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Topic: Tom's Flute Tutorial

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  1. #1

    Tom's Flute Tutorial

    Not much more to say than that. Everything's set up properly in the midi and the GPO options menu (Because I know you were all ready to jump on that).

    In fact, if I unload the VST, and reroute the midi through the GPO Studio, it sounds perfect. But for some reason, it just doesn't work in the VST.

    Any ideas? Is this a known issue?

    -Tonamel

  2. #2

    Re: GPO VST: Legato doesn't work

    This sounds odd. No, this is not a known issue. The legato works for me whether I'm in Studio, Bidule, Cubase LE, or whatever. Could you possible post a midi file that exhibits the problem? If you can't you could email it to me for investigation.

  3. #3

    Re: GPO VST: Legato doesn't work

    A segment of the offending MIDI

    What it sounds like when played through the VST (Flute Solo V) in Cubase SX

    You know what? Out of curiosity, I just tried it in Tracktion, and it works fine. Hmm...

  4. #4

    Re: GPO VST: Legato doesn't work

    Tonamel,

    I imported your MIDI file into CubaseSX and found that it didn't have the clipped note problems exhibited by your mp3 file. Perhaps if you posted a link to the offending portion as a Cubase file, instead of as a MIDI file, I could spot the problem.

    A question for you: I noticed that your file doesn't contain any of the necessary mod wheel data (cc1). You seem to have some dynamically adjusted volume data (cc7) but, for the most part, not to the point of expressive shaping. To review the way things should be handled in GPO for Expressive instruments like the flute: All dynamic volume shaping should be accomplished with cc1 while cc7 (if activated in the Options menu of the player) should be used for setting the static level of the track.

    Tom

  5. #5

    Re: GPO VST: Legato doesn't work

    The Cubase file

    Quote Originally Posted by Tom Hopkins
    A question for you: I noticed that your file doesn't contain any of the necessary mod wheel data (cc1). You seem to have some dynamically adjusted volume data (cc7) but, for the most part, not to the point of expressive shaping. To review the way things should be handled in GPO for Expressive instruments like the flute: All dynamic volume shaping should be accomplished with cc1 while cc7 (if activated in the Options menu of the player) should be used for setting the static level of the track.
    Ah! I'm rather new to GPO, and I thought that cc7 was intended to replace cc1 with that option turned on. Now I am alerted to the error of my ways.

    Is there a tutorial on expressive shaping somewhere for my perusal?

  6. #6

    Re: GPO VST: Legato doesn't work

    Tonamel,

    I loaded the Cubase file and still did not experience the clipped notes of your mp3. I did notice that the file loaded with the player in the wrong pedal mode. It should be in the second mode and it was, instead, in the first. Check that on your system in the player's Options menu. Nevertheless, it sounds like something else is happening in your system. Nothing occurs to me right now that would elicit those particular symptoms.

    As to tutorials, check out Danielle's string tutorial. It goes into some detail on expressive mod wheel data. I will also take some time over the next couple of days to modify the data in your flute track to illustrate the intended use of the various controllers. I'll post it here when I'm finished.

    Tom

  7. #7

    Re: GPO VST: Legato doesn't work

    Here's the link to the thread on Danielle's tutorial: http://www.northernsounds.com/forum/...ad.php?t=29041

  8. #8

    Re: GPO VST: Legato doesn't work

    Thanks

  9. #9

    Re: GPO VST: Legato doesn't work

    Tonamel,

    As I promised, here's a quick tutorial for using GPO controllers with the flute file. Actually, this is less a tutorial than a group of illustrations. I've made a number of modifications to the data compared to the original file to illustrate the use of the various controllers in GPO. Keep in mind that the choices I have made are among myriad choices that could be made by the user. All sorts of interpretive variations could be applied. Also, I've worked rather quickly preparing this so additional refinements certainly could be made. Sometimes I have chosen to add a controller (e.g. portamento in bar 2, top note) just for the purpose of illustration. I have also added articulations and accents to show how these are accomplished. Not knowing the musical context of the flute makes it impossible for me to know how the articulation choices fit into the musical scheme of this particular project, but that is not my purpose here. Instead, I've tried to give examles of different situations and how these can be approached using the available tools. I have tried to modify the original notes of the file as little as possible. The mix is placed in an intimate acoustic using Ambience (Jazz Club 2 setting). All of the information below assumes the user has applied the latest GPO update.

