braduro

Jack1972, am I right to believe that you are in your 50's now?
Because
a) you just offered the developer a base compensation of
Five Thousand Dollars
if he adds a feature that you want, which may or may not even be mathematically conceivable

b) you want
Nineteen dollars back
if he fails to deliver on an implementation that he never promised you or anyone would be a feature in the first place for the device in question

Now that your comment is up, we can all witness it

So are you going after BIG GUMROAD now? Finally solved all the problems at City Hall?

Here's what I think, Jack1972
a) there's a settings window in the Top-Left hemisphere of the euclidean sequencer display. Click that and choose under INCOMMING MIDI (6 frames down) "START sequencer on MIDI IN"
This causes the sequencer to behave like an arpeggiator.
Or turn it off, and the sequencer will continue to run as if you latched the last chord.
YOU CAN'T DO BOTH. Those are mutually exclusive ideas. You're either changing notes as a sequencer continues, or you are HOLDING notes as an arpeggiator continues.

b) there's an arpeggio input and behavior window that you expand by clicking "arpeggio" in the Bottom-Left hemisphere of the euclidean sequencer display. In this window you can toggle two options under Midi Notes From drop down (the second column): "from clips or keys" or "from sequencer". You want "from clips or keys". "ACTIVE" is only going to apply if the sequencer, A-D is active.

It can't know what you are asking of these chords, so it gives you some options. Up, Down, Up/Down. If you consider the rhythms of the varying lanes, you can get other chords intervals or patterns as a consequence of their being superimposed. But again, it's up to you to do the math.

c) Velocity is dependent upon the step, not the note, unless you program in some key tracking to your synth patch or do your own work, like putting a velocity device after it. It's contingent on the Sequence length and which step of that sequence the rhythm is on. And this is contingent on the division of the tempo the sequencer is using.

See if you can gather from your own logic the feasibility of sending Step sequenced data on velocity to a specific step which is already moving on a transport, without some precognition of the length of the sequencer itself. It's not possible.

What you can do is either drag up and down on the step itself on the circular sequencer and change the velocity.
-or-
go into the "random" panel in the Bottom-Right (South-East) hemisphere of the sequencer view, and press the "R" button specifically for any or all of the sequencer lanes under the "Accent" column.

In a performance setting, I might consider the syncopation or accenting that I am going for and then create a preset or save this as my performance session. A more improvisational option is to key or midi assign the random button and optionally the rotation, in order to emphasize different up-beats on the bar.

You are perfectly welcome to not use the device or any of my answer. I will never find out. But you are pretty much stuck with a movie ticket that you bought with the correct foreknowledge that it's a movie. Do you get your money back just because you don't like the movie? And I really don't like seeing people come after small developers who are in every way doing a lot of people a whole lot of good, as well as adhering to the rules and demeanor of this platform.

On the other hand, offering money in the comments area could be seen as soliciting.

dang. looks very helpful. now, it's going to be even more rare to find a micromonsta mkii!

Congrats on being the first to post a transformation tool. It might be just as helpful at this stage to include instructions on how transformations are installed.
How does it remain an amxd file, if it nonetheless installs to the midi tools section of the clip view?

Will do, @Crampe!

In fact, I could even be a bit more generous with my review:
As I understand it drMS is effectively an m/s device, is that right? That would mean that effectively docPhase also works as m/s.

And to clarify one observation: drMS is only utilizing feedback between the two bottom quadrants, which probably does lend itself to an unusual form of reverb, the type of which may be good at staying out of the way the direct signal.

And I think your choice in not getting in the weeds with auto-gain was a wise choice. The results are at least in equal measure psychoacoustic, and I never did miss an auto-gain on docPhase.

Additionally, for those even mixing down or taking some stage of their composition onto a Push 3 standalone, drMS is not going to be compatable, whereas the options on docPhase will be easily comprehensive on a Push, even if you use it or the Push 1,2 as a controller. It's a great way to listen to the processing with one hand, and volume compensate with the other.

So there, a bit more thorough of a comparison, and certainly more reasons to praise docPhase

I've been a fan of this device for two albums now. I finally sought out the original drMS in order to see if it was on holiday sale.

In a side by side comparison, docPhase is uncanny. The results are neck and neck. The only distinction worth noting in my first impressions is that docPhase can introduce digital distortion when some modules/quadrants of the device are driven passed the middle image. But dial them in nicely, and I wouldn't be able to hear a difference.

Sure, the knobs are not labeled the same way, for example,
drMS displays relative levels as a percentage. docPhase uses dbFS
drMS has a resonance curve in the filter. docPhase uses this nifty 2-axis adjustment

That said, if you compensate where these two plugins are equivalent by using your ears, the results are a spitting image of one another.

drMS gives you auto-gain and a/b for better matching.
And it gives you feedback of the results into itself
And it gives you m/s
And it gives you presets, (but every use could really be made to order)

And that's just a quick observational comparison. A deep dive might unveil other benefits to the full plugin, but there are plenty benefits to this docPhase. The interface is less noodly on docPhase, not as tweak headed. Dimensions you don't need can be tucked away.

The two devices have an equivalent CPU impact, although I couldn't really tease out any differences in terms of stability. It may be noted that the best performance I got out of drMS was with the VST2 version, not the VST3 nor AU, of which docPhase is more comparable.

Not to discourage any direction you prefer, but I would be one vote to not put a pop up window. I think its plenty clear. Perhaps it doesn't follow the layout of the pedal, but Chase Bliss themselves have put that design constraint within the chassis of the pedal; it's just as arguably the right time for them to be making larger pedals, but they don't.

And I think your layout has its own justifiable logic.

Then there's the question of how a popup m4l works in relation to one that conforms with device view with such things as modulators, random, ranges and the like.

As far as presets, there's no public sysex information in the mood manuals, and you could always save a folder or a project that contains the different states of the device. So this to me is the more intuitive way to go.

I figured out the problem. I had a spare Meris Midi i/o, which uses the Ring to pass down the line and accept midi messages. Chase Bliss uses the Tip on their different pedals for other incoming purposes. Other MIDI boxes are much preferred over the Meris, however disaster area makes a cable that can terminate to Ring.

So indeed, the issue I was having was due to a little "chatter" or "bleed" on the ring.

https://www.disasterareadesigns.com/shop/p/mj-cba-pro-midi-cable

It's a thinner design, good to bend around for pedal boards, but just realize once you plug into a Chase Bliss Pedal, it's a dead end. No preset changes or anything to the next pedal. If you're just creating presets to a single Chase Bliss pedal, then that's fine.

