Groove agent 2 mac download
Then I might have a useful hint! Hi Pete jus wondering Thank you for keeping my hopes up, i use the GA3 on almost everything i do in Cubase, if i can't install it i have to downgrade to Snow leopard if i can on my new mini mac without dvd??? Regards Leif. It's in the Utilities folder inside Applications.
Sorry This is not easy for me, exactly how do i do it, i tried to write it in the terminal but i don't know exactly what signs and i should write is " meant to be written in? Sorry i am no programmer , i just want to make my favorite drum program to work in osx lion.
Regards Leif j. Well what can i say It works,like magic, i just manually put the files at their places as SL and started Cubase Thanks though for inspiring me to continue trying. Regards Leif J. Just f. No need to go to the Finder for that. Firstly, Pete Goodliffe, let me buy you a beer or make a donation to your site!! Of course, the standalone will only run once the latest update from Steinberg is applied.
If anyone has insight into this VST instrument issue, I would appreciate a response. Thanks Pete! I'm glad this is useful!
UP AND DRUMMING
No problems at all here. Let me fill in the details We reviewed version 1 back in SOS July , but here's a brief recap. Groove Agent can play drums in a variety of styles, arranged chronologically across the upper curving timeline slider, starting in the s with 'Swing' and moving through five decades to the 21st century and 'Mini Club'.
Other refinements include the choice of snare or sidestick, buttons to trigger accents or fills on demand, a half-tempo feel, and a random option that plays slightly varying patterns. A set of rotary knobs down the left-hand side of the window lets you create a triplet shuffle feel, loosen the timing, add simple limiting, and control the Ambience balance by mixing together dry, two-metre, and seven-metre distant miked versions of the same sounds.
Besides the jump in required hard drive space from MB to MB, system requirements are much the same as for version 1 a 1. Like most dongle-protected software, Groove Agent 2 should be installed without the dongle, to avoid your computer finding this new hardware device before the relevant drivers have been installed. Other than that, I found installation an easy ride, although I'd have liked an option to install the plug-in in my usual 'vstplugins' folder and the MB of audio files on another partition — some of us prefer to keep our Windows partitions as small as possible.
PC owners get the option to install the DXi and Rewire versions along the way if they need them. Those upgrading from version 1, like me, will be forgiven for initially thinking that they've been sent the old version by mistake, since until you notice the '2' appended to the Groove Agent logo, there's very little visual difference between the two, and exactly the same list of Styles appears across the top slider.
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The secret is that many are now displayed in a different colour, and if you right-click on these options, a pull-down menu appears with further related style options. Unlike the historical linking of kits and styles to the timeline in version 1, the 27 new styles included in version 2 are somewhat more arbitrary, and are tucked in among the originals as right-click menu options. Here's the complete lowdown in the order in which they appear along the timeline. First up is 'Bop' for jazz standards, then there are two strange ones in under 'Paint' presumably a Jackson Pollock reference?
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Next up are 'Bombay Dance Hall' and 'Roots' the latter utilising the new 'Noisy' kit , both filed under the 'Reggae' style, but with very different flavours. Meanwhile, analogue drum machine freaks will rejoice that the rather generic 'Elektro' style is now joined by 'Vintage FR3', 'TR7', 'CR8', 'Meek Ballad' where the 25 complexity levels simply add more and more beats to the same pattern , and the harder sounds of 'Axis Y'.
The hard rock 'Arena' style now has 'HM Straight' and 'Triplet' feels for metalheads, the busy eighth-note feel of 'Grind', and the technique and busy fills of 'Progressive'. New Solo buttons feature alongside each instrument, making it far easier to tweak individual sounds in the mix.
However, version 2 expands the number of possible stereo outputs from four to eight, so that you can now treat each of the eight 'groups' kick, snare, toms, hi-hat, ride, crash, percussion 1, and percussion 2 through separate effects if you wish. Because you can choose from one to eight stereo outputs in version 2, the 'Ambience to output 4' option from version 1 located under the Setup lid at the bottom right of the window has now become 'Ambience Split', which routes the ambient and reverberated versions of all parts to the highest available audio output dependent, of course, on how many you've chosen.
And the sounds?
