Okay, I will follow that advice, I use CAD progeams like Solidworks and trying to copy project folders vs. creating a portable export is disastrous like you described. I use Dropbox to mirror my studio stuff so it is identical across multiple computers but this is not identical - sometimes my Dropbox folder is on C: and sometimes D: for example.
Brian I am looking at both Bome and Bidule. Bome seems straightforward, I like your idea of having multiple virtual port names. I actually have 6 MIDI controllers and 6 synthesizers so this could solve a lot of issues. Iâm trying to get away from DIN MIDI in favor of USB.
Iâm going to download the time-bombed version of Bome tomorrow and see if it supports USB MIDI ports.
Bome Translator Classic should work fine but the free variant will be a bit fiddly since it will require multiple instances to get all your ports redirected. It nags on start up for a few seconds but is otherwise fully functional for one MIDI port per instance.
I think the Pro version of Bome will grant access to multiple MIDI ports in the same instance. For a sizeable setup you plan to go live with, setting up half a dozen individual Bome instances could be a real pain in the butt? Youâd probably want the Pro Version in the long run. One stop, one preset, all your controllers done for any apps you want to co-exist in simultaneous work-flow. Bam. Could even teach the PC to auto-launch it on powerup.
Bidule usually has a free version to try out thatâs fully functional in stand alone or as a rewire slave. Only thing you didnât get with the demo are plugin versions. Routing MIDI around and making translators for it isnât very hard. The object oriented logic seems fiddly at first with all the connection pins and wires everywhere, but once you build the setup, you can set up Live Friendly UIâs and remote controls). Keep an eye on the Bidule site for an Early Bird Demo to get put up, or maybe contact them to ask about a demo key. If you decide to register one at some point, in my opinion Bidule might be 20 bucks more or so, but does 2000% more (Can also host plugins and play/record/process both audio and MIDI). Itâs not bad for live gigs on its own (without a DAW like Cubase involved at all. Bidule could host instruments, play mixed down audio, MIDI files, and more).
I really like both apps and decided to register one. Settled on Bidule. While itâs a little bit more expensive and has a bit of a learning curve to get started, itâs just a heck of a lot more for the money. Major power tool, and a super Swiss Army Knife for adding feature sets to a DAW, doing Diagnostics, and a whole lot more. I could write a small book on all the stuff Iâve used Bidule to do! Chainer, instrument server, OSC server, plugin merger. Itâs like the Energizer BunnyâŚjust keeps going and going and going as a trouble shooter and problem solver.
One of my favorite things to use Bidule for is getting âglitch free plugin changesâ while the transport is going! This is critical for live DJ style performances (beat meshing, impromptu building sounds on the fly through a head set and then seconds later wedging that new sound into the main mix). It works by hosting bidule inside Cubase. From there, I can change things around inside that Bidule instance while the DAW is playing and it doesnât âglitchâ the audio! Can even set it up on crossfaders and stuff if I wanna get fancy. In contrast, anytime you add/remove/change a plugin directly in Cubase while the transport is going, you get a âglitchâ in the sound!
Examples:
I have some AKAI controllers (MPK2 and EWI Wind Jammer). AKAI is lazy about their USB>MIDI drivers and just use old reference Windows Stuff that go into exclusive mode as soon as an app opens the device. In short, the controllers only work for the first app that grabs them!
I have a foot pedal thatâs wired backwards for my MPK2. Nice heavy Yamaha pedal with great action and doesnât slide around on the floor. Itâs set up so the switches are âclosedâ when the pedal is up, and âopenâ when pressed. The MPK2 doesnât allow reversing the polarity in its firmware! How cheap right? Well, to get around this issue, I launch Bidule or Bome first, and redirect it to a Virtual port so I can then route it to any app(s) I want.
My MPK2 can transmit over 2 USB based MIDI ports (A and B Layers, and some other stuff too but I wonât go into the DINs and all here), so it requires 2 connections I call A and B. Typically I send VST related things using the A port, and stuff that will remote control Cubase itself (Generic Remotes) over the B port. Isolation built inâŚso I can easily have controls talk only to the plugin/instrument directly and Cubase quick controls, or send over the B port and work stuff directly that Iâve set up in Cubase Generic Remote Maps.
I can fix the pedal issue in Cubase with a global or local transformer.
If I launch Cubase first, I can also fix the AKAI exclusive mode driver issue by using empty MIDI tracks to simply route the MPK to virtual ports, and keep it armed for monitoring.
