Showing posts with label macOS. Show all posts
Showing posts with label macOS. Show all posts

Thursday, 25 July 2019

Notes on troubleshooting video graphics cards on a Mac Pro 5,1

So there I was, working on something other than this blog, using an old Operating System (macOS Mavericks, because I needed to use an old utility), when suddenly my monitor went blank. Now this normally happens when I've not been active enough and the screen-saver (my own, written in Quartz Composer) kicks in. So, as usual, I just pressed the space bar and waited for the screen to re-appear. But it still looked like this:


The screen didn't re-appear.

So I pressed the space bar again. Nothing. The screen looked like this:



And then my monitor started reporting that my Mac Pro wasn't outputting video... I got a sinking feeling in my stomach...

After swapping the miniDisplayPort to HDMI cable, and outputting my laptop screen to the monitor, I had established that it wasn't the cable, or the monitor. Which reminds me:

The Synthesizerwriter Trouble-shooting Guide

1. Sometimes things just fail. It isn't malice, and it isn't deliberate, and anthropomorphising computers and musical devices is almost always a bad idea.

2. Check the power before anything else - this should be your zeroth task - before doing anything else. I always remember the ARP Odyssey Service Manual, where the section (9?) called 'Power Supply Considerations' had a line drawing of a bewildered technician with an opened-up (and very quiet) synthesiser on a bench, and way off to one side was a mains connector not plugged into a mains power socket. Trying to get a sound out of a synthesiser that isn't connected to power can be very difficult...

Note that the 'Check the power' also applies in reverse - if you are working on anywhere near mains voltages (like in the power supply), then you should not have the device plugged in. In fact some people go so far as to put electrical tape over the socket. One other thing related to safety when working with mains voltages is often forgotten -

'Always make sure that you can see the plug that isn't in the socket'. 

If you can't see the socket, then you don't know if the plug is in the socket, and you might be about to electrocute yourself. If you can see the socket, but you can't see the plug, then someone else may have plugged the device into another socket, and again, you are about to electrocute yourself. Only if you can see the device, the cable, the plug and the socket are you probably safe - although experienced engineers will also keep checking the the plug is actually connected to the device they are working on!

In the case of a monitor, check that it is powered up, particularly if it has very light-touch switches. In the past, I had a monitor that suffered from the Samsung Capacitor problem (more analysis), and so was prone to suddenly losing power (and here the display!), so this was my automatic first assumption - but see 4 below...

3. Check the cables first. There are many failure modes for cables these days. The casters on many 'home office' chairs can do nasty things to the insides of cables and not leave very obvious signs of the damage until you look really closely. Pulling on cables in various ways can stress the wires inside, and it doesn't matter how accidental the trip was, or how much you enjoyed it. Pulled cables can also affect sockets, and there's the famous 'wiggle' test for those.

4. Check with a known good source. So if a mains power socket isn't working, then check it with a mobile phone charger and see if your mobile phone charges. (A table lamp, a hairdryer, and many other pieces of electrical equipment can also be mis-used as a piece of test equipment...) If there's nothing appearing on a screen, then find another source - hence using the miniDisplayPort on my MacBook Pro laptop and seeing if the monitor displayed the mouse pointer as I moved it around. For amplifiers then a microphone can be a good source of sound, but remember the golden rule of amplifiers: 'Always start with the volume turned all the way down, and turn it up slowly, ready to quickly turn it back to off if necessary'. On a monitor, then pressing one of the 'setup' buttons will display the RDTN UI (Ridiculously Difficult To Navigate') and so confirm that the monitor is at least capable of displaying something. There again, on many monitors the 'Power' LED is so bright that many people cover it with Blu-Tak (or similar slightly sticky stuff) and then press their nail into it to create a tiny hole that lets only some light out - which creates an interesting problem when it gets pushed down and the hole goes away, leaving no visible LED.

5. Try turning it off and back on again. This works rather more often than you might imagine!

In my case, the monitor was connected to mains power, the LED mostly covered with Blu-Tack was just about visible, the cable was good, and the laptop and RDTN UI both showed things on the screen. But from the Mac Pro 5,1, all I got was the well-known piece of art often titled: 'Black Cat In A Coal Cellar'.