Oh and to correct my prior comment, the operative word I left out is that I am [NOT] getting continuous control (ie changes in realtime)

For the price of a couple custom cables, you might as well buy the Chase Bliss MIDI box...ugh. So much added crap and grief to get this to work.

https://www.chasebliss.com/shoputility/p/midibox

Thank you! That alone saved me from tracking down all the related resources…

I’m using a Roland interface cable, and after a driver update along with flipping a switch from tablet mode to computer, the behavior was more predictable.

Better still when I get home and have the correct midi channel!
As it stood, maybe it was hearing some bleed over, as the lights would go red when there was incoming midi, but the results were haphazard. And furthermore, they happened in a buffered response. The control changes were in real time.

Can I expect to be able to put modulators on the m4l device or group and randomize and get variable results? Or do you think will that overload the stream of data on the pedal?

lust==list
Lots of unintentional typo's and '?'s, having entered that from my phone. Hope you get the idea.

Too bad the micro-usb on the mood is just for firmware updates, am I right?

Some of the info texts being filled in might solve some of these questions, particularly the Tempo Sync status. Is it by default taking tempo from the ableton session?

A combination of my being lazy as well as legitimately perplexed, do you suppose you could do a setup video or lust of instructions? Some switches are turning themselves on and off on my unit, and no one would immediately think to unplug the mood entirely after plugging in expression and before outputting in order to correct for it not loading in true bypass—
How about this question of the tempo “listening”? is it listening to session bpm or tap tempo input from the pedal, and if so, which channels and what do I set up from the midi menu? By default my midi to 1/4 opened in note input mode, but shouldn’t it really be in output remote? And is it really two way control? Or should I send things back to the computer on another track with another instance of the device?
Should i use synth mode with a separate track if I’m sending it sequences from the daw?

With all the technicals issues I faced (stomp switches turning themselves off despite not being automated), it was difficult to isolate things and answer these for myself…

Considering that I often have to revisit instrumentation after the fact or use the note sequencer to work out the chords, this seems like a practical utility.

Also, different registers on a guitar are going to work differently than their keyboard counterparts.
Can this also be used to then re-spell, play through, or sequence open and bar guitar chords?

The photos are not currently loading for me on the online user manual webpage.
Thanks for the work that you do!

Heya this is swell!
You think the same idea would work for the drop down menus on the Hybrid Reverb?

Thanks for doing this!

I think I tried to do this for the hedra and didn’t get a pulse

So I’ll definitely look at this (got the Polymoon as well)
:)

Neat!
Might be nice to introduce an incremental-value behavior to the map rand value. Escalate-only, descend only, up/down etc.
Sort of like a step-advancing oscillator.
Things like oscillators don't really need the visual representation. The LineLFO for example has been popular because of its small CPU allocation. This device of yours could effectively be coined the pointLFO and be even lighter to deploy...
:) J

Thanks for the reply, and looking forward to 3!
In the meantime, the download gave me an excuse to actually look at the manual and get more out of the device…
:)

What was behind this latest update? According to the installer, the previous 2.0 release is a newer version than the one this link is pointing to...

I've lucked upon a Torso T-1 and it has that feature. I wonder if you could emulate this with a Note Echo device or grouped arpeggiators and a note-length device? I've done this in order to have one note length spill arpeggiation into the next...

Looking back, @encoderaudio I'm really not sure why I stuck you with that question above or why I placed that comment specifically on this device page! My apologies...

And not sure why I've been on the fence about this particular device. It looks very expressive...

That's really cool.
Could something like this be formulated for guitar pedals? I do have conditioned power and consolidated ground, but they still are noisy.
How about synths that are bus-powered via usb? I have a splitter for signal and power, but still.
Or are these examples of where I should just use a gate?

@akiva I’m waiting on the same answer. Until it’s official, here’s what I do:
When I see an update announced or posted here, I go back to my purchase email or the announcement for 2.0 and follow the download link from there.
I then drag the latest download into my chosen place in the library, replacing the device with the same name/number

I don’t have Euclid in too many prominent projects, so I cannot confirm if this will cause broken links to older projects. Being hopeful, keeping the name the same and the variable names the same ought to be a seem less substitute. Just don’t expect presets to reference the new patch and don’t expect manual midi maps to be retained if you have them set in a template. There’s so much here, that I have yet to skim the surface, and if I do create something complex and worth keeping, it’s immediately recorded into a clip.

So my approach is to officially get the update notice here on maxforlive and go with that news, then go to my gumroad on my own volition and download the device again

(it says "Menu" will start flashing slowly. That's also incorrect, relative to it's own modes of flashing. It's in it's faster flashing. So it was tricky to find the misstep)

I got it to work:
it really should say.

Press Menu
Select 7th position on knob (global settings)
Press Shift+Menu Menu button will blink rapidly. You are now in the Global settings for the Nymphes (Instead it says, "with shift lit" which could mean you left it on in general use, or it will go on anyway and be entirely unresponsive)
Use the knob to select which operation you want to adjust.
CC's are knob position 5.
For receiving MIDI CC move the rate fader to its top position. The Shift light will turn on when a setting is engaged, and turn off when a setting is disengaged.
Once you are the through with all adjustments in Global Settings Press menu again such that it is no longer lit.

it's not you: ever since I updated, I haven't gotten CC's to be responsive. (Something about the sequence mentioned in the manual, perhaps, regarding "with the shift lit" which is already lit if you advance the menu to the other general settings. Then having it remain lit, rather than become responsive, while the Program and CC IN/OUT faders are move)
I've gotten the DNCCC to send Program Changes, but the CC's are still not happening.
I picked up a faderfox EC4, and the Nymphes is not receiving CC's through that, through an ableton midi track either. I can see the midi fader lights rev up (where the volume would be on an instrument track), so I know the sequencers, and editors, and controllers are sending something...

So glad you are on top of this.
This was a practically an overhaul; almost every CC# changed! And on top of the reverb modulation and other things, thank you kindly for adding the new panic options. Their not even on the CC chart in the new manual. I've already had my share of hung notes, and was going to chalk if off to "charming." But this is much better.

Does it take advantage of the new "transmit on Preset Load" capability? In other words, is it officially two-way responsiveness?

Love where you're going with the aftertouch and mod wheel, makes total sense to put both in there. Good for testing, good for modulators like an envelope follower, LFO, etc. It works! And yes, that means we can also target the reverb dials.