Track Input = MPK2 device > Track Output = Virtual Ports A & B.
So thatâs an ALL Cubase approach that fixes the pedal issue, and routes things so other apps can access the MPK2 over Virtual Ports A&B.
And hereâs how Iâd do it in bidule. Iâd launch this app first, and let it merge all my MIDI controller management in one instance. I can fix the pedal and the MIDI driver issue. Now any app I launch post Bidule Iâd use the Virtual Ports to access Controllers.
I back out of that bidule and hereâs my default Bidule instance that I have start up with Windows.
That simple setup takes care of my MIDI controller issues, and involves Audio as well (optional, could only have MIDI bidules if thatâs all you want/need, and leave audio hardware âuntouchedâ). I combine ASIO Link Pro (Itâs free now, and super stable/useful in Windows XP - 10, and hopefully will be in Windows 11 too!).
The Duo grants me the ability to divert, mix, and process any audio stuff happening on my computer (including non ASIO WDM stuff). As you can see I have a little compressor set up on a pair of channels. Why? If Iâm streaming some TV or Youtube, the stupid Ads are always 300 times louder than the content! I got sick of it, so put a little compressor/limiter into the mix. Cubase Outputs bypass Bidule and I just go straight to ASIO Link Ports 1 - 12. Bidule can mix down anything I want running on the PC and send it out Audio Ports 1 & 2. Dorico gets his own fader in that mix (15 & 16). Finale gets a pair (17 * 18). Sibelius gets a pair (19 & 20). Windows default driver stuff comes into faders 13 & 14 (where I have the compressor/limitor setup), Etc. I can optionally route anything I want âinto cubaseâ with this setup! Inversely, I can set up ASIO loop-back rails and send Cubase Outputs to other Apps (Skype, Zoom, A stand alone Sampler, Etc.)
Here is the same fix in Bome Classic Translator.
The MPK2 has 2 USB based MIDI ports, so I need 2 instances of the Free Nagware version of Bome (launch it twice) to redirect them to my virtual ports, where then all subsequently launched apps can access the MPK2 via the Virtual Ports.
Okay, Brian, you convinced me - Bidule it is!
More good news. Looks like doing a song list of more than 9 songs is quite doable using these âmacro basedâ techniques.
Hopefully I can test it out tonight.
So, instead of one marker track for all 9 songsâŚ
Put a fresh marker track in each song folder. When doing the âsong swapâ also disable the previous marker track and enable the new one.
Thatâs good news too, as each song can get its own markers and cycle points!
Benefits for a live gig?
If doing playing for something like a jazz or blues combo, sometimes that dude with the Sax solo wants to keep it for another round or two, or maybe someone else in the combo feels it and signals to keep repeating the impromptu progression section so he can do a riff! Heâs no longer bound to doing it x times through as predetermined in rehearsal. So in theory you could set cycle points for those solo sections and have it repeat indefinitely until the leader gives a nod to move on to the rest of the song! The freedom to use sequenced material in a gig, but also be able to read the crowd and bandâs mood and be more âimprovisationalâ can be solid gold. A little extra logic going on to assign some method to start/stop cycles will be in order.
Point isâŚit takes a little time to learn all this stuff, but it is possible to do some powerful and interesting things that are far from âobvious or visibly intuitiveâ by building project logical editors and command macros. Hopefully I can get the learning/example demo up soon, and hopefully itâll give you some ideas to âget startedâ and then take it off in your own direction 
Brian Iâm a long way from Macros, but I bought Bidule and made my first little working Bidule project - a simple MIDI monitor for a Maschine MK3 in MIDI controller mode.
However I should have paid a bit more attention, the help file says the virtual MIDI ports are only for OSX. I am an Intel motherboard architect designer (until I started doing space stuff) and grew up in the Windows vs. Apple cold war.
Hmmm I wonder if I can make Bidule send articulation keyswitches to Orange Tree inside CubaseâŚ
Mac OS has the ability to create virtual MIDI ports built into the OS.
Windows does not have it built in, but it can still have them via 3rd party software.
This is the one I use. On Windows.
There are others out there too. I settled on loopMIDI because itâs multi-client friendly and you can create and remove ports on demand and name them anything you like. Itâs free/donation ware.
loopMIDI | Tobias Erichsen (tobias-erichsen.de)
And if you want to do MIDI over a network:
rtpMIDI | Tobias Erichsen (tobias-erichsen.de)
Other software is mentioned on the pages for those links, but all you need is the one installer (everything needed to get it up and running is part of the loopMIDI and rtpMIDI installers).
