Jono, this was a great introduction to MIDI In. You are right to say that there must be more parts to come as I also see the potential of it! Reminded me of the one note track video with the delay designer. Looking forward to it! Thanks again!
Thanks so much, Jono. I think this has given a new lease of life to my 30+ year hardware synths gathering dust... Perhaps this new functionality is the unknown huge new potential of Logic 11.
My favourite use for this so far has been using the midi out module in Reaktor Blocks in a similar way to you using the modulator plugin. Even with the free version it allows for stepped modulation sequences, multiple LFOs that modulate each other, etc, and with the full version there are some really fun modules like the Massive style curve sequencer. Being able to apply complex rhythmic modulation to multiple parameters on multiple plugins on multiple channels opens up so many possibilities that I've barely scratched the surface with. I hope more plugins start to offer midi out options along similar lines. Being able to send modulation data out of something like Omnisphere would be a real game changer for me!
Hi Jim, absolutely, that sounds like a fantastic use of this feature. Like you, I'm excited about the possibilities for 'modular in the box' with this addition. We'll look at more possibilities when Part 2 comes along in a few weeks.
@6:02 me checking my phone.....oh wait, it's just Jono getting an order confirmation for a new Prophet 5...... 😂😂 Love the videos Jono! This really helped! Keep em coming, please! 👍👍
Watch out for what feels like a bug (unless I'm doing something wrong): if there is a tempo change, the tracks will fall out of sync if you loop them or try to bounce them out before you've recorded the MIDI to the destination tracks. A real-time bounce will work, but the non-real time won't.
Hello, I'm a bit confused. Hope you can elaborate a bit more. The midi data from the Random LFO (modulator) in the Alchemy track is being sent internally to -> 1) The Filter Cutoff in the Retro Synth (via CC9) and 2) The pitch variation in ES 2 (CC 9), but how is any midi data being sent to the pitch/velocity to either of those 2 synths?
Great question. Pitch/Velocity is effectively 'echoed' from one synth to the next. As both instruments are set up on the same MIDI channel, the Pitch and Velocity data (along with Note Length and Note Position) are immediately translated from one instrument to another. It's effectively the same as me creating a sequence of notes for one instrument and then copying it to the track of another - the same MIDI Note On messages would trigger both instruments. This is the same - the difference is that I've made an Internal MIDI connection between the instruments, rather than copying a region. Things separate and become unique to each Instrument when MIDI Controller data gets involved, as that can be routed to different parameters in different synths. So I can control the Filter Cutoff in Retro Synth and the Detune amount in the ES2 by choosing to route that MIDI CC Number to different parameters. But the Note data is common to all instruments receiving that MIDI In. I hope that makes sense!
This is great as always! I have a (somewhat) tangential MIDI question - is there a way to use Logic to send MIDI CC / PC messages to external hardware? Watching this gave me dreams of playing along to a logic backing track on my guitar, and Logic automatically adjusting my guitar pedals in real time... Have tried searching for an answer but can't find anything obvious.
MIDI controller 9 does not have any general midi 'CC' (continuous controllers) attributes to it, so Jono selected that one as it won't affect any other parameters. As for controller F in the ES2 - it's just an empty assignment that needed to be assigned from controller 9. Then in the target screen this is where the (F) parameter gets assigned to what is affected in the ES2 'Basic Dance' sound. In short: Modulator at controller number 9 was assigned to Controller F to modulate Pitch or Detune in the ES2 as per Jono's demonstration.
Peter has beaten me to it! (Thanks Peter). What he's said is exactly right. I agree that it's confusing to have numbers and letters, so let's think about one at a time. Firstly, we've created a line of MIDI data which we've chosen to assign to MIDI Controller Number 9. Think about that as a flow of information which just happens to be sending to that specific Controller Number. I want to send that to the ES2. The specific way that the ES2 can receive and 'do something' with this information is to use it at one of 6 MIDI Controller 'input destinations'. These are labelled A-F. So the second part is that in the ES2. I'm choosing to use the Assignment at letter F as an input for the MIDI Controller data before deciding what to target it at, to create a change to the way the synth sounds. In a different synth, that input assignment might be labelled differently, which is why it helps to understand the two stages separately. Firstly, the generation of a line of MIDI Controller data and secondly, how that is received an inputted into your instrument of choice. Peter summed it up more clearly than me!
