# Production + Sequencer Tips



## Ned Bouhalassa

I just thought it might be useful to have a general tips thread for virtual orchestra writing/production. Just drop off something useful. when you think about it. If this thread becomes popular, we can make it a sticky, and then maybe someone will organise it so it can be easily searched.

-------------------------

*Compensating for soft notes*
It's a good idea to compensate for any delayed attack when you've entered soft notes (low velocity) to make sure that all these are not out of sync (late) with other, more percussive sounds like harp, piano, percs, etc. You can do this by entering negative values in the delay area of the MIDI control of the tracks. Use the click track or a percussive part to guide you.

*Hiding non-note info*
I'm not sure if other sequencers can do this, but in Logic, there's a Hide function. I use this to hide my Keyswitches, Modulation CC, etc, which I usually have placed one track below the corresponding MIDI note regions.

*Less tight equals more impact*
Many of you know this already, but for those who don't, for maximum impact and a more interesting sound, it's a good idea to make sure that all the instruments used in creating a single hit or big chord not play _exactly_ at the same time. In a real-world recording setting, all the musicians involved could not in any way play as tight as we can make our samples play using computers. You may want to experiment with moving the instruments' notes off by a few milliseconds. You can use the humanize function on all the regions, or you can do it by hand.

[new, from StrangeCat] 
*Tempo push and pull*
When sequencing use pull and push on question and answering phrases through tempo varation to create more expression. Think like a conductor, race up to cressendos then pull back a bit, emphasize the emotions of phrases and motifs. [more, from Rob Elliot] Tempo track (varying tempos) should be used as often as possible. Don't be afraid to swing this farther than you think - it makes the 'human' performance impression. 

[new]
*Adding Expression control to a Kontakt patch that as sold (default) does not have any*
First make sure that you've selected Edit All Groups in the Group Editor section of Kontakt. Then, in the Kontakt browser, click on Auto and select the MIDI automation tab. Finally, click and drag CC 11 from the list and drop it on the Volume knob in Kontakt's Amplifier section. Now you can add some dynamic movement to otherwise static patches.

[new, from Rob Elliot]
*Coupling ensemble and solo instruments*
Double large string libraries with solo strings - this can provide more intimacy of sound - character.

[new, from Rob Elliot]
*Doubling lines on a deadline*
For deadline projects (when you don't have time to play all 'doubles' use midi track offsets - random +/-. 

[new, from Rob Elliot]
*Quick sketches using ensemble patches*
Again for deadlines use ensemble patches to sketch out sections -then replace with individual instruments - improve voice leading, counterpoint, etc. at that later stage

[new, from Rob Elliot]
*Give instrument voices dynamic movement*
Aside from an occasional high string pedal tone - all voices (samples) are dynamic - should be going somewhere. To me nothing says synth more than a held chord with no dynamic movement. 

[new, from Rob Elliot]
*Think 3D when mixing*
Think 3D for final mix 1 - width (panning) 2 - depth (predelay level) 3 height (volume/balance)

[new]
*Listen at louder levels in order to appreciate soft samples*
There's a wealth of great samples that we sometimes miss out on because we're constantly paying more attention to samples above 60 in velocity. Bring up the levels of your sound system, and you might re-discover some gems. I think I remember this from something Frederick posted a while back, but I may be wrong!

[new, from rgames]
*Use controllers to create custom release tails*
Especially when tempo is slow and tutti rests follow, recorded release tails are almost always too quick. A group of live musicians will put a mini-decrescendo in there. I use a combo of volume and crossfading to get the effect. Linear fade almost never works - it needs to have variable slope, slower at first and increasing towards the release.


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## StrangeCat

I will add to this even though I still can't figure out how to get the correct hall sound in orchestration(I need to buy Altiverb)

When sequencing use pull and push on question and answering phrases through tempo varation to create more expression. Think like a conductor, race up to cressendos then pull back a bit, emphasize the emotions of phrases and motifs.


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## Ned Bouhalassa

Adding Expression control to a Kontakt patch that as sold (default) does not have any:
First make sure that you've selected Edit All Groups in the Group Editor section of Kontakt. Then, in the Kontakt browser, click on Auto and select the MIDI automation tab. Finally, click and drag CC 11 from the list and drop it on the Volume knob in Kontakt's Amplifier section. Now you can add some dynamic movement to otherwise static patches.