If you have questions or want help with Bidule PM me, and/or make a thread at the Bidule forum. People are really good at sharing and helping there.
Brian, I installed loopMIDI last night and built a virtual port - then added it to Bidule. But I havenât done anything with it yet, it was on my laptop that has no ports other USB-C and I did not have the USB eLicenser AND dongle. Life will be so much easier when Cubase 12 comes out and thereâs no more USB dongles - I of course only use 1 Cubase at a time but at 3 different locations, and I am afraid I will lose my USB dongle moving it from place-to-place-to-place. I know Cubase worries about piracy, too, I get that, btu so do my CAD programs (Solidworks, Altium) and thereâs no dongle!
I hear ya.
For portable users the dongle can be a pain.
Iâll miss it though. I loved that keys were dongle bound instead of system bound. I could just clone the whole system drive with projects living on it, OS and all. Make sure all the drivers Iâd need on my rigs are in the driver store of courseâŚ(extra drivers can be added to the hard drive later if need be, without booting into the OS first).
Archive the entire system drive with the project drive(s), OS and all. Easy peasy to plug and play in any System I want, whenever I want, and be right back to EXACTLY as it was when I left it (same OS, same Plugins, everything at the same versions, etc). Just take the dongles I need over (Steinberg, ilLok, and Waves). Didnât have to go online and register mess. Sometimes the OS might ask for a fresh key within x number of days or itâd go into stop mode, but I could always just call a number for Microsoft and get it vocally from the robot.
Those days are over I guess. They claim the new Lisencer system will have options to do something similar to what Iâve described (store a key that works for up a year on a usb thumb-drive or something), but there will be time-limits enforced, and itâll require an extra step or two over what Iâve done in the past.
I think the biggest plus in it for Steinberg is that people can DEMO the products without needing to buy a 50 dollar dongle first!
I bet they would have sold a heck of a lot more DAWs over the years if people could have gotten a demo experience without having to buy or borrow a dongle first!
My background was Cakewalk. I would hate to tally up the amount of hours I spent tackling technical issues. My CAD desk is only about 15 feet from my 3-tier practice setup, I got a USB device sharing box to see if I can share the iLOK, eLicenser, and thereâs one other that escapes me without having to unplug stuff. Iâll wait for V12 for the laptop.
John, I didnât read all of this, most of it. But it got repetitive, so, maybe this is more repetition, maybe not, sorry in advance.
raino described the best way to to it, and if you post a picture of the tracks, I can post a picture of the macro to make it happen.
The other option as you brought up, is if you can change the channel of the keyboard or whatever you are transmitting on. If you can, you can isolate each track to itâs own channel.
The channel way
Isolate the midi channel like this
make sure you remember to turn it on, the little blue button at the top. You get 4 of these on the track, and 4 more as inserts, and one on any midi send. You only need this one.
The track way
make a project logical editor (PLE)
type in the name of your track (use select if you are just selecting it, or in the bottom area you can mute it, but you need transform for that)
save it and name it with the tiny little plus sign. The tiny minus sign deletes it.
Now make a generic remote to trigger the PLE.
In the top you ADD a new entry, then name it, click âlearnâ and hit the button. Then uncheck learn. In the bottom chose Command then Project Logical Editor, and select the one you made.
If you need to mute 2 tracks and unmute 1, then you will need 6 âtransformâ PLEs, one for mute, and one for unmute each, and 1 macro that "armsâ each track, while muting the others. (you can toggle but that always gets out of hand, so make all 6 PLEs) You make macros in the key commands.
here I have made one using 3 that sound similar. Those PLEs do a lot more but they say âmuteâ and âarmâ on them so you get the idea.
Now go to the generic remove and chose Command - Macro - name of macro instead of that select PLE from earlier.
You will need to make 3 Generic Remote settings, one for each track. Then when you hit that button, it will mute all the other tracks, and unmute the one you want to play. They will all be playing at the same time, but since the others are muted you wonât hear them.
I suggest that in the PLE you also âTrack Operationâ - âmonitorâ - âenableâ
when you unmute, and âdisableâ when you mute as well. This will reduce the load on the CPU and the other tracks wonât actually play. I have never found this so slow in a performance, but you sound like you are a madman on the keys, so you may have to just deal with the CPU load being a bit higher and only mute. Try it out though, itâs not hard to go back and remove the âmonitorâ settings in the PLEs if it is too slow for you.