6. Google: 'Sudden <symptom> from <device>' and see what it says. In my case, 'Sudden loss of video from Mac Pro 5,1' quickly got me to a Mac Graphics Card Specialist retailer, where a few minutes of pop-up chat (usually in the lower left or lower right corner of the web-page) quickly confirmed my worst fears. 'Yep, sounds like video card failure. We've had quite a few of those recently.' Using web-site chat is a good approach to this type of diagnosis, because they don't hear you gasp when you realise that things are about to get deadly serious and potentially expensive, and secondly, you can't hear if they make whoops of delight and wild celebration when they realise that you are about to spend lots of money with them (or another retailer - I am not going to mention the really cynical method of mis-using a helpful chat person on an expensive site when you are planning to eventually buy it from a cheaper source that has naff customer service.

7. Write down what you do and what you find out as you go. Putting it off until later is never a good idea because human beings (and any other sentient organisms reading this blog) often have amazingly  unreliable memories. Of course, you could always write a blog post about what happened...

Back to the main story...


So the monitor was powered up, the cable was ok, the monitor displayed the screen from my laptop, turning it off and on again made no difference, and an external expert had confirmed the diagnosis. When I used to be a service engineer, this would be referred to with words like 'The Monitor Display appears to be Sub-Optimal'.

Now the Mac in question is a Mac Pro, of 2012 vintage, a '5,1' 'Twelve Core', and one of the last first generation towers before the second generation 'Cylindrical' Mac Pros appeared. Just recently, the topology has returned to the tower format with the third generation, which has been, imho, unkindly labelled as 'The Cheesegrater' by some commentators. All of the first generation Mac Pros came with a Radeon 5770 video graphics card as the default output option, although there were various other more-powerful cards available. In my case, it was a 5770 card whose GPU was now pushing up daisies somewhere on a different plane.

At moment like this, there perhaps ought to be a step number 8...

8. 'Optimise your options'. By which I mean that instead of just replacing the faulty part, you look to see if there are any alternatives and maybe engage in some future proofing rather than just maintenance. Your insurance may affect hat you do, of course. In the case of video graphics card, then a card from 2012 is very likely to have been superseded, and that means that the sources are going to be second hand, used cards, not new ones. There's a word that almost always describes what happens when you start to look at alternatives in these circumstances, and that word is often 'complicated'.

This is where an 'escalation sequence' comes in. You start at the simplest solution, and work up to more complex solutions, noting down the advantages, disadvantages, consequences and cost of each. In most cases, it goes something like:

a. Repair the broken part,
b. Replace with a used part,
c. Replace with a new part,
d. Replace with a better alternative part
e. Forget the part and replace the whole system with a new, better alternative

Sometimes the order isn't quite like this when you consider all the pros, cons, consequences and costs - and weighting them can be very awkward to decide (Applying weights to pros and cons, etc., sounds like Risk Analysis, and that is definitely a topic for a different blog!). Solution C is often the easiest logistically, and solution A can often be slow and expensive. Don't forget that replacing with an alternative can also require additional setup, changes and other side effects, so the 'Consequences' column can be very important.

In my case, repair didn't seem to be worthwhile, given the cost of second hand 5770 video graphics cards. New 5770 cards don't exist, so that removed solution C, and solution D would be good for when I need to upgrade to the Mohave version of macOS, but I'm still waiting for Ableton Live to be 'officially compatible'... This left solution B, and it looked like my best option was to gradually move forwards and wait until things forced me to Mohave. So I found a specialist 'Mac video graphics card supplier' that sold 5770s and did the usual on-line checking: they had more than 10 in stock, and there were plenty of FAQs and Installation information on their web-site. It also turned out that this supplier was a good potential source for solution D in the future, because I am sure that I will eventually need to go to Mohave (and beyond), and the Radeon RX 580 looks like a good contender, if a little pricey - and there were quite a lot of 'consequences' to consider s well.

I'm not going to distract you with some of the interesting 'consequences' aspects of changing video graphics cards, because they are so dependent on your hardware and operating system, but I would stress that filling in a escalation table in detail can be very useful when making a decision and planning your route forwards. In my case, the video card failing left me stuck in a very old OS, and without a video card, then your computer is quite tricky to use. Installing drivers, for example, for a replacement card is not easy when you don't have a display!

