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I composed a new harmony and counterpoint melody for Realivox Blue's singing and now it fits the song, which mostly was just a matter of getting in touch with my "inner liturgical choirboy" . . . :+1

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THOUGHTS

I need to listen to it a while, but I think Blue's singing is coming along nicely now . . .

There is a new, longer ending; and the second half of the song has Blue singing a few more notes and phrases . . .

This continues to be the second Studio One Professional ".song" layer; and the NOTION 6 score now has 23 ReWire MIDI staves . . .

The audio stems from the first ".song" layer are in this ".song" layer, and there are 12 virtual instruments (a combination of AU and VSTi) hosted in the second Studio One Professional ".song" layer, which is fine . . .

One of the 12 virtual instruments is Kontakt 5 (Native Instruments), and it's loaded with Realivox Blue . . .

The music notation on the respective ReWire MIDI staff in the NOTION 6 score is telling Realivox Blue which notes and phrases to sing. The phonetic script for Realivox Blue is in Kontakt 5, and at present there are two phonemes ("zah" and "tah")--which together map to "zot"--although a good bit of the time Blue is singing only the "zah" phoneme . . .

Lots of FUN! :)

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by Surf.Whammy on Sat Jul 07, 2018 1:29 am
I do nearly everything "by ear" but in a smart way that's balanced by a bit of music theory whenever it's useful, which is more often than one might imagine . . . :)

This is the new version of "Surf Zot", and it has new counterpoint for Realivox Blue (Realitone) that is tighter and fits the song . . .

It also has enhanced echoes on Realivox Blue done with some modifications to the FabFilter Software Instruments "Timeless 2" echo unit; and I made some changes to the ending . . .

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THOUGHTS

I listened to the previous version ("V17") quite a few times; and the most obvious "by ear" thing I noticed is that Blue was starting too late most of the time; so in this version I added some 1/8th and 1/16th notes to start her singing sooner rather than later . . .

The counterpoint is more melodic in this version; and I think it fits the song better . . .

Getting the starts of notes at the right times makes Blue's singing tighter, which is important because rhythm guitars and drums usually are precisely on the beat--except when they are doing syncopated rhythms . . .

Coming up, I am planning to add an explosive rhythm guitar based on the rhythm guitar sound I heard on a Metal song a few weeks ago on iHeart FM radio in their weekly "Metal Madness" program . . .

I don't know the name of the song; but (a) it's a distinct rhythm guitar sound and (b) I think I know how to create it with a combination of AmpliTube 4, SampleTank 3 (IK Multimedia), a noise gate (TrackPlug 5 [Wave Arts] or Pro-C [FabFilter Software Instruments]), and whatever else is required . . .

On a related note, prior to adding Blue, the song was focused heavily on electric guitars; but now that Blue is singing what she needs to sing, the emphasis on the electric guitars is softened a bit, which essentially makes it a simple three-chord song {A, D, E} with an interlude . . .

In turn, this makes it easier to compose a vocal melody . . .

On the lyrical side, mostly what the Aliens From Outer Space are beaming me is {monkeys|weasels}; but my job is to do, not to judge . . . :P

Lots of FUN! :)

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by Surf.Whammy on Fri Jul 20, 2018 7:06 am
I consolidated the instrument and audio tracks for the current version by doing some submixing and then created a new ".song" layer in Studio One Professional . . . :)

There are a few changes in the counterpoint harmony Realivox Blue (Realitone) is singing; and I added a second Realivox Blue harmony to the ending . . .

I also adjusted the volume levels for the drumkit and primary lead guitars . . .

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THOUGHTS

It's been a while since I did any submixing in Studio One, so I forgot how to do it; but after a bit of reading I found a way to do it, although I have no idea if it's the best or smartest way; but so what . . .

Along the way, I discovered that Studio One keeps copies of everything; and this was causing some problems when I did mixdowns of selected tracks; so I deleted all the history and then everything worked as expected . . .

