What an awesome and highly detailed video! Thank you very much for making this. I do have to apologise for one thing, which I see on your unit; we hand-lubricate every fader by injecting grease into. This way we can ensure they all have the same smooth feel. After that, we clean off the unit with isopropyl alcohol to get rid of any grease residue. But occasionally a little bit of the grease can "contaminate" back out, resulting in a slight smudging around the faders, which I noticed on your unit. I just want to assure you, if it bothers you, it cleans off very easily with some glass cleaner spray and a rag :)
Nice bit of gear - you are most welcome 👍 I have an eye condition and I can't see anything on the faders 😊 I've also realised that when I got it out of the box I was holding it upside down 🤭
This is a great demo and review Ian. I’ve pictured these sort of devices in my head and it’s nice to see one on display. I think these would be very useful in a lot of applications. Thanks for sharing!! 😃👍🏻
For a three fader controller that you can only reprogram on line, sorry, I think it's waaaay expensive. I've got an iCon Pro Audio iControls unit, 9 faders, 9 encoders, joystick, on pc editor, which can save / edit up to 4 sets of assignments andit also has DAW transport controls. Real quality build too, the faders are superb. that cost me 30 quid on eBay.
I’m a big fan of faders over knobs. I’ve seen this controller in a few other videos, mostly with orchestral composers. Seems to be most popular for controlling strings, where there is naturally a little swell in volume in the middle of a note, and brass, where the timbre of the note gets harsher as volume increases, as you demonstrated. It fascinates me how realistic some people can make these orchestral sample libraries sound, and a set of faders like this is important for that. I may want to do that type of work someday, but for now, I’m controlling mainly other types of synthesizer or hybrid virtual instruments. What makes this particular model special is the length of the slider, giving more fine control. Also, having three faders instead of two is important because some acoustic instruments respond to control of vibrato, in addition to volume and timbre. I have something similar, called the Monogram Creative Console, where you can snap together module with faders, buttons and knobs. The whole thing was about 50% more money than yours for four modules, including one with 3 faders. It is great, but the faders are only around 2/3 or 1/2 the length of yours, so not as fine control. I think the manufacturers of both units have had trouble keeping up with production demand because of all the RUclips videos!
The Monogram looks great 👍 You can program the Controller with 3 sets of CC messages so it's easily configurable for libraries that use diff CC messages - and for use with soft synths which might be interesting. Is the Monogram programmable?
@@IanWaugh Yes, the Monogram can be programmed for MIDI CC messages in the knobs and faders. Also, it can send other MIDI messages, such as program changes in the buttons, whereby I was able to cycle through virtual instrument presets in a slightly more convenient way than clicking with the mouse (I seem to recall I last set this up with Kontakt). The Monogram can also be set up for use with other software, such as video and photo editing, though I don’t do this work myself (yet!).
As far as I know, expression is just volume control in most of these libraries. While CC1 (mod) fades through actual unique samples recorded at different dynamic ranges, expression doesn't in libraries like Spitfire/Cinesamples and many others. Have been under the hood of libraries like Albion and Cinestrings/brass often, to make some changes and never saw anything that showed CC11 was controlling unique samples or filters. I believe in walkthrough videos from Spitfire Audio, they also mentioned it, its just volume. Correct me if I'm wrong though, but I think that if one hears a difference (in libraries like Albion One and Cinesamples, it's the ear being tricked.
I think you're right in many cases. If you increase the volume of a sound it appears 'bigger' and brighter. That's why louder music generally sounds better. Expression is just a CC message which can be applied to many parameters. So it could be used for volume or the cut off or whatever. Although Spitfire's expression slider responds to expression info, I think you're right in that it only affect volume which is rather disappointing , although varying the note volume after production is a positive. Cinebrass' expression parameter is linked to CC1 but it very noticeably changes the note's timbre as you can hear in the demo. So I guess some instruments don't use expressioon or any other message to change timbre with volume while others which do may not use the expression message.
@@IanWaugh Yup. In regards to Spitfire, I checked after I wrote it here and I noticed there is even a little text written on the interface under the expression slider "controls volume". I personally link CC11 to CC1 to ride both of them with 1 slider in most cases (same with Eastwest libraries), so Im happy it's there though. If have to take a look at Cinesamples again.... I thought it was the same for expression (no unique samples or filters) and that they only use CC1 for dynamics and CC2 (breath control) to control the vibrato layer, but it has been a while for me working with them.