@petermassa2716 This was very helpful. So 9 should always be used because it has no cc data assigned to it? Hmmm, Jono, a video about this should be forth coming😊
@@masbass1011 Nearly! I've chosen MIDI CC9 as it's certainly not a MIDI Controller which is assigned 'regularly'. Some of the other MIDI Controllers (1 - Modulation, 11 - Expression) etc, do have regular assignments, so I've picked a random one. All that really matters is that I've matched the MIDI Controller number coming out of Modulator to the MIDI input within the ES2 so that I can use that line of data to affect my choice of parameters.
this is mind blowing if I well understand i can use (re route a retrosynth or external whatever audio into alchemy for instance and modulate to create completely new sounds
Kind of! This isn’t Audio routing, but MIDI routing instead. You can certainly take any audio signal into Alchemy as it’s a sampler, so absolutely, it’s an amazing instrument for making new sounds. But the MIDI In options will certainly allow you to use controller signals over MIDI to manipulate Alchemy’s parameters in new and interesting ways to further manipulate the sounds you design. And you can use those facilities with a range of other instruments too.
Yes, We all were waiting for that internal routing.
Glad you enjoyed it. Part 2 out right now...! ruclips.net/video/4T1eYxI15qA/видео.html
Jono, this was a great introduction to MIDI In. You are right to say that there must be more parts to come as I also see the potential of it! Reminded me of the one note track video with the delay designer. Looking forward to it! Thanks again!
Part 2 coming soon! Thanks.
This is brilliant. Again, you've highlighted something I never knew about! Cheers, Jono!
Many thanks, Chris. Hope it proves useful.
I like it when the title contains the words 'Part 1'. Don't leave us on tenter hooks now for part 2.
Ha! Well, you might have to wait a little while... but certainly not too long. ; )
Really enjoying your Logic series. Thanks!
Thank you so much!
You did it again! You have this knack of producing videos that spark creativity in previously unexplored areas. Thank you 👍
Thanks so much, Peter, as always.
Thanks so much, Jono. I think this has given a new lease of life to my 30+ year hardware synths gathering dust... Perhaps this new functionality is the unknown huge new potential of Logic 11.
Hi David. It's definitely a great new addition with huge potential to explore. Glad you're as excited about it as I am!
Great video as always Jono! Looking forward to the next video in this series.
Thanks so much, Matt. With you in the next few weeks.
Absolutely perfect timing - thank you JB . Been playing around with my Hardware Synths and this is just the ticket 👍🏻
Great Lee - have fun!
My favourite use for this so far has been using the midi out module in Reaktor Blocks in a similar way to you using the modulator plugin. Even with the free version it allows for stepped modulation sequences, multiple LFOs that modulate each other, etc, and with the full version there are some really fun modules like the Massive style curve sequencer.
Being able to apply complex rhythmic modulation to multiple parameters on multiple plugins on multiple channels opens up so many possibilities that I've barely scratched the surface with.
I hope more plugins start to offer midi out options along similar lines. Being able to send modulation data out of something like Omnisphere would be a real game changer for me!
Hi Jim, absolutely, that sounds like a fantastic use of this feature. Like you, I'm excited about the possibilities for 'modular in the box' with this addition. We'll look at more possibilities when Part 2 comes along in a few weeks.
Great stuff as always
Thank you!
You are superb.Thanks again !
(plus I stll have a soft-spot for ES2 and Ultrabeat )
Thank you! So do I. : )
@6:02 me checking my phone.....oh wait, it's just Jono getting an order confirmation for a new Prophet 5...... 😂😂 Love the videos Jono! This really helped! Keep em coming, please! 👍👍
🤣 One day…! Glad the episode was helpful. MIDI In Part 2 is out now too.
Watch out for what feels like a bug (unless I'm doing something wrong): if there is a tempo change, the tracks will fall out of sync if you loop them or try to bounce them out before you've recorded the MIDI to the destination tracks. A real-time bounce will work, but the non-real time won't.
Thanks for letting us all know, Charlie. I'll keep a look out for that one.
Thank you sir just what I needed.
Great, thank you!
Hello, I'm a bit confused. Hope you can elaborate a bit more.
The midi data from the Random LFO (modulator) in the Alchemy track is being sent internally to -> 1) The Filter Cutoff in the Retro Synth (via CC9) and 2) The pitch variation in ES 2 (CC 9), but how is any midi data being sent to the pitch/velocity to either of those 2 synths?
