Max for Live: Sound Design with BEAP
Max for Live is an exciting platform for experimenting in all things sound. It's incredibly powerful and affords the user near limitless possibilities, but it can be a bit intimidating when starting out. In this Max for Live video course, studio expert Larry Holcombe teaches you how to use it in conjunction with Ableton's BEAP, which is a set of free modules for the platform. By the end of the course, you'll be well on your way to making this formidable tool an integral part of your sound design and production workflow. These videos are for new BEAP users.
Videos
• Introduction & Workflow (09:35) - This video introduces the series and outlines how to make a very basic patch using Beap modules to demonstrate communication between Max for Live and Ableton Live. We also explain how to lock and unlock patches so you can edit them.
• Adding Envelopes (09:38) - We build on the complexity of our patches by adding an envelope and a VCA, allowing us to control the volume contour of the patches we create. We also arrange the modules so we can see them within Ableton.
• Stacking Oscillators (07:12) - This next video demonstrates stacking oscillators to create thicker sounds and also make single-note chords. We also integrate the audio mixer to mix and blend the oscillators.
• LFOs (06:33) - We push things further next by adding an LFO to modulate the pitch of an oscillator. This also introduces the concept of using CV modulation slots to route modulation sources to targets and control the depth of the effect in question. We also add an additional LFO to affect the frequency dial of a filter.
• Sequencers (08:23) - The next module we introduce is the sequencer, which allows us to sequence MIDI notes to create melodic rhythmic patterns. We also use it to modulate the filter frequency parameter for some interesting filter movement.
• Building a Granular Synth (11:01) - In this video, we build a granular synth patch so we can take samples and split them into tiny grains of audio. These can be time-stretched to create interesting, evolving textures.
• Building an FM Synth (13:49) - This video demonstrates the building of an FM synth, which, when combined with delays, reverbs, and a sequencer, creates an interesting rhythmic FM patch.
• Building a Wavetable Synth (14:32) - We continue to create a morphing wavetable sound that uses an LFO to modulate the wavetable position dial. We also cover dragging and dropping modules on top of each other to replace existing modules easily and also modulating the rate of an LFO using an envelope.
• Creating MIDI Effects (08:40) - We use Max for Live next to create a MIDI effect built around a sequencer, an arpeggiator, and a MIDI quantizer to lock the notes to a pentatonic scale. This is used to control Analog within Ableton to create an interesting arpeggiated effect.
• Building an Audio Effect (06:49) - Finally, we build an audio effect involving an LFO modulated filter feeding a delay, reverb, and flanger.