2020 Follow-Up

So, in early 2020, I got the black screen again. This time, changing the video card didn't fix it. The Mac Pro 5,1 seems to be officially dead. Anyone want it or the 5770 cards? Try making me an offer!

Links

For new purchases, then I always go for AppleCare. It has dug me out of bad places so many times now that it is an essential purchase component for me.

For generic Mac stuff, then I have been using Mac Upgrades for many years. They are knowledgable and helpful. (The URL comes up as '2nd Chance PC Ltd ' in some browsers, so don't panic!)

For specialist (and used) video graphics cards, then Mac Store UK have access to customised cards from experts like MacVidCards.com, but remember that I'm not a video professional and have only bought one card from them.

As always, suss out your sources carefully before parting with money!


Here's a link to a simple 'Escalation Table' spreadsheet...

And here's a link to click on if you find my writing informative:


  









Sunday, 7 July 2019

Programming some new presets for Sprike...

Every so often, I program some sounds for a synthesiser that I am totally unfamiliar with. It provides a break from revoicing new synths when I first get them (yes, I really do that!), and it is a good way to learn about user interfaces, how to present things so that they are easy-to-use, what needs to be in a user manual, and to learn about new and unusual synthesisers.

You can see a previous example of this activity here, from when I did some sounds for the Amazing Noises Pulsor synthesiser (a MaxForLive plug-in for Ableton Live), and I also wrote my own 'alternative' manual for it.

Sprike



In contrast, and as a break from all of the MaxForLive and Ableton Live stuff, this time I chose Cognitone's Sprike, a free additive virtual analogue synth plug-in that is derived and extended from Tunefish4 (and 3...) and which is available in VST format for 64-bit Windows, and VST and AU formats for 64-bit macOS. Linux isn't directly supported, but there is some compilation information for the earlier Tunefish4 project on github. Cognitone's flagship product is arguably the 'intelligent assistant' called Synfire, which is kind of 'one layer up' above a DAW - it allows sophisticated control over the composition or 'prototyping' of music via smart editing of harmony. Powerful and deep, it is a million mile away from the auto-accompaniment fake sheet and chord utilities that I remember from the recently MIDIfied 1980s and 90s.

Sprike looks like many other VSTs. The User Interface (UI) is divided up into the sort of panels that a real piece of hardware would have, has a global section at top-left, and a virtual keyboard along the lower edge. Quite a lot of the panels can be disabled, and they go dark blue when this happens. The right hand side has the modulation 'matrix' (8 sources, 29 destinations, and 8 modulation depth controls), plus an interesting effects 'stack', which allows up to 10 of the available effects to be placed in series (a great idea that I wish was more widely adopted in plug-ins).


Sprite uses an additive generator as its main sound source (it also does various flavours of noise!). There are quite a lot of controls, and these use additive synthesis to fill a wavetable, and then that wavetable is what produces the sound output from the generator. Trying to provide an intuitive and minimal-number-of-controls interface for additive synthesis is not easy, and Sprike's solution is pretty good - there are not that many controls, and the graphic underneath shows the spectrum on top, and the waveform underneath. A little bit of experimentation should rapidly get you up and running and making sounds, although getting fully to grips with the generator may take some time.  The two rows of buttons are for the amount of detune for what sounds like two wavetable players, and the octave switching. When I was programming Sprike, I left the octave buttons in the default '0' position, rather than produce 'bass' sounds by just transposing down by a couple of octaves...

There are four filters, and they seem to be connected in series, although you can switch them in and out (but not via the modulation matrix!). There are 2 LFOs, and 2 ADSR envelope generators, and finally seven effects: Flanger, Reverb, Delay, EQ, Chorus, Vowel Formant Filters, and Distortion. Basically, you get more panels than you would expect in a basic additive synth, and so the description of 'additive virtual analog' is a much better description - you get 'subtractive-synth'-style filtering and envelopes instead of the 'envelope per harmonic' controls that traditional additive synths give you.

