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Learning Cycling ’74’s Max presents a challenge even if you’re used to other music software. Is this new version easier to get to grips with? The two previous releases of Cycling ’74’s flagship media toolkit — Max 5 and Max 6 — reimagined and redesigned the program’s user interface. Both times, the developers went back to the drawing board and looked in detail at how users encounter, explore and interact with the software, with a particular focus on new users. Clearly, however, Cycling ’74 are still not totally happy with the results, since the new Max 7 also features a reimagined and redesigned interface. Max 7 isn’t just about aesthetics and usability, though. It also sports performance improvements, and comes with new, high–level media playback features, powerful file searching, tagging and packaging, and updated video and OpenGL support.
And most significant for those who use it primarily as an audio tool is that at long last, Max has its own engine for pitch–shifting and time–stretching. (I’ll use the term ‘elastic audio’ as a convenient shorthand for these two distinct but related features.) Some of us are old enough to remember when Max didn’t do audio at all; when the MSP audio component arrived in 1997, it was a paid–for add–on.
In due course, MSP became bundled as an essential part of Max, as did Jitter, the video component. Fifa 13 Sd Data Free Download. With Max 6 arrived another paid–for add–on called Gen, used for compiling audio and image components into efficient runtime form. Now Gen is also bundled, which means that a licence for Max 7 basically gets you everything (at least, in the Max application itself; Mira, the iOS multi–touch controller app for Max, costs extra money, as does Max For Live, which is technically an Ableton product). Since a lot of what distinguishes Max 7 from Max 6 is interface design, these developments will be the main focus of this review. There are certainly things which Max 7 can do and Max 6 can’t — elastic audio and Live Device hosting are obvious examples in the audio realm — but most of the improvements are refinements of existing features such as performance improvements, better video support, additional audio file formats, and so on, or redesigns of existing functions.
Since this is an audio magazine, I’ll mention video– and image–processing features only in passing. Visually, Max has received another facelift. The basic interface scheme is relatively unchanged from Max 6: patcher documents present a graphical editing interface with the help of some supporting palette and toolbar machinery.
But in Max 7, the toolbars have multiplied, and everything has gone a bit grey. The new grey colour scheme caused me something of a Marmite moment. Greyscale design isn’t new: Ableton Live has a pale grey scheme by default, while Final Cut Pro X is pretty uniformly dark grey. In Max 7, though, the makeover feels slightly incomplete: while window toolbars and palettes are grey, window contents (such as help text) are pale or white. Download Scoreboard Pes 6 2014. Moreover, the various grey areas of the interface seem to have slightly different hue values, giving the impression that they don’t quite match.