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Hi :) This is going to be a 2 PARTS reply (brace yourself!): PART1: Before I started focusing on somewhat spontaneous OBS video recordings of performances such as what I did in this video (which also serves as a very powerful self analysis tool to improve my skill "performing" electronic music in real time), my default was to record my iPad's Main Out in Ableton on my PC leveraging Ableton Link so that my audio file length is almost perfectly aligned with the beginning of the first bar coming from my iPad and the process of re-recording multiple takes over and over is VERY simplified and improved as a result. I never spoke about this on my channel before but all this infrastructure is there as a part of my setup. In my original 1.5+ h video I mention that I leave considerations regarding the inclusion of my PC in my setup hidden due to the complexity involved. There's also a different set of implications that come with having Ableton's screen opened as I record multiple takes because I can quickly switch between multiple recorded takes for auditioning purposes and I can also visually see the differences in the length of each take and look at the appearance of each take's waveform (which I can't do when reviewing my video recorded performances in VLC for example). I can also easily review the loudness of what I recorded as well and gain access to certain analysis tools that can help me elevate my mix directly at the source (on my iPad) as well. Even though I have Pro-L 2 on my iPad I never use it because of the added latency as that's incompatible with my live performance (low latency requirements) needs. Being able to test my recorded takes with a limiter on Ableton's end on my PC in post is a massive flexibility advantage as well. Ableton Link is a very powerful technology that alleviates (but doesn't fully solves - as I involve elektron boxes in my pipeline) the colossal problem of MIDI clock technology shittyness in the context of USB connectivity considering we're in 2024. Even though now I pretty much focus exclusively on live execution/performance of arrangements, it is restricting the complexity of what I can generate (again in terms of arrangement) to some degree. I view preserving access to Ableton still as valuable tool even though the likelihood (over the next year or so) that I would find myself in a situation where I need to run a linear arrangement in Ableton and on my iPad in parallel seems rather slim, as needing to "actively" involve my PC in my composition process (as opposed to just a technical sidekick) would significantly damage the immersion quality of my workflow. My "go-to" if I wanted to come up with a linear arrangement would first be to rely on Xequence 2, but there are definitely some shortcomings with this software that are irritants for automation especially so my output would be likely to include some degree of live performance actions in most cases as a result. From my perspective if I want to retain access to the AUM environment, I have to make the sacrifice of high resolution AU parameter automation control "cross AUv3s". As a result, in that context running Ableton in parallel and potentially even just ONE synth (hosted in Ableton) with a properly micromanaged high resolution automation over a linear arrangement is a valuable asset. This all boils down to the problem of AUv3 sequencers in this current meta.

PART 2: Helium doesn't offer the capacity to manipulate blocks of MIDI data to make the arrangement process more convenient (as one would be able to in Xequence or in Ableton), but it's AUv3, so timing/accuracy wise it's much more desirable than Xequence in that sense. However, any sequencer that is external to AUM's "native" code (of course AUM doesn't have a native sequencer) is not going to have access to high resolution AU parameter controls of AUv3s hosted in AUM for the purpose of automation, which is a massive design flaw of the whole platform. While both Xequence AND Helium offer the capacity to control parameters using MIDI with 14 bit resolution (Xequence NRPN functionality is a paid add-on which I don't have as there's effectively no use for it), AUM doesn't offer the option of controlling AU parameters with custom user defined MIDI mappings using 14 bit resolution, which again makes the functionality effectively useless for now. Because almost no AUv3 apps have an NRPN "hard wired" MIDI implementation, that means that users are limited to only 128 different positions possible for controlling an AU parameter in the context of AUM, which is REALLY problematic. Even above that, I can easily make the argument that the entire structure of my setup is fundamentally incompatible with the idea of writing linear arrangements, as basically everything I use is loop/pattern based for easy ON/OFF toggle control. In that context, Ableton's clip based system IS compatible with that approach while preserving access to high resolution and flexible VST/AU parameter automation control (for the plugins it hosts), and on iPad Imaginando's LK Matrix could potentially also become a much more relevant tool than Xequence or Helium in that use case as LK Matrix is also clip based and offers automation capability. The problem with all these low cost sequencer apps is that they are very likely NOT to offer the same level of reliability and polish that one would be accustomed to in Ableton. There's also another approach which would consist in involving Drambo as a Standalone component in parallel with AUM (again in that scenario Drambo would NOT be hosted in AUM as an AUv3) using Ableton Link to sync everything, and to have Drambo send its "Main Out" audio output into an audio track in AUM. In this scenario, Drambo (which IS a host application - and btw also happens to be usable as a hosted AUv3 both as a sound generator and a MIDI sequencer) WOULD potentially host some AUv3 synths which AU parameters it COULD control with high resolution because it has a NATIVE sequencer (as a host app in that use case) and an automation system that IS clip based AND includes HIGHLY desirable bezier curves. The problem in that context is that this would potentially be quite taxing in resources on the iPad on top of being inherently less reliable until thoroughly tested, and again we run in this problem of low cost apps that don't have the level of polish and reliability that is needed to prevent distractions due to technical issues, which Ableton has achieved. What should have come across as I explained all this stuff above is that there is a MAJOR flaw on this platform when it comes down to this subject (sequencing and automation), and until this particular topic gets adressed once and for all there's much more of an incentive to keep access to different tools to find creative ways of achieving desirable results that involve automation as that's the gateway to the future of electronic music. No automation basically equals poor expressiveness, which then translates in music that's just not compelling as everything tends to sound somewhat static and easily excessively repetitive. There NEEDS to be uniqueness and clear events that happen only once in a piece of music in order for it to realistically aspire to be perceived as compelling. When you hear a track such as Staying Alive by the Bee Gees for example, it perfectly illustrates the power of uniqueness to generate compelling results. In that specific example the expressiveness is clearly focused on the singer's voice and while there are elements of repetition in the vocals directly there are clear elements of uniqueness that only happen once in the track, amd that's kind the kind of "key" element I'm trying to point out with this example, in order to bring forward the importance of having access to a convenient/viable/polished/reliable system to draw automation. Food for thought hopefully!

@@Silent_Stillness Great response and info. So on the topic of automation as it relates to these performances you've been doing. Ableton is not Ableton to automated the AuV3 parameters to bring about uniqueness in that way. So when you mentioned using an Ableton synth, does that mean to bring uniqueness to you performances you tend to program a "backing" sound in Ableton, with automation, to then play overtop with your iPad/Elektron setup?