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## Rob Elliott

Great idea Ned. I bet we end up with a list that will help us all. Let me give this some serious thought but the ones that pop up right away are:


1. In support of Strange Cat - Tempo track (varying tempos) should be used as often as possible. Don't be afraid to swing this farther than you think - it makes the 'human' performance impression.

2. Double large string libraries with solo strings - provide more intimacy of sound - character.

3. For deadline projects (when you don't have time to play all 'doubles' use midi track offsets - random +/-.

4. Again for deadlines use ensemble patches to sketch out sections -then replace with individual instruments - improve voice leading, counterpoint, etc. at that later stage.

5. Aside from an occasional high string pedal tone - all voices (samples) are dynamic - should be going somewhere. To me nothing says synth more than a held chord with no dynamic movement.

6. Think 3D for final mix 1 - width (panning) 2 - depth (predelay level) 3 height (volume/balance)



Again - looking forward to seeing other ideas.


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## bryla

Waywyn had two pages of such tips on his website


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## Ned Bouhalassa

I do see a few, very helpful tips on Alex's website/blog, but not 2 pages of tips. Anyhow, it doesn't hurt to have this thread to add to our resources, although if other members find this too redundant, I will put it to rest.


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## bryla

Hope Alex will chime in. I printed them out back then, but don't want to put them up without Alex's permission


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## rgames

Here's one:

Use controllers to create custom release tails.

Especially when tempo is slow and tutti rests follow, recorded release tails are almost always too quick. A group of live musicians will put a mini-decrescendo in there. I use a combo of volume and crossfading to get the effect. Linear fade almost never works - it needs to have variable slope, slower at first and increasing towards the release.

rgames


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## StrangeCat

Oh man rgames that is awesome!


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## Hannesdm

Great thread!

It does deserve to be sticky.


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## Waywyn

bryla @ Mon Sep 22 said:


> Hope Alex will chime in. I printed them out back then, but don't want to put them up without Alex's permission



Yay, cool thread Ned!

Actually it wasn't two pages on my website, but just two posts which probably looked more than it was ... But sure bryla, feel free to do so if I forgot anything here 

Here are the short versions:

- If you use Cubase4 on an IntelMAC and you call "older" EWQL libs your own, (RA, Colossus, XP etc.) which use the first Kompakt player you can still use them as VSTi's ... not just the standalone.

If you already didn't download the IntelMAC patches from the SO site, you should do so. When opening C4 you see those Kompakt instruments in the VSTi list with a little // sign before. Now if you open a Kompakt player in Cubase and load in a few samples, you will recognize that you don't use RAM of Cubase (as Kontakt is doing), but from the system. Therefore you are able to use 2GB of Cubase and another 2GB of VSTBridge. So if you also additionally use the Vienna Ensemble software or just the instruments, you are able to use another 2GB of RAM. Make around 6GB in total without using standalone or slaves.

- on my website you find a little "alternative percussion script" (wrote about that before several times). Nils programmed it back then and allowed it to share.
The cool thing is, it kind of collects samples which are spread over the keyboard (like on older libs such as SD1 or TS1) and assigns them to one, two or more keys of your choice.
E.g. you load an SD1 patch and on that program you have 10 samples spread over the keyboard which sound similar and you could use as "round robin". Simply open the aps script, assign those ten notes/keys to only two keys of your choice (e.g. to play just two drum pads or keys on your keyboard).


The most important thing is, I once collected all the hints&tricks which where back then posted on VI (and a bit from NS back then) and did a little pdf.

It may be a bit offtopic since it is about composing more or less, but here is the pdf I did back then: http://www.cellarroom.de/tmp/collected_ ... tricks.pdf


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## Pzy-Clone

"-don't forget to use the tuba"

LOL. good one.


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## Ned Bouhalassa

But it's true. Tuba is fantastic for filling out the low tones, and yet I still forget to reach for it half the time.


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## Rob Elliott

Ned Bouhalassa @ Thu Sep 25 said:


> But it's true. Tuba is fantastic for filling out the low tones, and yet I still forget to reach for it half the time.




Couldn't agree more - for brass power - it is essential. AND it doesn't step on horns and bones.

