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Topic: MIDI Composition

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  1. #1

    Smile MIDI Composition

    Hey guys,

    I was hoping someone could offer advice in this area since it's been haunting me now for some time now. I've made it through to the present thinking perhaps I'd come up with a more efficient, quicker and ultimately better way of working but I have not, even with two screens.

    I'm well aware of creating templates so that workflow within a sequencer is quicker, however I find notating in specifically Logic's Matrix editor quite daunting and counter-intuitive. I'm more accustomed to it than any score editor, however orchestral arrangements ecompass a much higher spectrum of notes than anything else I've done.

    The idea of notating each individual part in a different matrix editor (As Logic works) is very difficult to do visually. I do read music but would love to push at this and be able to use the matrix editor for all my notation because of its strengths in velocity, transposition etc.

    Things that are bothering me include the thought of notating each instruments while being blind to all the rests existance. Having to constantly switch between instruments to check counterpoint intervals and such with every change of melody. Even just changing to a blank window to notate a new instrument. Also constructing chords across 4 or so matrix editors seems hard. Id need to do this because Id have say each strings section on it's own MIDI channel. If I wanted to have the strings play Gm lets say, I'd have to play each tone and whatever doubled parts on different matrix windows almost blindly to the other parts.

    I know there must be a more and most likely obvious reason to achieving this in a quick and painless fashion, but I have yet to see it. If anyone could provide any help or insight as to their own method of working with MIDI in Logic to compose It would be a tremendous help!

    Thanks! Sev

  2. #2

    Re: MIDI Composition

    Quote Originally Posted by pull_plug
    I'm well aware of creating templates so that workflow within a sequencer is quicker, however I find notating in specifically Logic's Matrix editor quite daunting and counter-intuitive. I'm more accustomed to it than any score editor, however orchestral arrangements ecompass a much higher spectrum of notes than anything else I've done.
    Hi,

    I've been searching for an efficient way to do this pretty much since I started using logic. Sadly, I have yet to find a really satisfying solution aswell.

    When it comes to editing counterpoint or chordal structures that are spread over multiple channels, you can mark the correspondent sequences in the arrangement window, open a matrix editor, go up a level in the editor's hierarchy (small square in the top left window corner) and select "show selected sequences only" from the view menu. Now you'll see the contents of all the sequences you've selected in one matrix editor, but unfortunately, there's no easy way to distinguish which notes are from which sequences unless you also turn on the "sequence colors" option (also in the view menu), in which case you lose the velocity colors. Apart from that, there's also no quick way to enter new notes to a specific sequence.
    You could also combine this with logic's 'content catch' and 'content link' functions, for instance by creating a screenset with 4 or 5 vertically stacked matrix editors, each one showing the whole arrangement contents at the SPL's current location, and then double-clicking on a note of whatever sequence you want to edit in that particular window. Lock that screenset so that the editors will be reset on return and you're done.

    Alternatively, write your parts on score sheets and record them once you're sure they're final. Might be more intuitive.

    Cheers,
    jan

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