@@DJ_Personal Yes you understood right, that WOULD in theory be the idea (Ableton controlling a directly hosted plugin - VST3 etc. - and summing that audio with what's coming out of the iPad) even though I haven't felt compelled to do that yet, due to the unquestionable significant degradation of the quality of immersion of my setup that such an inclusion would imply. There's also the problem/challenge of recording all this audio tightly synced within the context of OBS if I'm involving Ableton in that use case, which is another can of worms that could potentially require a significant time investment to sort out, to preserve certain key attributes of my setup (such as it being compatible for potentially real-time streaming on Twitch/YT for example). Especially when you start to factor in things like stacking transients from sound sources coming from Ableton and from the iPad directly (+ considerations for needing "brick wall" limiting to preserve loudness, small discrepancies in latencies, and highly technical - but potentially VERY important - things of this nature that are hard to account for before actually testing / experimenting in the real world), this could really be a problem. I haven't really experimented to see how far I can go with Helium, LK Matrix, and the potential "Drambo in parallel" strategy I described earlier, but intuitively I have a negative bias towards all of these avenues due to each and every one of them being under developed to some (potentially deal-breaking) degree. These are all uncharted territories where I'm pretty much acting as a pioneer as there's no obvious resource online that I'm aware of where people are reporting thoroughly testing these kinds of workflows (with a mature discerning eye and a conscious clear emphasis on preserving the integrity of the setup as a truly immersive creativity inducing pipeline) and explicitly demonstrate whether they're viable/reliable or not. This kind of branches onto somewhat of a frustration I'm experiencing to an extent at the moment, which is the realization that by now I've managed to identify critical areas of "work" that I could be doing that could potentially have a very significant positive impact for the community at large but I'm not being compensated financially for this which poses a major problem for sustainability in the long run. Being truly fully functional in the iPad environment while enjoying the flexibility of AUM is like solving a puzzle that no one with actual true merit has actually advertised having "fully solved". An argument could be made that I'm the only resource on TH-cam that has actually "advertised" something that even remotely resembles a solution with my original guide video leveraging elektron boxes as a part of my iPad custom setup, but I think you probably understand that given the context of our conversation elektron boxes are flawed just the same as every sequencer in the context of using AUv3s because of the low resolution problem, on top of the fact that they don't allow the automation freedom that using something like Drambo would allow - they're limited to parameter locking and LFO shapes to bring movement, which is very powerful but doesn't encompass the full scope of what is needed. In this very video that we're having this conversation in, on 2 occasions you can see me doing substantial things with Fabfilter Volcano 3 (especially at the end), which are all actions that I simply could not automate with any of the tools at my disposal in the context of AUM. I would still take this any day of the week over something like Logic Pro, which I haven't even bothered installing or trying because it being subscription based basically equals it not existing in my eyes (I don't think I had mentioned that before). Oh and by the way Cubasis 3 is incompatible with elektron boxes, it cannot clock them properly, and Cubasis even though it includes Ableton Link functionality, in the context of my elektron boxes cannot coexist with AUM running in parallel as it causes audio freezing issues whenever switching between apps in real time when music is playing. If it did work that would have solved the whole issue a long time ago, but of course it does not. Cubasis is viable purely as a standalone, which there's no way I'm ever going to use considering I have elektron boxes.

@@Silent_Stillness I wonder if a hardware sequencer like the Squarp Hapax could prove to be somewhat of a solution. My understanding is that the Hapax allows you to draw automation, and I'm assuming if you assigned an AUV3's parameter to a particular CC on a particular MIDI channel then you could link the drawn automation on the Hapax to that.

Heeyoooo! Merci ça fait plaisir 😁 J'ai commencé à étudier VS (Visual Synthesizer) avec assez d'enthousiasme dernièrement et entre ca et la maitrise de OBS que je suis en train de développer c'est vraiment cool de voir comment ca impacte mon contenu! Bon quand est-ce que tu nous ponds un vidéo LOL?! 😅

​@@Silent_Stillness J'ai pensé que c'était VS. Je ne l'ai pas, mais c'est assez cool comme app. Ouais ... je traîne de la patte pour les vidéos ... ça fait des années que je veux faire Jamuary et que finalement j'ai d'autres choses qui se présentent. J'espère pour cette année!

@@mrtinacrispoti Lol Jamuary je connaissais pas mais après avoir investigué le concept semble familier! Si j'avais pas eu VS pour aussi peu sur iPad (à moment donné ils ont fait un 80% off et je l'avais acheté par précaution incluant les 2 IAP même si ca m'intéressait pas du tout lol - faut croire que j'ai une bonne intuition!), je l'aurais acheté quand il y a eu le rabais pour PC (sachant ce que je sais mainteanant que j'ai de l'expérience avec l'app). C'était EXTREMEMENT abordable la version iPad mais je suis quand même poigné à devoir extraire l'audio de mon fichier video brut enregistré sur OBS avec mon PC, pour l'envoyer par dropbox sur mon iPad, pour ensuite devoir connecter mon iPad par USB à mon PC pour pouvoir utiliser iTunes pour telecharger le fichier sur mon PC. Juste un petit vidéo de même pas 5 minutes comme celui-là ca génère un fichier de 1.5GB+. Le comfort d'avoir la version VS sur PC ca simplifierait vraiment les choses mais bon je suis sûr qu'ultimement sur PC il doit y avoir mieux. Entre-temps mon fric reste dans mes poches!!

@@Silent_Stillness Moi, ce genre de - 10 opérations pour arriver un résultat - souvent, me démotive à faire quelque chose. Avec le temps, je deviens lazy. ;) Sur MAC et tout récemment sur PC, Ebosuite est dur à battre, mais ça prend Ableton Live.

@@mrtinacrispoti C'est clair! Contre toute attente il y a quand même un charme immersif à gosser sur iPad même pour faire des trucs video de ce genre donc curieusement ca rend le processus bizarrement intriguant malgré le fait que ca soit clairement mega time consuming, donc clairement ca prend de la motivation haha! J'y prend tranquilement gout à VS, ca permet de faire qqch de différent aussi 🤓

From my experience they're all flawed in some significant way. Developers don't really have an incentive to make a high end fully featured virtual MIDI controller even if it would be potentially extremely useful, as such an app would essentially only really be meant to be used in the context of AUM/Audiobus/Loopy Pro (I think) and it doesn't seem like there's much money to be made in that area from what I deduced. The input latency of an M2 iPad Pro is still not fast enough to match a physical controller connected via USB even though the touch screen is technically clearly usable for composing. Generally speaking I simply go by without using any of them as I rely on my Elektron boxes both for triggering notes and recording sequences live. The most functional virtual controller that I have found out of all of them is AU Keys, but I don't use it for MPE (as I haven't gotten to the point yet where I feel the need to explore that tech). It might be tempting to go for something like KB-1 (I did) but it has significant design flaws and the dev behind that app became unresponsive when confronted about some serious flaws in the software, and so I essentially don't recommend it. The recurring theme with devs struggling in this area is that they hit some nasty road blocks due to the iPadOS gestures & touchscreen management stuff, and the technical research & hassle needed to find workarounds for these massive yet incredibly stupid problems could easily make a perfectly sane person go nuts. The top 2 points of friction I've identified over time are: 1.devs not knowing how to block accidentally triggering undo/redo gestures when pressing 3 notes chords. 2. not being able to guarantee that the surface of the controller even if an app UI window boundaries is placed right against the edges of the screen and is perfectly functional and usable. The list goes on but that's all I got time for, for now :)

@@Silent_Stillness So if I was looking for an MPE controller to use for things like Animoog, do you think I'd be better of getting something like a ROLI keyboard instead of AU Key or Velocity Keyboard?