@@AndriesdeHaan Sounds like cheating to me 🤔 If it doesn't change the tone, what's the point? I have several Spitfire libraries. Will be disappointing if they are all the same. Also have many others so some exploration is in order...
@@IanWaugh I agree. When cc11 is volume control, the expression input basically comes from the user, while one would expect the expression control would change the expression of the player that was sampled. It simply has to do with cost. These libraries might become too expensive to see a good return. What is worse in my opinion though, is that most companies (including Spitfire and Cinesamples) don't record every note, but record every second note and just pitch up the same samples to fill up the gaps. Not only is the instrument and vibrato and such fake/ a pitched copy every second note, but you als get a pitched room sound on those notes. Such a shame... but yes, unfortunately lots of tricks to make it sound as good as possible yet stay competitive in terms of cost for the consumer.
I have always wanted to have a SIMPLE MIDI controller like that. But I want to build mine from scratch (Arduino based and using my 3-D printer), as a fun project. But this is tempting!!!
@@IanWaugh Yes, it is a common platform for MIDI. Some Arduino are specially suitable. In fact, I have the material at home, "just" need the time to do it!. My unit would have an small display so you could program it using a simple interface (encoder with push button). That way it would be self-contained (and I woudn't need to develop a PC software). If interested, will get back if I ever build that thing 😅
Congratulations for the explanations. I just bought the Mk I have a problem every now and then increase the volume or the expression yourself can you help me I use MOTU DP GRAZIE Daniele
Hi Daniele - Sorry but I don't know exactly what your problem is. The Conductor is class compliant and should work when you plug it in. You can check if it's connected and working correctly on the Ghost Note site but note that the test does not currently work in Safari. To get it to work in your DAW you may have to install it as a MIDI device. I use Cubase and it just sort of woeked. However, there are some videos on the Ghost Note site explaining how to install it in other DAWs although not DP but you might get an idea of what settings to use by watching them. If you still can't figure it out, get in touch with Ghost Note - I have found them to be very helpful.
Have a nice Christmas Day, Ian! I saw your great video and got myself a Conductor Mark II Midi Controller for Christmas - and now I'm faced with the problem that I don't know where to enter it in the Studio in Cubase 13 pro (Windows): my PreSonus Faderport is under Mackie Control, for the Conductur I created and connected Mackie Control 2. But it doesn't work... Can you please help me? 😉 Greetings from Vienna/Austria
Hi - thank you and Happuy Holidays to you, too 🎄 The Conductor is class compliant and should work simply by plugging it into your computer. Check the setup/test page on the Ghost Note site to make sure it is working. If all is well it should work in much the same way as the Mod wheel. Hope this helps 👍
@@IanWaugh Thanks, Ian, I am now one step further. Device found, the controllers are displayed correctly in the monitor. Only in Opus or The Score, for example, the faders don't change anything. In Kontakt 8 as a standalone, everything works perfectly... I am curious to see if I will find the “remaining” error tomorrow 😉
@@moemi1000 With some software, including Kontakt, you have to set the MIDI input sources. Occasionally you may set them and for some reason they forget them - at least on my flaky system it happens. The Conductor just generates MIDI CC data so the software must be set up or programmed to resond to this.If it's woeking in Kontakt you'll know this 😊 Good luck 👍
@@IanWaugh Thank you again for your support, I will look into it intensively tomorrow. I've been making music for almost 40 years, but I'm only a user and have rarely had to worry about technical details. I am all the more grateful when I can get advice from professionals. Have a wonderful Christmas! 🤗
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
I enjoy your video editing!!!!
Thank you very much, I do my best 😊
What an awesome and highly detailed video! Thank you very much for making this.
