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Kevin Gibbs

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    Composition, Blind and visually impaired accessibility, MIDI,

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  1. I had occasion to demonstrate a beta version of these scripts as part of an accessibility panel at the recently concluded Winter NAMM. Despite the fact that my laptop was tragically underpowered by pro standards, the Samplitude portion of my demonstration went off flawlessly. I just installed the public version of these same scripts on my studio machine this afternoon and I can report that they are performing beyond my expectations. Great job, guys.
  2. Dear All, Like JPR, I am an end user and not a developer. While I am primarily a MIDi focused composer, I find that Samplitude Access does a remarkable job of providing access to the key features my workflow requires: MIDi editing Object manipulation Soloing, Muting and Monitoring of individual tracks or groups of tracks Conversion of MIDi to Audio Instantiation of 3rd party VST instruments, including Independence, and more. In addition to this, I get the sense that Steve’s solution introduced a great many blind and visually impaired users to Samplitude who would not otherwise have been aware of your product, particularly in the US, where you may not have optimum market penetration. Some of this was the result of the arguably timely demise of Cakewalk’s SONAR and the resultant need for an orphaned customer base to find a new and effective solution to replace that with which some of them had worked for more than a decade. Others were enticed by your end of year promotional pricing campaign, a very well timed effort, I must say. I’m not aware of duplicate JAWS solutions, at least, not in English. I’ve never heard of a screen reader called “Cobra.”While I certainly understand your desire to consolidate your interactions with the sight impaired market to a select few developers with highly developed skill sets, an open source approach has the potential to be counterproductive vis-a-vis that goal because an open source project could cause too many contributors to dilute focus and direction of the solution. This would, in turn, compel Magix to address more and more divergent requests making demands on a finite resource pool. In the end, the solution that provides the greatest access to Samplitude’s various functions should be the one that secures the greatest support from Magix. Also, serious thought should be given to the commitment shown by the developers of the various solutions, not only with respect to their potential longevity in the market, but also with respect to the passion and number of potential end users that solution’ and its developer can potentially bring to Magix’s customer base. I hope you find this helpful. Sincerely, Kevin L. Gibbs (aka Steinway Artist and composer, Kevin Kern) https://kevinkern.com
  3. I wish to suggest a feature that exists in Sonar and which I used in an unique manner. In Sonar it was called Drum Map Manager. Its purpose was to allow users to create custom drum kits using snares from one kit, cymbals from another and toms and kicks from yet another. I took this one step further by creating keyboard splits that would assign one region of the keyboard to one port and channel and the remainder of the keyboard to another port and channel. The function al result was a keyboard split that gave chordal sounds, piano, string bed, etc to one timber and melodic timbers, solo violin, solo cello, solo clarinet, etc to another. In practice one would assign a MIDi note IN, such as note #12, coming in on the default MIDi IN port to note #24, one octave higher, on a completely different port and channel. As a bonus, I took advantage of a MIDi filter feature that Sonar had to restrict the kinds of CC messages that Sonar would allow on a given output port and channel so that, with respect to the melodic portion of the keyboard, CC64 was blocked. This prevented melodic lines from being slurred inappropriately while preserving the legato character of harmonies. An additional possibility for live players would be to split your keyboard into things like half bass, half guitar, or half bass, half piano, ideal for live performance. The current drum editor in Samplitude does not facilitate this and it should. If you have any questions, please don’t hesitate to send me e-mail directly at: kevjazz@gmail.com. Best, Kevin
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