246

Max as a Digital Platform for Noise Music Performance 

Muhamad Hafifi Mokhtar1, Clare Suet Ching Chan2

1Universiti Pendidikan Sultan Idris, Malaysia
2Universiti Putra Malaysia, Malaysia

Submitted: 2022-07-04. Revised: 2022-08-18. Accepted: 2022-10-28

Abstract

This article explores Max as a digital platform for performing noise music through a practice-led 
research method. The practice-led research method was used to explore the possibilities of build-
ing Max patches, while content analysis method was used to analyse the outcome of the patches. 
Several Max patches were created to explore the potential of Max as an alternative approach for 
performing noise music. Findings show that Max can replicate the audio processing methods 
used in conventional performance. Due to Max capabilities, some of these methods could be 
automated and arranged prior to the performance. In addition, Max patches featured changing 
sound, random pitches, mixture of pre-recorded audio source and live instrument, and drone 
sound combined with automatic constant real-time audio self-processing and automatic audio 
panning, a feature that seldom appears in the local noise music scene. In conclusion, this research 
argues that Max has much potential for creating a variety of digital sounds that are harsh and 
dissonant to the ears, therefore contributing to the musical diversity in noise music performance. 
These sounds are the results of the features of audio self-processing, random pitches, automatic 
audio panning object and self-changing pitched drone audio signals relying on random MIDI 
values that appeared in Max.

Keywords: Max; noise music; music technology; performance; practice-led research 

How to Cite: Mokhtar, M. H. & Chan, C. S. C. (2023). Max as a Digital Platform for Noise Music Performance. Harmonia: 
Journal of Arts Research and Education, 23(2), 246-253

Harmonia: Journal of Arts Research and Education 23 (2) (2023), 246-253
Available online at http://journal.unnes.ac.id/nju/index.php/harmonia
DOI: http://dx.doi.org/10.15294/harmonia.v23i2.37468

perimental music scene use synthesizers, 
guitar effect pedals, metal objects, and 
mixers to produce noise music. Not many 
local noise music performers have explo-
red the digital platform in creating noise 
music. One such artist was File 106 who 
performed noise music using a mixture of 
laptop and guitar pedal effects. I believe 
that digital platforms would benefit many 
noise music performers, such as access to 
a wider range of sound manipulation and 
extra effects. In addition, mobility of travel 
would be enhanced by these lighter-weight 
instruments. This research focuses on exp-

INTRODUCTION 

Noise music is a genre of music whe-
re “unwanted” noises are used to create 
sound art.  Noise music performers use 
analogue methods, including guitar pedal 
effects, contact microphones, and metal 
objects to perform. The analogue approa-
ch limits the possibilities of creating more 
diverse noise music compared to the digi-
tal approach of sound manipulation and 
audio signal processing available through 
programs such as Max. Most noise music 
performers in Malaysia’s underground ex-

Corresponding author: 
 E-mail: clarechan@upm.edu.my

p-ISSN 2541-1683|e-ISSN 2541-2426



Muhamad Hafifi Mokhtar et al., Max as a Digital Platform for Noise Music Performance 247

loring Max as a platform for creating noise 
music performances. 

Max
Max is a computer software that ope-

rates as a visual computer programming 
language that can manipulate audio, vi-
deo, graphic, and other data. Max allows 
users to connect the various independent 
objects through virtual patch cords to pro-
duce interactive audio, visuals and custom 
audio or visual effects. These objects are 
categorized according to their functions: 
Max, MSP, Jitter, Gen, BEAP, and Vizzie. 
Each of these categories have their own 
functions (Cycling ’74, 2018). This article 
focuses on the MSP objects that is able to 
create and manipulate audio signal. MSP 
are the features in Max that allows the pro-
cess of audio signal processing. MSP is a 
collection of 200 Max objects that could be 
used in performances or compositions for 
audio signal processing. By using MSP, 
users may build their own synthesizers, 
samplers, and effects processors using 
Max objects. In short, MSP allows users to 
create their own personalised design of di-
gital audio devices (Cycling ’74, 2018). 