Great question. Pitch/Velocity is effectively 'echoed' from one synth to the next. As both instruments are set up on the same MIDI channel, the Pitch and Velocity data (along with Note Length and Note Position) are immediately translated from one instrument to another. It's effectively the same as me creating a sequence of notes for one instrument and then copying it to the track of another - the same MIDI Note On messages would trigger both instruments. This is the same - the difference is that I've made an Internal MIDI connection between the instruments, rather than copying a region.
Things separate and become unique to each Instrument when MIDI Controller data gets involved, as that can be routed to different parameters in different synths. So I can control the Filter Cutoff in Retro Synth and the Detune amount in the ES2 by choosing to route that MIDI CC Number to different parameters. But the Note data is common to all instruments receiving that MIDI In.
I hope that makes sense!
@@jonobuchananmusic thanks! Yeah, I was like...those really are ghost notes when I didn't see the midi data in Retro and ES 2 tracks
This is great as always! I have a (somewhat) tangential MIDI question - is there a way to use Logic to send MIDI CC / PC messages to external hardware? Watching this gave me dreams of playing along to a logic backing track on my guitar, and Logic automatically adjusting my guitar pedals in real time... Have tried searching for an answer but can't find anything obvious.
For sure. Look up the External Instrument in the manual, or Jono’s episode number 119 in this series. Hth!
@@grrdjf awesome - thanks so much for the pointer 🙏🏻
I've been beaten to it (!) but, as you'll now know, yes, absolutely. Let me know if you have any more questions once you've watched Ep119.
Thank you!
I got it, but i didn't get it. This is huge. I got lost understanding F and midi controler 9. Why is one F and the other 9?
MIDI controller 9 does not have any general midi 'CC' (continuous controllers) attributes to it, so Jono selected that one as it won't affect any other parameters. As for controller F in the ES2 - it's just an empty assignment that needed to be assigned from controller 9. Then in the target screen this is where the (F) parameter gets assigned to what is affected in the ES2 'Basic Dance' sound. In short: Modulator at controller number 9 was assigned to Controller F to modulate Pitch or Detune in the ES2 as per Jono's demonstration.
Peter has beaten me to it! (Thanks Peter). What he's said is exactly right. I agree that it's confusing to have numbers and letters, so let's think about one at a time. Firstly, we've created a line of MIDI data which we've chosen to assign to MIDI Controller Number 9. Think about that as a flow of information which just happens to be sending to that specific Controller Number.
I want to send that to the ES2. The specific way that the ES2 can receive and 'do something' with this information is to use it at one of 6 MIDI Controller 'input destinations'. These are labelled A-F.
So the second part is that in the ES2. I'm choosing to use the Assignment at letter F as an input for the MIDI Controller data before deciding what to target it at, to create a change to the way the synth sounds.
In a different synth, that input assignment might be labelled differently, which is why it helps to understand the two stages separately. Firstly, the generation of a line of MIDI Controller data and secondly, how that is received an inputted into your instrument of choice. Peter summed it up more clearly than me!
@petermassa2716 This was very helpful. So 9 should always be used because it has no cc data assigned to it? Hmmm, Jono, a video about this should be forth coming😊
@@masbass1011 Nearly! I've chosen MIDI CC9 as it's certainly not a MIDI Controller which is assigned 'regularly'. Some of the other MIDI Controllers (1 - Modulation, 11 - Expression) etc, do have regular assignments, so I've picked a random one. All that really matters is that I've matched the MIDI Controller number coming out of Modulator to the MIDI input within the ES2 so that I can use that line of data to affect my choice of parameters.
🤍🤍🤍
: )
this is mind blowing if I well understand i can use (re route a retrosynth or external whatever audio into alchemy for instance and modulate to create completely new sounds
Kind of! This isn’t Audio routing, but MIDI routing instead. You can certainly take any audio signal into Alchemy as it’s a sampler, so absolutely, it’s an amazing instrument for making new sounds.
But the MIDI In options will certainly allow you to use controller signals over MIDI to manipulate Alchemy’s parameters in new and interesting ways to further manipulate the sounds you design. And you can use those facilities with a range of other instruments too.
amazing reply I am gonna subscribe and recommend this fantastic channel
Great, welcome onboard!