Just wondering, is it really more efficient to use the harp packets? In Sonar (and probably other sequencers), you can select all notes of a given pitch, within a given range, and then transpose them. So, for instance, when I want a harp glissando in G, I just run up n\' down the keyboard, select all my F\'s and then transpose up a semi-tone.
I actually haven\'t used the packets... because... (don\'t tell)... I don\'t know how!
Maybe I\'m not doing really complex glissandi, *shrug. Just lookin for some feedback on the useablity of the packets.
I\'ve also selected and transposed notes from within Sonar rather than use the packets. Like Junk, this was mostly because I couldn\'t see how the packets work. So would someone please let us know just how to use the harp packets?
I think this might have been covered in detail shortly after GPO\'s release. You might want to check back to see, but I\'ll be glad to tell you how I do it. Once you have played around with this you might find a better way.
First I create two midi tracks. Track \"a\" is for the midi harp data, track \"b\" is for the placement of the harp data packets. Make sure that each track is play enabled and set to the same midi channel where your harp lives in GPO.
Next I import the \"GlissandoHarpPackets\" midi file, in whatever way your sequencer does it. This makes a good number of midi tracks, but, the overhead on these tracks is low, and I have found that I prefer to have them all at my beckoned call rather than having to search for a specific packet in another file.
You will find these tracks sorted by key and then by scale and chord type (major, minor, minor 7th. etc.
Now, say you want to have a gliss of a \"B mi7\" extend from beat 4 of measure 1 to beat 1 of measure 2. Simply copy the harp packet named \"B mi7\", and paste it into track \"b\" just before beat 4 of measure 1.
Make sure that track \"a\" is record enabled, Then, hit the record button. When you reach beat 4, you\'re keyboard\'s pitches will have been remapped so that dragging your finger up and down it will produce a harp gliss of that chord. That\'s it. Hope I didn\'t leave anything out since I\'m a little short of time.
Once you start fooling around with this, you\'ll have about the most fun that you can with GPO. You might wake up to find that a couple of hours have gone by and all you have done is drag your finger up and down the keyboard until it smarts, trying out the various packets. But it\'s more fun than the latest computer game, and look at the calleries you will have burned. [img]images/icons/smile.gif[/img]
I’ve gone back and compiled some of my previous posts on this subject:
The glissando harp instruments map notes to the white keys of the keyboard. They are designed to be used with MIDI data packets to control the specific mapping of the keyboard. These packets control switches that change mapping assignments and emulate the pedal positions of the harp. This approach was introduced in Gary\'s GigaHarp library (and originally programmed for Giga by Dave Govett). The GPO library includes a MIDI data file that contains a library of MIDI packets covering a wide range of scale and chord types in all keys. I strongly recommend that the library of MIDI data packets be organized into an easy-to-access group as part of the user\'s sequencer default song file. I\'ve organized mine by key (C, C#, D, D#, E, etc.) and symmetrical scales (whole tone, diminished, augmented). Each key is placed on a separate sequencer track with all variations for a given key laid out horizontally on that track. The library tracks are always left muted because the packets are there for copying purposes only. If your sequencer allows it, place them in a folder for clarity. The packets are easy to use - just copy the packet for a particular chord/scale to a secondary track set to the same MIDI channel as the harp. Place each packet slightly in advance of the position of the desired scale or chord change. So, there are two tracks that share the same MIDI channel: the harp part is recorded to the harp track and the MIDI packets are placed as needed in the second track. Glissandi played from the keyboard will change chord/scale automatically at the packet position when the sequencer is in play/record. The white keys of the keyboard can be “strummed” to achieve realistic glissandi.
The glissando harps/MIDI packets emulate pedal positions and, in the process, add another dimension to the sound of glissandos beyond the chromatic harps. This is related to the way the harp works when creating chords and certain scales. There is a characteristic duplication of pitches on different strings depending upon harp pedal positions. For example an ascending A major chord arpeggio isn’t just the notes A, C#, E, A, C#, E, etc. when strummed with a finger. It’s more like A, A, C#, C#, E, E, E, A, A, C#, C#, E, E, E, etc. and each duplicated pitch varies a little in character because it is produced on a different string. That’s one of the main things that gives the harp its special sound on arpeggios. The glissando harps/MIDI packets emulate this effect giving the combination a very authentic sound. Now, you could try to duplicate this effect with the chromatic harps by using the same pattern of repeated pitches but you would not have the added benefit of differing character between strings that is supplied by the glissando harps.
Of course, all note data, packet choices, and packet positions can be edited after the fact if desired. Here is a list of the included scales and chord types:
1. All major scales
2. A, B, C#, E, F# major chords (the only ones that can be constructed with all triadic elements).
3. All major 7 chords
4. All minor/minor7 chords (available type depends on construction restrictions)
5. All dominant 7 chords
6. All dominant 9 chords
7. All altered dominant chords (but with variations based on construction restrictions)
8. All diminished chords
9. All diminished 7 chords
10. All pentatonic scales
11. All lydian scales
12. Both whole tone scales
13. All augmented chords
Thank you guys very much. I didn\'t mean to make you write a bunch, but it\'s very much appreciated. I am going to test out those harp packets now. It didn\'t dawn on me that harp glissandi repeat notes!
Sorry for the double post. But I have to complain about the midi packets.
There should be a warning on the front of the GPO CD case, in giant yellow letters on a black background, with a skull and bones, and maybe some dripping blood, reminiscent of your typical 80\'s metal cd cover. And the warning should say:
Glissando Harp Midi Data Packets are too fun. Glissandi may lead to damaged cuticles!!
I haven\'t used the harp packets yet to be sure, but another side benefit to using them is that they may help a beginning orchestrator to compose harp music that is actually playable by a harpist. By being confined to this approach, it more closely emulates the way a harp player actually plays and just by learning how the midi packets work...a student of orchestration would learn a lot about arranging for harp.
In my orchestration class we had to make a cardboard pedal \"calculator\" to help us figure out pedal positions as we arrange.
my 2 cents based on what I\'ve read so far..
One thing I would like to know about this harp midi packet package..is..what notes in the score or midi track will be used? If my goal is compose an arrangement that will eventually be printed out and played by a real harpist..then I want to enter the notes as they should be printed out. I don\'t want to enter a c major scale run every time, even though Kontakt might be playing the right notes for me...I want to effect what is actually saved in the midi track.
Do these midi packets only effect kontakt playback features? What I\'m asking for may in fact not be possible without some kind of midi plugin I reckon.