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    The bonus rounds in the free slot machines are a great casino invention. The system of rewards and bonuses of one type or another existed wherever it was supposed to move forward, develop and overcome obstacles. CYCLING ’ TOOLS FOR SOUND, GRAPHICS, AND INTERACTIVITY. Search. Sign In / Create Account. Sign In / Create Account. Max. What is Max? Max 8 Features Max in. Max For Live. Max For Live brings the power and flexibility of Max to Ableton Live. Max For Live gives you access to hundreds of exclusive custom plug-ins (Live Devices) as well as the tools to build your own. Cycling '74 (also known as "C74" and stylized as '74) is an American software development company founded in by David Zicarelli, headquartered in San Francisco, California and owned by Ableton. The company is best known for their work with the digital signal processing software environment, Max. Cycling '74 Website For help with orders and pricing: [email protected] +1 For technical and product help: [email protected]

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    Your Max authorization will be tied to that account instead of a serial number. There is only one installer and only one flavor of the Max application.

    The day demo simply refers to the fact that Max will run without copy protection for the first 30 days. There are no limitations to the program during this period.

    Visit this page for details. Holiday notice: Cycling '74 will be closed November, Manual authorization, support cases, and manual order processing will be delayed.

    In this article. How do I authorize? What if I have a subscription and my computer isn't connected to the internet? In either case the software will run in 'demo mode', emitting an annoying buzz every minute or so, until the software has been authorised.

    Pluggo uses a Pace copy-protection system which allows you either to store your authorisation on an iLok hardware dongle not supplied , or to authorise your computer's hard drive by completing a challenge-and-response process on-line.

    Cycling 74 aim to respond to authorisation requests submitted via their web site 'within a day or so', and I received my authorisation within about three hours of submitting a request.

    The Pluggo installer installs not only the plug-ins and associated files, but also some very good documentation, in PDF format.

    Printed versions are sadly absent, but the PDFs are nonetheless well-written and helpful. Pluggo presents an unusual problem for a reviewer: it contains so many different plug-ins that even to write the most perfunctory review of every one would would be impossible in the space available.

    Instead I'll limit myself to some general comments about the bundle, and highlight a few favourites of my own. A complete list of the Pluggo plug-ins with a brief description of each is provided in the 'Plug-ins By Category' box.

    There are several features common to all or most of the Pluggo plug-ins. The first and most obvious is the generic user interface as sported by Phone Filter, above.

    All the plug-ins use the same basic set of graphical sliders, menus, buttons and so on, which are basic but perfectly functional. Most of the plug-ins feature a 'View' pop-up menu at the top of the editor window, which can be used to choose between displaying the plug-in's custom graphical user interface, if it has one, or its parameters presented as one or more pages of generic controls, and one or more Info pages.

    The generic interface contains a useful feature whereby right-clicking Ctrl-clicking on a Mac on any slider opens a contextual menu, from which various handy functions can be selected.

    Depending on the plug-in, these can include Touch Parameters which sends automation messages to the host application describing the current position of the controls , the self-explanatory Undo Last Change and Randomize All, and Evolve All, which nudges each parameter randomly up or down by up to five percent.

    Individual parameters may also be Randomized or Evolved. Another handy feature of the Pluggo 's generic interface is a hint box at the bottom of the editor window, in which a brief but useful explanation of a parameter's function can be displayed when the mouse pointer is held over the relevant slider or other control.

    Some plug-ins also provide a simple level meter, which can switched to show either input or output signal level. Many of the plug-ins in the Pluggo bundle support tempo synchronisation with the host application, either via the standard VST or Audio Unit implementations, or via Pluggo 's own Pluggo Sync plug-in left.

    Pluggo Sync generates synchronisation data in one of two ways: either by 'listening to' and following an audio click track that you supply, or by running its own internal clock.

    Both methods work well enough, although the former requires a good, loud, unambiguous click to be reliable. A number of Pluggo plug-ins are Pluggo Sync-aware and can have time-based parameters controlled in this way.