I'll often double Cubase's simple Monologue synth (sub bass) with the tuba to give if even more body and low end punch


Rob


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## hbuus

*Tips on how to get "big" drums*

Supplied by synthetic:

"A common trick for huge drums is to use a reverb send to send them to a buss. Then you compress the snot out of that buss, while letting the uncompressed version play as well. (Make sure to have some sort of delay compensation when you do this.) Mixed together, the two can sound huge. "

"Another trick for percussion commonly used for film scores is a bass synthesizer. The dbx 120 is the one that you see on most scoring stages, but there are plug-ins that do it like Waves MaxxBass. Logic has one too, BassSynth? Anyway, it's similar to an Aural Exciter only instead of creating high frequencies it creates low frequencies."

http://vi-control.net/forum/viewtopic.p ... a75afdaf69


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## poseur

when delivering stereo mixes,
check those mixes in mono for any
stray phase-discrepancies.

automating FX-parameters, eg reverb length, reverb mix & tone-color, delay feedback, EQ & etc etc etc,
can go a long way towards helping to amplify the dynamics of a cue,
as well as potentially increasing the cue's sonic suitability for its scene.

computer hypnosis can often lead to some weird kinda
auditory-myopia that encourages us to simply "fill the page":
remember that it remains possible
to use your audio & note creations as simple frames
for defining the self-appropriate musical space.

d

oops.
that might all be too general for the thread.
sorry, if so.....


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## Waywyn

just a little one came to my mind:

when working in the piano roll in Cubase and you have a lot of stacked MIDI notes going on but want to work on a single midi note's velocity ... you can simply roll the mouse over the midi event and press apple+shift. you should see a little speaker and you are able to move the velocity by clicking and holding the left mouse button ...

maybe everyone knows but I didn't, ... so I was always struggling with numeral input or moving the actual midi part to another layer and then copy it back (just to show how stupid someone can really be :D)


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## hbuus

This afternoon I went through a lot of old threads in the forum "Post Pro & Mixing Discussion", and noted down the threads I personally found interesting.
These I will study a little at a time.

In case someone else might find the list useful:

:arrow: 

Early Reflections for better Mockup?
http://vi-control.net/forum/viewtopic.php?t=879

:arrow: 

EQ and reverbing strings and brasses
http://vi-control.net/forum/viewtopic.php?t=1824

:arrow: 

Equalizing & air absorption
http://vi-control.net/forum/viewtopic.php?t=5788

:arrow: 

EQing to Simulate Distance
http://vi-control.net/forum/viewtopic.php?t=6661

:arrow: 

Wet / Dry relationships of a Close / Mid /Far IR setup........
http://vi-control.net/forum/viewtopic.php?t=6739

:arrow: 

Mixing/mastering process?
http://vi-control.net/forum/viewtopic.php?t=6590

:arrow: 

Equalizer for orchestral sampling work wanted
http://vi-control.net/forum/viewtopic.php?t=7243

:arrow: 

Breathing life into Sequences
http://vi-control.net/forum/viewtopic.php?t=7590

:arrow: 

Instruments placement - mono or stereo?
http://vi-control.net/forum/viewtopic.php?t=7622

:arrow: 

Early Reflections on Appassionata Strings / Epic Horns question....
http://vi-control.net/forum/viewtopic.php?t=7705

:arrow: 

Separating brass in the mix
http://vi-control.net/forum/viewtopic.php?t=7981

:arrow: 

How do you add reverb?
http://vi-control.net/forum/viewtopic.php?t=7399

:arrow: 

Trying to sound like an orchestra or a good mockup?
http://vi-control.net/forum/viewtopic.php?t=8311

:arrow: 

Fatter, Warmer more Analog Sound
http://vi-control.net/forum/viewtopic.php?t=7630

:arrow: 

Compressors for orchestral/soundtrack music
http://vi-control.net/forum/viewtopic.php?t=8531

:arrow: 

I need a 64bit VST EQ plug-in !!
http://vi-control.net/forum/viewtopic.php?t=9094

:arrow: 

Impulse responses + pre-delay: Yes? No? How?
http://vi-control.net/forum/viewtopic.php?t=9417

:arrow: 

TUTORIAL: Applying Early Reflections to get THAT SOUND 
http://vi-control.net/forum/viewtopic.php?t=9139

:arrow: 

Best regards,
Henrik



EDIT:

This also looks interesting:

Tutorial collection thread
http://vi-control.net/forum/viewtopic.php?t=1827


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## Ed

Waywyn @ Fri Oct 17 said:


> just a little one came to my mind:
> 
> when working in the piano roll in Cubase and you have a lot of stacked MIDI notes going on but want to work on a single midi note's velocity ... you can simply roll the mouse over the midi event and press apple+shift. you should see a little speaker and you are able to move the velocity by clicking and holding the left mouse button ...
> 
> maybe everyone knows but I didn't, ... so I was always struggling with numeral input or moving the actual midi part to another layer and then copy it back (just to show how stupid someone can really be :D)



What if you dont have apple? :(


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## Ned Bouhalassa

Thank you very much for that, Henrik!
8) =o


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## hbuus

You're welcome, Ned! 

