You select the next note, and press Ctrl+Alt+F1 -> Perf universal You select the first tremolo note, press Ctrl+Alt+F1 then Ctrl+Alt+5 -> tremolo You select the first note, press Ctrl+Alt+F1 -> Perf universal (you don't need to select a keyswitch). Let's say you want to use the perf universal sound and then, tremolo for one note. I don't know if it could be interesting for someone, but I made a module for Plogue Bidule which allow you to forget the keyswitches :Īnd i've made some shortcuts and macros for Cubase/Nuendo : (Comes of not wanting to waste valuable parchment when i was a student.) (Understanding of course you'll still need the modwheel/controllers on occasion.)īy the way, how's the score editor in cubase these days? Last time i looked, (Cubase 5) it was completely horrible!įinally, i'm rather old fashioned with inputting, preferring a predominately manual approach, so take it with a pinch of salt, as i tend to worry over every note! Right down to note selection on the numerical keypad. I did this myself, and it really got things moving at a better rate. This seems like a convoluted process, but i would think with VI's, you could scale this down considerably, and the option to have a 'real score' with switched artics would be extremely useful.Īs a matter of interest, can you assign keyswitches to your qwerty keyboard at all? If i'm then to go to work on the nuances at a deeper level, i then export the midi to one of 4 orchestral templates (by section) and concentrate on getting the best sound i can with what i have. And as i do 90% of my work now in Logic's score editor (cos i learnt much recently, lol) I've hooked the performance tool up to show in the score editor as a 'real score.' For a quick draft however, i use a simple layout with 4 or 5 articulations per section (strings) put through Kai's performance tool, lashed to a selfbuilt soundbank that lets me work at speed, and doesn't tax the laptop too much. I use folders too, for big layouts, and it seems to work ok. Whatever approach you decide to try, good luck with it.Īs a generic point about using large templates, it's really up to you which way you organise yourself. I don't think that's a problem: the release samples are triggered automatically when notes end, the only way you could prevent them from sounding would be to write ridiculously long notes into your score! >You could argue that by using a different VI for each articulation, you don't allow VI to shut off releases when moving from one articulation to another When a switch command occurs the GUI instantly changes to show the new articulation, so although it's sometimes hard to keep track of the MIDI CC data you can always see the currently active articulation on screen. Using the VI in the way its designers intended gives you up to 144 possible articulations on one MIDI channel, a very powerful and flexible system. Your suggested Cubase set-up sounds supremely logical (providing the Cubase folder system allows each track within a folder to operate on a separate MIDI channel), but there is a technical drawback: if you use a separate VI instance for each articulation it will tend to put quite a strain on CPU, especially in a large orchestration. As regards keyswitches, if you used MIDI CC messages instead you wouldn't get any unwanted notes in your score. You could argue that by using a different VI for each articulation, you don't allow VI to shut off releases when moving from one articulation to another, but I'm not sure if this would be an issue anyway. I was wondering if anyone else here has used such a technique or whether they had any better suggestions of approach? But when unfolded, it is immediately obvious which articulation is playing when. So, for flute legato and stacatto, I would have two tracks, which when folded, would appear as a single track. Each instrument would then be folded into a single instrument folder, each articulation being assigned a different track. So - I was considering using folders (I use Cubase4) and having a separate VSL instrument per articulation, per instrument. A large orchestration becomes unwieldy as a result and doesn't shout back at me what it is doing at any moment in time. However, personally, because I don't tend to play performances in live (I notate), I don't find live keyswitching beneficial.Īs a result, the midi-note 'corruption' is not only messy (especially when I do an auto-transpose), it also doesn't easily indicate to me what articulation I am currently using. VSL - as we know - provides configurable controller setup, including keyswitching. I've tried out a number of workflow approaches with VSL and was wondering what other composers have discovered works best for them.
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