​@@DJ_Personal (This is going to be a 2 parts reply) PART 1: You need to be EXTREMELY careful with these kinds of purchases. You cannot assume by default that a physical MIDI controller is actually going to be class compliant, which is a requirement if you want to use it with an iPad using MIDI over USB. If you are serious about MPE and you have the resources, something that has a form factor similar to the ROLI Seaboard M and the adequate compatibility would be ideal. The problem you'll encounter is that most hardware manufacturers won't advertise that some pieces of hardware they're selling are actually class compliant, because often these pieces of kit come with an editor that requires you to rely on using a PC/Mac, which makes this a nightmare for iPad users. I checked on ROLI's website and surprise surprise no trace of class compliance even though it's literally a perfect piece of kit due to its ergonomic form factor. It's a premium product so it's quite costly and you'd expect some love for users that need class compliance but nope (it's still worth it to contact them and actually ask them though as you might get an unexpected positive response). 100% steer clear of Velocity Keyboard in particular, I tried to get in touch with the developer in the early days of my iPad journey because despite the fact that this app is a work of art visually, the accelerometer based velocity detection system comes at a massive cost in input latency (at least on my M2 iPad Pro) and this mechanism cannot be disabled. This disqualifies the app to be used for live playing unless it's for playing pad sounds for example (which are obviously much more tolerant to note timing delay). It's very fun to use Velocity Keyboard off tempo in isolation though, which makes the whole situation 10 times more frustrating because it creates such an immersive user experience that is unmatched by any other AUv3 MIDI controller offerings that I'm aware of. I asked the VK dev (which by the way is somewhat of a famous guy as he might have worked for Apple at some point according to info I remember having stumbled upon back then) if he could include an option to completely disable the accelerometer based velocity detection mechanism to improve input latency and to potentially offer a Y axis velocity detection system as an alternative/compromise and he de-facto ignored/dismissed my very relevant and extremely useful idea despite actually responding to me, which was extremely frustrating considering how this controller would have been my go-to app because of how beautiful it looks and because it offers an isomorphic control surface which is what I was dreaming of using from the beginning of my iPad journey. It really goes to show how some devs are completely out of touch with the real world needs of musicians that want to use the iPad seriously. As you can no doubt already tell I'm quite bitter about the whole subject. With KB-1, in AUv3 mode about 30% of the rightmost portion of pads/keys surface of the rightmost column of pads (or rightmost piano keyboard key) actually doesn't respond to key presses properly, which is 100% a software flaw that is fixable by the dev (as AU Keys/Pads don't have ANY of these problems). The dev just doesn't have the skill, will or financial motivation to fix it once and for all, even though if I remember correctly he did fix this issue for the standalone version, which is arguably somewhat useless to me as I want to tweak my synths's UI from within AUM while I play with my virtual MIDI keyboard. What you see me advertising in my videos using AU Keys specifically would not be possible with KB-1 for example if you're looking for a flawless experience (which you absolutely should) even though I had high hopes for KB-1 at the time. If as a user I'm expecting to reliably be able to trigger the rightmost note of a virtual keyboard, or the entire rightmost columns of pads of a virtual controller flawlessly, there is nothing more frustrating and disruptive to immersion than to know I've tapped my iPad touch surface flawlessly and yet no sound actually got triggered. If I was to use KB-1, I'd have to constantly keep in mind that if I press just a little too far to the right of the specific problematic pad/key I'm trying to tap, there's basically this constant threat that the note I'm trying to play might simply not trigger, which is pure torture. So for all intents and purposes I threw KB-1 in the bin and cut my losses. You'd think that by now users would have swarmed KB-1's dev with complaints but the fact is that there aren't many committed power users on iPad as a music production platform yet, which generally speaking makes the community objectively mediocre as testers. There's nothing more frustrating than to deploy massive resources with my time and energy to help developers pro bono (full time and unpaid by the way) and yet to have mediocre outcomes such as these ones happen. Even AU Keys/Pads don't offer a way to restrict the range of the pitchbend, as from my understanding the dev is operating out of the logic that it's adequate for the AUv3s that are being controlled to take charge of the pitchbend range control, however almost no synth developer that I can think of offers the adequate controls to customize a pitch bend range. I'm assuming that I would need to involve an intermediary MIDI app to process pitch bend data so that it's formatted adequately, but my motivation to sort this problem out hasn't gone this far yet.

@@DJ_Personal PART 2: On another even more explosive subject, Michael Tyson which is the original developer behind Audiobus apparently has sold his Audiobus app business to another developer, as he wants to focus his efforts on Loopy Pro. A few days ago the new devs in charge released an Audiobus update which completely demolished the app and made it unusable, demonstrating by this very act their incompetence. I can no longer use Audiobus - which was an integral part of my setup - to host Xequence and AUM, which means that I can no longer switch my iPad's focus towards Xequence/Audiobus using my iPhone remote. Audiobus, which is one of the pioneer apps of the iPad platform is now literally unusable and I essentially have no way of rolling back to the previous version that worked either, because of Apple's app store design. After messaging the new devs, despite the fact that I have been invited to their Testflight at my request, they have not provided me with access to the older version, which essentially means that I'm being held hostage by them up to the point where they eventually fix the app, IF that ever happens. To this day I didn't think that such a catastrophic situation could be allowed to happen in the context of an app of this nature, yet this unfathomable event occurred and this is still going on for more than 3 days straight now. This really goes to show how careful we must be as users who come to rely on this platform to do great things musically. It can be quite debilitating/discouraging to have to deal with these issues, but it's still worth it because of the critical mass of what already works reliably. You happen to have stumbled upon one of the most problematic subjects on the platform, which is the problem of finding an adequate physical or AUv3 virtual MIDI controller that delivers without compromise to fit your needs and wants. In short my recommendation is: use AU Keys / Pads and be grateful that it's even there. If you can somehow identify something that I missed, try to find solutions with stuff that already exists rather than banking on devs improving on stuff. in the MPE world there's also the Geoshred MIDI controller app which I believe might even be free, but from what I had tested a year ago, using the app was very unpleasant purely from a visual standpoint, and interacting with the functionality seemed buggy/problematic from what I remember, but still you might want to look in that area as well, I have no time for that at this point. One of the experiments I have planned in the long term though in the spirit of taking matters in my own hands is to actually make my own controller using Surface Builder (by 4pockets). However I have no idea on how reliable such a tool will be in practice. I just know that eventually I'll try because I'm really pissed about not having access to a clean bug free responsive isomorphic controller that's visually appealing. What I DO know however is that Paul (the dev behind 4pockets) is someone that has demonstrated an immense level of merit and skill. Thankfully my elektron boxes are there so that I at least have a clearly defined "core" that's 100% rock solid and reliable so that I'm functional to make music reliably (and trigger notes in real time with ultra low latency viably). When I discovered earlier today the new Korg Nanokey FOLD had been released, my hopes got very high super fast because of the form factor and because I saw it was class compliant (as it's explicitly advertized being used with iPhone/iPad), but then when I saw the laughable implementation of the note triggers I went right back to square one. It's just a matter of time until something big and significant happens on the controller front because the industry can't keep on going like this forever. In the meantime my approach is to make the most of the tools that are already available and to never hesitate to eject tools that have a significant distraction factor to them, such as KB-1 and Velocity Keyboard in particular, sadly. To people that don't have a particularly developed sense of discernment (which I'm hoping is not your case!), reading what I wrote might come across as quite extreme, but every single problem I've described to this point is anchored in objective truth, so it's not really a subject where there's room for debate (and for the record censorship has no place on my channel). When it comes down to the engineering of tools aiming at accomplish serious tasks where reliability is crucial, either things work flawlessly or they don't, and when a viable path can't be identified using such tools, my approach has always been to share feedback with devs in good faith (and also to assess the devs merit) and if things don't work out, I completely eject the tool from my workflow rather than to settle for flawed software that would end up being counterproductive.

@@Silent_Stillness Super helpful and insightful as always! And yeah that's crazy about Audiobus. The hardest part about iPad so far for me has been the sunk cost of apps, as in comparison I have resold plenty of computer VSTs. And then just the unknown of whether favorite tools/instruments will remain for the long haul. That's not a worry with an Ableton or Logic license for example. Another question regaridng MIDI control surfaces. How do you find Loopy Pro or Touch OSC or ‎GSDSP MMMm compare to Surface Builder when it comes to having a companion surface of knobs/sliders/buttons?

Hi! Indeed I'm using AUM. I provide relevant info in the video description you might be interested in as well.The video linked below is the second one I ever made on my TH-cam channel. I created it specifically as a major free resource to address questions and curiosities of people potentially interested in building something similar to my setup, right from the beginning. That video represents one of the main pillars that the content on my channel is built upon. While I don't exactly go into every step in details in my video (as that would have required an astronomical amount of work which I cannot justify for now), that video still represents an incredibly valuable resource if you are seriously considering embarking on such a journey: iPad Pro Custom Music Production Setup Review & Guide (with AUM + Elektron Digitakt & Digitone) th-cam.com/video/hU5tGoltlPk/w-d-xo.html You might also want to look at the comments section on that particular video as I also provide extra information there. Cheers!

@ thank you so much!

My pleasure! We're in the middle of an incredible technological revolution and I find the subject fascinating because of all the implications it has on musical creativity. I think it's just a matter of time before people on a large scale start to awaken to this and start to expect/want better out of their electronic music instruments. The industry is overdue for a transformation, but thankfully we already have truly amazing (and immersive) pieces of equipment such as the Digitone 2 and the iPad Pro M4 already available to allow us to push boundaries with a level of comfort that wasn't really available before... Cheers!

