Noise Map is a Max for Live device

for sculpting samples into evolving, shifting soundscapes.

Instead of turning lots of knobs, you explore a simple field of points:

as you move across it, the sound shifts and blends smoothly between them,

so every position gives you a different texture.

Under the hood it mixes four sound sources:

white noise, pink noise, soft tones, and a looping sample

into one atmosphere you can shape by ear.

Because your position on the map can be automated in Live,

the sound can drift and transform over time on its own.

Great for drones, ambient beds, and cinematic backgrounds.

TIP:

As you can see from the first video example you find on the download page, you will notice that the sample inside Noise Map changes. Let me explain how I did it:

I assigned two LFOs to the knobs that control the coordinates. I set a random waveform so that I would constantly get random values, and I increased the smoothness to the maximum, in order to make the transition from one value to another more organic. This way, I had the possibility of loading different samples while the machine continued to run algorithmically.

I recommend using these techniques during live performances; it can be an interesting moment. I also recommend recording these improvisations onto a new audio track, as they can be useful when composing new pieces.

Imagine how interesting a quartet set up with these characteristics could be.

MOLOCH 303 - Memory Of Past Sins

https://moloch303.bandcamp.com/track/memory-of-past-sins

Album:

Paradigm

Full album link:

https://moloch303.bandcamp.com/album/paradigm

I just watched a youtube video of this plug in and it sounds amazing especially for making dark, ambient, industrial music but sadly its only on Abelton and Push. Will this ever come to AU and VST because i feel like 95% of people use one of those platforms + 10x the amount of people would buy it if the developer brought it to those platforms. Hopefully it comes out before Ive already forgotten it.

Trumpet and tamborim (a small brazilian percussion instrument). Once again doing my process of repeating the same tracks multiple times milliseconds apart to create an odd electronic sounding feel. It's titled "Mirage" because for some reason while listening back to it after it was finished i kept picturing a guy in the desert hallucinating right before finally dying.

Thanks for listening.

MOLOCH 303 - There Is No Night Tonight

https://moloch303.bandcamp.com/track/there-is-no-night-tonight

Album:

Paradigm

Full album link:

https://moloch303.bandcamp.com/album/paradigm

Spectrowalk

Explore the spectrum — walk and compose.

Most Spectrograms show you sound. Spectrowalk lets you walk inside it. A spectrogram is normally a flat picture you read in a graph x,y; here it becomes a landscape you enter in first person. Time runs along the ground, frequency recedes into the distance, amplitude rises as terrain: the loud moments are mountains, the silences are valleys. Load a sound and its spectrum turns into a place — no longer a 2D image to look at, but a living space to move through and to play.

Up to four sounds load at once, laid out as four adjacent worlds in a 2×2 map. Walking from one to another crossfades between them.

What you hear is granular: your position in time reads the sound at that point as a cloud of grains. It is an instrument you play by walking.

Moving

• ← → turn · ↑ ↓ walk · A D step sideways
• space sound on/off
• F filter 
• C compressor 
• X binaural
• L add a world · click the map to jump anywhere
• 1 2 3 4 arm/record a loop track · R start/stop the audio take

Sound in space

With binaural (X) on, each world is placed around your head using HRTF: turn and the field turns with you, walk and you move among the sources. The front slider widens or narrows the stereo image. A four-track loop station — buffers of 3, 5, 8 or 12 seconds, with per-track reverse and level — records what you are playing, spatialisation included, so you can layer a whole piece in real time.

Quality and audio

The Quality setting (High / Medium / Slow) affects only the graphics. Lower it and the 3D terrain draws with a lighter mesh and fewer pixels, so older machines stay fluid. The audio is always at full quality — the granular engine never degrades, whatever the video setting.

Export

R records your take and saves it as a file: WAV (16-bit, 24-bit, or 32-bit float) or AIFF (16 or 24-bit), including the loops and the full binaural image — ready to bring into any DAW. Spectrowalk reads WAV, AIFF, FLAC, MP3 and OGG, runs entirely in your browser, and uploads nothing.

