Hey guys. I thank you all again. This is really new stuff for most EXS perf tool OSX users.

I was leaving the office earlier an ddidn't have time to reply. And right now I am grabbing some dinner so now isn't great either. But when I get in later tonight I want to respond to all those things that have stimulated a response from me and I look forward to it. Thanks all.

Right off the bat, I can tell you and Herb, not to worry about me "chopping up the library" because I have already completed converting all the First Edition repetition instruments into ALTERNATION TOOL instruments. And teh result is that they sound 100% real and you can play them 100% live, and at ANY tempo 100% live. So for LIVE playback purposes what I have done is NOT harmful, but rather helpful.

I will talk more about it later tonight, and I will choose ONE of my conversions and upload it so that the VSL team and indeed other users can try it out.

Any votes on which instrument First Edition EXS users would like me to upload?

Evan Evans

Just to confirm proper (or at least originally intended) use of the repitition tool: You are not actually suppose to hold a note down long enough to hear a sampled repitition but are always jumping to the first note of the next repitition - correct?

Dave Connor

dpcon@pacificnet.net

I was right in thinking that not everybody understands how this works! Please read my post above (and I don't mean that to sound arrogant, I just want to help).

Holding the note down gives you the recorded performance at its original tempo. Playing the notes at that speed or faster lets you play at your tempo.

Obviously, you can't play slower than the recorded tempo, because the next note in the recording will play before you play yours. But you can play a lot faster, up to the point at which the notes would overlap and sound ridiculous.

I find the dynamic repetitions the most useful; the standard ones are often only subtly different from using the Alternation tool - and even that isn't always patently obvious, depending on the program and the context.

Nick,

I did read your post which is still not as clear as it could be.
For example if you said: "The performance tool may be used by holding a note down and sounding those repititions at the recorded tempo or by jumping to the next note of the next repitition at slightly faster tempos" you would have an unambiguous answer.

My question is: is the above statement correct as far as the original intention of the tool? Please answer yes or no than you may refer me to any number of postings.

Please understand that the PDF file says holding notes down is incorrect usage of the tool. Hence my desire for clarity.

Sincerly,

Dave Connor

@Another User said:

I did read your post which is still not as clear as it could be.

Gee, and I've been thinking all along that I did a pretty good job! [:)]

The answer to your question is that you play each note normally, i.e. you hold it down as long as you want it to sound, ||: then play the next one and hold it as long as you want it to sound : || You *could* hold down the key and play the whole recorded performance of several notes, but then you're limited to that exact recording, plus the software is going to play the next program set up in the Repetition Tool next time you play a key. It's sort of like eating bark: you certainly could, but why would you want to?

Put another way, the repetition tool is switching programs every time you play a key. These programs essentially start with successive (or different) notes in the recorded performance of several notes. So if you play the notes one by one, you're triggering the next program at your tempo, not the recorded tempo.

Again, if you play too slowly, the next note in the recorded performance is going to sound whenever it wants (i.e. as it was recorded, which will be early), so you have to play faster than the recorded tempo for this to work. Or you can play at the recorded tempo; you just can't play slower, or the recording will get ahead of you. Conversely, you can't play so fast that the notes overlap because they're too long.

The objects of the exercise are to avoid playing the exact same note with every repetition and also to capture the transitions between notes.

Make more sense now? Or should I switch careers?

@Nick Batzdorf said:

Makee more sense now? Or should I switch careers?

Nick,

With absolutely all due respect, and sensitivity to not hurting your feelings, I think your explanations are difficult to wrap one's mind around. I have a similar problem as well. This is why I marvel at instructional manuals and books which, on the rare occasion you have a good one written by a great explainer, show how to do something with incredibly few words and outlined with extraordinary simplicity.

I do understand hopw the tool works now. But that is from my own endeavors for the pursuit of it's understanding. Armed with this knowledge, and as an unbiased person reading your posts, I can say that your explanations do not explain with a degree of simple logic. In fact, I see multiple paragraphs where you even correct what you've said, or try to wittle it down to simpler terms. It would be great to just have the simplest terms right off the bat.

Anyway, I encourage your postings, but you asked, and I wanted to say honestly that I have a hard time compiling your code. [:)]

I have the same problem trying to come up with music for Comedies! yuck.

Evan Evans

@dpcon said:

"The performance tool may be used by holding a note down and sounding those repititions at the recorded tempo or by jumping to the next note of the next repitition at slightly faster tempos"

Dude,
Good job. let me see if I can edit that to make it an even clearer attempt:

"The performance repetition instruments may be used by either holding a note down which sounds their underlying repititions at their original recorded tempo, or by lifting and retriggering the note which automatically jumps to the next note in the recorded repetition thereby allowing for the repetition notes to happen in a succession at, or faster than, the underlying recorded tempo."

It's almost there I can feel it. How's that? A little cryptic probably but maybe it's getting there. [*-)]

Evan Evans

@Another User said:

With absolutely all due respect, and sensitivity to not hurting your feelings, I think your explanations are difficult to wrap one's mind around. I have a similar problem as well. This is why I marvel at instructional manuals and books which, on the rare occasion you have a good one written by a great explainer, show how to do something with incredibly few words and outlined with extraordinary simplicity.

With absolutely all due respect and sensitivity to not hurting your feelings, I think your music, essays, and programming suck. It's always great when you hear well-written music, read a good essay, or use something that's been programmed well.

None of that's true, of course, but I had to say it just for fun.

[6]

@Another User said:

you can program various numbers of repetitions, either by leaving out some of the recorded notes or (if you need more than the number of recorded repetitions) by looping back to an earlier note.

In other words, you can tell it which of the five (for example) recorded notes to play. That's what the 1 1 1 1 0 stuff is doing. You can program 1_345, for example, leaving out bom #2.

Or you can hold down the key and it'll go 12345 at the original recorded tempo.

If that's not how it works, at least I've explained my misconceptions now! I think!

@Another User said:

With absolutely all due respect, and sensitivity to not hurting your feelings, I think your explanations are difficult to wrap one's mind around. I have a similar problem as well. This is why I marvel at instructional manuals and books which, on the rare occasion you have a good one written by a great explainer, show how to do something with incredibly few words and outlined with extraordinary simplicity.

With absolutely all due respect and sensitivity to not hurting your feelings, I think your music, essays, and programming suck. It's always great when you hear well-written music, read a good essay, or use something that's been programmed well.

None of that's true, of course, but I had to say it just for fun.

[6]Oh you ****. You had me going there. LOL. [[:)]] I was like, whatver man!

Very funny. YOu had me. i am so naive.

[[:)]]

Evan Evans

@Nick Batzdorf said:

[...] Make more sense now? Or should I switch careers?

No, Nick! Don't do it! You would have to make music, in this case!!

LOL [:D]

/Dietz (ducks and runs)

That would be horrible! Forget it, I'm going to keep confusing people with my bad writing. [H]

What charming discourse (fun conversation) we have around here. Well, the riddle is solved: do whatever you want with the repitition tool as long as the results don't suck.

Actually Nick, I appreciate your efforts to clarify proper use of the rep tool. I have surmised that jumping to the successive program by actually hitting another note is the nominal (normal) way of using the tool. Holding a note down to hear repititions might be something that works now and then if the tempo is exactly right. BINGO!

[:D]

Dave Connor