TIE problem.

[Francois2010]

See and hear the tuba. The TIE does not work.

[pcartwright]

The tie worked as it's supposed to when I opened the file. Can you post a solo mp3 of the tuba misplaying the tie for us to hear.

[Francois2010]

The tie worked as it's supposed to when I opened the file. Can you post a solo mp3 of the tuba misplaying the tie for us to hear.

sorry ... I made a mistake ... everything is ok .... thank you! Sorry again

[Surfwhammy]

The tie worked as it's supposed to when I opened the file. Can you post a solo mp3 of the tuba misplaying the tie for us to hear.

everything is ok .... thank you! Sorry again

[NOTE: I started working on this reply a few days ago, but when I got to the auditory illusion aspects I remembered that I used something similar in a Flamenco Nouveau song done in the Surrealería™ style, a new subgenre that I created specifically for the song, and I got quite distracted by reorchestrating and remixing the song, which included a very surreal 24 hours devising a way to convert the Notion SLE for Miroslav Philharmonik score to a Notion 3 score, which included some of the most stellar computer crashes I have experienced on an Apple computer, since among other things the Notion SLE for Miroslav Philharmonik version was done soon after I first started doing computer-based music composition, which at the time led me to use a predefined full-orchestra template and then to modify its predefined instruments to be other completely and totally different instruments, which as best as I can determine causes a great amount of confusion with respect to what in the programming universe is called "pointer arithmetic", where for example it can cause an otherwise nicely functioning algorithm to attempt to reference an item in an array that is outside the bounds of the array, which in the Windows universe will lock-up a machine instantly but in the Mac universe tends only to lock-up the application, which makes needing to reboot an Apple computer a truly strange event, although for a while I was rebooting the 2.8-GHz 8-core Mac Pro approximately every 15 minutes . . . ]

It also works on the Mac with Notion 3 (full version) . . .

I verified it for the Tuba in the Notion 2 and Notion 3 flavors of the London Symphony Orchestra (LSO) and for the Tuba in Miroslav Philharmonik, and the tie worked in all three of these . . .

Additionally, I changed the tempo to 30 (from 90), and verified it again both with the Tuba soloed (all three VSTi flavors) as well as playing everything (Horn and Tuba) . . .

The first time I listened to it (without making any modifications to the VSTi instruments or tempo), there appeared to be an extra note somewhere, but when I listened at the slower tempo it was obvious that the "extra note" actually is the last eighth note in the first measure played by the Horn section or whatever "Horn" represents . . .

It is easier to verify it when you slow the tempo . . .

Whether it works correctly in the Windows version is another matter, but on the Mac it works correctly . . .

Another important aspect of my testing is that I listen with studio-quality headphone (SONY MDR-7506) rather than with loudspeakers--unless I am doing final mixing and mastering, in which case I switch to loudspeakers--so if you are listening with loudspeakers rather than headphones, then it is possible that the distinction among the last eighth note of the Horn in the first measure and the tied Tuba note that starts in the first measure and extends into the second measure via a tie is a bit blurred, but if so, then it is not blurred by anything Notion 3 is doing . . .

Yet another aspect is that a Tuba is a rather large and typically bass instrument, which in the grand scheme of everything maps to a Tuba player needing to take a lot of frequent breaths, so some of what you are hearing can be artifacts of the way a Tuba is played, although this is only a guess made primarily by observing Tuba players . . .

Summarizing, the tie is working correctly in the full version of Notion 3 on the Mac with both the Notion 2 and Notion 3 flavors of the Tuba, as well as with the Tuba provided in Miroslav Philharmonik, for sure . . .

For sure!

P. S. I did a few more experiments, where I replaced the Tuba with a Bass Trombone (all three VSTi flavors) and then gradually increased the tempo from 30 to 90, with the result that even with the tempo at 75 everything sounded right but at the very fast tempo of 90 beats per minute (BPM) for a quarter note, I think that what happens is an auditory illusion, where the note immediately before the tied Tuba notes appears to be higher rather than lower than the tied Tuba notes . . .