For something which is free, and which Cognition describe as an experiment in writing small and efficient machine code, then I hesitate to criticise Sprike in any way, because my assembler skills stopped with the 56000 DSP from Motorola many years ago (and the 6502/8080 before that). However, whilst programming a few presets, I did find a few things that are useful pointers to things that anyone who makes a synthesiser plug-in should consider...

First, there isn't much in the way of user documentation (that I could find - I would love to be wrong!). There is a brief Tunefish user manual on github, and some additional material on the tunafish-synth.com web-site, but you do need to do a lot of iterative exploring of some of the controls to get a feel for what they do.

Secondly, the additive generator doesn't make it very obvious what the programming model is. There are controls that mention parameters like 'Harmonics', 'Drive' and Spread', but you may need to spend some time to learn how to exploit them to get the sort of raw generator sound you want. having said this, I am still impressed with the small number of controls. I have a Kawai K5 additive synth, and this has the aforementioned 'traditional' 'envelope per harmonic' approach, which is a huge number of controls!

Thirdly, the volume control defeated me. There is a global volume control at the top left, but towards the lower right corner there is another 'Volume' control which is associated with the 'Pan' control, and so my assumption was that this was the main output volume control for a preset. But it doesn't seem to work like this, and I'm not sure if it is connected to the global volume control. Anyway, it doesn't really stop you from programming sounds, it just means that sometimes you need to be aware that you may need to tweak the volume control - and tweaking synth controls is not exactly an unknown of unusual activity!



Finally, the modulation values aren't exactly intuitive. If you choose an LFO as the modulation source  (look at LFO 1 in the screenshot above) and then set it to modulate the 'Scale' control in the generator, then full modulation seems to happen when the mod matrix control is set to 70. Whilst useful for ova-modulating controls, it took me a while to figure it out, and I dislike 'magic' numbers in user interfaces - of course, having programmed MIDI editors for the Kawai K5, then I'm very familiar with 'special' 'secret' numbers, because the Kawai MIDI implementation uses them!

Presets


In the end, I produced 128 new presets for Sprike, and a quick search of the Interweb gave me the impression that there are not very many easily available, so I'm making mine available for free (as usual). There's a reasonably wide range of sounds, albeit without any octave switching (so you can decide which sounds you want to be 'bass' sounds!) and a strong bias towards synthetic and away from imitative. Use at you own risk (some of the effects stacks seem to overload sometimes...), but hopefully 'enjoy!'



Sprite has a simple drop-down menu for selecting presets, plus 'Prev' and 'Next' buttons, plus copying and pasting facilities, so it is obviously intended to be programmed! The presets themselves are just plain text files (which may not be as straight-forward as you imagine for some Operating Systems) with parameter names followed semi-colons then the value per line.


Getting the presets


You can get the Sprike presets from here, for free (it is a 143 Kbytes zip file). Unzip the file and put the files into a folder called 'bank1' (or higher, as you wish) in the appropriate 'Presets/Sprike' folder inside your OS's filing system - as shown above for a Mac...


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Sunday, 1 January 2017

Using the Apple General MIDI DLS Sound Bank Synthesizer in Ableton Live 9

This is an update and extension to my March 2010 blog entry...

The Apple General MIDI Down-Loadable Sound (DLS) Sound Bank Synthesiser is an Audio Unit plug-in that is provided in Mac OSX/macOS. The plug-in is referred to as the Apple DLS Music Device in Ableton Live. (Audio Units work in the 32 or 64 bit versions of Ableton Live.)

Here are some notes on using it:

Making Audio Units visible



My install of Live 9 did not show Audio Units by default, and so I needed to enable them. You may need to set the 'Use Audio Units' toggle to 'On' in the 'File Folder' Preferences pane.


(This is not where I'd immediately expect 'Plug-ins' to be managed, but this is where Ableton put these settings. Note that there are some other useful settings in this pane: the 'Save Current Set as default' can be a very productive time-saver if you have a complex standard setup...) 

Opening the 'Audio Units' folder shows a lot of sub folders (I'm running the 32-bit version of Live here, but this could be the 64-bit version with 32 Lives or JBridge/JBridgeM). You need to open the 'Apple' folder by clicking on the triangle...




















The 'DLSMusicDevice' is right at the bottom of the list. All the other Apple Audio Units start with 'AU', and so the DLS Synth gets pushed to the bottom of the list. Depending on your screen-size, you may need to scroll down to find it.

