Windows - available as a 30 day trial from the Intermorphic web store. Noatikl Desktop Standalone for Mac macOS is installed via the Mac App Store as part. Mac: See 'Sequencer MIDI Pipeline' followed by Mac - IAC Driver Bus 1. You can use the Sync feature to allow Noatikl (when playing through an external MIDI.

1. Inter Application Bus (iac Synchronization For Mac

Numerology is powerful indeed. It has a bit of a learning curve if you want to mimic some other pieces of software like Catanya or Thesys. Catanya, like a lot of pieces of software does one thing and does it well. Numerology allows for way more experimentation. Iskysoft youtube downloader free for mac. I think of it as a lab really. I'd say it's out-of-the-box arp functionality is a little weak in comparison to some other dedicated arps like Catanya or Kirnu. Once you know your way around though you can create wonderful stacks that would take you way beyond what you'll find in other software.

And it is one of the major reasons I added a mac to my studio. As a side note. Keep an eye on a piece of software called Zyklus Improvisor. There isn't a graphical way to edit the midi data(hardware emu).

However, it can record several tracks of midi performances and have them change harmonically depending on performance chord input and/or midi data from other tracks (even allowing the use of only the dynamics from the other track). The lack of a piano roll or some other way to edit what you have recorded may seem at first a bit limiting. Once I got the hang of it, it actually felt refreshing to go back to performance dependent data, reminding me of the old days with my Korg SQD-1. Now, I don't believe the save feature has been implemented for the version that is out right now but there is a mac version available as of this week and it's pretty stable on my iMac. If you can wrap your head around what it is trying to achieve you'll see it is much more powerful than Catanya. Numerology is powerful indeed. It has a bit of a learning curve if you want to mimic some other pieces of software like Catanya or Thesys.

Catanya, like a lot of pieces of software does one thing and does it well. Numerology allows for way more experimentation. I think of it as a lab really. I'd say it's out-of-the-box arp functionality is a little weak in comparison to some other dedicated arps like Catanya or Kirnu. Once you know your way around though you can create wonderful stacks that would take you way beyond what you'll find in other software.

And it is one of the major reasons I added a mac to my studio. As a side note. Keep an eye on a piece of software called Zyklus Improvisor. There isn't a graphical way to edit the midi data(hardware emu). However, it can record several tracks of midi performances and have them change harmonically depending on performance chord input and/or midi data from other tracks (even allowing the use of only the dynamics from the other track).

The lack of a piano roll or some other way to edit what you have recorded may seem at first a bit limiting. Once I got the hang of it, it actually felt refreshing to go back to performance dependent data, reminding me of the old days with my Korg SQD-1. Now, I don't believe the save feature has been implemented for the version that is out right now but there is a mac version available as of this week and it's pretty stable on my iMac. If you can wrap your head around what it is trying to achieve you'll see it is much more powerful than Catanya. Uncle age, can you go a little deep on who your routed ableton and Zyklus. I started using it briefly the other night and couldn't figure out how to trigger anything. Uncle age, can you go a little deep on who your routed ableton and Zyklus.

I started using it briefly the other night and couldn't figure out how to trigger anything. I can't do detail until i get back home in a couple hours. I set the ports to accept the note data straight from my keyboard. And the for the performance data i used the iac buss. This allows the use of any other program like live, numerology or even harmony navigator for the performance data.

After this i set the sync to external. The whole thing i had sync'ed to live on my mac.

That's the best i can do right now as i am away from my comp on my phone. Uncle age, can you go a little deep on who your routed ableton and Zyklus. I started using it briefly the other night and couldn't figure out how to trigger anything. I can't do detail until i get back home in a couple hours. I set the ports to accept the note data straight from my keyboard. And the for the performance data i used the iac buss.

This allows the use of any other program like live, numerology or even harmony navigator for the performance data. After this i set the sync to external. The whole thing i had sync'ed to live on my mac. That's the best i can do right now as i am away from my comp on my phone i got as far as accepting note data from my midi keyboard.

I've never used the IAC bus. I subscribed to the yahoo user group and I thought they were using Midi Yoke. Yeah, if you have time, get into it more later. @nuxnamon: If you are on a mac you can route midi between apps using the IAC buss. If you need more info on it just ask. On the pc you can use midi yoke to accomplish the same task.

I haven't used it in a couple of years but I'm sure there are others here who can help you straighten things out should you need a bit of help. 1) So for starters I went to the drop-down box initially labeled as 'Scenes/Harmonizer' and chose the 'Ports' option. 2) First hit the 'init' button that is horizontally across from the drop-down box. That will refresh ZI with the ports currently available on your system. These may or may not change depending on your setup.