I still need to get accustomed to the new setup so I'm not really in a phase where I'm really aiming at generating stuff that is going to be fully formed over time. It's a lot less pressure in the short term to be ok with generating stuff without necessarily expecting to take things all the way 😋 I know this can leave listeners wanting for more... I'm hoping to feel more comfortable soon and maybe expand on some ideas eventually! 😄

@@Silent_Stillness No worries ...

Long time no see Michael! I hope you're having fun with your new XONE setup! I'm glad you're enjoying the new visual presentation! It was a massive time investment, but well worth the effort in the long run as it will augment everything I create moving forward. I always had the sense that the visual presentation in my videos needed an upgrade, but I had to prioritize, especially early on. The time eventually came where it made sense to really dive deep to research & experiment to pinpoint exactly how to improve things optimally on that front. I still do have the issue of not having the pro version of Davinci Resolve, which limits the color depth of the video files I can manipulate in my video editing projects. This significantly damages the visual quality of my content in some settings, but I can't justify this expense for now at least. Eventually I'd need an up to date iPhone camera and a system to point diffuse white light on my setup so that I can record with equal quality regardless of daylight fluctuations. If I was getting financial support from viewers hopefully that would get sorted out eventually, but for now I'm still proud and happy with the results in their current form. In the upcoming weeks my goal is to focus on making music, sharing my exploration process, whether it's sound design on the Digitone 2 or exploring AUV3s... I'm very excited for what's to come but after so much energy and time spent focusing on sorting out the technical stuff (which was very much needed), I'm in a bit of a detox phase where I can't wait for the dust to settle so that I can feel real comfy with my instruments and cover amazing new sonic grounds, cheers!

@ the XONE setup is fantastic! I’ve even bought a K1 controller to go with it which is great. Mixing vinyl and digital together is easier than I thought it would be and sounds great. The videoing bit is hard work though isn’t it?! I’m trying not to spend a fortune on that side of things but cameras, tripods, lights, software, storage (which is a rabbit hole in itself!) adds up and easily distracts from the art. Anyway, I have found some old cameras and can stick them on shelves and have been experimenting with angles and exposure and frame rates etc and am managing to shuffle things around via SD cards for now. Slow progress but fun working it all out. Hopefully I’ll have something to share before 2026…!

@@teknodriver It's precisely because this tech stuff has such a high potential to distract us from focusing on creativity that in my opinion it must be sorted out and tackled with full force sooner rather than later. IMO using older iPhones as webcams connected to a USB-C based hub in conjunction with OBS on a PC/Mac is by far the most inexpensive way to solve this problem. It completely eliminates the need of having to deal with batteries, SD cards for storage, and reliability issues. If you go for a multi camera setup though there's most likely no dodging having to buy smartphone compatible stands, but the beauty of it is because these are lightweight devices, you can get away with cheaper stands that will perform adequately. To this day I still don't even have a stand for my iPhone camera because I couldn't find a solution that was as efficient as what I came up with "home made style".

Thank you sir I appreciate it! 😊

I'm glad you like the new layouts! Don't forget that what you hear is augmented with non linear processing revolving around Volcano 3 and TAIP in particular. I can't wait to shift my focus towards making music again!... I've spent so much energy doing research on technical OBS related stuff (and on another amazing free program called paint.net). Experimenting and brute force testing through all that tech got me to a point where I need to chill just to "wind down" from being so fully immersed in that process... There's some degree of toxicity to it even. I'm really glad I went through this process though. I learned incredibly useful tricks I can now rely on to unlock a LOT creativity in terms of video production. Next video hopefully my focus is going to shift towards redirecting my efforts on releasing content that involves everything. I'm thinking moving forward I want to do 6 MIDI tracks on DN2 and 10 internal tracks (6 percussion tracks/4 instrument tracks) to really take advantage of the mega upgraded sequencer... I can now program chords with PER NOTE timing offset on the DN2 and I can't wait to start putting this to work to give an organic feel to my chords which wasn't really possible before... Mapping 16 CC parameters per track even if it's just on 6 tracks is still going to be a daunting process as I want to name all parameters...that's like 96 entries + choosing my AUv3s wisely and cherry picking the parameters... but once I'm through with all the prep work it's going to feel UNBELIEVABLE!!! I'M PUMPED! 😁.

The iPad iOS platform's biggest weakness is precisely that on this platform sequencing hasn't been refined and isn't sufficiently polished due to the fact that developers on iOS tend to do their own thing in isolation whereas developing a state of the art sequencer (whether it's a step based or piano roll style based sequencer) is by far the most difficult task a developer could tackle. As a result, the independent developers efforts generally speaking tend to produce an outcome that never goes far enough to actually solve the sequencer problem once and for all. Elektron boxes provide the missing link to the iPad both in terms of functionality, polish but also in terms of reliability, not only with physical components as a complement to the touch screen surface, but also as a rock solid reliable instrument that integrates so powerfully with the resources that the iPad Pro provides. This gets amplified massively with the Digitakt 2 and the Digitone 2 (which I now have - the DN2 that is) as they each offer the flexibility of controlling up to 16 external MIDI tracks each. Your question is actually quite a complex one to answer so even if my answer is incomplete it's all I can manage with the time that I have, cheers!😄

@@Silent_Stillness Great reply, I really appreciate it! Yeah I do think bringing a hardware sequencer to the iPad is pretty interesting, such as a Digitakt, OXI One, or a Hapax. From the iPad side of things, what about tools like Drambo (Elektron like step sequencer), or Koala (sampler); do you think either of those apps rival the usage of a Digitakt?