Unlike all of the other Audio Units (which are audio effects), the DLSMusicDevice is an Instrument. It can produce multiple channels of polyphonic audio simultaneously, and can be a useful extra source of sounds, particularly when you start to re-assign the tracks in a MIDI file inside Live.













Mono-timbral use

Here is a MIDI Track with the DLSMusicDevice plug-in dropped into it. You can create a MIDI Clip containing a few note events to test out the DLSMusicDevice, or you could use a keyboard (or the virtual keyboard on a laptop) - the highlighted red 'Record' button at the bottom of the track-strip enables this. 

Ableton always uses MIDI channel 1 by default inside a track, so this will use the first one of the 16 available MIDI channels in the DLSMusicDevice plug-in, and so you can only use it for instrumental voices - there is no way to change the MIDI channel that is used when you use this way of accessing the DLSMusicDevice. So if you only need a single channel of basic General MIDI instrument sounds, then this may be all that you need. Note that if you create a MIDI Clip then you can use the 'Program Change' control to select the sound that the DLSMusicDevice produces.

To get the control window to appear, you just click on the 'Spanner' icon in the generic X-Y controller box that appears in the track detail view at the bottom of the screen.

Notice here that I've made the Inputs and Outputs visible by clicking on the I-O circle on the far right of the mixer, just to the right of the master volume sliders. What is interesting is that this MIDI Track is behaving exactly as it should - receiving MIDI inputs and converting them into audio outputs. Unfortunately, Live seems to always send MIDI information to the DLS plug-in on MIDI channel 1, and there is no control to change this in the I-O panel. In fact, for this simple example, you do not need to see the inputs and outputs at all.

The 'Reverb Volume' is highlighted because the default is to smother the audio in lots of reverb. You are advised to lower this setting! If you add any in-line effects in the track then having reverb in the source audio sounds strange anyway - so use a reverb plug-in at the end of the processing chain. My personal favourite effects plug-in for the DLSMusicDevice is the 'Auto-Filter', where subtle use can remove some of the 'General MIDI' giveaway sound footprint! [ And for non-subtle: SoundCloud example using just DLSMusicDevice as the sound source... ]

Sound Banks

Notice that the dialogue box for the DLSMusicDevice calls it an 'Apple Sound Bank Synthesiser'...  This instrument can be used to play more than just the default Apple General MIDI-compliant sound bank (this bank is confusingly called the 'QuickTime Music Synthesiser') - it can play any Soundfont sound file with a .sf2 suffix.

The 'Properties' section can be left alone. The 'Restrict CPU Load' control is a remnant from many years ago, when playing back audio was a considerable strain on a Mac's CPU. On a modern machine, leaving the render quality at maximum is fine.





To enable playback of additional sound banks on a Mac, you need to put some .sf2 files into your /Library/Audio/Sounds/Banks/ folder. (You may need to use the option key inside Finder to make the Library folder visible.) Note that the default Apple 'QuickTime Music Synthesiser' bank is not stored here, and so this folder will probably be empty the first time you open it.

Some .sf2 files contain complete banks of sounds, whilst others contain just one sound. By creating an 'Instruments' folder, you can keep these 'single sound' files separate. You may also find that some .sf2 files do not work, and the 'Don't Work' folder is there to hold these as a reminder to keep a lookout on the Interweb for an updated version. Sometimes when a sound bank file does not work, it can cause other banks or sounds to stop working as well, so you may need to delete the DLSMusicDevice from the track, and re-insert it to force it to restart.

Notice that the 'Sound Bank' selector now says '32MbGM stereo sound bank' instead of 'QuickTime Music Synthesiser'. (Remember, despite the name, this is just a sound bank!)  When you add .sf2 files to the audio folder they appear in this pop-up selector in alphabetical name order... so 'QuickTime Music Synthesiser' is often near the bottom of the list.

Folders placed inside the 'Audio' folder appear with a triangle indicator. inside the pop-up selector.  In this example, the Apple 'QuickTime Music Synthesizer' sound bank is just one of six available banks of sounds.