Steinberg Groove Agent 2
Version 1 offered '50s jazz, '60s pop, '70s rock, and '80s studio kits, plus various percussion instruments and extras such as brush and mallet kit sounds. Version 2 adds a top-of-the-range Studio kit for clean, modern sounds including three new snares a Slingerland Radio King, a Slingerland copper, and a model handmade in Prague , and a hard-sounding Heavy Kit designed for metal styles with busy kick-drum patterns, and with ride and crash cymbals specially selected to cut through the sound of multiple distorted guitars.
The 'Noisy' Kit uses tiny traditional drums including a inch mini-snare, treated through digital effects to give them a modern and much bigger lo-fi sound, plus a mixture of rare vintage and knackered modern cymbals. There's also a handful of electronic drum sounds including the Simmons SDS9, TR7, and CR8, treated with ambience from a vintage EMT plate reverb, and combined into a versatile selection of electronic kits. This new selection of sounds adds freshness and variety to the new styles, but given that you can bypass any or all of the instruments pre-selected for each kit in favour of any other allocated to the same sound 'group', Groove Agent offers incredibly versatile options — for instance, there's now a total of 36 snares, 25 kick drums, and 28 toms on offer, while the two percussion groups together encompass 76 instruments from tambourine, triangle, and shakers to handclaps, djembe, bottles, and tabla.
Although I'm always loath to devote review space to discussing copy protection, this is the first time I've been sent a product that requires a dongle but doesn't ship with one, so here are the pertinent details. Like the majority of Steinberg's latest applications and software synths, Groove Agent 2 won't run unless you plug in a properly-licensed Syncrosoft USB dongle. You can also transfer licences from one dongle to another at any time. All that is supplied is a digit Activation Code, which you must use with the supplied Syncrosoft Licence Control Center software that is installed along with Groove Agent 2.
You run its 'Licence Download' Wizard, enter the supplied code, and must then go on-line so it can interrogate Steinberg's database, declare the code a valid one, and then download the corresponding licence into the dongle. Once you've done this successfully, Steinberg's on-line database will no longer accept the same code to prevent those with multiple dongles licensing them all, although safeguards are built in to ensure that if for any reason your download fails part of the way through, you can try again.
In fairness to this approach, licensing for those whose music computers are without an Internet connection has been improved — you no longer have to install the Syncrosoft software on another computer with Internet access, as I described in PC Notes in February this year. Given that old-timers may now have several redundant dongles lying around, Steinberg perhaps ought to provide a recycling scheme to bring down the cost to new users.
Although you can use Groove Agent as an excellent jamming companion, changing patterns in real-time and adding accents and fills, those writing songs will find the version 2 capture features much more versatile. You can capture your 'performance' as a MIDI part in your host sequencer as before, which as you might expect works fine with Steinberg's own Cubase and Nuendo. If you find a pattern that works well in a particular song apart from one particular group part, you can mute this and play in your own manually from a MIDI keyboard. If you feed Groove Agent from an even-numbered MIDI channel rather than an odd one, the keys used for selecting pattern complexity instead control the mute buttons for the eight groups.
So far this is as it was in version 1, but version 2 adds further muting options — the toggle mutes of version 1 can be velocity switchable playing the key softly acts as a mute, while hitting it hard unmutes it , or operate 'while held', so that their individual mute status toggles to the opposite as long as you hold down a key. In fact, I found the whole experience a rewarding one, and when I really tried to find limitations, such as some styles with busy ride cymbals or tom rhythms that became a little mechanical, a little automation of the Velocity Offset knob worked wonders in adding a little variation.
Configuring a DAW
The Sample Engine bypass is apparently not a new feature, but rather a clever workaround discovered by enthusiastic users and publicised in v2. By setting the input of your MIDI track to Groove Agent, so that it receives the drum note and controller data, and the output of that same track to another drum synth or sampler with identical key mapping, you can trigger any combination of sounds from the internal patterns.
Again, this worked fine for me in Cubase, but of course it wouldn't from other host applications that can't receive MIDI output from a plug-in. Automation proved more difficult to master, but during the course of my investigations I discovered such an elegant solution that I abandoned further tests. Using this with Groove Agent 2 let me record its performance directly into a Sonar track, and record automation, just as in Cubase.
