craigallen2 wroteSo, you are stating:
My responses and thoughts are listed per item, as follows . . .
craigallen2 wrote- The entire package of Notion is now within Studio 1 Pro, v.6.
(Why is this not mentioned in any of the upgrade promo?)
I am stating that everything I need to do and was doing in NOTION can be done in Studio One Profesional 6.0.1, and it's easier to do . . .
There are a lot of things NOTION does that I do
not need to do, so I am not listing everything in a side-by-side checklist . . .
I do
not print sheet music--other than for an occasional printing exercise, which is rare--so this is not something I have added to a checklist . . .
I do
not create custom rules, so that's another thing . . .
Whenever possible I avoid specifying and using accidentals, articulations, dynamics, playing styles, repeats, and first and second endings; so those also are things about which I do not care . . .
With the exception of sharps, flats, and natural accidentals which at times are necessary, I consider all the other stuff to be "busy work" for no typically useful purpose other than to document the way music should be played for sheet music annotating purposes . . .
Stuff like this
never is a total waste of time, of course; but for what I need to do it serves no useful purpose . . .
This is based strongly on a few basic facts of digital music production and acoustic physics, one of which is that no matter how you do it, the result is played through amplified loudspeakers, headphones, or Apple AirPods, and this makes nearly all the esoteric stuff complete and total nonsense . . .
[
NOTE: I am having a similar conversation in the PreSonus Studio One Forum, and one of my posts goes into vast detail explaining the reason a lot of stuff can be described correctly as being extraordinarily silly wastes of time by people who simply do not know better and for whom nobody has taken the time to explain acoustic physics in a way they can understand. This includes a small treatise on what I call "diatonically sampled-sound libraries" and "chromatically sampled-sound libraries", where the high-level version is that at least half the notes played using a diatonically sampled-sound library are computed, hence are not so different from the tone of a 1960s Farfisa Combo Organ, which makes elaborate articulations mostly frivolous. For reference, I think Studio One folks (a) probably do not wander into composing with music notation and (b) tend to think I have teleported into their forum from the planet "Chatty", but so what . . . ]
I use the default key signature, which I suppose is
C Major or
A minor, although it could be others depending which white key one starts an octave of adjacent white keys . . .
[
NOTE: If you start on "Middle C" (C4) and play adjacent white keys only, then it's Ionian; but if you start on D5, then it's Dorian, probably "D" Dorian, and so forth (Ionian, Dorian, Phyrgian, Lydian, Mixolydian Aeolian, Locrian, or "I Don't Play Lydian Mode A Lot"). . . ]
If a note needs to be sharped or flatted, then I sharp it or flat it; and in such instances this can include using the natural or ("undo") accidental . . .
I do nearly everything on
soprano treble clef staves, and I use transposition to cause bass notes to be played two-octaves lower than notated and to cause guitar notes to be played one-octave lower than notated . . .
This lets me work with 12 notes and 10 octaves, which is
mathematically elegant . . .
I am comfortable with sight-singing and working with notes a few lines below the treble staff and notes a few lines above the treble staff, which is a range of three or so octaves, but for bass and guitar extends lower, of course, although nevertheless is about three octaves--just one or two octaves lower than notated . . .
For practical purposes, this is sufficient for electric bass, rhythm guitar, Hammond B-3X organ, lead guitar, violin, flute, tenor saxophone, trumpet, trombone, and so forth . . .
I was in a liturgical boys choir, so I learned to sight-sing soprano treble clef; but a few years later I started playing string bass and the notes were lower in pitch, although I never learned to sight-read bass clef (or any of the other strange clefs) . . .
Nobody told me I was not a soprano, so until a few years ago I continued to think I was a soprano; but I eventually connected the dots and realized I am a baritone, which explained a lot things . . .
Bass notes are lower pitch, but there are 12 of them, so the only difference in my mind is the respective octave . . .
There are only 12 notes, but they can appear in 10 or so octaves, at least 2 of which octaves exist solely to entertain bats, birds, cats, dogs, dolphins, porpoises, sea turtles, and whales, since they are the only biologicals that can hear them--other than babies and children who never have attended a KISS, Justin Bieber, Metallica, Miley Cyrus, or Rammstein concert and sat near the stage and sound reinforcement system . . .
Lots of these things were devised centuries ago with the primary goal being to discourage peasants from pursuing careers as professional musicians and singers; but some of them were devised to conserve paper and ink (for example, repeats, first and second endings, and so forth) . . .
Other things like having a virtual festival of clefs were done to compartmentalize knowledge so only one person--the composer or the conductor--was able to understand everything . . .