Can the LFO modulators apply to their own values? How is it that the mod depth fields are still under them even when LFO2 is selected, for example?

The Send feature produced some unexpected results while the LFO was running, which is true even when the transport is stopped. But I think there was further pushing of the parameters if the Nymphes was not initialized but rather received the Send parameters while still effected by the last preset. For example, adding the DNCCC3.0 as a preset from the library while the nymphes was already impact by that preset caused it to go further off the rails, in a good way!

Also, I can't seem to confirm that the targeted parameters are saving as a device preset. Only the primary values. It's wonderful to not have to use up every slot on the nymphes, btw, and that's exactly how I intended on using this:
getting the nymphes to sound the way I want in a project, and then dragging the DNCCC3 into the Current Project Folder.

And Capture/Recall is a nice touch for updating the device itself or returning to the saved version of a preset if experiments go in the wrong direction. I'll have to test this feature next...:)

Hey Elbo, I think this is terrific.
Had a blast rev'ing up my first presets. Only thing I suspected is that some of the modulation values do not reset with initialize. Perhaps it is because I assigned them to macros and they carried over the different source options in the pulldown menu.
Thank you for having the modulation wheel on the face of the unit, very helpful.

Perhaps unfair of me to ask around here: the preset menu is only a program change, yes? So those locations cannot be over-written? Also, does anyone know how to load up a .nym patch?

Cheers to you for doing this. I dialed in the sound for my latest track and could entirely customize it to the mix...

My apologies for not being able to take down my melt down, here's how I'll make it up to you, and for those who might be interested in these devices:
it is a very paired back utility. There's no reason to save presets, and more than you might grab a utility device and adjust it to your current needs. The grouped devices are really no more complicated. It's two chains with the positive half on the top and the negative half on the bottom. The "utility" preset is only serving as an oscilloscope in order to determine whether the two haves are meeting up, which could only be an issue that I'd predict if your source sound was utilizing a dc offset. This "utility" preset is not necessary. There's a switch to account for this as well. There's a phase inversion. The "filter" preset like the utility is also leaving the wave file intact, it is only removing the DC offset if one exists.

Just reassemble HALF on a per-application basis. It couldn't be easier. Probably easier than trying to find where you saved your presets. This isn't a failing of the device, it's a disconnect on how m4l devices can save presets.

The results are so curious that I would not do it justice describing it. To really test my subjectivity, I'd have to consider whether I could emulate the same results in my sound design with other parallel processes and frequency filtering. This is a unique form of manipulation specific to wave folding. Can you only fold the characteristics impacted by other signal processes? Yes, this is how you would accomplish this.

It's a wonderful option for mixing in tones that retain the original tone center. When effects like reverb might otherwise cause an original signal to retreat from the mix, this is a subtle way of maintaining it's prominence while gaining the color of the effect. It's different than setting dry/wet to 50/50, for example, although you'll pay a bit of a CPU toll in adding instances of this device, it'll be worthwhile if that's the otherworldly result that you want to accomplish.

Thanks for the gold theme! Very attractive indeed! I truly never make an exception but for the default color starters, but this one is muy rico!

After going back just to see what would happen now that I followed the instructions exactly, NONE of the presets function. They all default to the central patch configuration, FDP - HALF-

After returning to the save locations or using the device manager, ableton doesn't even know where to find the presets, despite them being saved into the library. Furthermore, it makes a copy of the axmd file itself such that the search criteria doesn't even know if it's associating a copy or the originally intended device. Completely uninspired file management BS. Can you please advice a more recognized manner in which to associate presets. Why not assemble this into a pack or just do something that works, I could potentially go off in a OCD meltdown after this...

while you're at it, could you perhaps be a bit more intentional as to where you are placing these files. Sure, Ableton has a default location for imported maxforlive files, however, this catch all location might not even be the best place to comply and put everything, and if it's going to not associate the presets with the device to begin with, why would anyone want to go with the choices that your install video is choosing by default? To begin with, I might as well put them somewhere I'll find them again, right? But again, I changed nothing, complied entirely, and just an entirely regretful mess.

I quite literally paused every single step of your install process while watching the Quicktime video and did not deviate from a single instruction, and the method caused a complete debacle of invented projects copied to the original folder all the while loosing the reference both to the preset files for the device as well as the referenced files with the racks. What an utter mess. Did a complete delete, restart, reinstall. Second time was worse. Can you look at the advice and instructions again, please, and see what you may not be telling us?

16 macros could be more effective for random. You can also constrain the ranges that way, including making certain parameters constant if you do make a randomizer by forcing their range to a single value (0 for volume for example) or by not macro assigning them if you don’t use a randomizer. This comes in handy when you get into clyphx and macrobats.

To begin with, the Attack range is REAL long on the nynphes. The vast majority of random settings would average to species that would not play without lots of waiting

yeah, I'd be curious if you can point to them, but only with CC

Good to see that reverb as potential mod destination made it on your interface.

whenever I get something on gumroad, I append "+gumroad" to my regular gmail address, and sure enough I know my full library is under my sign in. Now, even the product page for makers will remind me that I have an included update rather than prompt me to purchase again.

However, sometimes when forwarding to PayPal for example, gumroad will auto populate the license with a guest purchase linked to the email you use for that payment service. What you re experiencing has happened with me before with other developers...

I agree with Stromkraft above

Rather than explaining the abstractions, the video and tutorial series ought to focus on taking the Push Hacker User through practical solutions.

I have a tutorial, for example, on Clyphx macrobat devices used as trim/gain pots, which then work natively with a Push. Now, instead of using your volume faders as balance in the mix, you can use this gain stage, and then dedicate your volume to automation and arrangement. It's designed to answer a problem, a "wouldn't it be cool if" [Push had a native trim pot mode, so I could do my crude mix on there from one view] question.

And it doesn't reinvent the wheel. I'm not competing with the universal functionality of the Push. You are still using the Push in the manner the device mode is intended. Customizing is grand, however the Push is designed to be an instrument which like the software itself becomes an avenue for understanding this platform. Even if I customize things, like create user scales, or a channel strip, or two-way takeover with a particular device, I want to know that I'm not bastardizing the Push.

Answer some common "what if" questions that folks find limiting with their current abilities on Push, and create a recipe. That would be helpful and genuinely showcase your Push Hacker...

I will get it, as I'm an old subscriber to encoder audio. For sure, we'll chat, and gladly join the conversation. I was hoping my questions would get to the real story and add to the description of the device, such that folks could understand in what dimensions this will enhance their music.