I also noticed that I had recorded the MIDI sent from NOTION via ReWire MIDI for Realivox Blue, which also was a problem, because it was different from the changes I was making in NOTION; so I deleted the recorded MIDI and then everything was good . . .

For some not entirely known reason, the mixdown for a section of electric guitars (tremolo and echo metal) also had an audio track for Realivox Blue, even though I did a separate audio track for Realivox Blue; but after listening to it, I decided to keep it as a bit of serendipity, since it adds more echoes to what Realivox Blue is singing, and I like echoes . . .

In this version, there are a total of 23 instruments--23 ReWire MIDI staves in the NOTION score, which continues to be the only NOTION score, so far . . .

The audio is submixed to eight (8) tracks; and at present this is all that is in the "Layer 3" Studio One ".song" . . .

Four (4) of the submixed tracks are from "Layer 1", and the other four (4) submixed tracks are from "Layer 2" . . .

The plan at present is to record an explosive rhythm guitar and some prototype lyrics about a weasel and a monkey, which probably will be something like this:

The weasel hurled lies at the monkey to make it go away
But the monkey blocked the lies and now the weasel's going to pay

This is what the Aliens From Outer Space beamed me, so it's not my fault . . . :P

Lots of FUN! :)

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by Surf.Whammy on Sun Jul 22, 2018 5:01 am
I added two Metal sections to "Surf Zot" (before and after the Interlude) . . . :)

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THOUGHTS

This took about eight (8) hours, including the time to compose the music notation for the "Metal Monkey" sections, which is fine with me . . .

I used the Studio One Professional ".song" for "Layer 1" to record new Drumkit. Höfner Bass, Rhythm Guitars, and Lead Guitars for the "Metal Monkey" sections, with structural modifications done in Studio One and NOTION . . .

This is done with a clone of the original "Layer 1" Studio One ".song", which then was saved and modified . . .

The NOTION score also is cloned and saved with a new name; and structural changes were made to the clone . . .

The new "Layer 1" uses the existing instruments for the Drumkit, Höfner Bass, Rhythm Guitars, and Lead Guitars, which (a) makes it easier and (b) keeps the Drumkit and Höfner Bass consistent throughout the song . . .

Everything for the most recent version of "Surf Zot" (V19) already is recorded; so the new version just needed to be edited to separate the submixed audio tracks to make space available for the "Metal Monkey" sections, which also was the case for the cloned NOTION score, where for the NOTION score it's just a matter of inserting some number of empty measures--empty measures for the "Metal Monkey" sections and a set of empty measures for the already recorded "Interlude" section . . .

[NOTE: In Studio One terminology, this is called "splitting stems" . . . ]

There cannot be music notation in the cloned and modified NOTION score for the already recorded audio, because I am using different music notation to play the same instruments, albeit with a few modifications to the Rhythm Guitars and Lead Guitars . . .

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I was not planning to work on a Lead Guitar part for the "Metal Monkey" sections, but the Aliens From Outer Space beamed me some music notation; so there's a Lead Guitar melody that fits nicely . . . :+1

I ran the new Lead Guitar through a FabFilter Software Instruments "Timeless 2" syrupy echo unit, and then added music notation for more "echo notes" to the Harmony Guitar, which uses the same SampleTank 3 (IK Multimedia) legacy instrument and the same syrupy echo unit . . .

[NOTE: I like the SampleTank 2 legacy instruments; so I imported them to SampleTank 3 where they work nicely in 64-bit mode . . . ]

I probably will add a Synthesizer or something to smooth the transitions to and from the "Metal Monkey" sections; and I might use Reason (Propellerhead Software) to do this . . .

The Rhythm Guitar at far-left is not so explosive, but so what . . .

After I listen to the new version a while and start doing the "Metal Monkey" vocals, I will work on the Rhythm Guitar . . .

Lots of FUN! :)
Last edited by Surf.Whammy on Sun Mar 24, 2024 12:16 am, edited 1 time in total.