I couldnât work out if you are using 3 different keyboards, or if you could switch the midi channel on them quickly enough or not, so this PLE/macro/generic remote solution is the best if you canât.
The midi isolate is a far better solution if you can set different keyboards to different channels.
I play with different instruments with different hands, and the channel thing is way easier as you never have to worry about switching. I do switch between âtakesâ and songs and those maiocros and PLEs you see are how it is done.
One more thing. You know in HALion, each instrument in HALion can be set to itâs own midi channel? There are 4 midi ports A, B, C, D and 16 channels on each, so you can set things up that way too if you are using HALion. HALion is so good!
Donât forget you can export and import your Profile Manager here. That will save all of your key commands, macros, PLEs etc.
And another thing about track names. You can use âcontainsâ option in the PLE to select the tracks, rather than the names. That way you can actually name the tracks mostly something different.
I use a â~â to signify this label that is being keyed off of, so in your case, if you always have 3 instruments, then you could name the tracks âwhatever whatever whatever ~trigger1â and âwhatever whatever whatever ~trigger2â etc. and your macro/PLE/Generic Remote setting will still work in whatever project you are in.
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OK, hereâs the project I promised.
Live Gig 4 Cubase.zip (1.4 MB)
Sorry it took me some time to get around to checking it, refreshing my memory about it, and posting it.
Itâs a reusable template. As many songs as you want in a project. Toggle all kinds of stuff from a MIDI track when you donât want to do it live with your fingers (Monitor/Record states, and some other things). Call up any Song in your list with a single Key Combo or a remote Program Change.
It uses many of the concepts raino and oqion mentioned. Itâs all in there for you to study, try, and shoot questions about.
Walking through it.
First thing youâll want to do is make a Virtual MIDI port. Since youâve already installed loopMIDI, just create one there named âloop1â.
The archive contains the following:
Project Logical Editor presets (Goes in your Windows home directory)
A Key Commands Preset (Goes in your Windows home directory)
A custom Generic Remote (Will be imported as a Generic Remote Device from inside Cubase).
After unzipping the project to a place you want to run the project from, see the readme files in each sub directory. They tell you where the presets need to go on your system.
Once youâve got those presets in place, launch Cubase and load the GigSetExample-01.cpr project.
At launch itâs probably going to complain about missing devices and such. Simply supplement them with your own. Itâs not imperative to have all your controllers hooked up just to check out this demo and study how itâs working under the hood.
The project as it is uses up to 3 controllers (I built in support for a 4th, but this project doesnât use it), and a loop-back port that have ports named.
KB1
KB2
KB3
loop1
You can redirect them to whatever controllers you happen to have connected. If you only have one controller up right now thatâs fine, just connect all three to it.
If some others pop up for ports A or B, I simply forgot to clear them out so you can just change them to âNot Connectedâ to disconnect them. Point is, the project demonstrates connecting up to 4 keyboards to tracks that include these substrings ~a, through ~d in their track names.
If you only have one or two keyboards/controllers connected at the moment thatâs not a problem. You can change the inputs for the tracks to use your one keyboard.
First weâll back up your own key commands and activate these.
Go to Edit/Key CommandsâŚ
Click the little floppy drive icon to save your current setup and give it a name.
Then enact the Presets pop up to choose my âLive Set Key Commandsâ preset.
Next, youâll go to Studio/Studio SetupâŚ
Create a new Generic Remote and import the SetListGenRemote.xml file that is included in my archive.
Once itâs imported, if itâs not already, set the MIDI Input to the loop1 virtual port you made earlier with loopMIDI.
Iâve loaded 5 songs in the project, but to start with this is all you see.
Pay close attention to the special characters in track names:
â (This arrow means the track is active. Itâs used so macros/logic-editors can easily find the tracks)
~ (~a, ~b, ~c, ~d: Tracks with these strings anywhere in their name are those I wish to toggle/edit in real time.
(1) A number inside parenthesis tags the track as part of a song number. Itâs important to put the song number somewhere in the name field of every track in a given song. Again, macros and logic-editors use the string to find things more easily.
You can see that Iâve got 3 empty tracks there (red, green, yellow) that just point to some HSSE instances. Empty track intended to play live.
Next is a Grey MIDI track with a long yellow part and a note for ya. It should be directed to that loop1 port you made earlier. This is optional for building your own sets, but I threw it in to demonstrate how itâs possible to automate darn near anything in Cubase this way! Many things that donât have automation lanes or tracks of their own.