Nevertheless, during my time with Sonar I experienced a few random stops during playback, plus missing initial notes, so I can't claim percent success for this combination. The new 'Live File' option can also be seen under the Setup lid on the bottom right. This allows you to capture your performances as an external MIDI file, making Groove Agent 2 potentially compatible with a wider range of host applications.
It still didn't work reliably under Logic, though! I was a fan of Groove Agent, and version 2 has more of everything. Its 's hi-fi' user interface isn't very inspiring, but don't let looks put you off — there's an impressive engine under the bonnet! Audio quality is very good, and the kits range all the way from ultra-traditional through analogue to occasionally weird. I can recommend it unreservedly to Steinberg users, although those running other plug-in hosts may not have as smooth a ride see 'Logic' box.
It's great for any musician who may get called on to explore unfamiliar territory, including those working in film, computer games, and library music, where its extensive range of styles is unlikely to let you down. However, even if you mostly work within a narrower range of tempo and genres, the mix-and-match approach to styles, kits, and instruments means that you can rapidly come up with something new, exciting, and sometimes unexpected — I tried it out on a friend with a string of trance albums to his credit, and he was soon a convert. So what competition is there for Groove Agent 2?
Well, it's not a beat-slicer or sample loop player, which makes it rather different from Spectrasonics' Stylus RMX with its 7. FXpansion's BFD is probably a closer competitor with its Groove Librarian and 9GB of authentic acoustic drum kit samples, and since these provide many more velocity layers than Groove Agent 2, they will sound more realistic. Nevertheless, Groove Agent 's much smaller MB set of sounds means you can switch between kits and create new combinations almost instantly, rather than having to wait several seconds for huge samples to be loaded in before you hear the difference, and there are almost limitless kit combinations available to experiment with, especially once you start exploring the individual tuning, decay, and ambience controls.
It also provides dance and analogue kits that BFD doesn't cover. Of course, if you wish, you can use Groove Agent 2 's sample-bypass mode to trigger BFD and get the best of both worlds! For me, Groove Agent 2 excels in its immediacy and in its much larger range of instantly available styles, while its interface makes it incredibly easy to generate and capture your real-time performances. If, like me, you want to be able to work quickly when inspiration strikes, Groove Agent 2 can be up and drumming in no time at all.
I loved it! Groove Agent 2 is now available in Audio Units format, so there's no more VST wrapper to worry about and no text-file kludge just to allow the program to find its samples, but whilst the program itself has been significantly enhanced, it seems that many of the issues surrounding its operation within non-Steinberg sequencers remain. I like Groove Agent a lot. I like its sounds, I like its immediacy and controllability, and above all I like the musicality of the playing — and I guess that's the reason why I persist with trying to use it inside Logic, my sequencer for the last 10 years or so, despite the issues that this brings up.
Groove Agent resides at the 'outer limits' of the VST2 instrument specification. As a plug-in, it transmits not only its control data, but also note data, writing its output to a MIDI track within Cubase or Nuendo, as Martin Walker details in the body of this review. This allows you to generate a performance with the 'broad-brush' controls of the GUI, but then edit that performance, right down to individual hit resolution, to achieve something quite specific. You don't have to work that way, though.
Within Steinberg hosts, you can choose to simply record the output from the interface as automation data and let the program run in real time. Failing that, you can trigger the Groove Agent plug-in with MIDI note and controller data, and edit the resulting performance at 'control' level, rather than at drum-hit level. Within Logic, however, plug-ins can't transmit note data, so writing directly to a MIDI track within your sequencer is not possible.
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Unfortunately, Groove Agent 's on-screen controls won't send any automation data to Logic either, so you are left with a choice of manually writing automation or note data into Logic or using an external keyboard or control surface. Having exhaustively explored all the options over the last few weeks, I can heartily recommend Each offers something, and each causes sufficient frustration to have at least one committed Logic user thinking, "Hmm — maybe I will learn Nuendo. Manually written automation driving Groove Agent 2. The simplest option is to use a MIDI keyboard. Fills are triggered either by using the mod wheel or entering a pattern-select note with a velocity of 90 or more.
You hear the result in real time and you can subsequently edit the performance, at least to some degree, in that you can go in and change which pattern is playing by altering the MIDI note number, and affect when fills and other events occur by changing the timing of controller data.