Like the morph, akninganng, sounds it really lends itself to modulators. And it sounds like it likes parts, create space in a mix, and it offers another dimension of movement, as any filter might, which is why I'm trying to understand the allure of this filter specifically...

What makes it your favorite?
And seeing as you have been developing filters for quite some time, why was this not one of the first? Why would I pick this over your other selections?
How would you use it? Is it a performance enhancement? A creative, evolving sound? A x-fading, transition tool?

I had the E-MU 4xT

For the record, those buttons remain entirely multifunctional, even in device mode, and are typically dedicated for further navigating. Therefore the programming involved to put the buttons to use on the same bank pages as the knobs involves a much deeper understanding of Push and M4L. But anyone can include the banks object, refreeze and save the device, and test how it works on the push, easy peasy

Gabor, Hi
General m4l question: instead of the live.banks object, any idea how I could use the macro buttons instead of the encoders to correspond with buttons on a m4l device? That is, instead of using a macro knob on Push to toggle the state of a button to actually use a button to work as a button?
I'm chasing my tail on this research...

On the subject of controller assignments, any idea how I could use the macro buttons instead of the encoders to correspond with buttons on a m4l device? That is, instead of using a macro knob on Push to toggle the state of a button, to actually use a button to work as a button!

Looks like it's a matter of including the live.banks object. Doesn't even require any patching. Open the object, and then create as many banks as required.

It would be a far more tight implementation if the Macro Buttons below the encoders could be assigned in this manner, and so I will continue to research this...
:)

Thanks for the swift reply, I completely understand. The best option is for me to peel up my rudimentary understanding of m4l and to open the patch. With the push, the user mode for MIDI mapping is fairly precious real estate. I'd rather keep it intact and with it's original assignments for when Stray completes CLYPHX for 11 or for other devices that takeover this mode. And assigning macros, as you know, only goes up to 16 parameters. That leaves a number of controls on pythagoras out of the game.

Could probably cover the full gambit in three banks or 2 if the toggle switches could be assigned to the macro buttons...

This is a wonder wheel. Thank you.
Any chance you could map parameters with banks to a Push?
I guess I could do that on my end, but for now I've assigned 16 macros that are easy to play with and randomize.
:)

Hi John,
Making it through the walkthrough, thank you for doing that. And Love Stokes. Have a hard copy of the manual, even. (should I print out my own copy now that it's at 2.3? Or do you have more user cases for it since that release?)

If I was going to spend a chunk of change on a modulator, how would this differentiate itself from Suzuki Kentaro's devices? How would you leverage your dispatch using a modulator of his as an source? How does the visual ideation compare to some of his LFO's?

What kind of CPU jump would you experience bringing this device in? (Had hoped to see it switched off at some point during the walkthrough). How many patches and assignments does it take to arrive at an economy of scale, in terms of CPU, such that any less routings and you'd get better performance ala carte with LFO's or LineFO's?

Does it have a Push 2 interface, or are there other ways in which it justifies it's pop-up window real estate? I'm on a laptop (and don't do multi-screen).

Cheers to you

Would there be an easy way to assign the CC#'s listed in the setting menu for velocity and such? Would that be helpful? I've been having a mental block on the choices I could make with the best foresight...

Cheers to you for this

you know I love you, right?
Your color swapping previews are very close to inducing a seizure, any time I get on here. I do actually get seizures.

That said, if your animated preview images actually previewed a hint of the device's functionality, then I'd understand and appreciate why you are making the effort. A flowing before and after wave form. A bunch of moving dials. But for a skin change? It's really not a selling point, do you think? Honestly, I think your devices are pretty self explanatory, which is a good thing. I understand them entirely without this additional attention grabbing.

I hear you Oktagon,
I'm circling back to it. It really is a beauty. I really like the variation section, and appreciate that it remains intact while I load in other patches.
And I hear you on the pattern matrix on µtonic. It's constrained, and, also, the name of the game in live is get things into clip form.

My saving grace is that I've found some very satisfying sounds for my style and taste without using a lot of time previewing lots of 1-off percussion hits. Those patterns are the best way to preview how they meld.

Now that I really think about it, I don't have that many patches to sift through in order to use your preset system. If it was capable of 128 slots, I wouldn't have to choose, literally everything I have to individuate my pads would fit in your Rack. But with 32, I could still pick my favorites, and put my runner ups in additional Drum Rack pads.

That said, I'd still be missing some of the scripts, but there's ways to randomize and vary settings from within Live and M4L.

I will say however that having the parameters audio mapped and laid out in Push as you do, Oktagon, is already an incredibly valuable and clinch move. Thank you for making this!

effectively each instrument is saving a number of presets of patches, correct?
What if you wanted to keep the association to the original full kit (set of patches) along with the corresponding patterns from microtonic? What would be your workflow?
You could have Just the Tonic loaded up on it's own track in its drum rack, then beside it you could have another instance of microtonic, where you could drag the midi pattern into the first track. But then we don't have any connection with Push 2.

Any way to populate the patches/pads of Just the Tonic by copy/paste or dragging pads from Microtonic onto a drop zone of Just the Tonic?

The thing that offers External Instruments referencing a multi-drum instance of Microtonic is that I can still fire off or drag that built-in pattern, and I'll know that the patches belong to that same file.

The microtonic in itself isn't a synth engine I can't live without. It's the complete experience, all lean and independent of samples, tapping into a library of outside beats that makes it such an easy tool to grab.

I don't see how tapping into 100s of patches to customize every pad with microtonic outweighs the immediacy of using all the bundled decisions in a pattern file, see what I mean? I might as well choose patches and drum kits from an array of other libraries at that point, or make the equivalent drum synth in Operator. So what would bring the full microtonic kit experience into Push?

I've done you a disservice by voicing a critique on here, without asking you these questions directly or having the ability to delete prior comments. So I'm going to leave a review, all of which folks can confirm or challenge with their own impressions when reading the manual, running the demo, or viewing future video tutorials...

This is a very thorough tool, and it would be terrific for creating new settings, new scenery for longer, complex, multi-clip work. It's equally good at creating variation for basic elements. Some of the more subtle adjustments, like rotating a note, or an emphasis in velocity or length or position of existing notes, has profound implications for syncopation, modal music, as well as changing switching entire dance styles.

A scalable view, leads me to wonder why this couldn't just be inline in device view? Well the answer is that you only need one instance, so you can select anything visible on the grid or the clip, and apply it to that. The icons are still clear to me at the minimal scale, which is great for working with the palate.