Thereâs a grey marker track next, with some purple markers (1 at the start of the song, 2 at the end). These make it easier to move the cursor around in our macros. As mentioned earlier in the thread, you could also get creative with the âcycle pointsâ these provide.
Last, the blue Track is just a an HSSE instance playing a GM arrangement of these old Jazz Standards.
If you have space to show your mixing console (multiple monitors?) Go for it. Sync it to your Project View which ever out of the 3 Cubase console(s) you want:
Go ahead and tap space to play the project (It uses all HSSE Basic stuff, so it should play for ya).
Just watch it go (doddle with it on your keyboard(s) if you wantâŚthe Grey track with the yellow part on it is going to toggle things around. Monitors to bounce which track(s) are armed. Itâs also going to enable record at some point (the parts it makes will just go away when recording disarms unless you doodle something into it to be recorded while itâs playing), and even pop up some HALion Instances into view and then close them a few bars later.
Itâs all just for show in this case to demonstrate possibilitiesâŚnot trying to be practical.
When it gets to the end of the song it should âstop the transportâ by itself. That instruction is also in GenericRemote track (CC117 I think. And the CC119 is for transport record). All itâs doing is talking to the Generic Remote you imported, which is in turn launching DAW commands. Simple key-switches in that track trigger stuff in the Generic Remote.
So, when Birdland is over, tap the key-combo alt-ctrl-2
Bam, now youâre in song 2!
Itâs all you see in project view. Locators are set and zoomed in a way where you can see the whole song structure. If you happen to also use track order based remote controls in another Generic Remote for your Mixing Console, theyâre all going to work in the same order as normal, Left to right equates to Top down to Bottom of what you see here.
To leave the song mode, just tap ctrl-alt-0
Now everything is disarmed, unhidden, and all the folders opened so you can see the entire project layout (Might have to zoom WAY out to see ALL of it). This is the mode youâll use to build your set. Replace my stuff with your own.
See how those arrow [â] markers went away (will be of more interested when you start poking into the presets to see how they work)?
The rest of the songs in this demo donât have an automation lane set up like Birdland, and they wonât stop automatically. I just added them to demonstrate swapping songs. Play around with them though.
Throw an empty MIDI track into one (Make sure itâs at least named (X) [again X being the song number). Set its input to one of your keyboards-controllers and shift your controller down it so it can play the bottom most octave possible starting with MIDI note 0 [C-2 in Yamaha world] (I use MPC pads on the MPK2 myself). Direct that to loop1 port and arm it for monitor or record.
Tap keys C-2 - D#-2 (lowest octave in MIDI, notes 0-4) to toggle Monitor on and off via remote for the ~a, ~b, ~c, ~d tracks.
Can do the same for record with E-2 - G-2.
G#-2 - B-2 will toggle VST Instrument Edit (cause the Plugin UI to pop up/go away).
Take a look at the Generic Map you imported. You can tweak that out, add/remove things, lay it out as you like. Since weâre routing it through a MIDI track, you can draw the stuff in, record it live, or just leave the MIDI track empty and do things in real time with your MIDI controllers.
alt-ctrl-1 - 5. to swap the song, or alt-ctrl-0 to leave the song mode.
Can also use MIDI Program Changes 0 - 5 to swap songs (provided you have a track in the song routed to the Generic Remote and armed). I went ahead and gave you macros for 9 songs already bound from alt-ctrl-6 - 9.
You can also use MIDI program changes into the Generic Remote to change songs. Since I have it set listen on the loopMIDI portâŚa good way to get the program changes in there is simply route it in there with an empty MIDI Track (or not empty if you want to record or draw in automation like I did in song 1).
Play around with it someâŚand to figure out how it works, look at the Macros in Edit/Key Commands, the Project/Project Logical Editor presets Iâve added, and the General Remote provided.
When naming tracks, be aware that these strings have a search purpose. If you use them in your names, make sure itâs there for the intended purpose.
â (You shouldnât use this at all manually. My macros will inject and remove it. Avoid using it otherwise).
(#) - Where # is the song number. Unless it defines your song number, donât do something like (2) in your track names.
~a through ~d - These strings are used in order for the macros to find tracks you want to toggle.
To make your own song lists for this template the base rules are:
Group the complete song in a folder.
Tracks you wish to Monitor/Record toggle will need the string ~a, ~b, ~c, or ~d somewhere in the track name.