​@@DJ_Personal Digitakt/Digitone do transmit and receive audio over USB on top of MIDI and they effectively allow users to dodge having to invest in a dedicated audio interface (for my setup at least). The OXI is not on the same level in terms of value because of this difference even though the sequencer implementation itself appears to be compelling from what I understood (even though I have not tested it). I'm instinctively doubtful that the Hapax has the same level of flexibility and robustness of implementation as modern Elektron boxes for the routing of the audio aspect either (I hope I'm wrong on this of course). Drambo is the perfect (and best possible) example I could think of to illustrate what I hinted at in my first response to your original message. The dev behind it is a 1 man operation and represents a textbook example of someone with good intentions running out of breath and ultimately falling short of actually delivering a product with the level of polish and attention to detail it takes for it to become undeniable, specifically as it relates to the core elements of the app (the sequencer implementation in particular, both in terms of robustness and UI implementation). I know this first hand because I was close to the project for a period of time and I invested a LOT of energy in testing and reporting very significant issues to the dev. Time has proven that these serious (and at times critical) problems haven't received the attention they needed, in my discerning opinion. I have had no choice but to completely eject Drambo from my workflow within the first few months of my iPad music making journey, which deeply saddened me at the time. Ultimately letting go of Drambo was the right decision, as the most important problems I've identified with it still have not been addressed to this day and it has now been 1 year since I went for my "all out pro bono push" for the dev back in December 2023 and early 2024. I couldn't think of a worse decision than to invest time and energy on a music production platform that is profoundly flawed (in ways that aren't apparent to new users) hoping for critical core issues to get addressed only to look back a year later and to realize I've been crippling myself investing time learning to use a tool that would forever be bound to cause unnecessary friction and frustration over technicalities. I don't really want to go into details regarding Drambo's issues at this time, but at least I'll share that Drambo is effectively incompatible with key Fabfilter plugins such as Pro-C 2. In Drambo, Pro-C 2's ratio knob behaves as if it was at maximum value regardless of the ratio knob's position, which effectively makes the plugin unusable in Drambo. One year after being reported this is still going on (which is in my opinion 100% unacceptable) and represents one many reasons as to why I abandoned the tool completely. In my opinion Drambo to this day remains the self contained app that has the most potential on iOS on paper, because of how much it intersects with Elektron machines functionality and in some aspects surpasses it (I'm thinking of the Bezier curves parameter modulation implementation in particular). Based on the tangent Drambo took over the last year though, the changes it would need to go through to become the powerhouse I thought it could be from the beginning seem HIGHLY unlikely to happen, to the point where the thought of going back to Drambo doesn't even cross my mind today, even though I would happily go back to it if the critical issues related to its core elements were addressed adequately. Now more than ever, I'm completely independent from needing to involve Drambo in any way because I've committed to acquiring the Digitone 2, and I'm a firm believer in AUM as a new "music production tech paradigm defining" host, as it allows me to do things with my iPhone remote control (such as quickly navigating the UI) that neither Drambo or any other iOS host ever would. To this day I've steered clear from Koala because I do not like how it implements things like amplitude envelopes among other things. Basically it's too simplistic even though the interface definitely has some compelling attributes. I do not own Koala and contrary to popular perception it is NOT exactly a cheap product (relatively to other apps on iOS), as in order for it to become viable, multiple in-app purchases have to be made. I view it as a tool that ends up occupying a key role but doesn't offer the level of depth and control that I would expect out of a "professional" instrument as an electronic music artist looking for compelling tools. In the early days of my iPad journey, I ended up taking a chance with Sitala, which I ended up regretting unfortunately, as it didn't behave in a way that I found satisfactory in the context of my needs, and if I had the chance to switch my purchase decision in favour of Koala, I would 100% have done that. With Sitala, the main issues came down to 2 things basically: it was impossible to set the decay/hold time of a sample below a certain threshold which was still way too long and effectively made the tool unnecessary restrictive in the context of electronic music in particular, and it was impossible to put focus on a sound corresponding to a pad without actually triggering the sound in the process, which is very disruptive in the context of building a live groove from scratch using step sequencers (it constantly breaks the immersion - similar problems with Drambo btw). I gave feedback to the developer who acknowledged my message, but 1 year later nothing was done and I added Sitala to my "wasted money" purchase list (which only exists in my mind LOL!) . To my knowledge none of the sampler (or sample player) style apps on iOS offer functionality that even remotely approaches what the Digitakt does even though the lines are getting blurred as the platform evolves. Drumcomputer sort of blurs the lines for example. Even the recent mega release of OneShot by Klevgrand on iOS has some deal breaking flaws that I was fortunately able to pinpoint with the PC version before making the mistake of committing to a purchase, the main flaw being that the decay parameter of a sound is not exposed by the plugin to the host due to the fundamental structure of how objects are arranged in Oneshot, which means that OneShot is incompatible to be used within the context of a parameter locking capable sequencer such as the Digitakt/Digitone sequencer. It's fundamentally not meant to deal with electronic music sounds as modulating decay of percussion sounds is THE most important bread & butter move I rely on to inject depth in my music. At some point an app named Async Sampler emerged which on paper had some potential but the devs behind it were committed to keeping that instrument limited to some sort of experimental music tool concept, which ended up heavily restricting its versatility (especially again with managing amplitude envelope and LFO behaviour) and therefore pretty much lost most of its appeal for my use case as it was lacking key features (I was offered the app for free after discussing with the dev as I was asking very specific info that was not obvious to deduce - which ultimately confirmed that the app was not for me). Lastly on the sequencer front, the Prism sequencer is emerging (I do not own it but I'm following its evolution) but again the "theme" of a "one man operation"' app being almost invariably guaranteed to be underdeveloped instantly jumps to mind. I 100% admire the dev's efforts though that's for sure. At the end of the day I want to use my tools to make music as opposed to becoming a full time unpaid tester, so every single time I would recommend the Elektron Digitakt 2 or Digitone 2 to resolve the sequencer problem at the source. Hopefully by now it should be much more obvious why modern Elektron boxes are THE single most important item to pair with an iPad. Cheers!😅

@@Silent_Stillness Incredible response, and very very helpful by the way, so I appreciate it greatly. What I hear is that while iPad has some absolutely incredible sound sources (synths), as well as effects available, competing with the sequencing and sampling capabilities of a company like Elektron with the years of expertise and testing is just no realistic for iOS developers. One more slightly related question if you don't mind: What's the primary benefit of bringing the Digitone 2 to the setup when there are so many great synths on the iPad? Is it primarily to have the extra tracks of Elektron MIDI sequencing power with the bonus of internal sound design?

@@DJ_Personal In my mind when it comes to involving the Digitone 2 it's not a matter of just 1 single primary benefit, it's a combination of many key factors: 1. It acts as a class compliant audio interface (although a very minimal one) 2. It opens up the possibility of sequencing 16 tracks within just one machine, up to 16 of which can be dedicated to act as purely MIDI tracks to control external instruments (AUv3 plugins on iPad). 3. For the first time in Elektron machines history, up to 16 CC parameters can be mapped PER MIDI track (destined to control external instruments) which are accessible over 2 distinct pages at the tap of 1 button (no key combination or multi button press cycling needed) 4. All of these parameters can now actually be NAMED (as opposed to what can currently be achieved on the original Digitakt/Digitone) 5. All of these 16 mappable external CC parameter control slots enable external instruments to effectively be massively augmented by the KEY Elektron sequencer parameter locking functionality (a "signature" parameter value modulation system/methodology), and this effectively allows the user to break free from the need to rely on Elektron Machines as sound generators while maintaining access to p-locking, which opens up a world of possibilities (with the limitation that each of these mapped CC parameters can only be controlled with a resolution of 128 - it's low outdated MIDI resolution and without the option of involving NRPN stuff basically). The AUv3s controlled DO need to be responsive enough to be compatible with p-locking though and there's no control on Elektron boxes to apply a negative timing offset specifically for p-locking data. Still, there's a lot to work with, especially with the LFOs that can also control external MIDI. 6. All the intricate configurations that a user would want to make over a MIDI track on the Digitone 2 can now be saved as a MIDI machine preset (and therefore recalled), which represents an unfathomably important step towards seamlessly being able to adapt the Digitone 2 (and the Digitakt 2) MIDI tracks to whatever AUv3 plugin the user wants to control for a particular project. By comparison, with the first iteration of the DT/DN this was much more difficult to manage but between the 2 machines there was just a maximum of 12 total MIDI tracks available to control external stuff, and each track could only have 8 CC parameters mapped. With the DT2/DN2 combo there would be a theoretical (although unlikely to be used) limit of 32 MIDI tracks available to control external instruments, which would be unmanageable without the addition of the MIDI machine concept. 7. The Digitone 2 drum engine effectively surpasses anything that exists on iOS on top of not being bound by the resolution of 128 for all of its parameters (in modern Elektron boxes, many key controls - but not all - have a resolution with 2 added decimals of precision which dramatically augments the potential (and therefore appeal) of the instruments as this detail effectively pushes these machines in "premium quality sound generators" territory. The internal engine itself operates at a CRITICALLY important 48kHz/24bit resolution. 8. On iOS, once you start doing some heavy processing to significantly elevate the perceived audio quality of all the elements in your production, if you involve "advanced" synthesizers in your project it's not difficult to build an AUM project to a complexity level where it hits the limits of what can be sustained with perfect stability for very long periods of time on the iPad (I'm talking 3h+, basically 100% flawless). What the iPad Pro can sustain for long periods of time is MUCH less than what it can sustain without any error for short periods of time, due to thermal considerations. In that context, having access to up to 16 simultaneously accessible high quality additional timbres (distinct synth sounds) that don't tax the iPad CPU in any way becomes critically important. 9. The immediacy (and ultra low latency) of having access to synth sounds while interacting with physical buttons (which represents an user input error tolerant interface by contrast with the iPad's touch screen surface) is priceless, as it effectively allows the user to access an ultra low latency physical MIDI controller device WITHOUT invariably needing to involve an additional external MIDI controller like a keyboard or pads which would disrupt the ergonomics of my highly immersive setup. With TWO Elektron boxes all of a sudden it becomes possible to physically/manually control multiple instruments in parallel (while potentially playing different notes on different instruments) which is incredibly beneficial/flexible during the creative process. That about sums it up (even though I'm probably still missing some important stuff). By your questions I can tell you're probably the type of person that would see the value in the dedicated content I already released revolving around this kind of topic, even though these comments I'm writing to you represent the first time on my channel that I release information articulated like this specifically as it relates to the inclusion of the Digitakt 2/Digitone 2 in an iPad based setup. You might want to have a look at these in particular: *Real Talk & Chill #1: The future of music production on iOS and the platform's issues* th-cam.com/video/uUUm0HhOIx4/w-d-xo.html *Real Talk & Chill #2: The iPad Pro's touch screen potential to revolutionize electronic music* th-cam.com/video/I-dw478XVKs/w-d-xo.html

thank you thank you! Enjoy :)

Thank you I really appreciate it! It was a massive time and energy investment but I learned so much and so much possibilities just opened up with this new knowledge, cheers!