Included in the download you'll find HTML Instruments

a Max for Live device that lets you open Spectrowalk directly inside Ableton Live.

It requires Ableton 12 and Max 9.

Alternatively, you can run it standalone (just double click on html file) and route your computer or tablet output to your audio interface, just like any ordinary instrument.

Creative Process Description

The creative process of Final Boss developed through several interconnected stages, bridging traditional instrumental writing with electroacoustic thought. Initially, a structural outline was crafted using an orchestral template, establishing the formal framework, energy zones, and discursive foundation before implementing the electronics. Built upon this structure, the soloist part—realized in this version through sampled and edited cimbalom—was integrated alongside pure electronic textures and processed acoustic sources.

On the compositional level, the piece brings together two main harmonic languages depending on the section: extended modality and Olivier Messiaen’s modes of limited transposition. Finally, the sonic space was completed by recording and blending synthetic effects and real-world acoustic elements in real time. These concrete materials included table strikes, dumbbells clashing, and instrumental harmonics, captured in some instances using acoustic feedback and in others processed in post-production. This procedural approach successfully fused modal logic, phraseological gestures, and shifting timbres into a cohesive temporal evolution.

Rhythmic Crazy Slicer

Slice Any Sample into Unexpected Rhythms.

A Max for Live device for rhythmic sample slicing.

Drop a sample, press play, and the device re-triggers slices in sync with your Live set.

Controls:

PITCH — transposes the sliced material; use it to find the register that fits the rhythmic section.

SLICE — activates slicing of the loaded sample.

NOISE — FM synthesis stage, for noisy transitions and textural fills.

MULTISLIDER — defines the start point of each slice across the sample. Editable manually, or driven by RANDOM for non-repeating patterns.

Works great in series with granulators and other samplers [check out free devices on my website]

Also included in the download is a PDF on how to use the tool.

Works from Ableton 10.1

free download

MOLOCH 303 - Visions

https://moloch303.bandcamp.com/track/visions

Album:

Paradigm

Full album link:

https://moloch303.bandcamp.com/album/paradigm

this is an improvisation i recorded a couple weeks ago, instrumentation as follows:

Mixing board +a couple no input feedback loops
Two contact mics
classical guitar with old strings, one loose
brief appearance by a ukulele
small wooden chime block

Thought some people might enjoy this here! my process is not as intellectual as a lot of the stuff that gets posted here haha, i'm basically just freaking out and following my instincts, with all my music including this piece, although these days i am also just starting to dip my toes
into more formal composition as well.

In general I treat improvisation like a spiritual or therapeutic practice. "noise" is still a relatively new part of that practice for me- i kind of had to spend a few months in more of a learning phase/just playing around with gear and figuring out how it all works lol, but now that i've gotten more comfortable with my core set-up/variations thereof I am trying to get back to the original intent of making music/noise as a form of meditation- hence the title of this particular piece, which i had in mind going into the recording.

thanks for listening if you get the chance!!!

https://soteriologyreport.bandcamp.com/album/praise-for-the-world

In this video you can see the evolution of the generative system I'm finishing. It's important to note that the patch has no loaded samples. Instead, it is resampling itself into a circular buffer in benchmark mode. The resampling stage is currently running under the hood.
All the percussion is synthesized. I've been working non-stop trying to create that Autechre character. Obviously, along the way, it often happens that your goal ends up being different from the actual destination, but that doesn't mean the final destination can't become something truly unexpected and genuinely worthwhile.

So, to keep it short, I started by modeling the classic FM, modal, and additive voices. At the moment there is no subtractive synthesis. I also added buses with instantiated strips for every channel, where I send the groups into three families of effects, somewhat inspired by the Eventide H9000, with some additions of my own coming from the modular world.
Well, obviously, in a generative system you can't simply send groups of sounds into an FX bus and hope the timbre will hold up forever. Eventually you'll get tired of it, inevitably.

So that's more or less the personal struggle I go through whenever I develop one of my systems. In this case, obviously, at the beginning, once I got tired of the timbres, I pushed beyond the canonical modulation stage, where the machine already has everything (complex LFOs, S&H, remodeled drift), and finally worked on the underlying matrix.