General MIDI sound banks have their sounds arranged in a specific order, where program change numbers map to particular types of sounds (0/1 is a  'Grand Piano' sound, for example, whilst 48/49 is a 'Strings Ensemble' sound. General MIDI sounds can vary considerably between sound banks. Some sounds banks do not follow the General MIDI mapping of sounds to program change numbers.

Some .sf2 files contain just a single instrument sound.










Many .sf2 files come with documentation. Putting these extra files in the 'Documents' folder keep everything neat and tidy.








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Auditioning .sf2 SoundFont files

A search for .sf2 using a search engine on the Interweb is going to produce lots of results, which then leads to the question of 'auditioning'. In this case, there's no need to commission a TV programme to find some suitable candidates...

What IS needed, to save lots of time and finger-wear, is a way of running through the sounds in a .sf2 file quickly, so that you can triage them into a few categories (and thus into named folders inside the '/Banks' folder...):

  • GM soundbanks
  • Non-GM sound banks
  • Individual Instrument sounds
  • Drum sounds

Inside Live, using the program change control in a clip isn't very convenient, so I have written two M4L utilities that make auditioning .sf2 files quicker and easier. You can get them from MaxForLive.com

DLS_Helper_N is designed to help listen to Note-based .sf2 SoundFont files to quickly learn about their audio contents. You just drop it into the track that has the Apple DLS Synth in it. There are two main modes of operation: manual and automatic.


In Manual mode, you can use the vertical slider control to select a specific sound by sending MIDI program change messages shown with the matching General MIDI Instrument name, and then playing on the [A - L] virtual MIDI keyboard inside Live, or on your external MIDI keyboard (or other instrument). There are two keyboard shortcuts: the Down cursor button is assigned to a 'Next' button, which changes the program, and the Up cursor button controls an Up/Down counter. The counter normally starts up in 'Up' mode, and so every time you press the Next button, the program change counter goes up by one. You can then play some notes to audition the sound. Remember that to keep the keyboard focus inside the DLS_Helper, you need to click inside it, and I've included some words that say this in the UI. If the focus strays outside the plug-in, then you will activate the Live keyboard shortcuts. (The workflow of 'Next' then play a few notes' is okay for the first few sounds, but I rapidly got bored, and so I added more automation...)

In Automatic mode, incrementing of the program change number happens automatically, at a rate controlled by the Rate rotary control, and each change of program is indicated by a flash of a red indicator (and by the changing of the GM name in the text window). Some sounds has slow attacks, and so setting the Rat control too fast may mean that you don't hear the start of some sounds. But for most sounds, automatic advancement through the sounds in the middle range of the Rate control should work fine. There are shortcut keys: the Cursor Right button is assigned to starting and stopping the counter, whilst the Cursor Left button resets the program counter (for the Automatic AND the Manual modes!). Once a new program change has been selected, four notes are played so that you can hear the sound assigned to that number in the bank. The default here is four notes from a C Major scale, played at a fixed MIDI Velocity. You can alter the Velocity setting with the rotary control. After a few minutes of hearing the same four notes at the same velocity setting robotically played by different sounds, then you may need to activate the two variation buttons: for Notes, then you can activate the 'Random' variation, which plays a variety of different scales, some more exotic than others; whilst for Velocity, then you can activate the 'Random' variation, which adds random variety to the Velocity setting. The variation controls can make an extended audition session much easier to carry out.

For auditioning drums, then you need to use the multi-timbral setup, which is described next.


Multi-timbral use

There is another way to use the DLSMusicDevice. It is more complex, but it allows you to utilise the full multi-timbral (several different sounds at once) capabilities of the Apple DLS plug-in.

You start in exactly the same way - create a new MIDI Track. (This screen-shot is from Live 8, and so the graphics may be slightly different, but the method is the same...)















This time, you definitely need to make the Inputs and Outputs visible by clicking on the I-O circle on the far right of the mixer, just to the right of the master volume sliders.

This I-O panel is the key to assigning MIDI channels to the DLS Music Device.












You then drop the Apple DLS plug-in into the MIDI Track. This sets up the DLS Music Device so that it receives MIDI Input and outputs audio into the mixer. But this time we are going to re-route where the MIDI Input is coming from...














The Track name will have changed to DLSMusicDevice...
