The device gets passed the limits of the 8-clip view, because you could select however many clips, or even apply it globally across a selection, a session, track or scene.

There is a preference for auto applying to a clip, however, you will need to deliberate whether you are using your own abilities to selecting notes.

The device isn't a filter or criteria for note selection. In some places this would be irrelevant, because the routines are working with pitch classes, for example, and are rather clever in how notes travel with each other. The other feature is the blocks selection, which I didn't play with, but seemingly allows motifs to be the smallest building block. Be sure to include your deactivated notes, which are the only way to place save the length or timing of a block to include the rests, or silence.

Even when some the process is snappy, you may find that the undo process causes a lag. A built in memory to the clip may be helpful, or just make lots of copies of the original before working on a single clip.

the demo itself does not come with presets in the alphabetical place savers for the actions. Some examples might be helpful.

Some features did require further reference to the manual and were not self evident. The manual itself could use some diagrams. In some actions, a few, such as the distinction between having the Brain engaged or otherwise, or the connotation of the positions changing incrementally to each pitch class, like octave shifting up and down. You might wonder where some notes went, which feels like an unintentional bug but is really just something that could use some constraint, like when you send a note sailing into the 8th octave or -2 octave or create a velocity that is out of an audible range, you might wonder where your notes flew off to, and just start over on a new clip rather than try to trace your steps. That's where saving routines will come in handy for the full version.

I put the 1st movement of Beethoven's 5th Symphony through the paces, because he was able to build so much with those 2 notes and that basic motif, and it is so immediately familiar in my memory how the transmutations line up with what I'm looking at.

Examples of things that will require some reading up on are the aforementioned blocks, the exponential isometric curve, under exp/chop as well as clip-level stretch/comp.

Other actions are immediate self evident and satisfying, like randomizing mute notes, which has so much immediate potential for creating natural playing to a repeated rhythm, bass line, or sequence. And Clip slicing, which has been available in other tools for audio slicing with built-in slice feature. But this works like Clyphx slice feature by shifting loop positions, and now you can have some fun on the MIDI side.

I don't know if it's logical, but having the global button on made me wish for more actions that could utilize this level functionality.

Any plans for midi or key assignments? or tab and cursor navigation?

Looking forward to the full set of scales in the full version. I truly appreciate anyone who takes this idea beyond the constrained, "Push" subset.

of course the one time I didn't copy/paste my last comment, and the page timed-out. Let's try again:

Hi Ray!
Tremendous work.

My concern is that some of these functions can be accomplished through scripting, and furthermore, Ableton must be well aware of the potential of the LOM. Is Max the real way to go? And do you think more of these features will eventually be integrated natively into clip view?

I purchased the Multiclip Editor and Midi Modulators from Isotonik Studios just before the release of Live 10, and sure enough Ableton featured a multi-clip view. Albeit, I think Live's implementation is non-functional. Nonetheless, how would you distinguish Trans4ma from the aforementioned devices, or the free
Selection Filter posted on this site? How would you compare your device in expediency and agility compared to a judicious use of the standard editing tools and shortcuts?

I approach Live from a performance perspective, and I like my decisions to be kinesthetic and musical. I'm often catching spur of the moment curiosities and improvisations. I just wish there was a way of staying away from the mouse/point-click tediousness of editing

I'm all for tools that make the horizontal stage of music making more snappy and inspiring.
In other words, constructing contrasting material, building out an arrangement and the like. Pattern and repetition is Live's forte, so working within the clip--the base currency of Live, despite all the things one can do with M4L, for example--is the way to go.

I haven't even read the description and I already like what I see enough to blindly add XO and figure out what you are talking about!

Hi Fabrizio,
I love all the things you make. How does this compare to the buffer shuffler, and some of the more stable mods based on it? How does it compare in terms of features, leanness, and performance? Do you have to drag/drop files into the device, or is it processing audio inline through the signal flow of the track?

Cheers to you

Is the idea here that you can do your mapping while you are away from your controller, and then assign the channel cc numbers that correspond to your controller and have it all work out when you get back?

YUM!!!
1) Is there a bundled price? You know, for folks who want the factor synth, but have applications when a more lean device is the right tool? Or are both properly sandboxed, with sections or steps that can be deactivated, with easily closable panels?
2) the cross-synth, is there a morph dial or a cross fader between the master and the cued up syn section? That's kind of a greenie question, but I'm just wondering if a concept of two turntable decks could be analogous within the device itself, or am I routing instances of this to tracks, or multi routing one device?
3) is this a mouse and click affair? Or can I see much of the playability of this on a midi controller?

I've long been confused by both KryptIk, and now this. Why couldn't someone take an LFO, map it to a parameter, start session or clip automation record, and end up with a parameter that has an automation curve? Does that not work?

Please take me through as if I understand nothing. What user case scenario are you solving? Lead me up to it. Because I really don't get why I could use this. "You know when..." "Ever wonder why you can't..." "Isn't a drag having to..." "
Are we making a distinction between modulation and automation? Is there something more flexible doing things this way? What is it?

I used to have a lattice of dummy clips that I would keep automation shapes on, and then trigger them. Is this kinda like an automation shape generator? What if you could just change the parameters of the device and then just copy the shape over?

See, that's literally how clueless I am. I have underlying assumtions that are just getting in the way.

I'm embarrassed to admit this, but after all these years I still can't figure out how to get a m4l device to associate to its bundled presets when installing into the finder. Whenever I put a folder into my user library with the device and the presets alike, I get "Could not access the Max device file ["Arp Control.amxd"]"

Could you help me solve this mystery once and for all?

Hi Voodoohop!
Youve made mention of the file size since your first release. It never bothered me but for the question as to what is causing the size. Are there a lot of libraries, graphic files, or code to clean up?

any way for an equivalent button as the Copy session tempo, but with the segment bpm of the selected clip?

Saintocean, M4L
This is dirty pool. There is a basic precept of economics dictated by willingness to pay. If people don't want to pay for something, they don't have to. If a developer doesn't want to give an original design away for free, they don't have to.

Now what you've done here is mod something without offering proper attribution, but rather glaze over your misgivings with a tongue n cheek flirtation. It's not even ELPHNT's role to defend himself here. It's the community's responsibility to defend him, and it's our collective responsibility to call out your antics.

Honestly, if it were up to me, I'd take your note pad down, based on ethical practices and the terms of the CC. I've got no stakes in this race. I save a plain text file in my project folder. Done. So the fact that you thought it worth throwing it in the developer's face tells the general public here that you thought the original did have value.