Thanks for commenting! I totally get your point and I've been working *extremely* hard offline at generating much much better layouts which would almost certainly completely address the issue. However, I haven't released a video publicly on YT since I made these massive upgrades. Just you wait and see the incredible things that are coming within the next few days at most :) I might even release a video today if the stars align but I got a lot on my plate right now! Cheers!😄

Thanks for commenting, I really appreciate it! Over the last 2-3 days I've been deploying massive efforts to improve my layout and to refine the concept of what I present, in terms of the strategy and the visual presentation approach that I choose. I believe great things are coming and hopefully I've taken the adequate steps to make my content undeniably compelling ultimately. I know that generally speaking in this kind of context frequent YT viewers prefer when videos jumps straight into action. I'm thinking about the content I present with a scope that is larger than just one video. In that context at some point some elements of introduction are needed to establish where I'm coming from and my perspective when I'm presenting all this. As redundancy inevitably starts to emerge, the need for introducing what I do and present decreases, and things become more efficient. I'm convinced that throughout all this a balance between words and action is very much needed, otherwise things become mechanical and impersonal... Cheers!

Merci chef! Il y en a qui sont définitivement pas du même avis! J'ai pas encore pris ma décision finale sur la configuration que j'utilise... Je continue à réfléchir pour trouver la solution la plus intelligente mais c'est vraiment pas évident en toute transparence... À force d'y penser ça finit par consommer beaucoup d'énergie, pour toute une panoplie de raisons qui tournent au tour du fait que j'ai pas l'équipement adéquat pour avoir une bonne flexibilité et fiabilité pour déplacer ma camera (vieux iphone SE 1st gen), entre autres. J'essaie de faire au mieux avec ce que j'ai, mais intuitivement je sens que je peux faire mieux, même en étant assez limité par la qualité de ma camera. La saga continue!

@@Silent_Stillness Si t'as pas l'équipement, t'as pas l'équipement. C'est tout. Arrête de te faire du sang de cochon. Concentre toi d'abord sur le contenu. Un jour à la fois doux jésus ;)

@@mrtinacrispoti Pour m'être pris la tête pendant à peu pres 10h (sans blague) sur la question dans les dernières 24h, avec du recul je trouve que l'investissement en temps et en énergie a vraiment valu la peine. Je viens de re-engineer tout mon setup et ma méthodologie pour l'assembler, gérer les problèmes de parallaxe, etc. Les resultats et la stratégie que j'ai développé représentent à mon avis un upgrade majeur pour la qualité de mes videos à venir. J'ai vraiment hâte de dévoiler tout ça et je crois que ca va définitivement faire son petit effet haha! À partir de maintenant j'ai plusieurs "scenes" sur OBS entre lesquelles je peux basculer pendant que j'enregistre de façon dynamique et fluide. Ça me donne confiance pour mettre davantage d'emphase sur le Digitone 2 sans compromettre mon accès aux éléments spécifiques au iPad qui sont pour moi non négociables dans le contexte du concept que je présente sur mon channel. Si d'autres personnes sentent encore le besoin d'exprimer un agacement par rapport a mon layout, j'aurai au minimum pas le sentiment de rater des opportunités d'accroître la visibilité de mon channel pour des technicalités plus ou moins bêtes. C'est vraiment hyper important dans un contexte où je vise potentiellement à sortir des videos à haut volume d'avoir vraiment une approche indéniable depuis le début, sinon c'est comme si j'acceptais de travailler avec une pénalité en permanence... Voilà, ca te fait un bon teaser pour le prochain vidéo LOL! Cheers!

@@Silent_Stillness Ben tsé, je voulais juste pas que tu te sente découragé ... ;) Parfois les update de setup sont difficiles à "vivre", mais souvent libérateur. À plus!

There are multiple reasons as to why I chose to present content this way in my video: 1. I want to present Elektron boxes as a part of a greater whole on my channel (there’s a self promotion component to this due to the rather unique nature of my entire setup). Very importantly, I also use my iPad Pro to process the Digitakt + Digitone 2 signal to give me the immediacy of seeing the potential of the sounds I design on my Elektron boxes, once processed. Being able to see my iPad Pro's interface gives people an overview of the extensive signal processing my Digitone 2 effectively ends up going through. In this case it goes through Pro Q 3 > Pro C 2 > Shaper 2 > two more Pro C 2 > Volcano 3 > and finally TAIP, and it's all visible for everybody to see. 2. I want to make sure to preserve the opportunity to remain spontaneous if I want to modify or interact with something on my iPad Pro/Digitakt in the context of what I’m doing with the DN2, and I don’t want that information to be out of frame because I’m recording the video as 1 single file through OBS to keep things efficient and simpler to operate/manage in video editing. 3. Lastly, as I'm recording the video in just 1 file in OBS, that has implications on the flexibility of what I can easily achieve in post production. While in an ideal world in the long term there are obviously more dynamic/sophisticated ways to approach this, for now this is what I've settled for considering the resources that I have. Hopefully that answers your question :)

I personally think you’re alienating people from watching using this approach. It’s a waste of screen real estate and whilst I watched one on my phone zoomed in to the top left one (while at work) on a TV it’s hard to watch so I turned it off. Your video is after all about Digitone 2, how it’s routed is irrelevant unless you titled it such and even then I think you’d be alienating people who don’t use iPad to route/record etc. Not trying to be a d*ck just offering constructive criticism.

@@BobBell. Thanks for your feedback and sorry for the delayed response. I was simply working on making changes to my setup! :D While I'm 100% set on the decision that some iPad related components will remain on screen, I still viewed your feedback as extremely useful. I'm thinking that if you felt the need to express this opinion in your comment, odds are that others are likely to feel the same. If you hadn't written what you did, I would not have gotten the motivation to work on my video presentation further. Between the time you initially posted your comment and now, I've literally worked for about 8-10 hours on generating multiple versions of the best outcome possible that I could think of, and I believe I have succeeded in significantly improving my layouts and I've developed new ideas. As I don't have professional equipment for video production it has been incredibly demanding (yet rewarding) to extract the best scenario possible out of the tools I have, especially when it comes down to matters of alignment, parallax considerations and technical stuff inherent to recording videos. A very significant thing I've realized is that due to my iPhone SE (1st gen) limited camera resolution, it would actually be detrimental to make the Digitone 2 bigger than a certain size threshold specifically for viewers looking at my video from a typical PC/Mac monitor. Still, I found ways of presenting the Digitone 2 on screen with significantly bigger proportions than what I previously did, and I've arranged the overall display in a way that is much more satisfying for people that are really "hungry" specifically for Digitone 2 content. I've now decided to include multiple OBS scenes in my video recording workflow to adapt to situations at the tap of a button, and so that gives me the confidence to momentarily focus more on the Digitone 2, without compromising my access to means of displaying iPad related information as that's extremely important to me in the context of what I do on my channel. Thanks again for your feedback!

Thank you sir I appreciate it! C'est déjà passé à 102 pendant que je mangeais lol j'ai raté le moment symbolique! 😊

@@Silent_Stillness Cool!