    A dozen or so of Pluggo 's plug-ins neither process nor generate any sound at all. These are the 'modulator' plug-ins, which use a variety of different methods to produce varying control signals which may be used to modulate other plug-ins' parameters in a number of different ways.

    Modulator plug-ins typically pass audio signals straight through unaltered, so they can be inserted just about anywhere your host application allows.

    You can then choose to assign their control signal outputs to any modulatable parameters in any other Pluggo plug-ins that happen to be open.

    Experimenting with combinations of modulation and effect plug-ins allows you to create some some extremely complicated processing chains, and some correspondingly unpredictable sounds.

    The possibilities are quite mind-boggling! Another powerful feature of the Pluggo bundle is the ' Pluggo Buss', a virtual audio buss supporting eight independent channels, which provides a powerful and convenient way to send audio signals between Pluggo plug-ins.

    This is straightforward enough. There are sliders to control the input gain, and you can choose whether or not you want to echo the input signal to the plug-in's outputs as well as on to the Pluggo Buss.

    You can also choose to delay the signal by a number of samples, which can be useful for compensating for any delays introduced by other plug-ins elsewhere in the chain.

    Once audio is on the Pluggo Buss, it can be retrieved either by using the similarly straightforward PluggoBus Rcv plug-in, or by selecting any of the Pluggo plug-ins that are Pluggo 'Buss-aware'.

    The Vocoder plug-ins, for example, both allow you to use a Pluggo Buss signal as their carrier signal. Likewise the Convolver cross-synthesis effect can accept input from the Pluggo Buss.

    Feedback Network is, to my mind, almost the perfect example of the kind of thing Pluggo excels at.

    It features a dozen or so sliders, half of which move randomly of their own accord. It has a large Randomize button, which doesn't do quite what you expect it to, and no amount of familiarity with conventional effects processors will give you the faintest idea what to expect when you pass a signal through it.

    With the dry level slider turned down, in fact, the input signal is almost irrelevant, as you won't hear much resembling it in Feedback Network 's output.

    Instead, what you get is a largely unpredictable, slowly evolving textural mass of feedback and associated noise, suggestive of old science-fiction movie soundtracks and half-remembered nightmares.

    The Pluggo reference manual sheds a bit of light on the inner workings of the plug-in, but not too much. It seems to involve five feedback delay lines, each with a band-pass filter, and all capable of feeding into one another in different configurations; the Randomize button shuffles how they're interconnected.

    Knowing how Feedback Network works is not really the point, in any case. This is not a plug-in you want to be able to control.

    It's a plug-in you can feed just about any old sound into and begin to get something interesting out of after a mouse click or two. Used on its own, it provides an almost inexhaustible source of enjoyably abstract sounds.

    Used in conjunction with one or more of Pluggo 's other effects, the possibilities are well-nigh endless. Why, then, would you want to buy Pluggo?

    The short answer is 'yes, you could', although it may not be quite as simple as it first appears. What's more, many of the Pluggo plug-ins embody clever and sophisticated designs, which would not be trivial to recreate!

    You can be sure that Pluggo hasn't just been thrown together: plenty of hard work has gone into developing these effects and instruments. Give it a whirl, and see how you get on.

    Squirrel Parade is designed to "turn any input into a parade of squirrels". I have never reviewed a squirrel parade-generating plug-in before, but squirrel parading apparently consists of a complicated process of frequency-modulated granular synthesis, wherein the frequency of one 'grain' of the incoming signal can modulate the frequency of other grains.

    A modulation matrix controls exactly what affects what. Arguments Name Type Opt Description initial-value float or int opt Sets an initial value for the signal output.

    The default value is 0. If no time has been specified since the last target value, the time is considered to be 0 and the output signal jumps immediately to the target value.

    Source code for the engineering blog pilot. Zero-configuration networking for Max. Basic examples and core techniques for using Node For Max.

    Generate TypeScript d. Software Development Kit for Max by Cycling ' Repository of community resources for Node For Max.

    A node. A collection of synthesis, signal processing, and image processing objects originally authored by Dan Trueman and Luke Dubois. Repository of examples using Node For Max authored by Cycling ' We use optional third-party analytics cookies to understand how you use GitHub.

    Learn more.

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