People are so nice in here to answer mine and others questions, so I would like to pay back a little in whatever way I can.


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## Waywyn

Ed @ Sat Nov 01 said:


> Waywyn @ Fri Oct 17 said:
> 
> 
> 
> just a little one came to my mind:
> 
> when working in the piano roll in Cubase and you have a lot of stacked MIDI notes going on but want to work on a single midi note's velocity ... you can simply roll the mouse over the midi event and press apple+shift. you should see a little speaker and you are able to move the velocity by clicking and holding the left mouse button ...
> 
> maybe everyone knows but I didn't, ... so I was always struggling with numeral input or moving the actual midi part to another layer and then copy it back (just to show how stupid someone can really be :D)
> 
> 
> 
> 
> What if you dont have apple? :(
Click to expand...


Well, you could either burn yourself ... or you use the Strg key instead  


Thanks hbuus. Thats really nice to see all this collected stuff in one post!!


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## hbuus

Thanks, Wayvyn!

I went through the links just now and cut/pasò›¨   Š=ý›¨   Š=þ›¨   Š=ÿ›¨   Š> ›¨   Š>›¨   Š>›¨   Š>›¨   Š>›¨   Š>›¨   Š>›¨   Š>›¨   Š>›¨   Š>	›¨   Š>
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## Rob Elliott

hbuus @ Thu Oct 16 said:


> *Tips for using Speed Control and keyswitches in Vienna Instruments*
> *by Christian Marcussen*
> 
> _"Initially I tried set up all my articulations in one matrix and key switching between them. However I found that this was limiting, so rather I now have several matrixes and keyswitch between them. This gives me more freedom within each matrix to set it up as I want.
> 
> For most legato patches I simply have two cells. One with normal legato and one with fast. I then use Speed Control around 50% I think. Simple as that. For strings I also add a horizontal set of cells controlled by velocity. I have then set things up so when I play softly I use a legato where I have turned the attack down. Harder and the patch with normal attack players, and even harder still I layer a Sfz articulation for more bite.
> 
> To give an example of the freedom of keyswitching matrixes rather than cells, here is how I set up my Pizzicato. On very low velocity I have the "slow" version. Then for normal velociy playing I have the regular pizz, and lastly when I hammer the keyboard it gives me a Pizz Snap! Pretty cool "_
> 
> ***
> 
> Link:
> http://vi-control.net/forum/viewtopic.p ... highlight=




Hey Christian - yourn excellent pizz idea got me to think why not do the following for WW's


Legato speed as you describe (in the horizontal mode in VSL) and then for vertical - switched by velocity (like the pizz idea) - when struck hard VI auto selects the next vertical line down - with the same legato patch PLUS a staccaòœf   Šzñœf   Šzòœf   Šzóœf   Šzôœf   Šzõœf   Šzöœf   Šz÷œf   Šzøœf   Šzùœf   Šzúœf   Šzûœf   Šzüœf   Šzýœf   Šzþœf   Šzÿœf   Š{ œf   Š{œf   Š{œf   Š{œf   Š{œf   Š{œf   Š{œf   Š{œf   Š{œf   Š{	œf   Š{
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## _taylor

Great Thread! Thanks for sharing your tips and experiences.

I don't have much to offer in way of sequencer tips, but one thing that really helps me is to TURN OFF the computer monitor when I'm close to done on a new song. Just shut the thing off and have a good listen. I always seem to hear things differently with out the clutter of graphics and such.


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## Patrick de Caumette

This should obviously be a sticky as well.
Way to go Ned!


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## Saxer

one of my favourite editing features in logic (and probably avaliable in other daws too) is the key command "force legato" and related to it "overlap correction". it makes notes longin direct until the start of a new note but without overlapping. after closing gaps and remove overlaps its easy to select notes that shall be slurred and add a little length to apply the instruments legato function.


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## wst3

Not sure how, exactly, this is done in other platforms, but I've FINALLY discovered the trick to mapping the tempo map to a performance in Sonar, and it makes a big difference in the feel for a track - not to mention I prefer not playing to a click<G>!

