According to Julian it's rather more complex than that......

DG

@DG said:

According to Julian it's rather more complex than that......

DG

Catch me up on Julian's take, if you don't mind... I missed that post.

@DG said:

According to Julian it's rather more complex than that......

DG

Catch me up on Julian's take, if you don't mind... I missed that post.
I wish that I could help. I think it was something to do with hardware synths, but as I don't use Logic I didn't pay much attention I'm afraid.

DG

JWL,

Thanks for pointing it out! I missed this!

I think I need to spend a few nights alone with Logic...just some time alone with it not distracted by projects...that way I get to know it more intimately than I already do...jeez...you think you know a program, and then you find that you don't!...yup, I'm going to geekazoid hell for saying that just now.

Josh

The Preference JWL pointed out changes the read-out in the transport, the Event List, monitors in the Environment, and the Matrix. But it doesn't change the EXS keyboard or the keyboards in the Environment, both of which default to C3 as Middle C (Yamaha).

I sometimes cable a transformer that adds an octave to the Environment keyboards (for display purposes only). But the keyboard in EXS -- so important for editing and assigning samples -- is fixed to the Yamaha standard.

What's odd is that I just used a Yamaha P80 keyboard and entered Middle-C using both the Roland and Yamaha settings. In both cases they both sounded and displayed correctly.

The important thing is to get the keyboard to play the properly corresponding pitches regardless of what Logic, Yamaha, or Roland chooses to "call" those pitches. The keyboard really should have a *passive* mode of some sort-- a transposition offest 1 octave +/-? From there, the preference in Logic can be set accordingly for the sake of display.

***

Hey Josh--

This has been the week for lots of us finding the simplest of settings that have gone for months without being noticed. I'm spending the summer with several DAWs to compare features, go over uncharted territories, opening windows I didn't even know existed. On another forum, someone asked a question about a feature of a DAW-- and I instantly devised a complex workaround (because the feature was hard to locate and not clearly spelled out in the manual). Someone else chimed in and said-- "why don't you just click 'button-x' and you're done".

I felt like a total ding-ding.

JWL,

thanks for your thoughts there..sometimes really easy to feel like an idiot when you miss something! It's also good to know that I'm in good company with testing out systems.

In case anyone happened to be wondering...and I guess to clarify a bit, I started this thread because when I go into the matrix editor in Logic to pencil in keyswitches, I've sometimes gotten confused about which octave they were in!

Josh

Josh-

For fear of overlooking a simpler solution:

VI will respond to non recorded keyswitches-- if you want to dot in keyswitches manually, just play a keyswitch and then play a note within instrument range to see if it works. Keep pecking away until you find the articulation you want. Make a note of it so that you don't have to hunt and peck every time:

Even when everything plays and displays properly, I've made little templates for my keyswitches. A piece of cardboard at least an inch or two high and an octave wide (one each for high and low instruments) was scored in widths matching my keyboard's notes. This cardboard was placed vertically behind the black notes, out of the way of the playing area. You could also run a piece of masking tape just above and across the keyboard, scoring it the same way to match the key widths, marking your keyswitches once and for all.

Either way, depending upon the height of your tape or cardboard-- and how large or small you write-- you can layer in at least three sets of keyswitches on one template. I'm trying to further standardize how I like to work to minimize how many different keyswitches I use. After a while a routine sets in and the template is memorized.

(Now, if someone chimes in and says "oh, just click button 'x' ", I'm going to croak!)

You can label actual keys using a Mapped Instrument.

It's more helpful in Event List (see below). There's a catch in the vertical Matrix keyboard: the labels read-out only on C's and F's. Still, you could use that to mark which octave begins the keyswitching. It's a good visual clue.

And *every* label will show up in Event List. So you could click on a penciled-in note (keyswitch) in Matrix, hit an up or down transpose key command, and in Event List it would scroll through, say, "Staccato," "Portato Long," "Pizz," etc.

Obviously, you would have to add these labels yourself. It's not reading VI or figuring anything out on its own. Then, the mapped instrument would have to be a dummy object assigned to an Arrange track (for display purposes) and subsequently cabled to a VI in Environment (to make the sound).

cool ideas guys. This question, I may have already mentioned this, and if so, I'm sorry I'm being a broken record...my original question came up when I had trouble remembering the conversion from VI instance to matrix editor...when I'm penciling in the note, I actually watch the (I think it's in the upper left corner) display tell me which pitch my mouse is on in the matrix window...

more more info for me to consider! yay...and empowering.

Josh