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by Surf.Whammy on Tue Jul 24, 2018 6:41 am
Repetition is good, but too much repetition is not so good . . . :)

After listening to the new "Metal Monkey" version of "Surf Zot" a few times, I decided that there were too few fast sections and too many slow sections; so I changed the song structure and made a few changes to the lead guitar phrases in the "Metal Monkey" sections . . .

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THOUGHTS

The "Metal Monkey" sections have the most energy; but the original slower sections are more melodic; so from the perspective of managing audience behaviors, it makes sense to have a "big ending", which in this instance maps to ending the song with a "Metal Monkey" section . . .

It's important for a song to have a distinctive start and a "big ending", mostly because this is what people remember first . . .

The primary focus for this version was the song structure; so I need to do some producing and audio engineering, which is the way it works here in the sound isolation studio . . .

Lots of FUN! :)
Last edited by Surf.Whammy on Sun Mar 24, 2024 12:26 am, edited 1 time in total.

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by Surf.Whammy on Tue Aug 28, 2018 8:27 am
Over the past few weeks the Aliens From Outer Space have been beaming me bits and pieces of lyrics for the "Metal Monkey" sections of "Surf Zot", which is the way it works when you have the required communication chip installed in your brain . . . :+1

THOUGHTS

After considerable pondering, I realized that the overall sparsity of lyrics beamed to me by the Aliens From Outer Space was a puzzle designed to lead me to the realization that the "Metal Monkey" sections are lyrical variations of the 19th century nursery rhyme, "Pop Goes The Weasel", mostly because it's about a monkey and a weasel . . . :P

Now that I have some additional lyrics, I modified the music for the "Metal Monkey" sections (a) to fit the sparse lyrics and (b) to add a "big ending" during which I will scream something along the lines of "I'm A Metal Monkey", since based on listening to the iHeart "Metal Madness" radio program, screaming is "big" among the so-called "Youth of Today", as are beat changes, illogical segues, and a virtual festival of strange and chaotically random spurts of electronic noise . .

And while I have not started adding the festival of strange and chaotically random spurts of electronic noise, it's part of the plan . . .

It's true!

Along the way, I upgraded to Studio One Professional 4 (PreSonus) and Reason 10 (Propellerhead Software), so this new version of "Surf Zot" is done with Studio One Professional 4 . . .

And I changed the far-right rhythm guitar in the "Metal Monkey" sections so that it doesn't sound like a whistle or a siren . . .

[NOTE: I plan to record some lyrics, but at present this is the instrumental version, except for Realivox Blue (Realitone) singing during the more melodic sections of the song. Sometimes a melody appears first, and then I do the chords and lyrics; but for the "Metal Monkey" sections, it's a different order (chords, lyrics, melody); and this version fits the chords to the lyrics . . . ]

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Lots of FUN! :)

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by Surf.Whammy on Sat Sep 01, 2018 3:29 am
I'm getting ready to do a vocal sketch for the "Metal Monkey" sections, and I want to "duck" some of the instruments so I can hear what I'm singing (or screaming, depending on what my mood happens to be at the time) . . . :)

THOUGHTS

I want to use Pro-C 2 (FabFilter Software Instruments) for "ducking", and after a bit of experimenting I discovered how to get it working nicely in Studio One Professional 4 (PreSonus) . . .

At first, I tried it when there were external devices in the Studio One project, but instead of tracking the audio level, it tracked the volume slider position, which as best as I can determine is a MIDI "feature" . . .

I don't want Pro-C 2 to track the volume slider position, so after some experimenting I discovered that by removing all the external MIDI devices, everything started working and instead of tracking the volume slider position, Pro-C 2 tracked the real-time audio level of the vocal microphone, which is what I need it to do . . .

Since there is no documentation on using Pro-C 2 with Studio One Professional 4, I decided to make a YouTube video to show how it works . . .

And because "Surf Zot" is using ReWire MIDI, everything is good . . .

ReWire MIDI is handled by Studio One Professional 4, NOTION 6, and the ReWire (Propellerhead Software) infrastructure separately from "old school" MIDI, which is excellent . . .