The musicians and singers understood only their respective clefs . . .
craigallen2 wrote- It works wonderfully in S1p6.
True! craigallen2 wrote- Actually is EASIER than working with Notion.
True! Much easier and more efficient use of time . . .
craigallen2 wroteIs your goal MIDI performance? Or Notation print out?
My goal is to create deep and rich songs and science fiction radio plays, where this is the current chapter in my ongoing science fiction radio play, "Extreme Gravity" . . .
[
NOTE: This is mixed specifically for listening with studio-quality headphones and Apple AirPods . . . ]
When I decide to sell something, I do a final round of producing, mixing, and mastering and then release it as an audio file in a suitable format, where the strategy is to sell it on Amazon, Apple iTunes, and so forth . . .
Without giving specific thought, I am not certain what "MIDI performance" might be, although I have a few guesses but nothing precise . . .
As stated, I do
not print music notation, and I cannot afford to hire musicians who can read sheet music--or any musicians, at all, really . . .
When I have an actual musical group, the musicians and singers are like-minded in the sense that we all have an unique language for conveying musical information, which is similar in details to Nashville Notation but without all the complex "music theory" stuff and mostly is a matter of a curious shorthand learned when we were in garage bands . . .
The shorthand is based on the first song with a specific set of chords and other musical stuff that we learned by playing a vinyl record over-and-over to identify chords, bass lines, lead guitar solos, drumkit rhythms, and so forth . . .
For example, if the goal is to play 12-bar blues in "G", then all we need to know is that it's a "Stormy Monday", since that song is in "G", although I prefer "A" . . .
If there is a horn section, they will demand to play it in "F" or "B♭", in which cases it's a "Stormy Monday in F or B♭" although it's still a "Stormy Monday" but in an initially unknown key due to there being a horn section, in which case the first few measures are focused on determining the key in which the horn section has decided to play, where the trick is to suggest the horn section starts the song
a cappella . . .
We all have relative pitch, but there usually is someone who has perfect pitch, in which they identify the key the horn section has selected and then tell everyone else . . .
[
NOTE: Since I started playing bass, there are single keys in the sense of "A", B♭", "B", and so forth. When I taught myself rhythm guitar, horn sections played havoc until I discovered Barre chords, and now no horn section can defeat me . . . ]
Another example is the "Purple Haze" or "Jimi Hendrix" chord, which is all I need to know and does not require me to devote perhaps 15 minutes trying to find the "music theory" information about it, although I recall it's a 9th and a 7th or something . . .
I know the chord on guitar, so all I need to know is "Purple Haze" or "Jimi Hendrix", which for me is vastly easier to remember . . .
[
NOTE: Is this just a coincidence? ]
What about a 1-4-5 pattern?
It's a "Louie Louie" . . .
What about 1-6-4-5 (C-Am-F-G} in one flavor or another?
It's a "Sleepwalk" . . .
Once you know "Louie Louie" and "Sleepwalk", you can play 90-percent of all popular songs; and when you add "Heat Wave" (which has an "Upside-Down Louie Louie", a "Reverse Walk Don't Run", and a "Rock-Back-And Forth" tag) and "Walk Don't Run", it's every popular song composed, performed, and recorded over the past 120 years, more or less . . .
craigallen2 wroteOnce everything is composed in Studio One, what is the process now for Printing charts for musicians? Is still needs to go back to Notion, correct?
Studio One Professional 6.0.1 has minimal printing capabilities for scores; so in this instance, I think if you need charts for each instrument and vocalist, then you need to send it to NOTION . . .
This is
not something I do; but based on doing a few experiments, I think there is a practical way to do it . . .
The key to doing this easily and repeatably while you are developing the song is to determine the rules for naming Instrument Tracks in Studio One Professional 6.0.1 and NOTION 6.8.2 . . .
There are some rules for names, where recently an Instrument Track with piano needed to be named "Piano" to ensure it maps to a Piano staff in NOTION with the native NOTION piano . . .
I experimented with this a while several months ago, and in some instances if you start with a VSTi virtual instrument staff in NOTION, it is sent correctly to Studio One along with the information for the VSTi virtual instrument on the corresponding Instrument Track . . .
I remember this, because I thought it was an impressive bit of software engineering by the PreSonus software engineers . . .
At present, I do not know all the applicable rules, but I feel confident there is an easy way to do this, regardless of the goal being to print charts or just to work with the music notation in NOTION rather than in Studio One Professional 6.0.1, although as noted it's not something I need to do at present . . .
I make no promises, but as time allows I plan to do some experiments to identify the rules for Send/Receive that work reliably . . .
Lots of FUN!