I do have to apologise for one thing, which I see on your unit; we hand-lubricate every fader by injecting grease into. This way we can ensure they all have the same smooth feel. After that, we clean off the unit with isopropyl alcohol to get rid of any grease residue. But occasionally a little bit of the grease can "contaminate" back out, resulting in a slight smudging around the faders, which I noticed on your unit. I just want to assure you, if it bothers you, it cleans off very easily with some glass cleaner spray and a rag :)
Nice bit of gear - you are most welcome 👍
I have an eye condition and I can't see anything on the faders 😊
I've also realised that when I got it out of the box I was holding it upside down 🤭
This is a great demo and review Ian. I’ve pictured these sort of devices in my head and it’s nice to see one on display. I think these would be very useful in a lot of applications. Thanks for sharing!! 😃👍🏻
Thanks, Matt. I'm loving it so far and am inspired to try more orchestral stuff 👍
For a three fader controller that you can only reprogram on line, sorry, I think it's waaaay expensive. I've got an iCon Pro Audio iControls unit, 9 faders, 9 encoders, joystick, on pc editor, which can save / edit up to 4 sets of assignments andit also has DAW transport controls. Real quality build too, the faders are superb. that cost me 30 quid on eBay.
Looks awesome 👍
I’m a big fan of faders over knobs. I’ve seen this controller in a few other videos, mostly with orchestral composers. Seems to be most popular for controlling strings, where there is naturally a little swell in volume in the middle of a note, and brass, where the timbre of the note gets harsher as volume increases, as you demonstrated. It fascinates me how realistic some people can make these orchestral sample libraries sound, and a set of faders like this is important for that. I may want to do that type of work someday, but for now, I’m controlling mainly other types of synthesizer or hybrid virtual instruments.
What makes this particular model special is the length of the slider, giving more fine control. Also, having three faders instead of two is important because some acoustic instruments respond to control of vibrato, in addition to volume and timbre. I have something similar, called the Monogram Creative Console, where you can snap together module with faders, buttons and knobs. The whole thing was about 50% more money than yours for four modules, including one with 3 faders. It is great, but the faders are only around 2/3 or 1/2 the length of yours, so not as fine control.
I think the manufacturers of both units have had trouble keeping up with production demand because of all the RUclips videos!
The Monogram looks great 👍
You can program the Controller with 3 sets of CC messages so it's easily configurable for libraries that use diff CC messages - and for use with soft synths which might be interesting.
Is the Monogram programmable?
@@IanWaugh Yes, the Monogram can be programmed for MIDI CC messages in the knobs and faders. Also, it can send other MIDI messages, such as program changes in the buttons, whereby I was able to cycle through virtual instrument presets in a slightly more convenient way than clicking with the mouse (I seem to recall I last set this up with Kontakt).
The Monogram can also be set up for use with other software, such as video and photo editing, though I don’t do this work myself (yet!).
@@NeuroPete That's cool 👍
As far as I know, expression is just volume control in most of these libraries. While CC1 (mod) fades through actual unique samples recorded at different dynamic ranges, expression doesn't in libraries like Spitfire/Cinesamples and many others.
Have been under the hood of libraries like Albion and Cinestrings/brass often, to make some changes and never saw anything that showed CC11 was controlling unique samples or filters. I believe in walkthrough videos from Spitfire Audio, they also mentioned it, its just volume. Correct me if I'm wrong though, but I think that if one hears a difference (in libraries like Albion One and Cinesamples, it's the ear being tricked.
I think you're right in many cases. If you increase the volume of a sound it appears 'bigger' and brighter. That's why louder music generally sounds better.
Expression is just a CC message which can be applied to many parameters. So it could be used for volume or the cut off or whatever.
Although Spitfire's expression slider responds to expression info, I think you're right in that it only affect volume which is rather disappointing , although varying the note volume after production is a positive.
Cinebrass' expression parameter is linked to CC1 but it very noticeably changes the note's timbre as you can hear in the demo.
So I guess some instruments don't use expressioon or any other message to change timbre with volume while others which do may not use the expression message.
@@IanWaugh Yup. In regards to Spitfire, I checked after I wrote it here and I noticed there is even a little text written on the interface under the expression slider "controls volume". I personally link CC11 to CC1 to ride both of them with 1 slider in most cases (same with Eastwest libraries), so Im happy it's there though. If have to take a look at Cinesamples again.... I thought it was the same for expression (no unique samples or filters) and that they only use CC1 for dynamics and CC2 (breath control) to control the vibrato layer, but it has been a while for me working with them.
