dcuny wrote:You've pointed out that impracticality of using a sample library to capture all the various sorts of guitar chords. However, NOTION could fairly easily support a smaller group of chords (Maj, min, min7, sus4) and vastly improve the sound quality.
This is an intriguing idea!
For this type of activity, it works a lot better when I do as much researching and thinking as possible before deciding on a strategy, so after doing a bit of enumerating and realizing that one of the possible solutions literally could require as many as 20,000 individual samples, which makes it quite impractical, your suggestion reminds me of the way the studio drumkits in SampleTank are mapped, where each drum and cymbal is played by a different note, where for example C4 might cause a hi-hat note to be played but C3 might be a snare drum rimshot . . .
The way one of the more expert SampleTank users explained everything in replies to my questions in the SampleTank section of the IK Multimedia FORUM, when a note is appended to the file name, this tells SampleTank how to map the sound in the WAVE file, but if a note is not provided, then SampleTank analyzes the sound in the WAVE file and maps it to an arbitrary "root note" . . .
Another useful bit of information is that the sound in the WAVE file can be a single short note or a series of notes, as well as a loop, and for a longer series of notes SampleTank simply continues to play the WAVE file so long as the key on the keyboard is pressed, which in music notation maps to the duration of a note, where if I understand this correctly when there are four quarter notes in the WAVE file, a whole note in Notion 3 will cause the four quarter notes to be played, but a quarter note in Notion 3 will cause only the first quarter note in the WAVE file to be played . . .
This led me to the idea that one can play a full chord and map it to a single note, since SampleTank probably looks at the content of a WAVE file as being a generic sound . . .
After pondering your idea for a while, I think that there probably are not so many chords that are needed for what I consider to be a typical DISCO, Heavy Metal, Pop, or Rock and Roll song in a specific key, although DISCO songs sometimes have Jazz chords, but so what . . .
So what!
And for the most part, I play songs in a small set of keys, mostly {E, A, G, or C}, where I use "key" in a very simple way that probably but not necessarily maps to the actual key in terms of music theory, since I consider chords in a more absolute mathematical sense, where it does not matter to me what the lowest note happens to be, except when I can use it to map the chord to a bass guitar note, at least when there are four or more notes in the chord, even when some of the notes differ only by an octave, where so long as the chord sounds good in the song it makes no difference to me what name one uses to identify the chord, except that I prefer simple and easily remembered names for chords, really . . .
Really!
For example, if I play "Louie Louie" (The Kingsmen) with the chords A Major, D Major, and E Minor 7, then I consider it to be in the key of A, since the first chord is A Major, and the simple numerical pattern is 1-4-5-4 . . .
"Louie Louie" (The Kingsmen) -- YouTube music slideshow
If I play a slow song with {C, Am, F, G}, then I consider it to be in the key of C . . .
A lot of Beatles songs are in G and C, so I play songs in those keys, but E and A are very nice for electric guitar, since they work nicely for doing open-position stuff . . .
Based on the standalone user interface for SampleTank having a mini-keyboard with 88 keys, I think this defines the practical upper limit for notes, but it makes a bit of sense to use a smaller range of notes, since it requires too many notes above and below a treble clef to represent 88 notes, which makes two or perhaps three octaves more practical, with two octaves being very practical, since this ranges from Middle C (C4) to the High C (C5), which is on the treble clef, and then to the next higher C (C6), which is not so far above the treble clef as to be impractical to use, and this maps to 25 notes chromatically . . .
Intuitively, without actually going through the exercise, I am not certain that I can name 25 different chords in the key of E without wandering into some truly strange chords, although it depends on the chord pattern . . .
For the most part, the primary types of chords will be Major, Minor, Major 7th, and Minor 7th, and what I call the "base" or "foundation" notes in the key of E will be {E, F#, G, A, B, C, C#, D}, so with 4 types of chords and 8 "base" or "foundation" notes, this maps to 32 chords, which is not so many more than 25 chords . . .
If an F is added to the set of "base" or "foundation" notes {E, F, F#, G, A, B, C, C#, D}, then with the 4 types of chords this is more than sufficient for a lot of songs in (E, G, A, C} . . .
Intuitively, I think it is sufficient to play most of the songs the Beatles recorded, and it is sufficient to play a lot of Motown songs, as well, although to play the songs accurately it requires at least two flavors of some chords, but this can be done with a second and third set of samples, which is consistent with the way I do "sparkles" . . .
