D4rkKn1ght

Well it's for a generative situation, so actually writing out the midi would defeat the purpose in this case. As to your point about not being able to double, whilst that's not really my main concern as it's rare that I want a sequencer to go faster than 16ths or 32nds which most arps will do, with what I was imagining, it would still be possible. I have no idea if Scripter can actually do this, but in my head, scripter wasn't processing or delaying incoming midi notes themselves, but altering the tempo. This would be placed BEFORE the arp in the FX chain. Therefore by the time the arp is doing it's thing, it thinks the project is in 45bpm. But I suspect this can't be done. Could the environment maybe do this if scripter can't? I still feel like a clock divider/multiplier should be possible somehow. Even if it needs to be a fully fledged plugin and not just scripter.

Hi guys, I'm wondering if anyone with more knowledge of Scripter than me can help or advise me on this. Basically I'm trying to sort of replicate what a clock module can do in a eurorack type setup. Let's say the project is set to 90 for its tempo, but I want one particular track (software instrument obviously) to play back at half that speed. A particular example is that I have a really long sustained chord running the length of my track with a Logic arp applied to it. The arp is already on it's slowest setting, but I want the notes to be longer than the arp can achieve with it settings. So I'm wondering if scripter can 'divide the clock' so-to-speak. Appreciate any info on this. I'm also open to third party plugins that can achieve this if anyone knows of any, but I haven't been nable to find one. Thanks!

Yeah I'd also like to be able to do this, but can't see a way how since the difference between those 'areas' (tracks and Mixer) are technically within the same window. So something like Keyboard Maestro can't help. It's really annoying (like many things in Logic). I have a key command setup to show/hide the fader knobs in the mixer and it's really annoying that I can't just always hit this key and sh/hide them because sometimes the 'tracks' part of the main window is active and not the mixer. Really silly. I suppose you could open the mixer in a separate window and rearrange the main window to make space for it, simulating the way the mixer sits at the bottom when you show/hide it. But then of course, you can't conveniently show/hide the mixer at teh press of a key, so any which way you lose something.

No c'mon, it wouldn't infringe on anything. Nothing was being sold and no copyright was stated or claimed. I would be grateful if anyone who has a copy of the script would share it.

Interesting. Can't upgrade to 10.7.3 by the way - already tried. It completely breaks track automation. Track automation wasn't showing any selectable parameters for my instruments after upgrading so I rolled. back to 10.7.2. Annoying. It'd be easier to forgive Apple for all these bugs if they were quicker in remedying them.

I do want to draw a distinction between multi-timbral and multi-out (just in case it's important in order to avoid any confusion), which are not mutually inclusive and not the same thing. Maybe you're using the term to cover all multi-functionality? I'm just basing it off the way it works in Logic and there, those terms/functions are independent of each other. Inc ase anyone reading gets confused. What I was describing that I was doing (the 'hidden' way as you called it) is the multi-out WITHOUT multi-timbral checkbox checked. Totally. Agreed. And that's the conclusion I've come to also. If you're limited to 16, may as well use the AU2 version. Also just as a complete aside, I found that using the AU3 version of VEP with UVI's Falcon was causing hung notes every time. Like, immediately and consistently with every note, not just occasionally some. So I had to use AU2 there anyway. Ok so can you please confirm this to me in case I'm misunderstanding/missing something; I create a multi-out AND multi-timbral instance of VEP AU3. Then I do the CONTROL+RETURN thing to add 3 more tracks for example. Total of 4 tracks in the arrange window. Then because I chose the multi-out version of the plugin, in the mixer I can click the plus symbol and add an aux. What good is that aux? It doesn't correspond to the tracks in the arrange window. Meaning, if I click on the aux, it doesn't select the corresponding track in the arrange window or visa versa. And if I rename one, it doesn't rename them in both places. So it's literally just an audio routing mechanism. Right? They're not really 'linked' so to say. In VEP and the plugins hosted there, I can send to the corresponding stereo ins/outs in order for the audio to play through that aux, but it's not truly linked to the track in teh arrange window. That's the trade-off right? Just one more thing making me feel like I need to move to Cubase. I don't want to, but... Logic is moving too slowly. Did you move to Cubase? You said somewhere that you're not in Logic so much these days.