Thank you I really appreciate it! I'm sorry for not having responded earlier I didn't detect the existence of your comment 😅

Thanks for the love Greg! my pleasure! 😀

Hi! I'm glad you're enjoying my content! In my book the Syntakt became obsolete the moment the Digitone 2 came out. It's definitely an oversimplification and there's a bit of humour to what I just said but I'm convinced most power users would agree with me, especially if you simply don't already have an Elektron machine. The Digitone 2 value is in a completely different ballpark, but that's not to say that making compelling percussive sounds on it is going to happen at the snap of a finger! At the end of the day these machines require a major time/energy commitment, but they (the Digitone 2 in particular) will most likely fundamentally change how you interact and view electronic music instruments, definitely for the better. Cheers! 🙂

@ haha, ok, very clear ! I think I’m gonna choose Digitone II then. I was afraid of the lack of analog machines but with your video I have the feeling that I won’t miss it too much 😉 Please continue publishing such a great content !

Thanks for the love Greg I really appreciate it! Cheers! 😊

In complete transparency, the main reason I felt compelled (or obligated even) to get one is because throughout the 7 years that I've used the Digitone 1, I've come to consider it as the best synthesizer ever made. In the context of my iPad Pro based setup, with the DN2 16 potential MIDI tracks, the LFOs and the fact that it allows the mapping of up to 16 CC parameters per track (and to actually name each one of them) AND therefore to make them parameter lockable while controlling external instruments loaded in AUM on the iPad Pro, it objectively dramatically expands the power/convenience of my setup as a whole and it relieves A LOT of pressure when it comes to needing to rely on the iPad itself for sequencing duties. Sequencing on the iPad is by far the weakest link when it comes to having access to polished, feature rich, convenient and reliable sequencers in the AUM environment. In my opinion the Digitone 2 represents a much better value than the Digitakt 2 as a machine that actually enables per track polyphony and that eliminates the need to rely on importing and having to select samples before you can get going, as that's a significant added layer of difficulty (or logistics challenge) in itself. It's not that the Digitakt 2 is not great by itself, it's just that the Digitone is by far a superior and a more versatile candidate in a streamlined setup. With the addition of 3 extra sound engines on the Digitone 2 including of course the "KEY" FM Drum engine, in my opinion as a whole this piece of kit represents the best piece of electronic music equipment that exists today. In the context of today's inflation, the price is STILL more than justified even though it definitely stings. With all that said the DN2's new platform is still young and so there is still significant work to be done on it and Elektron is clearly committed to doing the work. Still, for people that are genuinely committed to electronic music exploration as a "serious" activity, as the DN2 is DEFINITELY not your average piece of kit, I can thoroughly recommend it. However, as it can be seen especially in the second Digitone 2 sound design video I just posted, the process of sound designing on the DN2 despite its unique (and industry leading) approachability still falls more on the expert end of things and in my opinion it is a VERY demanding process which means it's particularly important for people in general to do their research and be fully informed as to what to expect before committing to such a significant investment.

Thanks Greg! I'm glad you enjoyed it, cheers! 😊

Je sais pas pourquoi m'attendais à ce que tu m'annonces que tu t'en étais pris un depuis mercredi de la semaine derniere lol! Je suis content que tu apprécies la track! Je vais definitivement en concocter d'autres dans le même genre pendant un bout, c'est une formule rhythmique que j'ai spontanément crée sur mesure pour m'éloigner du feel deep house typique (rhythmiquement parlant), mais tout en restant familier au niveau des sons que j'utilise. J'aime beaucoup l'effet rhythmique "suspendu" assez épuré qui se dégage de cette track et j'ai vraiment l'impression d'avoir découvert un filon assez juteux à explorer lol :D

@@Silent_Stillness Je n'ai plus les moyens de m'acheter du nouveau gear et de toute façon, j'en ai bien assez comme ça. Mais bon, tu connais la chanson, on fait tout pour se convaincre ... ;) Effectivement, la rythmique est addictive ! À plus!

@@mrtinacrispoti J'ai utilisé l'approche Kijiji lol! J'ai commencé a liquider tout mon vieil équipement pour simplifier mon setup au maximum et me libérer des instruments qui ne me servent plus. Ça a été vraiment difficile au début d'avoir la motivation de m'occuper d'arranger toutes mes annonces pour avoir des chances correctes de vendre... Maintenant je fais juste preuve de patience et j'ajuste lentement mes prix pour obtenir un résultat aussi favorable que possible...

Thanks Greg! I didn't really focus the project around the Digitone 2 because I originally came up with the vibe before getting the DN 2, but this was a good opportunity to kind of get things ironed out and to get the DN2 fully functional as a part of my setup, I'm literally grieving putting my Digitone OG off my desk lol! All in all a relatively seamless process but still uncomfortable somehow 😅

Awesome! thanks for the love, this whole crazy panning action is all coming from WOV by K-Devices. There's a mode in particular that creates an offset between the left and right channel by 1/16th step (I believe) and that's what I toggle at 2:15, where the perceived width goes one step further. Cheers! 😎

Yeees! En plus j'ai vraiment été obligé de le mixer assez "petit" parce que de façon inhérente il y a beaucoup de bass qui "bleed" et qui résonne vu que l'instrument prend en considération la résonance avec le bois et tout... C'est insane ce truc, même si l'interface est ultra datée. Bon à part ca, j'avais raison ou pas que je me rachèterais avec le jam suivant haha? 😁

@@Silent_Stillness Yeah! t'avais raison! Au fait, la toune est complètement différente, mais j'ai reconnu le petit son dans le beat. Je ne sais pas comment le décrire , mais tu sais de quoi je parle ... ;)

@@mrtinacrispoti LOL la liste de trucs que je réutilise est assez intense donc à la limite je sais même plus par où commencer lol! Les 3 trucs qui sont les plus apparents c'est les petits coup d'accords très courts, les longues nappes mineures de pads avec des mouvement de filtre via LFO, et la ressemblance au niveau de l'utilisation du sample de voix que j'utilise qui est en fait un très long sample donc il y a de quoi faire de la variation à l'infini avec!

Thank you for listening! I have to say regarding our written exchange (just earlier today) on the topic of YT censorship I'm really puzzled by the behaviour of this system, it's so frustrating how it can interfere with our communications. I'm actually going to paste the entire comment as I originally left it in your "AUM: Midi via hardwire" video below. If you put yourself in my shoes, how discouraging is it to put this kind of effort to start a conversation only to be "snuffed" by YT's system... Here it is: I have to say, discovering that a device like the TR-8S doesn't have a class compliant mode really was surprising considering how it's been released in 2014 which is not that long ago. This topic got me curious and I thought maybe 10 years ago is maybe "too much" for Roland so I checked something recent like the SH-4D on their website. After a quick look at the device's user manual, again *I did NOT find a SINGLE mention of a class compliant mode for the device even though it was released in 2023*. This is actually shows how out of phase with our times Roland products have become. That made me appreciate my first gen Arturia Keystep that much more... In the early days of my iPad journey, I discovered that my old Korg microkeys (2 octaves USB MIDI controller) was actually not usable with my iPad, but at the time I never connected the dots with the whole "class compliant" topic as I thought this consideration only applied to audio interfaces but as you've shown it even extends to devices that just attempt to transmit MIDI over USB with is a MAJOR important thing to know so thanks for bringing this to my attention. Something useful to know for potential newcomers to the iPad platform for music production though: The connection you demonstrated in your video is pretty much never something that a musician would use, for the simple reason that there's only a single physical connection point on the iPad Pro, and that's its USB-C port. The implication here is that if this single USB-C port was to be used directly connected with a device that ONLY acts as a MIDI controller device (which is the case of what you've demonstrated), there would be no way of getting lag free audio out of the device (the speakers actually add some lag to the audio on top of being effectively unusable for serious music applications). It would also make it impossible to deliver power to the iPad while the MIDI controller is connected to it that way. The only way the whole "setup" is ever going to be viable is by including an externally powered USB-C hub, and from there a world of possibility opens up. Even though the connected devices are still bound by the limitations of class compliant compatibility, there's still DIN MIDI connections that can be used through a dedicated audio interface to work around at least some of these limitations. Thankfully for us, most of the highly sought after devices that exist in the industry (such as the Digitakt II and the RME Fireface UCX II audio interface for example) ARE actually class compliant and therefore compatible to be used with the iPad without the need to involve 5 pin MIDI connections. Especially in the case of RME, they even made a TotalMix app which allows users to access pretty much the full functionality of the UCX that users experience using a driver on Windows/Mac, when users connect the UCX directly to an iPad (there are some differences of course but still). They even also made another version of the app aimed at using the iPad as a remote control for controlling the UCX when it's paired to a typical PC/Mac!

