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(i) Template To make a good template it is a good idea to give each orchestral instrument
its own track. Most sequencers will enable you to use a fair number of tracks
so you shouldn't have any problem.If however you are restricted or intend
to follow the GM/GS settings then follow the plan below for
a maximum of 16 tracks.
(ii)SysEx Data One of the most useful of these instructions is the reset. When this message has been accepted by an instrument it will set itself back to default. This will eliminate any unwanted changes that a previous midi file had made. It is always advisable to include a reset both at the start and end of each sequence. It is also very important where SysEx data in entered into a sequence. Because a SysEx reset message is going to do just that it is obvious that it must be the first code that the sequencer reads. Therefore it must be set at position 1.1.0. The end reset SysEx message must be as far away from the last note to allow any reverb to die away. (iii)Note Input Have you got formatted blank disks ready? Then load up your template. Here you can swap or change any parts that will be appropriate to the piece you are working on. So where do we start? Well, the best place to start is on the string section, assuming they are playing first. This is so because you will find a lot of the other instruments match the string parts quite a lot of the time so you will find it is just a case of copying and pasting to the other parts. If you have used the suggested template detailed above then the first
notes will begin one bar in from the beginning. Make sure that if you are
going to number the bars on the score that the first bar will in fact be
the second. The method by which you input the notes into your sequencer
is entirely up to you. Most sequencers will allow several methods of inputting
notes. Direct Recording will allow you to record, in real-time,
the notes with the sequencer providing a metronome click to help you. If
you are a good sight reader and quite skilled on the keyboard then this
method may suit you best. (iv)Quantising Right, we have entered the first few bars of the first violins. The note positions or quantising may now be looked at. How 'tight' you quantise your sequence is entirely up to you. If time is not pressing on you then you can come up with some excellent sounding sequences using 'loose' quantising but you must listen very careful to each note that they are not too loose as to throw your sequence out of sequence! Whatever your views are on quantising you may put them into practice here as long as it works. I program my sequences first off with tight quantising and once finished
I can then mess about slightly with the quantising using the logical editor.
This may not be the best or easiest method to use but it works for me. I
may also adjust delays on certain tracks that will help to 'de-humanise'
the sequence. Subtle tempo changes can also give sequences a more human
feel.
The 'art' of quantising is something that this tutorial can not go into. Your sequencer manual and dedicated books on the subject are your best bet. (v)Note Lengths Now check the note lengths. If you are playing crotchets to the beat, i.e. 2/4, 3/4, 4/4, etc...
it does not always follow that a crotchet must be set at 384
or a quaver at 192. In fact, when you have your sequence playing
at a fairly high speed and you have applied a 'hall effect'
type reverb, I would only use those values if I am slurring the notes or
playing legato. Otherwise I would subtract anything up to 32
for a normal un-slurred note to achieve a 'cleaner' sound.
Even these values can be incorrect if you wish to achieve a high quality
sequence. This is where your audio recording of the piece comes in handy.
One example I came across was while I was tackling the Waltz from
Act 1 of Swan Lake by Tchaikovsky . The second bar of the arco
violin 1 (bar 20) ends with a crotchet. But this crotchet needs
to be more of a quaver. In fact I set the note length to 196
which gave me the correct feel to it. A number of bars needed this adjustment.
It is best to tackle these little nuances straight away as you may find
yourself copying from that single phrase several times and to have to go
back at the end altering every suspect note can be quite irritating.
Staccato note lengths may differ depending on how fast the sequence is playing. Very short note lengths may not even sound at all at high speed so listen to your sequence and alter any offending note lengths appropriately. I usually find that halving the note value from its original will give me a good staccato effect. Usually you would not make note lengths overlap with other notes. It is simple to understand why because most orchestral instruments can not play more than one note at a time so don't put them in your sequence. An exception to this rule is when you want to achieve a prominent legato effect on the strings, for example. But beware not to exceed your instruments polyphony. Most instruments will indicate to you when this occurs. (vi)Note Velocities It is a good idea to make a list of note velocities that will correspond to the dynamic marks in the piece. i.e. pp, p, mp, mf, f, ff, fff, etc... It is for your judgment to decide on these as every midi instrument responds slightly differently to velocities. I usually find that an increase in 10 for each progression making fff equal 125 is quite satisfactory. (See 'Balancing' for further details) Next it is time to correct the velocities of the notes. Check with your score and your velocity list you made earlier to enter the correct values. If the score indicates a crescendo/diminuendo then it is quicker and easier to use your logical editor if you have one. If not then I'm afraid entering them by hand is the only coarse of action. Work out the values needed for each note on the progression of the cresc/dim to achieve a reasonably smooth change. If the cresc/dim occurs on one single long note or chord then set the velocity to the value of the result of the cresc/dim and we shall achieve the progression with expression changes described later on. Name the track you have just recorded with the appropriate instrument, if you haven't already done so and check that you have the correct time and key signatures laid in and save your sequence to disk. Play it back to yourself and if you're happy then continue with that same instrument until you come to an appropriate part in the score where you can stop and start recording the other instruments. |
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