Either way you are now set to proceed. 3) I set my Rec/Thru to match my keyboard. 4) I set the Harmonizer In to the first buss on the IAC device. It's labeled 'IAC Driver Device 1' on my system, yours could very well be different. 5) At the bottom of the 'Ports' screen you have the 8 channels that can be assigned to a midi channel. Assigning each to a different IAC buss or midi yoke port/buss will allow you to set them up on different tracks in Live. 6) Choose 'Sync' from the same drop-down box and setup which port you would like ZI to receive tempo/sync info from Live.

And set the Mode to External. 7) Lastly you need to set Live up to receive and send what you need. In the preferences tab for Midi Sync (in Live) make sure whatever port you setup in ZI to receive tempo/sync info is also setup to send that info. Find the corresponding IAC/midi yoke 'Out' port and set the Sync to 'On'. Now with just this much done, when you start/stop things in Live they should also start and stop in ZI.

You should also be able to put a vst on a track in Live and play it just as if ZI wasn't there. Now you'll have to adjust the 'Midi From' on each track to match the corresponding IAC/midi yoke port and the corresponding channel in use in ZI. But once that is complete you should be good to go. Each one of the channels in ZI can have four tracks recorded. You must select a number (1-4) to record your efforts. And you must select the number at the bottom of the channel to make it active. And don't ignore the other pages/tabs at the top of each channel (where the labels are 'PSLA').

You may have to switch things from the Diatonic mode from time to time to get the desired results. And of course once you get this far the rest is fun. My advice would be to use just a few channels at first. Record a simple chord sequence on one channel and maybe a simple melody on another. Then with the tracks unarmed check out what happens when you play chords against what has already been recorded.

I hope this helps in some way or another. edit In step 4 it is perfectly acceptable to put this as your keyboard as well. There is another option somewhere that you will want to look for though that tells ZI to not harmonize while recording. Otherwise the info on the other channels that has already been recorded would change while you are recording the new track. And if none of that made sense it will soon after you set both (Rec/Thru and Harmonizer) to match your keyboard and try to record channels after your first one. Are you on windows or osx?

I'm on OSX and thanks, your instructions got me alot further than what i tried when i first tried it. I was able to atleast sync ZI w/ ableton and was able to record a couple of loops and have it play back triggering a vst in Ableton. I can't seem to find a save function for Z1. I guess it's still beta somewhat for osx and i gotta redo the settings you gave me each time. Now i just gotta really sit down and take a closer look at the user interface.

It looks very deep. Thanks for all your help. Also: his first crack at this was in max. And when you really look at the functionality it appears as though you can do most of this in live already.

I've been kicking the idea of trying to make an m4l patch that could essentially do the same thing. From my understanding it's possible for different m4l patch instances to communicate. If that's true then the user could easily choose which tracks in live would be effected. Then there is the issue of parsing the incoming midi & clip data and then passing it along with minimal delay. And in addition, being able to pass it to multiple tracks if required. Lastly there is the logic needed to make the harmonic adjustments.

Might make a good project for the holidays. Thanks for the tip on Zyklus, I had never seen this before and it looks awesome!

However I'm having no luck getting it to run- ( I'm on osx 10.5. I know you need to have the Java 6 runtime installed, but is there anything else (like max?) needed to get it working?

I open it and it just hangs at saying 'system initializing, please wait.' I'd really like to give it a try. The max runtime is wrapped into the app already. However, i can't help you with compatibility issues. Your best bet is to leave a post over at the yahoo group.

Have you ever wondered why Power PC plug-ins can't run in Intel applications, or why your 32-bit plug-ins won't work in 64-bit applications of the future? Apple Notes explains all. While the Mac enjoys a well-deserved reputation for its ease of use, and a place in the hearts of a large number of musicians and audio engineers, Mac users have had to put up with a fair number of complicated architectural transitions over the past few years. It started with the introduction of Mac OS X in 2001, continued with the change to Intel processors in 2006, and will now happen again as we migrate to applications that can take advantage of 64-bit memory addressing. Each of these architectural shifts has meant that new versions of the applications people rely on every day have to be created.