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On a related note, the Aliens From Outer Space beamed me two new verses for the "Metal Monkey" sections, which combined with the other already beamed verses is a complete package . . .

I awoke a little while ago and currently am in what one might describe as an "Almost Human" (KISS) state of mind, so there's no telling what the vocal sketch will be . . . :P

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I have been drinking very strong coffee, but I can control whether I awake fully, and at present I am maintaining a dream state by design--in part, because I don't have an actual melody for the lyrics in the "Metal Monkey" section, hence am doing it in real-time on the fly on the first take, or thereabout . . .

It's a sketch, so it's all good!

Lots of FUN! :)

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by Surf.Whammy on Sat Sep 01, 2018 7:32 am
I did the vocal sketch for the "Metal Monkey" sections and recorded it . . . :)

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THOUGHTS

Except for doing a bit of vocal practicing while I was selecting and configuring the vocal special effects, I did everything in real-time on the fly, which included devising a melody as I sang the lyrics to record ti . . .

I did the "Metal Monkey" verses first, with the plan to record the screaming after I recorded the verses, but as I was configuring the special effects for the "Metal Monkey" tags, Pretend Johnny Cash appeared and did a one-time cameo, which I duplicated and pasted two more times . . .

And I changed the far-right rhythm guitar to a more classic Stratocaster rhythm guitar sound . . .

Doing this with Studio One Professional and NOTIION makes it very easy, and I like this strategy . . .

There are several Studio One ".song" projects and two NOTION scores, all of which is very convenient . . .

Lots of FUN! :)

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by Surf.Whammy on Sun Oct 07, 2018 11:32 am
The Aliens From Outer Space beamed me lyrics for the slow parts at the start and after the slow interlude . . . :)

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I did the composing and singing mostly in real-time on the fly . . .

The current plan is to double or triple it on more tracks, since at present I am not sufficiently familiar with the vocal melody to transcribe it to piano, which makes it even more of a sketch than the other singing and lyrics (which I now like) . . .

I increased the volume level of the Stratocaster rhythm guitar at far-right; and I adjusted some of the echo units . . .

The new vocals are close enough for doubling and tripling, and some of the phrases are nice and do not need to be changed . . .

Lots of FUN! :)

P. S. I know the new singing is really bad, but I thought it might be a self-confidence and self-esteem boost for someone--for example everyone in the known universe . . . :P

Here in the sound isolation studio getting everything onto the "good" side of the equation mostly is a matter of becoming Pretend George Martin for a while and encouraging the choirboys to do a bit of singing practice, during which they might find the correct melody, which is fabulous . . .

Fabulous! :+1

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by Surf.Whammy on Mon Oct 15, 2018 11:53 pm
Pretend George Martin made me practice singing the slow parts for a while, and then I recorded new singing with some changes to the lyrics . . . :)

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THOUGHTS

I like this version, and other than perhaps doing some fine-tuning to the producing and adding some "in-and-out" sparkles and twinkles, I think it's good . . .

At present, I am not planning to do anything else to the interlude in the middle of the song, but I think letting Realivox Blue (RealiTone) have a bit of FUN with the "Rita Rage" concept makes a bit of sense in the interlude . . .

On a related topic, I think virtual mixing boards (a.k.a, "consoles") have particular sonic characteristics in the same way that physical consoles do . . .

This makes sense, but it's not something on which one focuses in an immediately conscious way for a while . . .

I first noticed this when I got Logic Pro 9 (Apple) and was able to compare it to Digital Performer (MOTU) . . .

I prefer the way Digital Performer sounds when mixing to the way Logic Pro X sounds, and Digital Performer for me is easier to use . . .

More recently, I have switched to Studio One Professional, and I particularly like the way it sounds, since (a) it's crisper and (b) it's what I call "more tolerant" when you add more tracks . . .

It's "more tolerant" in the sense that you don't need to readjust everything, and I think this partially is a matter of headroom but also is the result of the way the audio is processed internally . . .