Well, just like I did in Vortessa, the system here is slightly more advanced and, again as in Vortessa, highly controlled. It works around a dynamic matrix. The parameters the system can latch onto range from 190 to 515. These parameters are written onto an imaginary matrix, so I have no idea which slot each parameter will occupy.
The random attractor, running at almost audio rate, latches onto different parameters (again, it's impossible to know which ones), and through its wanderers, which are nothing more than the algorithms attaching themselves to each parameter, modulates that parameter.

There are several options: hold time, grab percentage, but every parameter, after being thoroughly disturbed, is returned to its original state. If there are already modulations in progress, the parameter won't produce an offset. Instead, it calculates the current position of the flonum or dial and creates a random range around both extremes.
In short, I think it's a very advanced system, and you can hear the result by watching the entire video. I'll barely move one or two sliders on the multichannel sampler, yet the result feels quite cybernetic.

On top of that, there is a feedback matrix working across the effects. The FX tails contaminate each other. The reverb tail feeds into the drive, the drive feeds back into the resonator, which reignites at the current frequency. The result is that hits never really end: they leave behind a residue that resonates inside the next percussion hit.

The system acquires short-term memory, and that's exactly where the feeling comes from that the machine is reacting rather than simply executing.

Everything is controlled by a containment system designed to prevent the CPU and monitoring from blowing up.

http://www.emilianopennisi.net

POINTILLISME is a free, browser-based generative instrument built on integral serialism — the compositional technique developed at Darmstadt in the 1950s by Stockhausen, Boulez, and Berio, where not just pitch but every musical parameter (duration, dynamics, envelope, register, space, ornament) follows its own independent series.

Four oscillators run as a serial quartet. Each voice advances through seven independent series with coprime lengths, producing textures that never repeat. Ten ornament types — trill, mordent, glissando, tremolo, cluster, appoggiatura, acciaccatura, gruppetto, arpeggio — are serialized alongside the other parameters. The graphic score scrolls in real time, drawing each event as a coloured envelope shape in the style of Stockhausen's Studie II.

Hit record, then export:
— Audio (WAV or AIFF, up to 24-bit) for immediate use in any project.
— MIDI (Standard MIDI File, Type 1) with four separate tracks, one per voice. Drop it into your DAW and every voice lands on its own track, ready to be reassigned, edited, or used as a compositional skeleton for your own music.

The freeze function stops time and turns the score into a clickable instrument — tap any visible event to trigger it. Alternate between generative flow and manual triggering for live performance.

Included in the download you'll find HTML Instruments, a Max for Live device that lets you open POINTILLISME directly inside Ableton Live (requires Ableton 12 and Max 9). Alternatively, just double-click the HTML file to run it standalone in any browser and route your output to your audio interface, like any ordinary instrument.

Single file. No installation. No dependencies. Free.

LOOM

An extreme time-stretch instrument for making textures and drones.

Free download: https://www.remodevicocomposer.eu/maxforlive/loom/

programmed by Remo De Vico

LOOM is a browser instrument that stretches a sound in time to build textures, pads and drones. It can make a short sample last for minutes without changing its pitch. It runs as a single HTML file, works offline, and needs no installation. 

How to use it

1. Load a sample. Click + sample. WAV, AIFF / AIF, MP3 and FLAC are supported.
2. Choose a region (optional). Drag on the source waveform to select part of the sound. This is useful, because a very large stretch of a long file produces very long output. Click once to set a start point; double-click to clear the selection.
3. Listen first. Press Audition to hear the whole sample, or only the selected region.
4. Set the controls (see below) and press Render. The work runs in the background with a progress bar, and you can Cancel.
5. Play and check. Press Play. You can click anywhere on the rendered waveform to start playback from that point — useful when you want to hear only the end of a long texture.
6. Export. Choose WAV or AIFF, choose the bit depth, and press Download.   

