In order not to conceal this wonderful tutorial "String Tutorial by Jim Walraven" with dozens of messages, I tranferred the discussion to a new thread.

I've read this twice and studied the fingering as suggested. It comes down to a couple of things, namely :

  1. the real portamento depends upon the distance the player has to travel from note to note on the string without lifting his fingers;
  2. with great distances there is always the danger (accepted) of not getting the right pitch immediately, so a "glitch" is noticeable;
  3. it is not so easy, or even impossible, to have a portamento together with a legato when the distances of the adjacent notes span more than the width of the hand (fingering questions within the position);
  4. ..... and some more considerations .... I don't know how to word these.
However, roughly spoken, beware of note jumps in general.

But, now the translation of all this in GPO together with Sonar or some other sequencer. (please read the tutorial, it gives a lot more info with better arguments than mine!!) . Some pitch-bends within the jump must be there and only at the beginning of the second note (to avoid: "the old bow" problem Jim talks about). Also the time between the two notes must be larger than the Midi dictates, to give the player time to travel.

I tried to play around with pitch-bend (with the wheel) but that is not as easy as the manual (the midi manual) says. I practiced it for more than an hour but the results were very disappointing (sounded like a children orchestra - you know those Suzuki classrooms filled with japanese 4 year old kids).

I also tried to apply the portamento control (from the GPO manual) and that is not easy as well. But it can be done with careful settings.

My question is really: are there any other methods to achieve this in Sonar/GPO? Page 3 of the Audio Mixing Tutorial by Dan Kury shows a picture of pitch bending. How did he do that (and with the mouse)?