And because so many musicians and audio engineers became more reliant on plug-in software effects and instruments in the '90s (was it really so long ago?), each shift has also meant an even bigger headache in getting all of your favourite plug-ins to work again. I don't know what the exact ratio of applications to plug-ins is, but it probably wouldn't be far-fetched to say that for every major application that needs to be ported there are probably several hundred plug-ins as well. And because there are so many, and so much diversity in the ecosystem that develops them — from students to seasoned pros — it's inevitable that some plug-ins never get ported to a new architecture, which is frustrating if you rely on such tools but you still need the latest Mac hardware or software. In order to understand why it becomes impossible to run certain plug-ins with certain application software and hardware combinations, we need to take a brief look under the bonnet. When you run an application like Logic Pro, Mac OS X creates what's known as a Process, which, simply put, is responsible for running the application in the OS.

Inter Application Bus (iac Synchronization For Mac

This is somewhat analogous to a recipe requiring a chef to cook it, where an application's code can be thought of as the recipe and the chef is the Process. If one chef gives his undivided attention to a single recipe, you'd need another chef to cook a second recipe, and similarly each application you run in OS X requires a new, independent Process. You can see how many Processes Mac OS X is running in the Activity Monitor, found under Utilities in the Applications folder. Core MIDI can be used to send events from an Intel-based application (such as Logic Pro) to a Power PC application (here, AU Lab, running via Rosetta) over an IAC bus.However, when you use an Audio Unit in Logic Pro, instead of a new Process being created to run that plug-in, the Process that's running Logic Pro also becomes responsible for the plug-in, which is why you won't see plug-ins listed in the Activity Monitor. (Although my example refers to Logic Pro and Audio Units, the principle is the same for any host that runs a plug-in.) Once you understand that an application and any plug-ins running within that application are part of the same Process, it's easier to understand issues like why you can't run Power PC plug-ins in an Intel application.

Because a Process can only run the code for a single architecture, the Process has to be either running Power PC code (translated via the Rosetta translation technology on an Intel Mac) or Intel code. It also means that a Process has to run either 32-bit code or 64-bit code.

So a single Process can't run Power PC and Intel code simultaneously, nor can it run 32- and 64-bit code simultaneously. This ultimately means that because an application and its plug-ins run under the umbrella of a single Process, everything needs to support a single architecture, whether it's Power PC, Intel, 32-bit or 64-bit.

And this is why Power PC plug-ins needed to be recompiled for the Intel (or Universal, supporting both Power PC and Intel) platform to be used in Intel-native hosts, and why 32-bit plug-ins will need to be recompiled as 64-bit plug-ins, to run in a 64-bit host application. As an aside, the fact that an application and any plug-ins that are running in that application share a single Process also explains why 32-bit applications run into memory issues even if your Mac has a large amount of memory. Basically, a 32-bit Process in Mac OS X (running a 32-bit application) can only access 3GB of memory, and again, because the plug-ins running in an application share the same Process, they can only make use of that one 3GB pool of memory. A 64-bit Process (created when a 64-bit application is run), on the other hand, can access more than 3GB of memory, which is why a 64-bit application running with 64-bit plug-ins will be able to make use of all the memory you have available, even though there will still only be a single Process running everything. Now we've discussed some of the technical details, you might be wondering why you couldn't just run two Processes at the same time, to eliminate compatibility issues.

Why not have one Process running Intel code and another running Power PC code, and have the two communicate with each other? Well, not only is this possible, it's how two current products deal with the problem of running incompatible plug-ins on a modern system. The first such solution is VST Bridge, supplied with the latest 4.1 versions of Cubase and Nuendo (and discussed in the Nuendo 4 review, SOS December 2007), which allows you to use Power PC plug-ins inside the Universal version of Nuendo running on Intel Macs. Presumably, it will also do the same for 32-bit plug-ins in the 64-bit versions of Cubase and Nuendo (as it already does on Windows), when they're available.

Using Audio MIDI Setup, you can enable the IAC Driver for sending MIDI data between two different Processes.The second solution is the Intel Wrapper recently introduced by Spectrasonics to allow the Power PC-only Atmosphere and Trilogy instruments to run on Intel Macs. This isn't to be confused with the type of wrapper that would allow you to run VST plug-ins in an RTAS host (such as FXpansion's VST to RTAS Adapter), since these are typically plug-ins that host other plug-ins, meaning that the RTAS host, the wrapper plug-in and the VST plug-in still all run within a single Process.

