![]() The only difference is that now instead of MIDI being sent to the "wrong" device (which is harmless), it's apparently not sent at all? This means that we can no longer use a virtual port to change the colors sent out to the APC40.Ībleton folks, this is a really big problem for us and, while I'm sure that this change is well intentioned, I really don't see that it's beneficial since once can still select the "wrong" port. When using the APC40 Controller surface script, we check if the selection MIDI ports are the one from the APC40" But since it works perfectly fine as far as I can tell, I've been to lazy to do so.īad news folks, it looks like this workaround no longer works in the 8.0.5 betas because of the change mentioned here: I hacked this together one night and meant to go back to try to clean it up and look for redundant data being sent, etc… (pretty sure it's there). Honestly, we really need to get something together in Max or Max For Live when it ships. At least that's my excuse because I'm stumped. Of course if this doesn't work, yeah, you're a doofus. If this works, it's probably just a matter of opening my pipe and changing all of the virtual inputs over from APC40 Mapper to Mapper. If you leave this running and then launch Ableton, you should be able to select Mapper in the output section of the MIDI prefs. ![]() The next tool in the pipe should be a MIDI Out where you can select Akai APC40 - Akai APC40. Create new virtual input called Mapper (I figure that using a slightly different name will let us go back to my pipe and select a the new name if this works). In MP, create a Midi In tool and select Edit Virtual Inputs. Maybe it's best to just scrap my file and start really basic on one of your own to see if you can even get the handshake trick working. I bet that the virtual inputs break when moving from one machine to the other (perhaps they don't rely on the default name alone?). I think you're right about this having to do with MidiPipe since Bourne's gives you no trouble. I love the APC40, but here's to hoping that I can get more use out of it. I'd hate to think that something as as small as this could make the APC40 unusable for so many people. If there's anyone else who has trouble with this, maybe we can politely bring this to the attention of Akai and Ableton. Maybe a workaround could be devised in Max For Live.Īnyway, thanks for hearing me out. I figure that this is more of a design issue with Akai than it is an Ableton issue, but I also figure that this may just be a software implementation that Ableton could implement. I know that rapidly pulsing an LED appears dimmer (the sleep light on a Mac computer for example), so this could be amazingly helpful. ![]() The difference between red/green and red/orange is more noticeable.Īn idea for a feature request could be the ability to set more detailed preferences for the APC40, possibly from within Live, such as the option to rapidly pulse the active clip or maybe just to swap the colors so that red indicates an unplayed clip and orange is used for record (less commonly used). In my case, I only have trouble telling the difference between the orange and greens- which is unfortunately the most common. In the United States, about 7 percent of the male population – or about 10.5 million men – and 0.4 percent of the female population either cannot distinguish red from green, or see red and green differently (Howard Hughes Medical Institute, 2006).įor those with an APC40, this is a big problem. UPDATE April 30 2015: I'm editing this post to let you know that I've made a tool available for Mac users or a Max patcher that can probably be easily modified for PC users in the LiveAPC40 folder at.
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