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This is why I said make your keyswitches almost legato and then wherever you click there will be a note on active for a keyswitch. Cubase can only chase a keyswitch if one is active. In your example there is no KS active, so Vienna Instruments doesn't change from the last articulation played.
DG
@Suntower said:
So let me get this straight: sorry if this seems too obvious...
Each of your keyswitch 'notes' is as long as the length of the passage with that articulation?
IOW: if you have a 32 bar legato melody, the length of the keyswitch note is basically 32 bars?
---JC
In a nutshell, yes. I have a macro set up that means I can enter KS and make them legato, minus a few ticks, with one Key Command.
DG
@Suntower said:
... if you have a 32 bar legato melody, the length of the keyswitch note is basically 32 bars?
Another possibility: Set the keyswitch again from time to time with such long distances to a next keyswitch.
Much more better: Use more different articulations. For 32 bars the same articulation? Isn't this boring?
Sorry for being a bit provocatively [;)]
Beat
When mapping keyswitches, I seek to place the new keyswitch just before the note sounds, and keep the keyswitches at a very short duration. If the part consists of eighth notes, I will use 16th note keyswitches, if playing 16th notes, 32nd note keyswitches, etc., but not longer than 16th notes. Keyswitches are placed on a separate staff for each part and then imported into an empty layer of the instrument part just before exporting the notation file into my sequencer.
In essence, as DG said, when going back to a previous spot, if you do not have a keyswitch at that spot, the VI will play the last selected patch until your next keyswitch. If one has to keep going back to a particular spot, one can always add an extra duplicate keyswitch at that point. Note that I use Finale and Sonar, not Cubase.
HTH
I'm not sure that my macro wold work for you, unless you have the same keyswitches set up. However it basically fulfills the following commands:
Because of my particular set-up there are other things to consider that may not be useful for you. For example, I enter the majority of KS in Steptime, so my macro switches this on and off, as well as reducing the length of all KS so that they don't overlap.
DG
Yeah, ya kinda lost me at the word 'Steptime'. Get behind me Satan! :D
But thanks! Seriously. I think there may be something there... I gotta give it some thought.
The whole idea (for -me- anyway) is to do a 'performance' and then move on. I know 99% of my questions come off as numbskull because I just do NOT want to work 'in the computer'... either in Sibelius or do lots of 'passes' in MIDI. I'm obviously fighting reality.
Cheers,
---JC
I use the Cubase expression maps. They chase correctly without further programming. They also have clear identifying names, so you don't have to watch your keyswitch list to know where is the articulation that you want. You just have to set them up the way you like them. I have two sets per instrument : the essencial, which is the one you use 90 % of the time, and the complete, for the rare occasions you need more.
That's exactly the way I do it since I found out there is something like this! Works like a charm. I also use a "basic" and a "full" set.
I can recommend this!
Maybe it's old news for you but I found this by chance looking for more info on "Cubase expression maps" (includes VSL):
http://www.steinberg.net/en/support/content_and_accessories/expression_maps_for_vst_expression.html
Does anyone know if the equivalent exist in Sonar X1? Thanks!
Hello iamnemo and others!
The Steinberg Expression Maps page only offers a few old versions of our Expression Maps. Please download the latest versions at the following page:
http://www.vsl.co.at/en/68/141/460/1602/1288.htm
As far as I know there is no equivalent for Sonar.
Best regards,
Andi