And the Apple Music Synthesizer dialogue box will have appeared... Note that the three 'Parameter' slider controls ( tuning, volume and reverb volume ) are global, and so they affect all the DLS sounds.







You now need to add a second MIDI Track... This is going to be used to hold the clip containing the note events, and to control the MIDI channel of those events...















The I-O panel in this new MIDI Track contains this vital pair of controls, which aren't exactly obvious in what they do...















The upper pop-up list control shows a list of the Tracks that the MIDI output from this MIDI Track can be connected to. In this case, we want the output of this Track to go to the DLSMusicDevice, so we select the first Track that we created...

Any note events that we put into a piano roll Clip on this Track will now be routed as MIDI note events to the DLSMusicDevice, which will turn them into audio.










The lower pop-up list control lets you control the MIDI Channel of the note events that are sent to the DLSMusicDevice Track.














Here's a summary of what the two pop-up controls do...

Notice that the 1-DLSMusicDevice in the top pop-up refers to the plug-in being in Track 1, whilst the 2-DLSMusicDevice in the bottom pop-up refers to the MIDI Channel that the note events will be sent on... If the DLSMusicDevice was dropped into MIDI Track 3, then the top box would say 3-DLSMusicDevice. When you select the target Track with the top pop-up, then the DLSMusicDevice plug-in should be obvious - just make sure that you always look at the lower pop-up to check what MIDI Channel you are using.

You can now create a new Clip in the new MIDI Track...
















Remember that the lower pop-up selects the MIDI Channel that the DLSMusicDevice will use for this Clip, and the Program Number controls on the left of the Clip piano-roll will select the sound for that MIDI Channel...













Here's the MIDI Channel pop-up control...

















And here is the Program Number pop-up for selecting the sound or instrument. Note that you need to move the slider on the right to switch between low and high numbers, just like in any Live selector control with lots of options.

(Remember that for auditioning sounds, there are my M4L helpers...)













Remember that you can create several MIDI Tracks, assign them to different MIDI Channels (like Channel 10 for Drum sounds) and make the most of the multi-timbral capabilities of the Apple DLS Music Device.

In this example, the top pop-ups all route the MIDI events to the DLSMusicDevice plug-in on Track 1 (shown highlighted in Red), whilst the individual MIDI Channels (set by the lower pop-up) are shown highlighted in green.



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Auditioning Drum sounds

To audition the dum sounds on MIDI Channel 10 inside a .sf2 Soundfont file, you need to set up the DLS synth in one MIDI track inside Live, and then set a second MIDI track onto MIDI Channel 10. You then add the DLS_Helper_D M4L plug-in to the second MIDI track, and set this to be the 'Record' track with the little red button, since this is where you will be auditioning drum sounds.

Because there are lots of drum sounds, then manually playing all of them isn't really an option, and so the _D version of the DLS_Helper only has the Automatic mode. The counter this time is for Note Numbers: the default from 35 to 81 to cover the defined General MIDI mapping. The keyboards shortcuts are different from the _N Note version, and are designed for the  MacBook Pro keyboard layout. Backslash Runs or Stops the counter, whilst Forward Slash resets the count and replays that note. 

The Rate rotary control sets the rate at which the drums sounds play, and there is the same Fixed/Random MIDI Velocity control as before. The final two controls allow the start and end note numbers to be set, which means that you can choose a sub-set of the GM mapping range if you wish. A programming error by me caused the Start rotary control to gain an unexpected extra feature - it repeats notes instead of skipping directly to the start, but I have left this in because it allows all sorts of interesting drum patterns to be produced. Consider it a serendipitous accident.

 You might have realised that because the second track is just a reference to the main track that contains the actual DLS Synth, then the pop-up dialogue box is not visible when this track is selected (and this DLS_Helper_D is shown. To change the .sf2 Soundfont file that is playing, you need to go back to the 'DLS' track, change the sound selection, and then go to the second 'Channel 10' track to use the DLS_Helper_D plug-in. Once you get your he'd around the process, this isn't as hard as it seems. I have shown the two tracks as 'D' and 'N' in the accompanying diagrams.








Hopefully, you now have enough information to make the most of the Apple DLS Synth inside Ableton Live 9.