Technology Institute for music educators ti: me course 2a Advanced Sequencing, Second Edition
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Example: Velocity stalks Edited to Enhance the Line Contour and Legato Phrasing
Articulations and Key Switching Sample libraries often include alternate samples for different articulations—sustained, staccato, muted, etc. Effective sequences can be created by either using multiple MIDI or instrument tracks for each instrument and articulation or by switching between articulations on the same track. Some instruments in sample libraries are set up with low register keys assigned to send program or patch change information. Playing or recording a MIDI note from one of these keys embeds program change messages in the sequence, which results in the instrument switching articulations or, in the case of the Garritan Jazz library, to muted versions of an instrument or, in the saxes, to woodwind doubles. Instrument setups, with samples allocated to multiple velocity layers and key switching to alternate articulations, place a big load on a DAW’s ability to function and can result in reduced track count and other CPU-related problems. Where multiple articulations are unnecessary, it’s a good idea to choose a non-key switching preset. Note Duration Often, problems with articulation and phrasing can be resolved by editing the length or duration of a note. Staccato and related articulations and accents can be adjusted by editing or trimming a note’s duration. Use your ear and musical experience to judge the correct note length. Another issue related to note duration is legato phrasing, which is often difficult to achieve when using a non-weighted MIDI controller. This issue is more easily resolved by using the MIDI editing capabilities of a MIDI sequencer than by repeated efforts at recording the part. For example, in Pro Tools the Change Duration dialog box has a legato setting that will extend the duration of selected notes to overlap with the next note(s) by a user-defined amount. Overlapping by a small amount (5 – 10 ticks) won’t be perceived as notes sounding simultaneously, but it will result in a more legato-sounding phrase. Sample libraries, such as the Garritan Jazz and Big Band library offer additional help for this issue. When notes overlap and sustain pedal (CC 64) information is recorded, “the attack of the sample is removed to … more closely emulate the sound of a slur.” (Garritan, 2007, p. 39) Example: MIDI Note Durations Set to Overlap 
Durations set to overlap and enhance legato phrasing Continuous Controllers and Human Performance The above suggestions offer simple, effective ways to begin creating more musical sequences but, the real pay-off results from becoming familiar with and using continuous controllers (referred to as CCs). CCs offer the best method of emulating the continual changes in dynamics, timbre and pitch that are part of human musical performance. For example, a brass or woodwind instrumentalist will not perform a sustained note with unchanging pitch while a sample player or virtual instrument can do so indefinitely. The implementation of CCs varies by manufacturer. Typically, there are 128 CCs and controllers such as modulation (CC #1), volume (CC #7), pan (CC #10) and sustain (CC #64) are standard, while many others are left open for manufacturers to use as they choose. (Most books on MIDI will contain a discussion and a list of CCs). Using continuous controllers the first time can be tricky and frustrating, so a brief discussion here will be time well spent. Remember that controller information can be sent and recorded, but, if the manufacturer did not implement the controller or used it in a non-standard manner, the controller information won’t trigger anything or it will trigger something unexpected. It’s a good idea to become familiar with the standard CCs and their implementation in the library in use. There are two primary methods of accessing and adding controller information to a sequence. (1) MIDI control devices come with pre-programmed continuous controllers such as the modulation wheel, pitch wheel and, possibly, a sustain pedal. There also might be additional knobs or sliders that are user-programmable, continuous controllers. In modern sequencing programs and virtual instruments, programming these “knobs” can be very simple. For example, in the host sequencer (Logic, Pro Tools, DP, etc.) right-click on the desired parameter and choose “Learn or Assign MIDI CC,” then move the desired knob or slider on the keyboard controller. Look at the desired on-screen parameter as you move the “knob” and you should see the values change. When this functionality is not implemented in a DAW, assigning controllers can be more of a task. For example, the CC knobs on an M-Audio Oxygen 8, can be programmed to control a continuous controller using the following instructions… To assign a CC Controller to the Oxygen 8 CC Knobs: Press the MIDI/Select button Press the Set CTRL key Use the number keys to enter the desired CC Knob number Press the Enter key Use the number keys to enter the desired MIDI controller number Press the Enter key Use the number keys to enter the MIDI channel that the controller should send on (probably channel 1) Press the Enter key Press the MIDI/Select button to finish the controller assignment. Controller data can be recorded in real-time by putting the track in record and moving the assigned wheel, knob or slider during recording. If the controller information is being recorded in a 2nd pass (after the note information was recorded), make sure that the MIDI Merge function is enabled; otherwise, any previously recorded information on the track will be overwritten. After the automation or controller data are written, they can be edited in the same manner that any MIDI or automation data are edited. (2) The second method of accessing and recording continuous controllers is via the automation feature in a sequencing program such as Logic (or Pro Tools, Cubase, DP, etc.). The advantage here is that the controller information can be added and edited in non-real time and can be seen on screen. The following describes how to access and assign controllers in Pro Tools (9.x). All automatable parameters are accessed via the track view selector found on track headers in the Edit window. In addition to volume, pan and mute found on audio tracks, MIDI and Instrument tracks also offer programmable “playlists” for several standard MIDI CCs as well as a method to access less frequently used CCs. To add controller information, click the track view selector on the desired track and choose the desired controller from the available list. In the track playlist area, a related automation line graph will appear. Example: Track View Selector and Automated MIDI Controllers Dialog Box Track View Selector Assignable Controllers Dialog Box Controller Automation 
 
Track Header Unassigned Controllers Assigned Controllers Automation/controller information can be written in real time as discussed above. It can also be written in non-real time using the grabber, pencil and trimmer tools. Choose the desired controller from the track view selector list. Click the associated line graph with the grabber or pencil tools to add “break points.” Click and drag these break points up or down to change the controller values. Option-click a break point with the grabber to delete it. Use the selector tool to select a range of automation/controller data then use the trimmer tool to raise or lower that section while retaining the current contour. Automation/controller data can also be copied and pasted or a selection can be nudged a user-definable amount using the plus and minus keys on your computer keyboard. Accessing less frequently-used controllers is simple. Click the track view selector and, at the bottom of the list, choose Controllers and then Add/Remove Controller. In the Automated MIDI Controllers dialog box that appears, available controllers are shown in a column on the left. Choose the desired controller, then click the Add button. This will move the desired controller to the right column that displays the active controllers. Click the OK button to close the dialog box. The controller is now available in the Track View List. The following is a brief list of the most common controllers and their standard assignment.
Bibliography: Bergersen, T. (December/January 2007). Sequencing Samples, Part 1. Virtual Instrument Magazine, Los Angeles, CA. Bergersen, T. (April/May 2007). Sequencing Samples, Part 2. Virtual Instrument Magazine, Los Angeles, CA. Garritan, G. (2007). Jazz and Big Band Library Manual, Garritan Corp: Orcas, WA. Pedergnana, D. (March 2005). Subtle Gestures. Electronic Musician, Emeryville, CA. Russ, F. (April/May 2006). MIDI Mockup Microscope. Virtual Instrument Magazine, Los Angeles, CA. Pejrolo, A. (2005). Creative Sequencing Techniques for Music Production, Focal Press: Oxford, England. Download 3.6 Mb. Share with your friends:
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