-stage VCA section provides both fast and slow envelope contours with variable curve, drive, and stereo spread its shape drawn freely via an editable envelope display.

The FM engine (Stazione Lago) introduces paired detunable oscillators for inharmonic frequency modulation, feeding into an open gate algorithm section where four parallel process slots switchable between network topologies and FFT-domain operations further transform the signal through spectral decomposition and recombination.

A dedicated harmonic module (Liturgy) provides three independent frequency generators with tunable pitch, dust injection, and selectable root/scale quantization, producing layered tonal scaffolding that interacts with the percussive core.

Every section feeds into a corpus-driven sample engine drawing from analogue low-pass gate recordings, with full crosspatch routing between all internal buses.

Probe FFT is designed for performers and composers working at the intersection of algorithmic rhythm, spectral processing, and self-modulating signal architectures where percussion emerges from system behavior rather than preset patterns.

Probe FFT is currently in development. Join the mailing list (link in the comments) to be notified when it's available

I expected to see at least 4 different pulses here? Delay doesn't delay anything it seems? I'm confused...

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

Getting your Ableton racks moving like there's no tomorrow became super easy.
This tool is only for generating a whole new bunch of sounds from your instruments in just a few minutes, so you can pack them up and use them later.

You can basically inject dozens of unique automation lanes as long as 32 bars for 50 params or more in just one click. Then mutate the lanes and bake again, so you have infinite variations from the same rack.

This is insane and changed the game for me.

you can watch more here: https://www.youtube.com/@StrideEngine

A 16-voice generative drum machine built entirely around synthesis, FFT spectral processes and chaotic equations, designed to create unstable, organic and continuously evolving rhythmic structures.It brings part of the research developed with Vortessa into Ableton Live.

Reconfigured into a more immediate and performative form focused on advanced rhythmic exploration.It is also the first drum machine built around a Low Pass Gate architecture: voices can remain in an open gate state to generate immersive soundscapes, drones and layered textures, or be routed into the LPG network for organic and articulated percussive strikes.

The sound sources can simultaneously exist in both states, allowing ambient matter and rhythmic fragmentation to continuously coexist inside the same system.

Stay updated, slink in the comment

I just released Swiss Army Meter 6, a complete rebuild of my Max for Live metering device for Ableton Live.

It started as a simple all-in-one meter showing different levels, but version 6 has grown into a much deeper audio analysis tool. It includes a new loudness history graph, a new dynamics meter for PSR/PLR, a stereoscope/goniometer, and BPM/pitch conversion tools and all sorts of other quality of life upgrades.

The main goal was to keep the device useful while mixing without needing to load a pile of separate meters. You can customize which readouts are visible, pop modules out into resizable windows, and keep heavier visual modules paused when they are not active.

Some of the bigger v6 updates:

• Redesigned modular interface
• Loudness Graph with LUFS history, target line, zoom/pan, and true-peak overage markers
• Dynamics Meter showing PSR and PLR over time
• Stereo Scope with width, balance, and phase movement
• Dedicated 3 stage phase correlation meter
• New RMS, PSR, and PLR readouts
• BPM and Pitch Converter for timing, frequency, and sample values
• Resizeable [op-out windows for individual modules
• Transport sync/lock modes
• CPU-saving behavior for inactive modules

It is built for Ableton Live 11 or later with Max for Live. Live 12 is recommended.

Would love feedback from anyone who uses it or would be interested in additional features in it.

Swiss Army Meter

I am completely clueless when it comes to max for live. But I was trying to make this algorithmic composition using 12 midi clips playing randomly between 12 ableton tracks.
I found a device, which I tried to update for my needs but it does not work.
I want the patch to trigger every clip on the track randomly, in long intervals, but i don’t want the clips to repeat. And I need the track audio to stop after going back to the first clip.
Any tips on how to do this? Help would be really appreciated. Sorry if the question is not very clear.
Attaching a screenshot of how my current patch looks.