@@AndriesdeHaan Sounds like cheating to me 🤔 If it doesn't change the tone, what's the point? I have several Spitfire libraries. Will be disappointing if they are all the same.
Also have many others so some exploration is in order...
@@IanWaugh I agree. When cc11 is volume control, the expression input basically comes from the user, while one would expect the expression control would change the expression of the player that was sampled. It simply has to do with cost. These libraries might become too expensive to see a good return. What is worse in my opinion though, is that most companies (including Spitfire and Cinesamples) don't record every note, but record every second note and just pitch up the same samples to fill up the gaps. Not only is the instrument and vibrato and such fake/ a pitched copy every second note, but you als get a pitched room sound on those notes. Such a shame... but yes, unfortunately lots of tricks to make it sound as good as possible yet stay competitive in terms of cost for the consumer.
@@AndriesdeHaan And we do the best we can with what we're given 😊
Ian it certainly helps bringing sounds to life. Good clear demo. ( there is a ribbon controller on my Korg Triton, which I find useful to add life )
Thanks, Tim. I love ribbon controllers 👍❤
I have always wanted to have a SIMPLE MIDI controller like that. But I want to build mine from scratch (Arduino based and using my 3-D printer), as a fun project. But this is tempting!!!
Hi Jose - I think it uses the Arduino and I believe the code is open-source, and I think the main case is 3D printed 😄
@@IanWaugh Yes, it is a common platform for MIDI. Some Arduino are specially suitable. In fact, I have the material at home, "just" need the time to do it!. My unit would have an small display so you could program it using a simple interface (encoder with push button). That way it would be self-contained (and I woudn't need to develop a PC software). If interested, will get back if I ever build that thing 😅
@@JoseVGavila Sounds really cool. I'd imagine the market for this sort of thing is huge but perhaps not, given how few such units are out there.
Congratulations for the explanations. I just bought the Mk I have a problem every now and then increase the volume or the expression yourself can you help me I use MOTU DP GRAZIE Daniele
Hi Daniele - Sorry but I don't know exactly what your problem is. The Conductor is class compliant and should work when you plug it in. You can check if it's connected and working correctly on the Ghost Note site but note that the test does not currently work in Safari.
To get it to work in your DAW you may have to install it as a MIDI device. I use Cubase and it just sort of woeked.
However, there are some videos on the Ghost Note site explaining how to install it in other DAWs although not DP but you might get an idea of what settings to use by watching them.
If you still can't figure it out, get in touch with Ghost Note - I have found them to be very helpful.
Have a nice Christmas Day, Ian!
I saw your great video and got myself a Conductor Mark II Midi Controller for Christmas - and now I'm faced with the problem that I don't know where to enter it in the Studio in Cubase 13 pro (Windows): my PreSonus Faderport is under Mackie Control, for the Conductur I created and connected Mackie Control 2. But it doesn't work...
Can you please help me? 😉
Greetings from Vienna/Austria
Hi - thank you and Happuy Holidays to you, too 🎄
The Conductor is class compliant and should work simply by plugging it into your computer. Check the setup/test page on the Ghost Note site to make sure it is working.
If all is well it should work in much the same way as the Mod wheel.
Hope this helps 👍
@@IanWaugh Thanks, Ian, I am now one step further. Device found, the controllers are displayed correctly in the monitor. Only in Opus or The Score, for example, the faders don't change anything. In Kontakt 8 as a standalone, everything works perfectly... I am curious to see if I will find the “remaining” error tomorrow 😉
@@moemi1000 With some software, including Kontakt, you have to set the MIDI input sources. Occasionally you may set them and for some reason they forget them - at least on my flaky system it happens. The Conductor just generates MIDI CC data so the software must be set up or programmed to resond to this.If it's woeking in Kontakt you'll know this 😊
Good luck 👍
@@IanWaugh Thank you again for your support, I will look into it intensively tomorrow. I've been making music for almost 40 years, but I'm only a user and have rarely had to worry about technical details. I am all the more grateful when I can get advice from professionals. Have a wonderful Christmas! 🤗
@@moemi1000 🎄👍
Ill stick to my Korg Mikro & Behringer X touch
Fair enough 😎 The X-touch looks interesting.
🎛🎛🎛
Naw 🎚🎚🎚 😊