Add a new instrument and multiple instances

[gfcalvi]

"Astinov, is there any way to output the hairpin cc on both cc1 and cc11"

I second that... LASS has the same behaviour in standard patches: cc1 changes the timbre, cc11 increase volume...
Sometime ago I've tried a couple of solutions without any luck. Having hairpins addressing both cc1 and cc11 will drastically reduce the need to "edit" in the sequencerstaff....

Bye
GF

[Erufailon]

If I had that, I'd only need some way to edit velocities in an exact way (velocity overdub isn't exact to say the least, especially with my controller, but I suppose every synth action keyboard has this problem), and I wouldn't need anything else besides N3.

[astinov]

Erufailon,

You have a way to edit velocities precisely - just enable sequencer overlay mode (TAB) and double click the note/bar to edit the velocity.

Voila!



Lubo Astinov

[Erufailon]

Didn't know that, thanks, but still, some line underneath, that I could just run over with the mouse, like in a sequencer would be a lot easier, yet, this software does much more for me than any other I've used so far, so I'm even embarassed to say this

So no way to output dynamics to cc11 and cc1 as well? Unfortunately the <hairpin-cc value="1"/> seems to be exclusive, if I set cc11, then cc1, the later overwrites the former one.
edit: Oops, it wasn't EWQLSO that did this, but cantabille for some reason, it works well in standalone with cc1 only.

[Erufailon]

What is the technique or articulation ID for palm mute (like pddn for pedal down)?
And are the bend strings techniques specific to N3 guitar sounds? As far as I could figure out, that symbol doesn't produce any midi data, which is too bad, it could output some pitchbend, even if it's not the most realistic way.

[dgriffee]

just a friendly bump...
This is a VERY interesting workaround, I'd like to see more about it if a way can be found to share such things.

[posssu]

LASS has the same behaviour in standard patches: cc1 changes the timbre, cc11 increase volume...

It's not completely as you say. CC1 controls the natural dynamics of the patch: while you increase the modwheel, the timbre changes AND the instrument gets louder at the same time. Just as with a real player - both timbre AND volume.

CC11 is just for an additional volume control, which is basically the same as turning the volume knob higher and louder. But it's "amplifying" the instrument, not controlling the natural dynamics. I've never needed this actually in any project, I've managed with pure modwheel use, but I can imagine this being a problem in Notion that doesn't even support track volume automation.

[gfcalvi]

Correct !
GF

[Forever Mourning]

LASS has the same behaviour in standard patches: cc1 changes the timbre, cc11 increase volume...

It's not completely as you say. CC1 controls the natural dynamics of the patch: while you increase the modwheel, the timbre changes AND the instrument gets louder at the same time. Just as with a real player - both timbre AND volume.

CC11 is just for an additional volume control, which is basically the same as turning the volume knob higher and louder. But it's "amplifying" the instrument, not controlling the natural dynamics. I've never needed this actually in any project, I've managed with pure modwheel use, but I can imagine this being a problem in Notion that doesn't even support track volume automation.

Actually, you are supposed to use both. Use hairpins for cc11 and record cc01 using the modwheel while in a sequencer staff mode (so you can see your results). You can not get minimum and maximum volume changes w/o cc11, and you can not get the proper timbre changes w/o the modwheel (cc01).

Never touch cc07, as this is the continuous controller for mixer automation. If you use this instead of cc11, you may end up painting yourself in a corner, and you would have to redo ALL automation for that track. Basically cc11 is a subset of cc07.

NOTES FROM MY ONLINE ORCHESTRATION BERKLEE CLASS:

Volume CC #7: Volume data can be quite effective, however no tonal / color change is present. Only volume is changed. This is NEVER used as a midi controller, but instead as a control for mixdown in the mixer.

Expression CC #11: Same as above EXCEPT it is a subset of volume data (eliminating tedious reprogramming of volume data w/in track when changing the over all volume in the mixer).

Modulation CC #1: A layered patch contains both piano and forte samples and allows the orchestrator to switch between the two with modulation data.

Modulation data is continuous controller #1 and ranges from 0 to 127. If a layered patch has two layers—piano and forte—then a modulation controller of 0 will trigger only the piano sample. Accordingly, a modulation data of 127 will trigger only the forte sample, while a modulation data of 63 will trigger a 50/50 blend of the two.

Layered patches, used with the appropriate modulation (and likely additional expression data), can create strikingly realistic performances.

Hope this helps,

Ryan Chilcote

[Zblogny]

Thank you Ryan for this clear explanation !
This is the first time that I finally understand clearly the specific use of CC01, CC07 and CC11.