Definitely. Routing certainly came to mind. One of the 1st genuine tricks in Live was a track routing technique that I transferred clyphx actions. Effectively the trick allows you to use the x-fader deck assignments to transfer a clip into an effected signal and to use separate processing to return it to the original deck side. So you could smooth over the seams of an effect with delays as it came back to the dry signal, for example.
Another involves rerouting a second copy of the same playing clip to a modular synth that takes EXT as an oscillator. All kinds of routing that would otherwise require reaching for the mouse...

Could you provide a user case? We talking updated variables of the same action list? Is this effectively a pseq with 2 action lists in {} brackets?
Is the idea to do a bigger change of state to a session (changing routing, etc) and then change it back?

I love how people who use clyphx all seem to think differently and come up with different directions to go with it!

What have been your goto macros? I'm waiting for some smack my forehead moments...
(I use a lot of RND macrobats for example. So I'll probably make a macro that deletes these racks all at once from a session such that when I save the session for the first time and open it on a later date, I won't send all my effected devices into different directions.)

looks very tasty. Any chance of constructing a single lane version of it? I have SingleDrummer, and I find that this is lighter for occasions when I can make chains in a group and only need a 4-pad kit, or when I just want one lane of syncopations etc.

Or are there other things that you could do to release it as lean as possible?

Such an odd behavior I'm getting from the receiver. When I turn it on, it sounds EXACTLY as the pedal effect that I had on to the right of it, EVEN when the pedal device is turned OFF. In other words, it sounds like a volume jump (and not that it is maintaining the same RMS) when the CR is turned on, although the values on readout is that it is dynamically attenuating the signal AND even when the device between the CS and CR is turned off, it still sounds like the effect of the device to the right of the CR is turned on (when it isn't) when the CR is turned on...

Hi Spiralune,
First, I will be more patient in understanding the instructions here, as they are very thorough. But the sentence structure and phrasing is rather fragmented, as technical float-over info text tends to be, and I cannot from your initial statement understand what this device is accomplishing.

If you have 4 chains, couldn't you either assign the chain to a note range on a midi channel? then tap a corresponding pad? Or couldn't you in the example of 4 chains just distribute them evenly across the full range and use 4 positions on one dial? Why do I need to use this device? What user case scenario does this device solve? When does it become immediately obvious that this device is the way to address a problem?

LOVE LOVE LOVE
Now if a utility were at the end of that chain, I could use the difference between the the CS and the CR to adjust the gain and then take out the instances of the volume compensators, right?
So wouldn't it be possible to construct the CR such that it's intended purpose is to be inserted before a utility and to then takeover the gain dial of the utility from it's current position?

It might be nice to carry these tools into a studio session, or a live situation if they prove to be solid, and then not feel inclined to leave them in place. I say any chance to take a m4l device out of the equation in a performance critical situation is probably the right move....

april fools is 3 months out!

because the official packs on ableton do not announce an update schedule, nor does the manual on your site describe the changes in 2.0, would you consider adding update features/bugs/compatibility/optimization within the description area of your listing here?

Hiya FGC,
A pulse length of 16n with 16 pulses, 4 onsets, at the 0 phase should produce 4-on-the-floor right? And yet to my ears, despite it being evenly distributed in a 4/4 session, it sounds as if it is longer by a single 16th note. Playing with the metronome confirms this.

While we're at it, could you help me understand the optimal button? And how many combinations can it generate? Would it be possible for these to be selected randomly or have a dial rotate through them? Just trying to find a way for everything on the interface to be control assignable rather than a mouse selection...

Cheers,

This is a profoundly nuanced, wonderful device. Thank you!

I literally spent about 20 minutes exploring it with just with a single, repeated 1/8th note going into the device, and could have just left it at that. It's nice to know that even replanting a seed in Synplant can bore such musical results without even adding to the strain of the playback engine.

interesting. Seems to me, I'd want just one instance of this device. Either I delete all the ones before the External Instrument router and leave it at that, or drag the one instance before the drum rack entirely. Then I can just control which pad is in focus on the microtonic with the drum pads on the Push. The settings will then apply to whichever pad is highlighted in microtonic. Sure this tosses out the preset slots used the device, unless I use one column for a specific pad, for example. And there might be some nuisance in maintaining the blue hand on MicroTonicMaxed in device view while tapping different pads. But worth pursuing...

Always happy when someone throws some love towards µtonic.
Now customarily, I can control it with CC's or configure the plugin in native control, then have it map to Push or any User Settings for encoders. As for randomization, I can use µtonic's own Piku scripts, and as for save, I can just save the preset or bank for the device.
So what advantages are there in using a M4L device? For one, I wish there was a way of selecting a Pad other that clicking it so it was immediately ready on a per channel basis. But I do like that I don't have to map a repeat of every per-channel parameter.

Also, the values jump in any case when switching pads, but that's no biggie. So how do you work whereby you concluded that the M4L approach was the way to go?
Cheers!

that is to say, I have the triode...

Ah, so this is for the Anode?
Currently I use MotherGarage's Multimapper for this purpose, although I love your toggle switches for randomizing. Means I can still gain access to the all the toggle buttons via 8 macros.
http://www.maxforlive.com/profile/user/mothergarage

I was trying to correspond some CC values with the parameters that you have here. There were numbers that you have that I don't have, and vs vs. And it may just be how we've labeled them, features that separate the two micros, different mappings etc: filter accent CC56, LFO retriever CC57 as examples...
:)

From the limitations of other macro action devices and applications, it might be interesting if the move can be made relative to the last click or to it's current position, rather than an absolute place on the screen.
That way, items on a contextual menu could be automated. For example, when warping tracks, in clip view:
1) Selecting the transient with right click
2) Place 1.1.1 Here
3) Warp From here
Could all be done from a single action. The menu itself is a measurable-sized window, provided the Zoom Display value doesn't change. It's just that the absolute location of the pop-up, the selected transient, nor can the clip wave view itself be predetermined. But once the contextual menu is up, it's the same movement each time to select the items. Those Mouse clicks would be helpful to have in one action.