@@Silent_Stillness wow. that was very insightful. I am sorry that YT is being this way. I might just copy and paste this if that is ok with you?

@@krazywabbit Definitely, please feel free to do that! I have to say it's very awkward for me to have ended up feeling compelled to effectively spam your video comment section to troubleshoot what caused an issue with my comment. Still now my full comment in one single chunk is visible on your video, but I only can see it through a web browser where I'm logged into my YT/Gmail account. It's easy to think that throughout this friction heavy troubleshooting process people might be quick to judge me negatively for effectively spamming the comment section, whereas I just didn't want the energy I invested writing my comment to go to waste. On another related subject though, watching your video made me realize that in "Real Talk & Chill #1" I actually forgot to speak about the whole issue with class compliance on iOS simply due to the impossibility of installing custom drivers on the device, which is definitely a massive thing especially if we start to consider Elektron devices in the context of Overbridge (even if my workflow demonstrates that this is by no means a deal breaker)

@@Silent_Stillness all good. Apologies for not getting through the video and sharing my thoughts. Life is calling. However, I do think you have some very valid points that I align with. I will get back to the video and share more thoughts. And copy and paste your thoughts on my page. Thanks!

Got a chance to listen. I see some issues with iOS being a platform that can takeoff. 1. We are leasing their platform. Apple gets to therefore make the rules. 2. Software updates. Major updates can break apps. A dev must be able to adapt. In the past, one man operations don’t have the resources and fade away. 3. Dawless is the rule of the land. People do not want to use a screen in any way shape or form. 4. Tactile is real and it’s what we grew up on. The only way this ends is with each passing generation, digital takes over. In my lifetime, tactile is still king. As a fan of the iPad, I’m not a fan of the glass. There are many other reasons from cost, storage to name a few why I believe iOS music making will be a niche market. There is one caveat. If Apple decides it isn’t. They have the power to make a system that could disrupt the market the same way the iPhone did. But as you stated with the App Store talk, it’s gotta make money for them first.

I really appreciate the love, thank you sir! Definitely that Model D6 is an incredible instrument, I kept it hidden as a secret weapon for almost a year before finally honouring it, and it sure didn't disappoint! At some point earlier I became obsessed with programming clav patches on my Digitone, but as soon as I fell into the iPad Pro rabbit hole and discovered Model D6 was available on iOS, these patches became kind of obsolete haha! ... Model D6 is well worth the 15$, in fact it's probably worth 10x the price, especially for proper keyboard players! 😄 And regarding the visuals, this one is definitely a stepping stone for me now that I know how to do that stuff, I was running out of juice so I didn't refine that aspect as much as I could have, but hey I'm still super happy with the results! Cheers and thanks again Greg!

LOL merci chef! 😁

We still get to vote with our wallets though!! That's definitely something haha! 😅

@@Silent_Stillness Good point! 😉

Thanks Greg! I really appreciate it, cheers! 😊

Aww man awesome, thanks for commenting! I'll super transparent once again: What you reported having experienced with Noir is precisely why at 26:04 in the video I felt the need to mark a pause to kind of re-frame where the review was going, as I felt like what was being represented throughout all the tweaking I did could easily be interpreted as me obstinately hunting for sounds with rather little reward in return. As I hinted at the beginning of the video, Noir is inherently an app with a level of difficulty that is much higher than the average tools that are out there due to the extreme level of intricacy involved when it comes to the interactions between parameters. The parameters UI layout looks deceivingly simple, but leveraging these controls to craft "gems" is definitely not simple. In spite of all this, in my opinion THAT's the kind of synth engine it takes to really break away from the territory of all these sounds that are already known and have more or less already been used in one form or another over and over. I'm able to get past the steep learning curve (even though building a pool of well put together sounds still definitely costs me substantially) because I've been training literally for 5 years doing sound design on the Digitone so I have a rather atypical level of "ear endurance" and level of determination before hitting a point of saturation when I do sound design that involves FM. Part of this is because I know the quality and potential for uniqueness of the sounds that can come out of this process so it makes me a lot more willing to invest time in it while remaining at peace with the fact that a "sonic reward" is never guaranteed when designing percussion, even though as my experience increased, the "yield" of usable percussive sounds I got definitely increases. On a side note I 100% acknowledge that Ruismaker FM is much easier to use, but the potential of Noir is much greater. Both have clearly established their appeal in my eyes, despite the parameter locking disappointment related to RFM. In my experience designing percussion sounds is the most demanding sound design task out of everything, especially because it's relatively easy for users to experience ear fatigue after hearing metallic sounds and to hit a point where they start to become impatient, and in that state they might randomly craft good usable sounds without even realizing that they did (and just skip right by these sounds), because their mindset is no longer where it needs to be due to frustration. I know first hand that FM synthesis requires consistent relentless ITERATIVE work to really start to build up a collection of sounds over time, and once that solid reliable core of sounds has been built, THEN you make "excursions" with variations of the "solidly established" sound using parameter locking for more creative/adventurous momentary sounds that can really add a LOT of depth and expressiveness to your overall percussion phrases. In my opinion there's no way of really achieving that level of creativity when it comes to percussion other than to invest time in synthesizing percussion, as samples just cannot be expected to enable the same level of expressiveness through the introduction of variation. Yes using effects on samples is a way to kind of work around that, but it'll never be as controllable as directly interacting with the "source" via the synth engine parameters. I will 100% discuss my approach to sound design (especially FM) on the channel at some point later as it's one of the subjects I'm most passionate about since I use a rather unique approach which I can't wait to share in order to help and encourage people to break away from the typical analog synth archetype and have fun while exploring new sonic grounds.

@@Silent_Stillness "In my opinion there's no way of really achieving that level of creativity when it comes to percussion other than to invest time in synthesizing percussion" That's absolutely right ( but I can be lazy sometimes) ... ;) Can't wait for the next video. Merci!

@@mrtinacrispoti I was too tired to respond yesterday night haha! I've been hard at work! You know I think the hardest thing to do throughout this whole process is to really develop some level of detachment regarding the outcome. Especially for younger "explorers" with less experience, it's so tempting to constantly want to chase that dopamine hit after having barely made a beat and insisting on invariably sharing it with everybody around. It's a natural thing to do but it can easily hijack the whole exploration process entirely and even eventually lead to some sort of an inversion of priorities where seeking validation becomes more important than the noble process of music exploration. In my opinion one of the best ways to really start to break away from this habit, is to start cultivating a practice where we mostly decouple the sound design part of the process from the composition part of the process. In doing this, naturally there's an acceptation that emerges regarding the fact that we won't necessarily get an immediate reward when we work on music. From there, as we realize that by being methodical and disciplined about things and by pacing ourselves we ultimately find ourselves in a situation where we have more stamina to compose and are already familiar with the "mini sonic world" we've organically started to build during the sound design session. Ultimately what ends up emerging out of being methodical and discipline is actually... musical freedom 😊! So I was saying I've been hard at work, here's what I've been working on (hopefully you find it interesting, if not that's alright!): th-cam.com/video/uUUm0HhOIx4/w-d-xo.html Cheers!😎