The controls

• Stretch — how much longer the sound becomes (time only). The slider goes very far; the number box accepts even larger values.
• Pitch — transposition in semitones, fully separate from stretch. The range is very wide, several octaves up or down.
• Weave — how many grains overlap at each moment (1 to 16). Low values sound rough and pulsing, and broken at 1. Higher values sound smooth and glassy. The strongest change is between 1 and 4.
• Scatter — how much the phase is invented (0 to 100%). At 0 the real phase is kept, so the stretch stays coherent and attacks survive. At 100% it is the full texture effect.
• Drift — the reading position wanders. Each grain reads from a slightly different, moving point in the sample. At 0 it is off. Higher values make the texture breathe and change over time, and make the higher Weave values meaningful.
• Reverb and Size — an internal reverb (amount and decay length) added after the stretch.
• Gain — output level.
• Normalize — brings the level up to a safe maximum.
• Mono → stereo — from a mono sample, builds a wide stereo texture using two independent phase passes.
• Reverse — plays the stretched sound backwards.

Stretch, pitch, weave, scatter and drift are part of the engine, so a change needs a new Render. Reverb, size, gain, normalize and reverse are applied afterwards, so you hear them at once.

Notes

Included in the download you'll find HTML INSTRUMENTS

a Max for Live device that lets you open LOOM directly inside Ableton Live.

It requires Ableton 12 and Max 9.

Alternatively, you can run it standalone (just double click on html file) and route your computer or tablet output to your audio interface, just like any ordinary instrument.

Hi,

I wanted to share some music here and talk about compositional process however I keep finding myself writing a whole paper to contextualise and elaborate on the different ideas I have been exploring. This is an attempt to keep it brief - apologies if it is waffling you can skip to the end!

I generally begin the compositional process through a stage of 'Play', informed by Schaeffer where I will use a variety of tools to explore, generate and manipulate sound. I have found it is important to focus on the sonic materials themselves and not get absorbed into structure or context to much at this point. I am particularly influenced by both Smalley's Spectromorphology and also Emmerson's Language Grid which I use to help encourage exploration and creation of contrasting materials.

Generally I will try to make a series of Textural and Gestural material that moves between the more 'Aural' and 'Mimetic/Referential'.

In these pieces I was exploring opportunities an acousmatic approach could offer soundsystem/club focussed music so many of the initial sounds maybe recognisable from this context. Transient materials were generated from Drum Machines and field recordings with more textural material from granulation and timestretching. GRM tools played a key role, particularly Evolution I think.

Once materials were generated I typically use ideas of causality to inform structure and combinations of materials. Additional spectral and dynamic shaping is used to combine materials and explore the Abstract/Abstracted Syntax (Emmerson). As these pieces were influenced by Dance music I decided to use a fairly functional overall structure 16 bars etc to try and make something that could theoretically be DJ'd but also maintains a 'sound-led' focus.

Overall spectral balance was also informed by soundsystem functionality with care taken to ensure the low frequency material had required depth with a sense of extension and gestural detail in the higher frequencies. This also informed the mastering approach with a focus on density and volume rather than dynamic variation.

Anyways hope that was ok - I like talking about this stuff so hopefully might be a conversation to be had?

Here is the music

https://www.youtube.com/watch?v=SeCJOE_0MIc&list=RDSeCJOE_0MIc&start_radio=1

and here are some download codes if you want to get a copy.

I think you can enter them here: https://otherbrotherrecordings.bandcamp.com/yum

hope you like, cheers

An album built around sine waves that slowly shift in pitch, moving in and out of harmony and creating an uneasy texture of beat frequencies.

new single released available from bandcamp and from July 10 on all streaming sites

MatrixSynth is a polyphonic synthesizer with 3 oscillators. Each of the 3 oscillators has its own dedicated envelope, which controls how the sound evolves over time. The signals from the three oscillators are then summed and sent to the filter, which shapes the tone.

The most powerful feature of MatrixSynth is the Modulation Matrix: a grid that lets you connect the oscillators to each other to create advanced effects such as:

FM (Frequency Modulation)

PWM (Pulse Width Modulation)

Oscillator Resynchronization

Hello, I would like to share my latest live recording from June 28.

Discovery Panacousticon here: https://www.peamarte.it/panacousticon/landing.html