For example, I think it is practical to have three staves for a rhythm guitar part, where the first staff is focused on open-position and lower-position Barre chords; the second staff is focused on middle-position Barre and what I call low and middle "tight" chords (which are four-finger chords on adjacent strings); and the third staff is focused on higher-position Barre and "tight" chords (both low and middle for the "tight" chords) . . .
So, instead of having all the notes for a chord in the music notation, the music notation simply will have single notes that cause a specific chord samples to be played, which makes it very easy to do a three stave chord pattern based on the specific chords that need to be played at any given time, and it also makes it possible to stack chords, which is an intriguing concept and was something the Beatles did . . .
There should be a logical way to map chords to keys on a keyboard so that it will be reasonably easy to remember, but I can have a note card or something similar as a reminder of the "chord to note" mapping, although I am intrigued by the idea that there probably is a logical mapping for mnemonic purposes . . .
On the other hand, since there are only four types of chords, it might be simpler to have 4 staves for a rhythm guitar part, where each staff is a chord type and the notes on a staff are the "base" or "foundation" notes for a chord, which might be like this for "Louie Louie", which has the advantage of keeping the number of samples smaller (back to two octaves or 25 notes):
[NOTE: Most of the time I play an Em7 for the "5", although sometimes I play an E Major for the "5", but I prefer the way the Em7 chord sounds . . . ]
- Code: Select all
Major A A A D D D D
Minor
Major 7th
Minor 7th E E E
Intuitively, I think that there probably is a specific duration for a chord that will work nicely with several different tempos, especially if the chords are run through AmpliTube 3, where I can control amplifier and loudspeaker sustain and other effects, including slicing and echo repeats, which overall maps to needing to do 100 samples (25 samples for each of the four types of chords), which is not a lot of work . . .
And instead of having the four sets of downward strums, I suppose that there can be another four sets where the chords are played with upward strums, thereby increasing the total to 200 samples, which is within a practical range, although it requires 4 more staves, which nevertheless keeps it withing the range of "sparkling", since I occasionally spread the notes of a single instrument over 8 staves when "sparkling" the instrument . . .
By playing the chords on a Stratocaster or Telecaster in a very clean and balanced TONE setting, this makes it possible to run the Notion 3 generated chords through AmpliTube 3 once it is in Digital Performer 7, which makes it practical to create a virtual festival of different guitar TONE styles . . .
I like this idea, but I need to ponder the combinations, permutations, mathematics, and geometry for a while, since it is important to consider panning locations, which for a far-left panned set and a far-right panned set maps to 16 staves, but this covers top-center, as well, since playing a far-left and a far-right note simultaneously places the sound at top-center, which is easily heard in the current version of the "basic rhythm section" for "(Baby You Were) Only Dreaming" (The Surf Whammys), for which the link is provided in my previous post, where for reference there are two snare drum rimshot staves, where one is panned far-left and the other is panned far-right, so when you hear snare drum rimshots at top-center, this is the result of playing a snare drum rimshot on both staves (far-left and far-right) at the same time, for sure . . .
For sure!
dcuny wrote:NOTION already "understands" how to play various articulations via MIDI. The various guitar articulations (bends, etc.) certainly sound like they're implemented via MIDI.
This only appears to work for the Notion 3 guitar, but it works very nicely once you experiment with it for a while . . .
For purposes of clarity, I am referring to the Notion 3 guitar that supports having both a treble clef and a guitar tab, where for this particular instrument there is a virtual guitar fretboard that appears at the right side of the Notion 3 workspace . . .
I tried to do this with one of the guitars from SampleTank, but no guitar tab staff appeared, and the virtual guitar fretboard did not appear, either, so I think that there are some additional "smarts" that travel with the Notion 3 guitar . . .
All the standard instrument articulations and dynamics work with the SampleTank guitars, but as best as I have been able to determine the string bends and whammying articulations only work on the guitar tab staff, so I think that the Notion 3 guitar has more stuff, somewhere . . .
Yet another reason for thinking this is that the Notion 3 Bundled Electric Guitar sample file is approximately 350MB, which is nearly 6 times the size of the largest IK Multimedia guitar sample file, and it is several times the size of most of the other Notion 3 Bundled instruments, with the exception of the Notion 3 Bundled Acoustic Guitar, Drum Set, and Piano samples (.prox files) . . .
Lots of FUN!