Noise Music
Couprie (2020), Wolf (2011), Klett and 

Gerber (2014), Thompson (2010), and He-
garty (2001) have each defined noise music 
from their own experience and understan-
ding of it. Couprie (2020) defined noise 
music as contemporary music created by 
Futurist and Dadaist movements. He also 
referred to noise music as musique con-
crète, experimental rock music, punk, live 
electronics, electronica music, and some of 
John Cage’s compositions. Wolf (2011) re-
ferred to noise music as those mainly per-
formed by Merzbow, a prominent Japa-
nese noise music artist and his peers.  This 
type of noise music allows audiences to lis-
ten and experience the unending limits of 
sound art production. Wolf (2011) defined 
noise music as an arrangement of sounds 
such as hisses, crackling, and audio feed-
back that does not need to be played with 
loud volumes for performances (p. 67). 

Sound can be perceived from an aest-
hetic or artistic perspective. Some perceive 
sound as noise, while others hear it as mu-
sic. Noise is referred to as chaotic, unusu-
al, and aggressive sounds, while music is 
commonly perceived as pleasing, rich and 
wonderful. Both perceptions can be used 
in the performance of noise music. The noi-
se music genre is associated with the har-
sh frequencies and loud volumes usually 
used during music performances. It is also 
harsh, dissonant, and may be unbearable 
to the listener. Noise music is usually re-
ferred to as “noise” by the performers and 
enthusiasts (Klett & Gerber, 2014, p. 276).

The musical perspective of noise 
should be established to comprehend noise 
music. Noise occurs as a disturbance that 
occurred amid the music and sound. This 
perspective recognizes that noise music is 
situated between “music” and “sound”. In 
Japan, noise music is known as “Japanoi-
se” and recognized as “music” that defies 
genre and category, with its highly ampli-
fied and processed sound (Hegarty, 2007, 
p. 194).                            

One of the philosophical aspects of 
noise music is that it functions as an indi-
cator of boundaries. This boundary is the 
perspective that noise exists to threaten 
the limitation of music and noise music is 
viewed as something that is far-reaching 
and provocative. Due to this, noise music 
should maintain a certain distance from 
music by preserving its qualities to persist 
between the state of music and noise. Fai-
lure to stay in between “music” and “noi-
se” would make it become solely music or 
noise rather than noise music (Thompson, 
2010, p.10).

The noise music in this research is a 
form of experimental electronic music that 
embraced the potential of providing phy-
sical experience of the sound to the liste-
ners as suggested by Couprie (2020) and 
Wolf (2011), with characteristic as stated 
by Klett and Gerber (2014), Hegarty (2001) 
and Thompson (2010). Based on this, noise 
music is a type of music that typically uses 
electronic sound from the synthesizer, and 
guitar pedal effect, pre-recorded audio 



Harmonia: Journal of Arts Research and Education 23 (2) (2023): 246-253248

played through sampler or audio recorder. 
Usage of instruments such as the guitar 
could also be seen. All these sounds would 
be manipulated in real time through mul-
tiple methods of signal processing such as 
amplifying, sweeping frequencies, spatia-
lization and frequency filtration.  

Problem Statement
Many noise music performers use 

guitar effects and metal objects to perform 
noise music. For example, Jerk Kerouac, a 
noise music performer uses the synthesizer 
combined with guitar effects pedals to per-
form noise music (Mokhtar, 2015, p. 15). In 
Malaysia, I came across a local noise mu-
sic performer utilizing a laptop to perform 
noise music. Noise music performers such 
as Merzbow and Krosot who have been 
using a digital platform somehow reverted 
to their typical setup for noise performan-
ce by using multiple guitar effects pedals, 
metal objects, synthesizers, and a contact 
microphone through this research indi-
rectly (Baily, 2012; Mokhtar, 2015). No ex-
planations were presented on the reasons 
behind their choices. A standard and uni-
form analogue approach that has been es-
tablished during performances practises in 
the local scene results in a lack of diversity 
in sound production and techniques. I be-
came curious over why local noise music 
performers do not utilize the digital plat-
form to perform noise in this era where 
digital technology is advancing rapidly. 
Therefore, I seek to explore a simpler and 
mobile alternative setup for noise music 
performance to relieve the bulky setup that 
is used in the local Malaysian noise scene. 