You can have more sub-folders if you want. You can even have folders with names ~a - ~d if you want to toggle things for âsetsâ of tracks (edit pop ups wonât work on folders though).
You can also do things like have more than one ~a seeded track in the song. If you have 2 ~a tracks, and do an ~a toggle, then theyâll âbothâ respond to the command.
Put a bar or two between your songs. Youâll enter them in Cubase across the time line. I.E. Song one might start on bar 1. Song two way over bar 200, etcâŚ
All tracks for a song should have the string â(#)â somewhere in the name (where # is the song number). I recommend making that the first part of the track name like in my example, but it should work anywhere the name field.
Any tracks you with to toggle the monitor or record state for should a string of â~aâ through â~dâ somewhere in their name.
All songs should have ONE Marker Track in the root of the folder, with marker 1 set at the beginning of the song.
Youâll want to go to Project/Project Logical Editor and tweak the entry for âSong Setup XXâ (where XX is the song number). This is where you can do a kind of initialization phase to set the monitors/records you want active at the start of the song.
Yes, you can have more than 10 songs now. Just duplicate and rename some of the Macros in âKey Commandsâ. Duplicate and tweak Song XX and SongSetUp XX (XX being a song number) presets in the Project Logic Editor.
Also, if you go past 09 with duplicated macros/presets that Iâve provided, youâll want to make more Select Song logical editors to hunt for (10) etcâŚand bind them accordingly in the new/duplicated macro.
3 Likes
Brian,
You are a wizard. This is so cool! Thing I canât stop thinking though is, how did you do all of that so fast? Did you have some of this done already?
Do you have an external PLE editor? Because that would be so helpful!
Iâd done things like this before. Itâs been a while since Iâve done much live playing, but I know the ropes. I remember a lot of the things that require âhacksâ because they donât quite work like one would think too. I.E. How I sometimes have âredundantâ calls through both a Logic Editor, and then again through a Macro.
So youâll see things in there if you look closely that donât seem necessaryâŚproblem is that sometimes different panes in the software get moved to the foreground and itâll throw things off. Hence the âdouble callsâ in some places.
Things like this take me far longer to try to âexplainâ to someone else how it works, and how to use it than it took me to make it!
30 minutes to build it, an hour trying to explain it all. LOL
Yes, I had a lot of the logic presets already around. Stuff I use pretty regular. Just needed to âtie them togetherâ and make some remote links to get there.
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Isnât that frustrating? I find that if I do everything in only PLEs then itâs fine. One thing that would make life so much easier is if we could just write all of this in Lua, and/or have parameters so you donât have to make a different PLE for ~a, ~b etc. moving back and forth between PLE, macro, generic remote, and that you canât test it without closing a window⌠itâs so time consuming. Also, you decide you want to change the name of something you can have a lot of work to do. I made the mistake of naming my âchannelsâ, â~beatsâ, â~bassâ, â~guitarâ, etc. when I should have made them ~1, ~2, ~3 etc. Now itâs locked in.
The macros and generic editor are in XML and easy enough to edit. But the PLEs. ⌠itâs XML, but no way to edit it outside of that tiny little window. Give me Lua, please.
<?xml version="1.0" encoding="utf-8"?>
<Project_Logical_EditorPreset>
<int name="Can Modify" value="1"/>
<bin name="Preset">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</bin>
</Project_Logical_EditorPreset>
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Yes!
For years when people have asked what kind of âfeaturesâ I want for the ânext CubaseââŚthatâs always in my top 3!
In the âshort termâ, just bring these Logical Editor features into the âforegroundâ of the app. Make it NICE. Fix the little glitches and bugs, add more event types we can get at (theyâre obviously already in the engine, probably just fields in an xml file somewhere, right?).
Iâd love a dedicated track that can launch macros. Thatâd save us having to do 80% of this stuff at all!
Long termâŚyes, LUA option to do our own scripts
Next thing Iâm always begging for are some minor improvements to the Score Editor. Even when I have no intention of printing anything, those interpretive features can save SO MUCH TIME when it comes to roughing in the expressive data! From there itâs a few logical editor passes away from being to the point only a few minor touch ups are needed âby handâ.
Oh lawd, Iâll just PM ya last ârantâ on the topic. LOL
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Excellent!
oqion youâre awesome - it is somewhat touching the depth of the responses in this forum. As a newbie to Cubase (decades with Cakewalk) this has really accelerated the learning process. I did stumble with the MIDI transformer presets - oddly they are not in the right location when Cubase 11 is installed - but Iâm getting there!
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