Sorry, I understood that you wanted to assign a cc number to the sustain pedal in MG (standalone or plugin).
I do not know Logic (I’m on Windows).
This function works fine for me, I use it in concert with MG standalone or plugin version in Gig Performer (plugin host software).
Well, I thought of the assign function as a way to have CC64 work in MG sustain Machine, because it’s not working for now. Maybe it is a Logic thing, if it’s working fine for you in Gig Performer.
I’m exploring what direction I want to take to have a laptop-based setup to use live, since I have a new laptop and new interface. While I’m most familiar with Logic, I’ll look into Performer, and Mainstage too, oh and Ableton which a lot of people view as the best for a live rig.
There are many musicians who use Gig Performer with Ableton in the background. By the way, in Gig Performer there is an Ableton sync button
Interesting. Why use both simultaneously? What’s the point(s)?
I do not use Ableton (or Logic) but many Gig Performer’s users (or the others musicians playing in the same band) work with Ableton Live.
The Ableton link button synchronizes Gig Performer’s tempo with Ableton MIDI tracks, avoiding recreating backing tracks projects in GP.
This is an Ableton technology: Ableton link and it can be used with many compatible applications: link-enabled products
Here is a complex example using several computers: Gig Performer a remote control of Ableton Live
Otherwise, apart from Ableton link, it is possible to use in GP the proprietary plugins of Ableton but also of any other daw.
Here is the method to use with Logic:
How to leverage other DAWs’ proprietary plugins from Gig Performer
And as said before,in GP, MG plugin is the root of all my others components, and its instruments, fx and midi machines can be used, and even the sustain pedal MIDI assignment.
I use GP more as a (really big) extension of MG rather than the opposite 
Interesting. And amazing the numbers of apps that link to Ableton, while surprising that Logic is not listed considering that many other major DAWs are.
I’ll have to test whether my sustain pedal responds in MG2 if I use MG2 in something else than Logic.
Hi Bernard! Just tried it in Abelton, and it is the easiest thing to do achieve. Just use your sustain pedal input where I have breathcontroller in the picture ) and see to that your sustain pedal CC match MG2:s (CC64 is standard as you know). I have the output set to a software track here, but in. Abelton it works equally as well with the Audio track your MG2 is loaded onto. Kontakt automation - #3 by LoFiLeiF
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Here’s a request…
FRUSTRATED… I want Jam Origin to work like a TRUE, GENUINE ~ AUV3 plugin.
When placed in an audio channel in a DAW or host application, like AUM…it gets the signal through the chain - and NOT directly from the audio interface input. The way it works now is pitiful.
A true or genuine AUV3 plugin can be stuck anywhere in a signal path, and it gets its audio from the “item” or Fx directly in front of it in the signal path. It DOES NOT bypass the signal path and pull audio directly from the computer’s audio interface. That’s not a TRUE AUv3 plugin. This is stupidity, and greed…just be an AUv3, and give your users POWER of the hundreds or thousands of plugins and apps ALREADY out there.
Myself…I DO NOT need fx, and other extra bells and whistles… I’ll use it in AUM or in a DAW (Cubasis, Abelton, etc.) where I’ll choose my own fx and controls, and mish-mash audio however I want. I am the user… I don’t want YOU to control my signal path.
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Quit trying to be the ~ “do all end all”
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Quit reinventing the wheel (there’s ALREADY much better AUV3 hosts out there) [Cubasis, Amplitube, TH-U, Bias, AUM, etc.] Greed, Greed, Greed…how can we try to scrape more off our customers… wake up…you’ll never be an Amplitube or Cubasis or Bias Fx anyway. These are much better than your COSTLY attempt to become a guitar muilti-fx processor or whatever your marketing gurus told you to be.
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START BEING A TEAM PLAYER…make Jam Origin a true and genuine AUv3 plugin, that can be used ANYWHERE in ANY Signal Path in any existing host that supports AUv3 fx.GIVE USERS the FREEDOOM to choose their own guitar rig. Give them freedom to use their own AUv3 hosts, and function like a real AUv3 plugin
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If you want to grow in the marketplace, then come up with better conversion engines, and specialized conversion engines ::: like Audio to MIDI for violin or bowed strings, Audio to MIDI for horns, Audio to MIDI for drums or voice… things you’ve promised years ago to do; but you’ve never done
Look at the image below===> Jam Origin, as a true AUv3 plugin, “SHOULD BE” taking the audio signal from the fx or AUv3 plugin directly in front or before it. But SADLY it’s not. It’s grabbing audio from the computer’s audio interface :::: this is soOOOOOooo frustrating, and deceiving.
I do appreciate this. I did some research.
Theoretically… velocity came from keyboards, the first MIDI instruments, and it is the force in which the key(s) struck the pad which processes the signal. For practical purposes it somewhat parallels volume, as a softer “hit” or softer “force” produces a softer volume. However - it’s more complicated because as you mention - instruments also have separate volume control knobs.
PROBLEM: If you know or understand compression in traditional audio, then these controls seem a bit confusing. In audio compression, you have a “THRESHOLD”. What is the threshold here?
Traditional audio compressors have a “RATIO”. What or where is the ratio here?
Here’s the problem - an audio compressor BEFORE the audio gets converted to MIDI is of tremendous value, in that it will help “even out” the volume level (MIDI Velocity) of the MIDI messages that is output by the converter.
HOWEVER… Jam Origin should not be an audio compressor. Guess what? There’s DOZENS of compressors already on the market. PLEASE… please, please, please don’t try to reinvent the wheel. Tell your users to use their own favorite compressor.