With Spectrasonic's Intel Wrapper, you run a special Intel-compatible plug-in in your host (under the Intel Process), and that plug-in communicates with a separate Power PC Process running the actual instance of Atmosphere or Trilogy. If you don't use Cubase or Nuendo and have some old Power PC instrument plug-ins you'd like to still use, there is a workaround. If you have a Power PC host, you can still run this on your Intel Mac to access Power PC plug-ins, and if you don't have such a host you can instruct a Universal application to run as Power PC code under Rosetta, by enabling the 'Open using Rosetta' option in the Info window for that application, which you can access by selecting Get Info on the application's icon. Because Rosetta applications also have access to Core MIDI and Core Audio, you can run the Power PC host alongside your main music or audio application and send MIDI to it via Core MIDI's built-in IAC (Inter Application Communication) Driver.

This is disabled by default, but you can enable it by double-clicking the IAC Driver in the MIDI Devices page of Audio MIDI Setup and enabling the 'Device is Online' tick-box in the Properties window. Initially you will have one MIDI bus available, providing both an input and an output, but you can create as many buses as required by clicking the Add Port button. In your sequencer you can select the IAC bus as the output to a MIDI track, and in the Power PC host you can select the same IAC bus as an input to the Audio Unit instrument plug-in you want to play. For audio, you could use one of the many plug-ins that send and receive audio over a network to communicate between the two applications on the same Mac, such as Apple's AUNetSend and AUNetReceive pair, but in practice I found the latency less than ideal, compared with routing the Power PC host directly to a Core Audio device.

You might notice that since Leopard now supports 64-bit applications, with user interfaces for applications that include both 32- and 64-bit code, there's a new option in the Info window for applications: Open in 32-bit Mode. This forces an application to run as a 32-bit Process and will allow similar compatibility workarounds to those we've described for running a Power PC host. However, unlike Power PC Processes, which take a performance hit because they have to run translated Power PC code via Rosetta, there's no such penalty for running 32-bit code in a 32-bit Process alongside a 64-bit Process.

It's not often that you can get excited about a minor 'point-one' upgrade to Mac OS X, but in the case of Mac OS 10.5.2 I'm prepared to make an exception. While such minor versions usually bring fixes, under-the-bonnet improvements, and the occasional incompatibility, 10.5.2 adds a couple of 'new' features to the user interface that address much of the criticism Leopard has received from existing Mac users. When we discussed Leopard in January's Apple Notes , two aspects of its user interface that didn't seem like a step forward were the translucent menu bar and the Stacks feature in the Dock. In the case of the menu bar, the new translucency meant you could see part of your desktop background underneath, enabling the menu bar to blend more seamlessly with the Desktop. In practice, though, this often made parts of the menu bar illegible, and looked ridiculous when running an application with a single window that takes up the whole screen, like Logic Pro or Pro Tools.

In 10.5.2 Apple have introduced a new option to let you disable the 'Translucent Menu Bar' in the Desktop part of the Desktop and Screen Saver System Preference, which is a big relief. And the menus themselves now also appear slightly less translucent than before, making them easier to read when there's lots of clutter on your screen. Like many Mac users, I used to rely heavily on Tiger's ability to let you right-click on folders in the Dock to navigate the contents of those folders via pop-up menus, and, like many Mac users, was dismayed to find this behaviour replaced in Leopard with the useless Stacks feature. However, in 10.5.2 Apple have added a new List view to Stacks, which basically works just like the old Tiger behaviour, except that you now have to use a primary (left) click to open the pop-up menu, rather than a secondary (right) click, which I think I can live with!

Right-clicking a Stack, as in earlier versions of Leopard, lets you configure the Stack's behaviour, such as making it display as a List instead of a Fan or Grid, and 10.5.2 also lets you choose whether the Stack should show the icon for the folder placed in the Dock instead of the icon for one of the files within the folder. So finally, as with Tiger, my Applications folder now looks like my Applications folder again when placed in the Dock. In other Leopard-related news, Digidesign have released a new 7.4.1 version of Pro Tools HD that's compatible with the latest Mac Pros featuring 5400-series ('Harpertown') Xeon processors running Mac OS 10.5.1; 10.5.2 is, alas, not supported at the time of writing. Still, this minor upgrade is important for Pro Tools users who purchased a new Mac Pro but couldn't officially run Pro Tools, since there was no way to downgrade the version of Mac OS X that came with the system to one that was approved by Digidesign. Pro Tools HD 7.4.1 is not for users with earlier Mac Pros, however, so, like Pro Tools LE users, you'll need to wait for another phase in Digidesign's Leopard compatibility plan before you take the plunge with the latest version of Mac OS X. All contents copyright © SOS Publications Group and/or its licensors, 1985-2018. All rights reserved.

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