You can imagine how I'm tuning out today: yes, this is a ver generous device. I almost always get on here for feedback and questions, but really this is a pleasure straight out of the box, exclusively for studio production.
Muting 1 channel along with the Stereo/Crossover onto a single macro offers that conversion to ping-pong delay, as you suggested in the instructions. Easy Peasy

Like the STOP function. I wonder if a separate device with a simple passthrough along with clip recording function could be made to record via Resampling on a per track basis while retaining effect tails. Maybe it could function with the Clip slot stop button rather than the transport, such that resampling with tails could be accomplished without stopping the transport? Hmmmm

Hi Skinnerbox, hopefully you'll get a notice of a new comment here, but maybe anyone in-the-know could answer this. Seeing as this device was released just months before the new Simpler, what would you say are the settings within the Simpler to create the exact functionality of Salami? And if scrubbing the sample in classic mode using this device is still a distinctly different sounding result, let me know!
Cheers to you

Got it working now-your guess is as good as mine. Maybe a restart to assure MAX had updated or that the Live Browser properly indexed the new version. Maybe in numbering it the same as the previous version, I trashed the wrong copy of it while it was being referenced. Who's to say?

Getting a "Caution" (prohibited) sign when I try to drag this into a MIDI track. I'm running Live 9.6.1 with Max 7.2.4
(Holding out for 9.7 before I update again)

Confirmed that the previous version of LineFO 1.6 still drags in from the OS and Ableton Browser as expected.
Is anyone having the same issue?

M4L-in 18 months, you could have learned how to patch. I'd strongly encourage you to replace your conspiratorial and skeptical impulses with an open curiosity for the world you are observing. I know it might seem like your angle on things is more objective, and that it scrutinizes the truth behind the truth. But that's really not a thorough outlook on life, and I'm certain a general curiosity will allow to arrive at far more engaging questions and afford you even a more complete representation of your reality.

In these past 18 months,
have you used public transportation?
ordered from a counter or had fast food?
changed a lightbulb?
read a comic or magazine?
had to replace an inner tube on your bike?
bought some cables or adapters for your studio?
bought a beer for a friend?
fed a pet?
thrown out and replaced a pair of socks?
mailed a package?
given to a street musician or dancer?
bought an EP off a streaming music service or downloaded a movie or pay-per-view?
grabbed a game off an app store or steam?
flipped the lights on? Lit a log, or turned the heat on?

The only take-home observation I have of bennniii that is worth sticking with is that he's an upstanding guy. He's offered an exceptional amount of care for you and me, in support for his devices, in the value of the device itself-which can only be measured in your music- and in patience for the quality assurance we can provide for him. There's really no incentive in it for either of us to test the limits of his patience. And I assure you, you have a limit as well, which I'm hoping you'll take as a reminder to approach things with a little more humility. I promise, it won't hurt you to do so.

So benniii, when you figure out the updates for v1 or want to release v2, make sure you consider fairly what you need to change a light bulb, grab a refreshment for someone you care about, feed a cat, whatever it may be that matter to you and are obligated to, and charge accordingly. Put it among the k-devices offerings if you need. First off, that would be a headline story on ableton, and well worth covering. Second, you can always offer a promo code to those in need, if you feel like it is regressive to charge for Polyrhythmus.

Hi!
So each pad gets 99 of it's own patterns-or saved sequences- in the pro version, is that right? So that's 5.7×10^30 combinations or overall patterns?

Would 3 instances of this in separate chains amount to less cpu than the full-fledged 8 lanes for the Pro version? What are the other differences between the pro and the single? Might be nice to include columns for the other two devices on that chart on the product page...

How would you compare the CPU impact with other midi devices? I imagine its minuscule, but if you dragged/copied multiple instances with the transport stopped, what would it take for you to see your CPU go up 1%, for example?

Are all the parameters that should be visible instant mapped in a logical order on the Push?

While we're on the topic, I didn't see a Check Out button on your site. Registered thinking that licenses would show up when I was signed in, but didn't even get that far!

Cheers to you

Hey Jon, great to hear back from you
I don't think your question is rhetorical-there's definitely an answer I can offer.

"even if I had everything perfectly mapped out for all controllers or what have you, don't you think it would still occupy to much attention?"
By "attention" in this context I really mean "too much reaching for the mouse". I"m perfectly fine with centering my performance on developing a sequence or rhythm through commonplace-it's definitely that powerful and worthy of attention.

But the max object identifiers are sequentially all over the place. So it's not so much that anyone needs to prefer one controller over the other in order to fall in step, it's that standard Instant Mapping on any device will be scrambled.

As for simplicity-I definitely like economy, although I wouldn't trade Commonplace's complexity for any other options out there. I get around assigning too many controls to something by making ranges of variables randomizable (and reset).

I'm using Genbeat 1.2 by Kasper Skov for a similar niche. It serves in on-the-spot decisions, i.e. performance settings, in part because I can actually map everything to macros and nest in a rack. There's always a bit of a trade off in dialing in my note clusters-should I hardwire it to an impulse, drum rack, or try it tonally? Hyakken accommodates this issue beautifully in his Note Assign pop-up window [note mapping] for the Trigger8 v1.02. I might point out that exposing Midi note numbers as randomizable produces very unpredictable, if not unusable results in most cases. So random, or an LFO, or an envelope follower doesn't come in handy for everything.

That's another beautiful outcome of Hyakken's solution for note assign: it's safely stowed away and unaffected by remote scripts or other things open to the ableton interface. Take your device as a comparison, and if I was to randomize all visible parameters at once on Commonplace, I'd end up scrambling all my carefully chosen note values.

Correct me if I'm wrong, but with commonplace,
a) Autotriggers A/B are not midi mappable. That would make for a fun performance element.
b) none of the min/max fields nor any of the drop down menus are midi mappable. These would make for useful decisions, randomized or variating values.
That includes:
i) The min/max steps as well as
ii) random velocity range
iii) Trigger Rate drop down menu, including the manual option
iv) The step rate
v) the note length
vi) the step length

Again, for simplicity, I like to constrain the range of variables and then open up more parameters to randomization. One button. Boom. So more parameters could be well-served by making them assignable but also exposing their range in macro assigning and/or manual midi mapping. You could also consider having your built in Random and Clear buttons control more of these parameters, or having other pairs of R and C buttons for other areas of the interface. And I do appreciate that the R/C buttons can already be assigned.

So while still respecting people's different definitions of performance and their choices, there's still plenty that can be opened up to them. By the way, what you might find among the easier or more mundane decisions in using M4L for interface design are still technical matters above the likes of me! I'm just starting to open the hood, split devices up and customize. So these little decisions don't fall on deaf ears.

