gacki

I would have to look through the Kronos manual for this; but here are a few quick thoughts: 1. Are you sure that those are CC's and not Program Changes? 2. At least control surfaces often require their own protocol to drive the LED's; those things are basically independent from the actual controllers. 3. Do you actually have a "backchannel" from Mainstage to the Kronos? In many cases (but certainly not all!) Mainstage is used mainly as the recipient for data coming from a controller but not automatically also as a sender back to the controller.

Jon Stewart made fun (or did shine a light on) about exactly this: "prompt engineers", as a Microsoft managers call them: https://www.youtube.com/watch?v=20TAkcy3aBY&t=574s But back to a more serious note: To me, creating music has to a certain degree always been about individuality and originality. I do most of my work in education nowadays; and I am always fascinated that people "pick" their favourite music at least partly "off the beaten path". I know they don't consciously pick it - there's simply something that resonates with them. So both the act of creation and the act of listening are both highly individualized processes: What speaks to me doesn't automatically speak to you and vice versa. And that's the beauty of it; and I am convinced that that's also a limit for AI.

I've tried numerous times to get something useful out of StaffPad but so far I've failed nearly every time. So I wouldn't hold my breath here. (IMO handwriting recognition still sucks for normal texts let alone music notation.)

I've listened to a couple of the "trending" songs featured on the starting page and to me they sounded rather bland and generic. Which isn't exactly surprising IMO because "originality" is comparatively hard/impossible to train. (We've been over this argument elsewhere before.) The musical segment of stock or library music will probably be most affected by this. Outside this we can only guess.

Yes, and written sheet music is in horizontal fashion. So at one point one has to make that mental switch anyway. The problem with the whole Synthesia piano thing is that it is basically hiding the "big picture". If you look at a piece of sheet music you can easily make out way more things at once. I blame that tendency on Guitar Hero and similar things.

It's a question of how we want time to be represented - horizontally like on a tape machine or vertically. It's always becomes slightly confusing when those two are mixed; and hence nearly all DAW's have switched to a horizontal scrolling. Youtubes piano tutorials of course use the vertical approach again which definitely drives me mad.

Nah, Ableton is fine. I'm using it frequently; when it comes to loops it's hard to beat. But you have to adapt to its way of doing things.

AFAIK Magix is trying to restructure; so there's hope for the product line. I've only watched the whole thing from the sidelines during the past years and I never was quite sure how the business side of the company as a whole worked. Interestingly there obviously was - at one time - a substantial cooperation between Emagic and Magix. For some time the "Magix Music Studio" was a "light" version of Logic (I'm not sure if I still have some of that packaging); of course this was at a time before Apple took over. Emagic had basically licensed various Logic versions to other companies (like Magix); there was also a "special" Logic version included with stuff from one of the educational publishing houses (was it Lugert? can't recall...). During one of the Magix summer parties I even met some Emagic stuff that had come to Dresden - but that's over 20 years ago so my memory is a bit foggy. All this naturally came to a halt after Apple bought Emagic and cancelled the Windows products.

Most certainly not! Magix was (basically) formed by former employees of the Studio for Electronic Music (or more precisely at this time "Studio für elektronische Klangerzeugung") at the Dresden College of Music. The first Samplitude versions were written for the Commodore Amiga and then rewritten for PC. I owe them and especially the former head of the studio a lot. Several of my teaching jobs are direct results of that connection.

Ableton Live can do lots of extremely cool things, like including chance operations (for example: "Play a certain clip 8 times, then switch to a different clip", or basically having a randomized fill every 16 bars and and and... Logic's "Live Loops" feel to me quite a bit influenced by Ableton Live. I use Ableton Live frequently when asked to do loop based things. Studio One? I tried it a couple of years ago and was stunned that the metronome routing was fixed to the master bus. Cubase I can work with; I always found the workflow similar to Logic's but in a way more clunky. ProTools refused to run on my computer so I didn't press this further. Tracktion Waveform is something I find very weird; and so far I haven't really gotten my head around NI's Maschine (and I really tried!).

Well, Ableton has traditionally been really, really good for loop-based workflows; and there's also Max for Live. Logic has caught up somewhat to this with the "Live Loops" functionality. So I can easily see people choosing Live over Logic (or similarly Bitwig over Logic). For many other programs it might be what one grew up with or what is considered the standard in certain environments (see ProTools). FL Studio? My experiences were a couple of years back. I would have to be paid serious money to work with that.

If I'm interpreting this correctly only M2 and M3 are affected; and your signature says you're using an M1?

I seriously doubt that Apple would buy another DAW suite and create in-house competition to Logic. Let's remember: The first thing Apple did after buying Emagic was killing the Windows versions (and keeping the Mac versions). Since there are no (official) Mac versions of Samplitude and Sequoia I doubt that this will come to pass. Granted: Immediately before Emagic was bought there was some cooperation between them and Magix (for example, there was a shortlived notation program that was essentially the notation part of Logic and some more); and I've also seen other things that ultimately didn't see the light of day.

If I recall correctly additional inputs show up in Cuemix when ADAT is enabled (at least on macOS).

Exactly like this, yes. Yes, this would set the pitch for all notes except 36 to 39 to 100. From an aesthetic point of view I would put the "else" on the same tab distance as the "else if" before because it functionally belongs to that group. This makes everything slightly easier to read. The code will execute the same regardless.