Old 11-25-2015, 05:51 PM   #41
jesussaddle
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Join Date: Oct 2009
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Quote:
Originally Posted by ivansc View Post
So the whole "playing a late trigger makes the part triggered delay until the next loop" thing seems on the face of it useless.
So why have people been making out like it is a good thing to have?

Ex: Hit a trigger note early, trigger is delayed so event starts on time in the correct place.

Hit a trigger note late, trigger is delayed so event starts one cycle too late. ?????
If you haven't been there...

The tools used in this way are helpful. They are essentially good for hyper-rhymic performance or beds of sound kinds of things in which there is more going on than humanly playable, at least those are two good uses.

You know, when the user has to compose/improvise multiple sequences on the fly, or re-create a composition that is essentially played/triggered off of elements that may all, by even the best player, be unperformable in real time. Say you were endeavoring to re-create a Perdie-nuanced drum groove on keys for example. Could you play it? Could even your drummer play it?

Or say you had weaving and evolving polyrhythms and wanted to keep the textures moving forward while adding new elements played normally over the top. Its both the out-of-league and sequence stuff that this "early input delayed until the correct time" function is useful for. In the case of the former, it is used loosely, and could be improved on. It shouldn't be a disaster if something played a hair after the intended time gets delayed one-16th note late. For the sequence stuff, loop triggering, one can set a quantize value of quarter, half, or measure if needed.

ALL A USER NEEDS TO DO IS ENSURE they play a little ahead, a little pushed, and they get no errors. I guarantee a lot of music you see performed live nowadays uses this method, because taping stuff makes it too dead for the expectations of most hip hop saavy audiences. Think of it like a form of DJing, where the musician is also doing musically skilled actions, but simply aiding himself using this method to create more over-the-top fx. Maybe its unappealing to a clissically trained cellist. But need we be snooby?

This programming is also used in Omnisphere live mode, so Midi keyboardists are able to use latching and triggering. latching overrides the note off. triggering gates the events so the last event's start time is delayed to the chosen resolution.

Search "omnisphere live mode" or omnisphere latch/trigger settings...

Yes, if you play a tiny bit late you are screwed. So like i said, you develop a "style" of using "pushed timing" for these systems. Trust me, they are not going away.

I lack the means to really dig in to all of this, which is why i hapoen to be in the Reaper zone. (Its not so much the software cost, but learning it and its hardware where needed, transporting it and the time involved.. ) I do have a nice guitar controller setup, and i would love to use it as a MIDI foot controller for Reaper...even to trigger loops in this manner in Reaper IF THEY COULD BE quantized. Imagine how hard it woukd be to toe down on some clunky footswitch with the timing nuance possible on a keyboard..) After MIDI realtime qusntize in Sonar, an interested person might acquaint themselves with Ableton, Max/Msp, cycling 74 and so on, and how they are controlled live. This is the trend, like it or not. Everyone is wearing more hats, doing their own stage productions/producing/one-man-band performing. The economy is like that.

Last edited by jesussaddle; 11-25-2015 at 06:21 PM.
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