That wonderful moment

[bradleyallen]

When you know that the gear you possess isn’t what truly matters, it’s about investing the time in whatever you may happen to have, knowing if you keep at it, you will progressively get better at it.

In my own case, I’ve been curious about learning Max for years, but in the beginning it used to make my eyes glaze over. I just wasn’t ready because I was too busy searching for products that offered to unlock my sweet dreams.

For the past couple of months I’ve been focusing on Max alone, and now I’m at the stage where I’m comprehending its fundamental building blocks. I haven’t yet mastered everything it can possibly do, but over time my confidence has grown. I know I can do this stuff now. I’m right in the middle of it and it feels great.

Anyone else experiencing this as well?

[Francis]

I revised my sampling process in OT and the sound quality and flexibility has improved significantly. Pondering 2 OT setup as a consequence…oh crap…

[pidgeo]

uh oh

[jefones]

I experience this every time someone says the Monomachine can’t sound like x or y. Or that the Monomachine has an entirely unique sound and that works against it. I’ve spent so much time with my Monomachine I can get it to sound however I like, fat basses, high end squeals, metal guitars, rumbling drones. It really is about taking the time to learn something in and out.

Growing up I didn’t have much money and when I would get something like a new video game I would play it over and over again until I’d completed every aspect of it. This mentality carried over when I got my first guitar, my first synth, my first vj program. Learn it, master it, and use it until you can’t squeeze anything out of it anymore. It’s never about the gear, it about the time dedicated learning and utilizing.

[Ryan]

I’ve finally had to learn Max as well that was my entire yesterday almost

It still made my eyes kinda glaze over. Mostly because it’s new and it’s counter to the way my mind works.

But I desperately want this alternative to sequencing, so o have to push through it. It’s tough, and also boring/interesting(as any introductory thing is)

I’m really scared about getting bogged down into the legitimate math/science of the MSP part

[chaocrator]

… gear you possess isn’t what truly matters …

… when you already have resonable amount of gear

then — yes, time, effort & skills do matter.

[half.cto]

Yes, had similar Aha! moment last night when I set up OT to act like QPAS and stereo delay and reverb.
Have spent half year with same setup - OT+DN+0Coast and i feel that these boxes just start opening up for me.

[cold_fashioned]

@bradleyallen - What use the big draw of Max? Can you give some examples odd things you have worked on that demonstrate / illustrate why you have put the effort in? It seems that people who are into Max speak highly of it. It seems very powerful, but also very programm-y. I’m into learning new programming languages & techniques, even if just for hobby & not work, so that doesn’t necessarily scare me, though I do enjoy the haptic response of jamming with, say, the Octatrack vs. clocking and tyoung on a computer. Then again, it’s all about what allows for productivity, and sometimes it’s easier to pop open the laptop.

TL; DR: I guess I’m (dangerously) looking for someone to nudge me down the Max rabbit hole… Or save from from falling in!

[sellanraa]

MAX is great. The pro is its limitless potential. The con is that without a clear idea of what you want to do, that limitlessness is paralyzing. If you have focused objectives, there’s no better program to work with for building abstract environments. If there’s a reason not to dip in, it’s that. Cost maybe too - since PD is awfully similar and free.

But really I’m just here for the Gravediggaz reference.

[Zac_Kyoti]

Max has become indispensable for me for truly integrating my hardware and DAW environments. I’d echo the sentiment that it’s much better to approach it with a specific problem you’d like to solve, or device you want to build. I’ve focused primarily on the midi side of things. Some humble stuff I’ve built that might give you some ideas:

A bi directional drum rack that triggers the AR and mirrors the AR mute/solo states, so that the AR can be essentially operated from Push 2 and vice-versa

Control devices for all physical controls of the Volca Keys and Volca FM, including preset saving and recall for the Keys, and a velocity control fix for the FM.

A device that prevents a track from muting when another track is soloed - I use this on the track that sends audio sync signal to my multiclock, so that my sync/transport doesn’t stop when I solo stuff.

@bradleyallen regardless of what tools you’re using, that “I can do this” epiphany is the best feeling ever. I totally relate, man

[weepwow]

Thumbs up on your ‘PEACE’ action phrase.

[Francis]

I’m sampling through the record out on my mastersounds mixer, it sounds really good. will be trying the SSL six for sample routing this weekend. I think that’s the key with OT, sample as big and loud and clear as you can.

[Kegeratorz]

That wonderful moment when I realized how powerful Looping was with the deluge.

[Log-c]

when he playing with Elektron gears