Cheers to you, Jon

Hey Hyakken, just posted this on the M5816 page as well; covering my bases:

always happy to see an update in my email

Is the 1.5beta stable at this point? What are the trade-offs and stability between the two clocks to warrant such a leap? Should I be using 1.5?

Also, I noticed the bundle comes with two copies of 1.02, one labeled midi. Is the only difference that the LFO's are pre-selected to control midi on one copy? In other words, are they effectively the same device?

Cheers to you

Hey Hyakken, always happy to see an update in my email

Is the 1.5beta stable at this point? What are the trade-offs and stability between the two clocks to warrant such a leap? Should I be using 1.5?

Also, I noticed the bundle comes with two copies of 1.02, one labeled midi. Is the only difference that the LFO's are pre-selected to control midi on one copy? In other words, are they effectively the same device?

Cheers to you

Filled out the survey, so I was hoping to add more observations here with your revisions:

So the rec tab has a field per step for capacity, "No."? And "Bejehdjfjeb"?-I'm watching on a smart phone and away from my studio. What is the reason for the third field? The number field advances with each entry, and we already know the capacity. We also know when the step flushes itself if it was already full. What I don't see is a number that indicates/labels which of the choices are currently being played on that step, and not sure if for performance of the device that I'd want it. I see the note and velocity read out on the bottom, but I don't see those change with each pass or step either, so note sure what they are there for.

Also, my note previously is a bit more clear if you consider a different user case: what if the track it's on is monitoring the clip or other sequencers, not note input? Then you might want a button to turn the note intake off so you can continue playing the what you've already captured and don't loose the buffers which might otherwise empty on another pass. Furthermore, you might consider a Thru option, so further notes are played passed your device but don't impact the memory of it.

Finally, "Clear" per step and "New" as a global control could be resolved-either word is suitable to describe both, I think. Without it I might think clear is just clearing the notes, not resetting the parameters of that step.

Cheers to you for building this! I wish I could take to learning m4l as readily as you did.

"comments area" I meant "Description", the write up area for the device itself
:)BD

Thanks! The Comments Area is a great place to document your changes. And of course you can always increment your version numbers rather than rename it "Updated".

What I see is:
*the Mangle button is gone, but changing a selection in the option menu, or even choosing the same item again, will Randomize the values.
* New labels for "New" which I assume flushes the Note buffer. "Go!" Literally turns the sequencer on/off. But if I'm not mistaken, even viewing the Rec tab still saves new note variables, so I don't understand what is actually the button for "Okay, don't take in any more notes, just play the sequence with the round-robin notes you already have"
*Uncertain of where the third option for sequence is: if Drunk and Random are a toggle, then how do I default back to the sequencer just going in order? Or are the Random/Drunk options just for the order of notes saved in each step's capacity?

Yeah, didn't want to spoil the fun :) I did get as far as watching the video and cutting in a bit of silence, until I said "what the"...

I appreciate the joke in the false modesty of this sequencer-it's anything but commonplace.

My only complaint is that the levels of complexity are only available from clicking/mousing on the GUI. So this device definitely belongs in the studio for me, and would occupy too much of my attention on the stage.

The Text and Number order of the variables is not clear, so Push won't grab onto things in a logical fashion. Not all toggles/buttons nor beat division drop down menus are macro assignable. And somethings that I'd want to lock out from random changes, like the note values, are too readily changeable. Might be nice if other sections of the device were included in the random switch. And there's no interpolation between the presets-but that'd be icing.

What's left is something that is still more expansive and ambitious than my imagination has yet to even wrangle. There's just so much you can do with this thing. It could add exceptional complexity or nuance to a drum beat, but it could also offer a delineated B-section alternative or a fill. Euclidean rhythms would be equally welcome here. The pace of changes and probabilities alone are a world of exploration. Patterns could evolve with turn of the knob, or you could introduce radical, abrupt change.

And that just comes to mind if you're using this for a percussion pattern. With 2 pitches per lane, this is equally welcome for building bass variation or synth sequences. Velocity has just as complete coverage.

And it's lean and stable thus far.

Thanks for getting back to me. Yeah, Clyphx has specific nomenclature for the scope of automation you want saved, and for the specific tracks/devices you want included. It accomplishes this both through the action names and the accepted modifiers.
Might be worth looking into creating a max shell for certain actions to be saved to the device itself. Or alternatively seeing if the delineators in a saved snap clip could be understood from within the text file in SuperConductor...

Is there a way to incorporate a snapshot feature into this device so that the user does not need to manually enter all the parameter values into superconductor, but rather press a button and have the current state of mixer/device/play settings all recorded at once? It can be done with a Clyphx Snap Clip, but was looking for a way to manage presets more elegantly than with a non-playing track...

I love this stuff. It's a little humor, a genuine window into the future, and a little off-schedule for your medication. Didn't you have an assistant helping you with the natural language description?

So this thing bricks your ableton session and makes a beep. Funny thing is, for those of us who listened to the chirps of gravitational waves, I no longer expect much more understanding from first contact. Really stirs the imagination!

This was what I needed help with after an additional read through:

By full confession, how does CC assignment work exactly? Does the track need to be available to all or the specific port/channel in order to see the CC value that you’re spinning? Moving a knob is not updating the CC number in the box, although I can punch the value in myself. I have a number of VSTi’s with this feature, but I so rarely look into using it. Does the preference have more to do with how you program your controllers or how you upload future instances of the device? I usually hotwap instruments in place, so I don’t loose my manual assignments.

also, the midi map mode has no apparently obvious engagement. “M” makes it visible to manual mapping in live. Great. I pick a controller which is easily assigned to GUI objects in live, and I do see that the value scale now glows in Control Bank, but that same encoder will not assign itself to the value bar in Control Bank. Is the listener on the interface somewhere else?

“MIDI-mapping is by default disabled in order not to record useless automation in clips.” I didn’t understand this explanation.

Throughput limiter. Should this be reflected in automation thinning? IE, will I see less automation points? Might be a good indication of the responsiveness.

Oh and if you do decide to add a video, a follow up with the router/receiver devices would really send it home.
Thanks!

Please forgive me, but I may have posted a similar comment in the 2.7 version. A certain level of abstraction is difficult for me to grasp conceptually. I've read the hints hovering over the text, and will re-read your summary a few times. Maybe a direct application within a video would finally knock me in the head?

How does this compare with NativeKontrol DDC? How does it know of which equivalent parameter on which track a control should takeover? Do I need an instance on every participating track? Okay, time to read into it again...

I'm like a kid in a candy shop. Thanks MG