This research aims to explore the 
potential of Max as a digital platform for 
the noise performance. I examine the use 
of Max as a platform for noise music pro-
duction by 1) creating patches using Max 
2) performing noise music though Max 3) 
reflecting and revising my usage of Max 
through the processes of creation and 
performance I hope to create more possi-
bilities for noise music production among 
local noise artist setup, performance prac-
tices, and sound characteristics. 

METHOD

This research uses the practice-led 
methodology whereby planning, reflecti-
on, revision, and action direct the research 
outcome. 

Practice-led Research
Practice-led research is a method in 

art and design whereby researchers exami-
ne their own practice. The practice-led re-
searcher is responsible for both the role of 
the “researcher” and “practitioner” as the 
research conducted is based on their own 
practice (Nimkulrat, 2007). The process 
leading to the outcomes is important data 
that facilitate understanding the research 
problem. The research’s artifacts or pro-
duct would be considered proof of the in-
formation collected and preserved (Make-
la, 2007).  In this research, I will present the 
actions, reflections, and revision processes 
in my exploration of creating patches for 
noise music performances using Max. 

Content Analysis
Audio content analysis assists in the 

investigation of musical influences (Col-
lins, 2012). Çamci (2016) stated that defi-
nitive audio analysis in electronic music 
could highlight important variations in 
different electronic pieces. This would 
help in analyzing the products of this ex-
ploration of Max as a digital platform for 
noise music performance for the outcome 
could be recognized as noise music. 

Exploring Max
This research models the workflow 

used by Bugge (2014) in his compositions 
using Max. The workflow begins with for-
ming ideas for drawing techniques appli-
cable to a computer programming setting, 
testing, evaluation, redefinition, recording, 
positioning materials into a musical com-
position, and assessment process (pp. 62-
63). 

Concepts of Performance
As a performer, I am inspired to per-

form noise music based on the principles 



Muhamad Hafifi Mokhtar et al., Max as a Digital Platform for Noise Music Performance 249

of interactive composition, generative mu-
sic, indeterminacy, and chance, as well as 
the usage of various sound sources that is 
collectively incorporated into this research.

Interactive composition is the pro-
cedure of creating and performing the 
composition and usually involves electro-
nic devices operating a real-time softwa-
re that would detect and respond to the 
input from the performers or composers. 
Technology usage is equally important 
to the composition itself to achieve the 
objectives set in the composition by the 
composers in interactive composition. The 
technologies itself would be producing the 
creative process, functioning as a catalyst 
for motivation and discovery (Settel, 2001).

Chadabe (1977) stated that generati-
ve music is not a new phenomenon becau-
se it had been used for several decades in 
live musical performances and is related to 
generative art or G-art that refers to works 
that contains a segment or is entirely based 
on designs that are not directly organized 
by the artists. The term CG-Art or compu-
ter-generated art is used when generative 
music involves computer usage. This art is 
completed by allocating a certain period 
for a computer program to self-operate in 
order to generate the art with zero to mi-
nimal intervention from human (Boden & 
Edmonds, 2009). 

Indeterminacy and chance are utili-
zed in the process of exploring Max as a di-
gital platform for noise music performance 
because indeterminacy and chances would 
provide different outcomes from each per-
formance (Neal, 2008). Cage noted that in-
determinacy is used because it could relate 
to the uncontrollable chances humans en-
dure in their everyday lives (Hoogerwerf, 
1976). Xenakis employed chance with a 
more scientific approach to his compo-
sition due to the usage of mathematical 
procedure to control and shape the sound 
masses in his composition (Paparrigopou-
los, 2005).