The problem with this whole CONTROL+RETURN method (and thanks for this thread Dewdman42 - your help/contributions are so valuable) - is that it doesn't allow you to create corresponding tracks in the mixer and you can't mix each track separately. Right? Or am I missing something? Before I go, I should mention I'm using Logic 10.7.2 The way that comes closest to an ideal way to work is to make a new Multi-out VEP7 AU3 instrument track. Have this set to Port 1. Then in the mixer, click the plus symbol to add Auxes. Then when you select those auxes you can CONTROL+T to create corresponding tracks in the arrange window. Now you have proper tracks that all point to the same instance of VEP, they have a presence in the arrange and the mixer and they can be treated/processed/mixed separately. The problem is you can't change the port on any of those 'child' tracks, only the original, master/parent track. The child tracks only allow you to change the MIDI channel info. So then we're back to square one again with a limit of 16 tracks (corresponding to the 16 MIDI channels). If anyone knows a way around this, feel free to chime in. But I don't think it's currently surmountable. I know in Cubase when you follow the equivalent workflow and create these tracks that are children of a parent track which houses the VEP instance, you can change the port on all or any of those child tracks. You simply can't do this in Logic. So, dead-end as far as I can tell.

Just a note for anyone following in our footsteps here: The keyswitches that Terminal will output when you feed it the .plist will be bracketed by these { } If you paste that directly into the Scripter script, it won't work. So first I pasted into TextEdit (any word processor will do obviously) and did a find/replace to change all of the { } to [ ] Then it worked perfectly.

Legend. Seems to work perfectly!

Yeah that's definitely true. To be able to easily ID which entry is which articulation is probably very useful actually. I'm sure you'll find a way to harvest the names in your V2.0 shell

Oh so this version of the Scripter script only uses the ID number is it? I assumed it was using the names like in your previous version. The names are definitely less important if that's the case.

Although I see the only limitation of this first version of your script is that we still have to manually type in the ArtID names... Is there a way we can modify/update this script to fetch the names from the .plist also?

Thanks so much man. After experimenting a bunch yesterday I confirmed/concurred with your theories. What I think must have happened when I THOUGHT I had the combination of output and no output Articulations working a week or so ago - I think I did the first few scripted articulations, saw that they worked and then went about adding a few more PLUS the standard Logic/unscripted ones. I then don't think I fully tested to see whether the scripted switches were still working after I began adding in the standard non-scripted variety. It must have broken in the same way I'm currently experiencing but I didn't notice because I've been using different instruments (that don't require this scripting) until now. So yeah, I came to the same conclusion as you; that using some kind of command-line script to rip the articulations from the Art Set I bought was basically the only way to go. But it was beyond my skill level to do myself. So thanks so much for this. Really appreciate it.

Awesome, I'll take a look and see if I can figure anything out with the debug. Yeah I believe and agree with you that the script is probably not the culprit. Especially since it was working until recently. Something else must be going on, but I just can't figure out what. And FYI the reason I don't want to just script the whole Art Set is that there's simply just too many to do. I bought Art Conductor to save time for all the articulations that don't need 4 or more triggers with the objective of only scripting certain Articulations that require more than 3 notes. Anyway, thanks for your help and input so far Look forward to getting more thoughts from you when you get another chance to check it out.

Yep so I'm 100% sure there aren't outputs defined for the articulations I'm trying to script. They are blank. The only articulations that you'll see with outputs are default, 3 level articulations that I'm not trying to script. The combination of having defaults with defined outputs and scripted with blank outputs was working for me a week or so ago without any noticeable issue. Also the other reason I don't think the problem is what your first instinct is, is because once the second note arrives in the piano roll, it DOES switch. So if it was a problem like what you're describing, it would never switch. Check out the screen recording/GIF in my post. The selected notes in the Piano Roll are the ones with the scripted articulation assigned. The notes before and after are just default 3 level articulations. You'll notice that once the playhead reaches the second selected note, which is the second occurrence of the scripted articulation, it finally switches then. So again, to me when I observe this behaviour, it seems like the first occurrence of the note is behaving like a NoteOff and then the second occurrence acts like the NoteOn, which finally enables the switch. There's some kind of NoteOff/NoteOn weirdness happening but I'm not knowledgeable enough to figure it out on my own. Because also observe how the first selected note in the piano roll doesn't make any sound either, just like it's a 0 velocity note. You can see the levels at the top of the Synchron player in my screen recording; no levels or sound are generated by the first selected note, but the second selected note suddenly behaves normal - both making sound AND making the desired articulation switch happen.