Montreal-based Damian Taylor, music director and engineer for Björk, is the subject of an epic interview on cycling74.com, spanning music, life in Montreal, working with Björk and what makes her special, and what patching in Max/MSP can mean compositionally and creatively.
Damian has some especially nice reflections on what having an open-ended music environment can mean.
If you’re a musician or composer, Max is an amazing tool that will really open up a completely different way of thinking about music. If you’ve been working on sequencers, looking at time lines, working on tape, or reading off musical scores, then without really realizing it you start looking at music in this very linear way and your brain gets formed into a lot of similar patterns.
But the Max environment provides this whole alternate way of thinking, a whole different flow. Suddenly your own ways of thinking about time and harmony and melodies and everything, expands completely. Music kind of changes shape, you see it from this whole different side. So it’s really, really, really, worth putting in the effort!
It’s a great and well-deserved endorsement for Max, but I think it’s deeper than than any one tool — this way of thinking could also be applied to tools like Pd, AudioMulch (saw a great workshop on that last week), Reaktor, or code-based languages like Csound and SuperCollider. Or, for that matter, I think this notion of thinking in non-linear ways can even be applied to playing your acoustic instrument. It really gets at the heart of how to unlock creativity, I think.
In case you’re afraid of Max or other languages, Damian has some advice there, as well:
If you’ve never done any code or computer language programming before, there are a lot of times where you just have to try to absorb things without really knowing what the hell they are for. And I mean that in the nicest possible way!
I just slowly worked my way through all the tutorials, largely without understanding what the hell I was doing, but just absorbing what was going on, trying to follow every step that was presented. And yeah, it really was a case of locking myself in a room. If there was another noise anywhere, I just couldn’t do it. It took really intense concentration; just trying to absorb what was going on and follow a tutorial from start to finish.
But then at some point I figured I needed to speed things up, so I got in touch with Harvestworks, in New York, who I actually was aware of through an interview on the Cycling ’74 web site. I got tutoring from Matthew Ostrowski — and it was amazing, a complete revelation.
But best of all, for folks using Max/MSP, Damian gives you a leg up, with his nice Woodpecker tool available as a free download for MIDI sequencing.
Woodpecker creates fast 16th note midi sequences from your keyboard input. It’s designed to allow you to bring this very electronic feel into a live ensemble, free of set tempos and click tracks. There are options to allow you to vary the feel of the sequence, play triplets, and explore various arpeggiation styles.
(Nice use of Topspin for a Max patch download! Clever!)
And absolutely read the full interview – it even has a nice shot of the Max rig in there:
An Interview with Damian Taylor [cycling74.com]
Full disclosure: this terrific interview is by Marsha Vdovin, who’s also CDM’s business development manager. Thanks for the great work on this, Marsha; I enjoyed reading it, anyway!