The noise music performance I pro-
duced in this research would contain mul-
tiple sound sources, such as electronic 
sound synonym with the electronic music. 

Electronic music is produced by a com-
puter through the synthesis of the com-
puter and processed digital audio signal 
(Puckette, 2007). The performance would 
also employ the usage of audio from field 
recording that is consists of human, ani-
mals, material, natural sound phenome-
non, and is different from the orthodox 
audio production of music, speech, and 
sound effects since it combines the method 
of listening, reviewing, adapting recor-
dings, positioning, mixing, playback, and 
testing (Gallagher, 2015). Another type of 
sound source used is audio that had been 
transformed from analogue to digital to 
analogue through the usage of analogue to 
digital and digital to analogue converter. 
According to Cipriani and Giri (2010), the 
digitization process occurred at the regular 
interval where the number of amplitude 
measurements would be taken in one se-
cond, also known as the sampling rate.

RESULT AND DISCUSSION

In this research, I created several pat-
ches that could be used in the performance 
of noise music in the process of exploring 
Max as an alternative digital platform ac-
cording to the concepts of the performan-
ce that had been discussed. These patches 
were made during the period in which the 
researcher was developing as a perfor-
mer and researcher.  They are displayed 
through the technicality of seven Max pat-
ches created to explore an alternative digi-
tal platform for noise music performance.

Patches built using Max 
My patch creations developed in 

analogy to my ability to use Max, as shown 
by the Max patches’ complexity. For easier 
understanding, the outcome from all the 
patches would be described at the end of 
the explanation.

 For the first patch, the idea started 
with the main idea of triggering random 
noise. To achieve this, several reading on 
how to achieve this had been done befo-
re I had chosen the patch that was used in 
this research. This patch showcased sound 



Harmonia: Journal of Arts Research and Education 23 (2) (2023): 246-253250

changes according to the audio self-pro-
cessing in the individual patches.

The second patch was built around 
the idea of filtering audio using casca-
de object while the signal-rate processor 
would change the audio signal-rate. The 
patch needed several revisions since the 
sound was not “noisy” and lack distortion. 
I had to make several tuning up and revisi-
ons were made before an acceptable sound 
was produced by changing the parameter 
of the patch. There were sound changes 
according to the audio self-processing ap-
peared in this individual patches. Besides 
that, for patches with random MIDI cont-
rol such as patch 2, random pitches would 
be appeared as the random MIDI control 
independently changing their values.

Patch 3 is a combination of the ide-
as behind Patch 1 and Patch 2. Patch 3 is 
designed to play several random audio 
clips at once. At first, the progress did 
proceed as planned due to several miscon-
nection and parameter that did not affect 
the sound drastically. Upon reflection, I 
double checked the connections and ad-
justed the parameter to change the sound 
more drastically. There were sound chan-
ges according to the audio self-processing 
appeared in this individual patches. Simi-
lar to patch 2, patch 3 also contained ran-
dom pitches appearing in response to the 
random MIDI control independently chan-
ging their values.

Patch 4 was used to create a wall of 
sound. This patch contained an audio self-
processor that processed the audio recor-
ding placed in the patch. After necessary 
editing was done, the patch had achieved 
what I had planned and anticipated in 
terms of sound diffusion. This action was 
a reflection of the researcher’s newfound 
knowledge of Max that enable the rese-
archer to create a patch resembling noise 
music better than before. This need to be 
stated that the progression is unique to 
my experience and may not appear in ot-
her person experience when they are using 
Max. After necessary editing was done, the 
patch had achieved what I had planned 
and anticipated in terms of sound diffusi-

on. There were sound changes according 
to the audio self-processing appeared in 
this individual patches. This patch had 
also showcase one or more automatic au-
dio panning object, with the appearance of 
constant real-time audio self-processing by 
Max.