I continue to use a lot of effects plug-ins; and since they make sense to me, it's easy to adjust them based on the way the Studio One Professional 4 mixing board (or "console") behaves . . .

Lots of FUN! :)

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by Surf.Whammy on Mon Jul 04, 2022 12:47 pm
Nothing to new add, so this post is to make it easier to find . . . :)

THOUGHTS

This is from 2018, with updates along the way . . .

I need to review it to ensure there no updates are needed . . .

Lots of FUN! :)

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by Surf.Whammy on Tue Nov 01, 2022 1:22 pm
Now that Studio One Professional 6 does not support ReWire, the new strategy is to do everything exclusively within Studio One Professional 6--no ReWire and no NOTION . . . :+1

THOUGHTS

ReWire was nice, and I used it as my primary strategy; but now I have switched to doing everything exclusively within Studio One Professional 6 . . . :reading:

This is possible and practical, because the software engineers at PreSonus have packaged NOTION inside Studio One Professional 6, as you can see in the YouTube video of the first version of my new science fiction radio play (see below) . . .

I have some other topics on this, so I will not repeat the information here other than to state doing everything within Studio One Professional 6 works wonderfully . . .

All the NOTION music notation is there, and this makes it possible and practical to work with real instruments and singing as well as virtual instruments and virtual singing played and performed via music notation. . .

On the music notation side, it's actually easier than working with standalone NOTION . . .

This is the new chapter of my original science fiction radio play, and it's done exclusively within Studio One Professional 6--no ReWire and no NOTION--and it's the Intro and first half of the story . . .

I am writing the second-half of the story, and it's coming along nicely, where among other bits of newness it introduces 'Puddin'" the feminine persona of Ra'Men the Pharaoh's spaceship who is quite excited to discover "Chuck", the masculine persona of the Aliens From Outer Space (AFOS)'s spaceship . . .

[NOTE: As with everything I do these days, this is mixed specifically for listening with studio-quality headphones and Apple AirPods, since it's a stereo-headphones style mix. All the instruments--including Realivox Blue (RealiTone), my favorite virtual female soprano--are VSTi virtual instruments, so only my voiceovers are real and are recorded to Audio Tracks . . . ]

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Lots of FUN! :)

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by craigallen2 on Tue Dec 06, 2022 4:28 pm
Surf.Whammy wroteNow that Studio One Professional 6 does not support ReWire, the new strategy is to do everything exclusively within Studio One Professional 6--no ReWire and no NOTION . . . :+1

THOUGHTS

ReWire was nice, and I used it as my primary strategy; but now I have switched to doing everything exclusively within Studio One Professional 6 . . . :reading:

This is possible and practical, because the software engineers at PreSonus have packaged NOTION inside Studio One Professional 6, as you can see in the YouTube video of the first version of my new science fiction radio play (see below) . . .

I have some other topics on this, so I will not repeat the information here other than to state doing everything within Studio One Professional 6 works wonderfully . . .

All the NOTION music notation is there, and this makes it possible and practical to work with real instruments and singing as well as virtual instruments and virtual singing played and performed via music notation. . .

On the music notation side, it's actually easier than working with standalone NOTION . . .



So, you are stating that:
- The entire package of Notion is now within Studio 1 Pro, v.6.
(Why is this not mentioned in any of the upgrade promo?)

- It works wonderfully in S1p6.

- Actually is EASIER than working with Notion.

Is your goal MIDI performance? Or Notation print out?

Once 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?
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by Surf.Whammy on Wed Dec 07, 2022 2:36 am
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 . . . :P ]

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! :+1

craigallen2 wrote- Actually is EASIER than working with Notion.

True! :+1

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 . . . ]

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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" . . .

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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 . . .

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[NOTE: Is this just a coincidence? :P ]

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What about a 1-4-5 pattern?

It's a "Louie Louie" . . .

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What about 1-6-4-5 (C-Am-F-G} in one flavor or another?

It's a "Sleepwalk" . . .

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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 . . .

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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! :)

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