There are quite a few fascinating auditory illusions, and one of them creates a "perpetual scale" ladder where the notes continually appear to be going upward or downward ("Shephard Tone") . . .

http://en.wikipedia.org/wiki/Shepard_tone

And there is another set of auditory illusions where a dramatically fluctuating series notes with widely separated relative intervals appear to form two simple scales or melodies that are perceived to be ear-specific based on whether one is left-handed or right-handed ("Deutsch's Scale Illusion") . . .

http://en.wikipedia.org/wiki/Deutsch%27s_scale_illusion

Another fascinating illusion that was used frequently in Beatles concerts by John Lennon and Paul McCartney is the "McGurk Effect", where every once in a while they both appear to be singing but only one of them actually is singing at any given moment . . .

[NOTE: This is very subtle with respect to the Beatles, and it is not what happened during some of early appearances on "The Ed Sullivan Show", where the audio engineers essentially had no idea who was supposed to be the lead singer and tended to turn-OFF John Lennon's microphone and arbitrarily to shift the focus to Paul McCartney, or vice-versa, nearly always at the wrong time, which they corrected by the second or third appearance, probably with a bit of "guidance" from Brian Epstein and John Lennon, since at the time there simply were no musical groups that had three lead singers, hence everything the Beatles did pretty much was outside the box in the sense of conventional thinking be based on there being one lead singer (Ella Fitzgerald, Elvis Presley, Diana Ross, Frank Sinatra, et al.) . . . ]

http://en.wikipedia.org/wiki/Mcgurk_effect

And this is the reorchestrated and remixed Flamenco Nouveau song done in the Surrealería style, "Maríta de la Luna y Pablito el Petardo (No Es Tanto Lo Que Es Como Lo Que No Es)" (The Surf Whammys), which is a story about Mary of the Moon and Paul the Firecracker having a rendevous on a moonlit beach, where the general idea is that "it's not so much what it is, as what it's not", although not being the least bit fluent in Spanish the actual lyrics might be completely and totally nonsensical, since I used Google Translate for the Spanish translations, hence might achieve the patently surreal goals of annoying not only all aficionados of Classical music but also every Spanish speaking person on the planet, which in addition (a) to being fascinated by ladies underpants and Manolo Blahnik high-heel slippers with open toes and cute ankle straps, (b) to thinking without doubt that David Bisbal is the greatest tenor currently residing on this planet, and (c) to enjoying plenty of Mexican Coca-Cola made with pure cane sugar, is what for me makes life grand, which is fabulous . . .

[NOTE: A variation of the "Shephard Tone" auditory illusion is used in the Concert Pedal Harp (LSO) and Celesta (Miroslav Philharmonik) phrases that begin and end the interlude, as well as divide the interlude into two essentially mirror image sections, which is the middle part of the song where there is no melody played on the "talking" electric piano, during which for the YouTube video I plan to do a Flamenco Dance and Mime reenactment of The Mayan Story of the Creation of the World while wearing ballet tights with an impressive codpiece, a Venetian mask, and pointy-toed bunny slippers as I juggle unshucked ears of corn and make suggestive hip movements, since it essentially is a DISCO song. For reference, the essentially geometric "mirror imaging" technique comes from the Joseph Schillinger System of Musical Composition (SoMC), and it is a very useful technique for composing and orchestrating, which when combined with a few of the other SoMC techniques and strategies makes it quite practical to transform a simple four measure series of melodic quarter notes in 4/4 time into a complete song or an entire symphony . . . ]


"Shepard Tone" Ladder Variation (SoMC) ~ Start


"Shepard Tone" Ladder Variation (SoMC) ~ Middle


"Shepard Tone" Ladder Variation (SoMC) ~ End

[NOTE: This is an MP3 (263-kbps [VBR], 612KB, approximately 7 seconds) of the "'Shepard Tone' Ladder Variation (SoMC) ~ End" phrase played by the Concert Pedal Harp (LSO) and Celesta (Miroslav Philharmonik) as shown in the music notation (see above), which among other things provides a clue to one of the musical "secrets" that makes "Dance of the Sugar Plum Fairy" (Tchaikovsky) so fascinating . . . ]

http://www.surfwhammys.com/Shepard-Tone-Ladder-End.mp3

[NOTE: This is a YouTube music video from "Fantasia" (Walt Disney) for "Dance of the Sugar Plum Fairy" . . . ]

http://www.youtube.com/watch?v=8At8zfh_o3E

[NOTE: This MP3 is 279-kbps [VBR}, 7.8MB, and runs for approximately 3 minutes and 40 seconds. . . . ]

http://www.surfwhammys.com/Surrealeria-1-7-2011-ST25-XP2-N3.mp3

Fabulous!