Patch 5 was built as a mix media 
patch that used the MSP and Jitter in Max. 
This action demonstrated the researcher’s 
developing knowledge of using Max as a 
digital platform for performing Noise mu-
sic. The audio side of the patch works well, 
while the Jitter or video component nee-
ded some adjustment for it to run smooth-
ly. Necessary editing was done after the 
Max help files were referred. This patch 
had showcase sound changes according to 
the audio self-processing appeared in this 
patch, Besides that, self-changing pitched 
drone audio signal relying on random 
MIDI control was also a feature. This patch 
had also showcase one or more automatic 
audio panning object, with the appearance 
of constant real-time audio self-processing 
by Max.

Patch 6 was the most complicated 
patch that I had built. It consists of seve-
ral patches in one big patch such as pat-
ches for audio self-processing, real time 
MIDI control, pre-determined parts using 
timepoint object and two types of audio 
panning. This patch demonstrates the 
potential of Max for a noise music artist 
with expanding knowledge of Max com-
pared to earlier patches. This had showca-
se sound changes according to the audio 
self-processing appeared in the individual 
patches. Besides that, for patches with ran-
dom MIDI control such as patch 6, random 
pitches would be appeared as the random 
MIDI control independently changing 
their values.

Patch 7 is the final patch built using 
Max for this research. Patch 7 uses live 
audio and live audio processing combin-
ed with the usage of live vocal and instru-
ments playing. The action taken for this 
patch was to look at it as a way of perfor-
ming using live instruments or live audio 
input such as the common way noise music 



Muhamad Hafifi Mokhtar et al., Max as a Digital Platform for Noise Music Performance 251

being performed. However, this approach 
failed due to different mechanism involves 
in physical audio effect pedal and digital 
signal processing. The patch needs to be 
troubleshot in order to find suitable way of 
combining internal audio and external au-
dio incoming and exiting the audio interfa-
ce. Patch 7 tried to create a patch that com-
bined the mixture of a pre-recorded audio 
source and live instrument playing with 
real-time audio processing in Max. Patch 7 
also combine the usage of real instruments 
and real-time instruments playing with 
real-time audio processing.

From all these patches, I conclude on 
that several characteristics were compulso-
ry for the patches to be considered as sui-
table for noise music. These characteristics 
had appeared in majority of most of the 
patches showcase sound changes accor-
ding to the audio self-processing appea-
ring in the individual patches. For patches 
with random MIDI control such as patch 2 
and patch 6, random pitches would be ap-
peared as the random MIDI control inde-
pendently changing their values.  Some of 
the patches such as patch 2, patch 3, patch 
4 and patch 5 showcase appearance of dro-
ne sound. In shorts, all the patches show-
case one or more automatic audio panning 
object, with the appearance of constant 
real-time audio self-processing by Max. 
This would then create panned audio that 
is self-processed by Max. usually, there are 
two types of audios panning: in sequence 
and random Only patch 7 tried to create a 
patch that combined the mixture of a pre-
recorded audio source and live instrument 
with real-time audio processing in Max.

Reflection of performance using patches 
created.

I had created Max patches with ele-
ments of interactive compositions in them. 
This was successful through the explorati-
on of Max objects such as button, toggle, 
number, slider, gain~, slider, and object 
box that enabled me to create Max patches 
that could stand alone without (or with 
minimal interference of) me as the perfor-
mer. The button and toggle enabled me to 

interact with Max by sending a one shot 
and hold signal, respectively, to Max when 
there was need for this type of signal. Max 
objects or tools such as number, slider, 
gain~ and kslider enabled me to interact 
with Max when specific values needed to 
be processed in Max. These values usually 
were used to output integer values while 
the kslider would be used when a midi 
value needs to be sent to Max. Finally, the 
object boxes were used to type the name 
of Max objects that needed to be used to 
achieve certain elements of sounds that I 
wanted.