So these 3 controls Gain, Tone and Drive…are NOT the same controls you see on traditional audio compressors. Thus they’re confusing. What does gain really do? What does tone really mean and what effect does it have? – the use of the Curve knob is explained in the documentation (Yeah!!!) But it’s confusing…where are the numbers that show the amount of compression. Traditional audio compressors have NUMBERS next to their knobs, like 2:1 or 4:1, etc. What else that is not clear…is this to compress the incoming audio…OR… the outgoing MIDI notes?
It “seems” like something of great value would be to output a set or constant velocity, and then let the user adjust the final output audio volume. In other words - provide an option that no matter how hard or software I hit notes on the guitar, as long as the note dB is passed a THRESHOLD - it will be set to a constant velocity. Then ----- as with all good AUv3 plugins… let this parameter (the constant velocity) be controlled by MIDI CC messages (foot or expression pedal) .
I do appreciate your reply. I think the software has value…but sadly…it’s confusing. Even more frustrating - rather than improve and focus on being a conversion engine (audio to MIDI); that guitarists can use in their favorite DAW, or “rigs” (Amplitube, Bias Fx, etc.)… you’re trying to make a complete rig and AUv3 host software. P L E A S E…make it truly an AUv3 plugin, and let the users decide where and how they want to use it. It’s sooOOOOooo frustrating.
;-(
meanwhile… I can’t get it to work CLEANLY and efficiently [time for some YouTube videos explaining the disappointment]
Thanks, LoFiLeiF. I’ll look into that and report back.
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Like Vmusic mentioned above, I think good tracking for voice to midi, especially, might be pretty awesome at least as an experimental composer. Also, ideally it would have a pretty big pitch range for voices. Maybe its already on the horizon with MPE and MIDI 2.0 anyway? Thanks!
Hi Everyone,
SoooOOOoooo… I got it working in AUM
I do apologize. It’s very frustrating when trying to get software working is confusing. I know I went on a rant.
I would greatly appreciate better documentation; preferably in the form of videos on the software.
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On the GAIN, TONE and DRIVE - what do these really control, or not control and how to use them? The documentation (I believe) explains just one of these, and it’s not clear
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How to set up the software in other iOS hosts, like AUM - this would be helpful as well.
:::: You really have the makings of a great product :::
I hold fast on my stance that you should NOT try to turn it into a Guitar Rig type software when there are so many out there already (Amplitube, Bias Gx, TH-U, etc.)
ESPECIALLY when…as I’ve shown, the documentation is kind of weak. The conversion engine could be tweaked for other instruments like Voice, Bowed Strings, Horns, Sax, etc.
Thanks!!
Vmusic
it is important that tuning options are made easier to change/choose the correct “desired” tone on each of the 7 options available on the MG2. Only in this way, we who play oriental instruments with both whole and half and not least quarter tones will be able to use MG.
Wishful thinking?
I bought the current version back in October 2017. Not a single update since. I honestly don’t expect to see v3 in my lifetime. I’ve been waiting for polyphonic bass support and would love to be proven wrong.
Yeah, I’ve got a request – I’d like to get what I paid my money for: A Vsti that I can load as an instrument into my DAW, instead of a Vst effect, which is what I got, and which has to be loaded into an audio channel. It’s not really MIDI if it’s being loaded as an effect into an audio channel, is it?
I was told I can drag the notes into a midi channel and my DAW (Cakewalk, in my case) will convert it to MIDI. Well, guess what? I can do that already. If I lay down an audio track, I can drag it to a MIDI track and CW (Melodyne) will convert it to MIDI. I don’t need MG2 for that, so what good is it – except perhaps for stand-alone mode? Which I don’t use.
Somebody here told me that the Melodyne that comes with Cakewalk will translate monophonic signals only. This is incorrect. For grins and giggles, I just translated an entire backing track of organ, guitar, bass, and drums over to a MIDI track. Doesn’t sound particularly good, but it’s polyphonic.
Yes, that would be wonderful, but its up to DAWs to let instrument/MIDI tracks, contain audio as input for MG. Melodyne use ARA which some DAWs support, but isn’t real time… If there are any major DAWs that have workarounds here, please let me know and we can support such cases.
Hello Michael, I am sorry that you are disappointed with MG and that you have had erroneous information about this software.
Your guitar is not a MIDI instrument, it is not a VSTi and it can’t use a VSTi, right? But it can use VST/VSTi thanks to a processor for converting audio signals into MIDI and especially polyphonic data, which makes it great.
Description on the Jam Origin website:
“Our audio recognition and transcription technology is currently 13 years under development. It is truly unique and the Worlds first low-latency polyphonic audio transcription solution”
and:
" real-time polyphonic audio tracker. It tracks finger playing and complex chords as well as monophonic leads. It detects hammer-ons, pull-offs, slides and bends and transparently deals with different pickup types, intonations and fret noise."
MG simply allows you to use your guitar instead of a master keyboard.
With the standalone, MG becomes a VSTHOST in which one can load VST/VSTi and play live.
In a DAW, you insert it into an audio track like any other signal or effect processor and send the output to a MIDI track.
As said before, everything is clearly explained on the site. I have been using MG for 6 years now and I have never been so happy to have such a tool that allows me, as a guitarist not playing a keyboard, to access the world of virtual instruments.
I hope you will quickly take advantage of this unique tool.
Well, it appears I must be missing something then. I will give MG the benefit of the doubt and see if I can get it to do all that you claim it can do.
Be careful, MG is very addictive
The upcoming MG3 should have support for instruments from the East that have a quarter tone (Turkish and Arabic instruments). In addition, the MG3 should have Tuning options where you set the Tone on each of the 7 strings yourself and as desired. This is important since the instruments from the East do not have a fixed tonal scale, and the tone of each string often changes to follow the song’s Maqam “a certain set of Tones”.