    1. First thing up was giving the virtual flute player room to breathe. This is a very "busy" flute part which makes it difficult to find sufficient room for comfortable breaks. As a result, I have had to rely upon very short "catch" breaths in a number of places. Otherwise, the part would need to be re-written to create larger phrase breaks for the player. Longer breath opportunities take place at locations like bar 2, beat3; bar 4, beat 1; bar 6, beat 3; and bar 8 beat 2, among others. Shorter, "catch" breaths occur in the midst of the long, relatively unbroken series of notes. These breaks always result in the foreshortening of certain notes to accommodate the need to take the breath. Examples would be bar 5, prior to beat 3; prior to bar 10, beat 1; prior to bar 11, beat 1; after the 3rd note of bar 12; and others.

    2. For the purposes of this tutorial I have removed the cc7 data and disabled the cc7 option in the player. Static level of the flute is controlled by the setting of the volume knob in the player and, of course, the level settings within CubaseSX.

    3. Dynamic mod wheel data (cc1) has been added for volume/timbre shaping. Notice the nearly constant expressive fluxuations of the data.

    4. Sustain pedal data has been modified to reflect tongue/slur articulations. First notes of phrases are always tongued. At bar 8, beat 3 I have chosen articulations which involve tongue/slur combinations in relatively intricate, but commonly encountered, patterns. Certain notes of the patterns are accented by increasing the velocity value for those notes. Remember, velocity control of attack strength is only available for tongued notes (sustain pedal up). Examine the groupings throughout the file to see where I have chosen to apply slurs (sustain pedal down).

    5. Two of the rapid arpeggios (bar 3 and bar 13) sounded unnaturally fast and even, so I used tempo data to slow them slightly. I also modified positioning and overlaps of the note data to make it more "human."

    6. In line with the previous point, I modified many note positions when I felt they sounded unnaturally even. An even better approach (but one I did not take the time to do) would be to actually play the entire part in from a keyboard or wind controller. More natural expression can usually be achieved this way. If one's keyboard skills aren't up to the task at the given tempo, the tempo should be slowed during recording and returned to the original afterward.

    7. Rapid runs and arpeggios are especially difficult with samples. I have applied several of the tools in GPO designed to help with this. The first is VAR 1 (cc22). This adds random intonational variations. Notice that I have applied it to the rapidly moving notes but not the start and end notes of a run or arpeggio. Wind players use their ears to center intonation but the notes must be of sufficient duration for the player to have time to make these adjustments. Rapid notes in runs and arpeggios are almost never perfectly in tune as a result. Applying intonational variations to these notes more closely emulates a real player. The next controller is VAR 2 (cc23). This adds random variations in timbre. This is also applied selectively, like VAR 1, to the rapid notes and any repeated notes to increase note-to-note variations. Portamento control (cc20) has been applied to the same notes, but confined carefully to only the slurred notes to avoid cross-layer pitch problems. Portamento adds a very subtle amount of "slide" to the transitions between rapid notes. Finally, notice that the volume of the descending/ascending arpeggios gets lower as it descends and gets louder as it ascends.

    8. The "length" controller (cc21) has been applied to the rapidly moving notes too. I have found that I prefer the sound of rapid runs and arpeggios with the cc21 control set to "0" for the duration of the rapid notes.

    There you have a description of the use of GPO controllers for this flute part. The principles of this example can be applied to all wind instruments and certain principles can be applied to string instruments as well.

    I have supplied an mp3 file for reference, a CubaseSX file (where this tutorial was created), and a MIDI file for those who don't have CubaseSX. Here are the links:

    http://www.garritan.com/tutorial/flu...teTutorial.mp3

    http://www.garritan.com/tutorial/flu...teTutorial.cpr

    http://www.garritan.com/tutorial/flu...teTutorial.mid

    Tom

  10. #10

    Re: GPO VST: Legato doesn't work

    Quote Originally Posted by Tom Hopkins
    Tonamel,

    As I promised, ...
    Tom
    Man oh man, you must surely have come from the far away land of Altruistica. See, Tonamel, what you get for your 250 bucks. Have you ever spent in a better way?

    The Magi are long gone, but not in the world of GPO.

    Ed

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