  I had successfully used multiple 
Max objects individually or collectively to 
produce generative sounds, enabling me 
to create Max patches with elements of 
generative music. One of it is the usage of 
the combination of clocker object, counter 
object and sel object. These objects would 
be connected in a series to inform Max to 
output a signal at certain intervals. Usual-
ly, this combination will be connected in a 
series of objects that feed into the random 
or expr objects that represent the next ele-
ments of performance, indeterminacy, and 
chance.

The usage of indeterminacy and 
chance had been explored in this research 
by feeding a fix signal production into ob-
jects such as random and expr objects that 
helped to achieve the indeterminacy and 
chances to enforce the elements of genera-
tive music. For example, a value between 
0-150 can be produced at a fixed period by 
setting the clocker, counter, and sel object 
value to trigger the random object set to 
150. Setting the sel object value to 1 would 
trigger a fix signal production on the first 
count. A more precise alternative was con-
necting an expr object that enables me to 
obtain value between two numbers at a fi-
xed output rate, which is output in a smal-
ler number range compared to the random 
object. For example, setting the expr object 
to expr random (10 – 20) enable the pro-
duction of a value between these two num-
bers at a fix output rate.

All patches had used multiple sound 
sources such as electronic sound, field re-



Harmonia: Journal of Arts Research and Education 23 (2) (2023): 246-253252

cording and analogue to digital to analo-
gue audio with the intention of making it 
more diverse, clashing and jarring. These 
audios were pre-recorded (field recording), 
electronic sounds created in real-time in 
Max and from real instruments sending 
real-time signal to Max before being pro-
cessed by Max and diffused by the amp-
lifiers. One of the objects involved in this 
process is the cycle~ object. These objects 
would create periodic waveform (Cycling 
’74, 2018). The values of this object could 
be set permanently but a number object 
(clocker, counter, sel, and random objects) 
connected to this object enable different 
values production at a fixed rate, ensuring 
that the frequency of the cycle~ changes by 
itself.

In short, Max objects were utilized 
to achieve the objective of Max as a digi-
tal platform for noise music performance 
as intended by the researcher although the 
result would be unique to the users.

 
CONCLUSION

Several criteria were implemented 
for the patches to be considered as suitable 
for Noise music performance. These crite-
ria are such as they would: Be considered 
as interactive compositions with parts ge-
nerated by Max itself to fit into the criteria 
of generative music. Utilize indeterminacy 
and chance to make the patches produce 
noise music that that crosses genre and 
music category, with highly amplified and 
highly processed sound. Contain multiple 
sound sources to make it more clashing 
and jarring. Such sounds sources are elec-
tronic sound, field recording, and analo-
gue to digital to analogue audio.

These characteristics had been used 
to ensure that the outcomes of the patches 
fit into the definition proposed of noise 
music cited by Couprie (2020), Wolf (2011), 
Klett and Gerber (2014), Hegarty (2001), 
and Thompson (2010). 

All of this had been considered whi-
le developing the Max patches. Several 
techniques to create patches that reflected 
the concept of intended The noise music 

performance that I wanted to implement 
and the Max objects that corresponded to 
the steps that I needed to take to achieve it 
was explored and discovered.

I could also create random pitches 
and drone sound that could be combin-
ed with automatic audio panning object. 
This combination utilizes the appearance 
of constant real-time self-processed audio 
by Max, with two types of audios panning: 
in sequence and random. I could also cre-
ate patches that feature a mixture of a pre-
recorded audio source and live instrument 
audio signal with real-time audio proces-
sing in Max. These audio characteristics 
are almost impossible to be performed on 
analogue equipment such as guitar effect 
pedal and analogue synthesizers that were 
used by the majority of noise music per-
formers automatically and without human 
direct intervention.

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