The key, probably true for all platforms, is to map the timeline to the performance, and not the other way around (OK, slicing, dicing, stretching, and shrinking to fit a performance to a fixed tempo can be a very effective approach for some styles, just not mine, at least this week.)

Put another way, you want to move the measure and beat in the sequencer to the measure and beat in the recording. This creates a fairly complex, sometimes messy tempo map, and I didn't really think it would work as well as it did, but dang, it worked nicely.

Some general, and Sonar Specific thoughts:

1) When playing without a click you may want to keep the part simple, you can always go back and re-record a more complex version later. In fact I find that playing against the rest of the tracks usually brings out a different performance.

2) Start the mapping process by mapping to measure boundaries - don't get all picky about individual beats. I've been surprised, and pleased, to see that if I can get all the measure boundaries right most of the individual beats are close enough.

3) Sometimes you really do want the beat to fall exactly on a specific musical event - when you do this keep an eye on the tempo map, if it strays more than a couple BPM you might want to check your math

If it sounds simple, well, it really is, but it isn't trivial. The first time I did this it took me two tries, and a couple of hours, to get the timeline where I wanted it, all for a piece that was less than 90 seconds long!

But, as I've repeated the exercise a couple of times now I've cut that down to about 30 minutes for a similar piece - which is still more time that I'd prefer to spend on editing tasks, but the benefit - a very musical feeling track - makes it worthwhile.

I really can't get over the difference between a track that has a constant tempo and a track that has a little slop. I know, everyone KNOWS this, but there's nothing like a self-inflicted demonstration!

Used to be my rule of thumb was that I would not make edits that I could not do with a razor blade... you might think I'm mellowing in my old age, but the more I think about it, the more I realize that this sort of thing was not necessary back then, since I'd usually be playing with the rhythm section, there was no need to lock the music to an arbitrary grid - that only came with the advent of MIDI.

For my next trick I need to figure out how to preserve this 'feel' when working from Finale or Sonar without the benefit of a live track...


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## esencia

I'm using logic Pro X + VSL and Spitfire libraries mainly, and I've been trying to learn how to improve

I'd like to know what are the best practices for editing notes in Logic Pro X to achieve realistic mockups.

Imagine a midi passage with 16h notes repetition. Same note repetition for Strings fast passage.

The most realistic output should be as an example, that every two notes, the first one would have higher velocity than second ones , or in case of triplets, every three notes, first one has an accent and the other two of the triplet different velocities.

My problem is that I don´t know a method to do it semi-automatic (in event view or piano roll), the only way I know is do it manually selecting every single note (and that is really slow). There is no macro..

I know that there are some addons like Art conductor, AG toolkit, that help you to change the articulations without impacting the score, but again, if you want to mix velocities changes and articulation changes for long fast passages, is really slow if you cannot select the affected notes with some "rules" that make those selections faster.

How do you deal with that?

As an example, I'm trying to achieve the same results as the examples 33 and 34 of the Beat-kaufmann tutorial

http://www.beat-kaufmann.com/vitutorials/vi-tips--tricks-4/index.php



Thanks in advanced for your help.


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## Shantar

esencia said:


> I'm using logic Pro X + VSL and Spitfire libraries mainly, and I've been trying to learn how to improve
> 
> I'd like to know what are the best practices for editing notes in Logic Pro X to achieve realistic mockups.
> 
> Imagine a midi passage with 16h notes repetition. Same note repetition for Strings fast passage.
> 
> The most realistic output should be as an example, that every two notes, the first one would have higher velocity than second ones , or in case of triplets, every three notes, first one has an accent and the other two of the triplet different velocities.
> 
> My problem is that I don´t know a method to do it semi-automatic (in event view or piano roll), the only way I know is do it manually selecting every single note (and that is really slow). There is no macro..
> 
> I know that there are some addons like Art conductor, AG toolkit, that help you to change the articulations without impacting the score, but again, if you want to mix velocities changes and articulation changes for long fast passages, is really slow if you cannot select the affected notes with some "rules" that make those selections faster.
> 
> How do you deal with that?
> 
> As an example, I'm trying to achieve the same results as the examples 33 and 34 of the Beat-kaufmann tutorial
> 
> http://www.beat-kaufmann.com/vitutorials/vi-tips--tricks-4/index.php
> 
> 
> 
> Thanks in advanced for your help.



esencia, I will try to explain how I go about when doing faster (repetition/ostinato/runs/etc). I see you asked this question 6 months ago but I guess it´s ok to reply since this thread is a sticky.



Not sure this will really answer your question, but rather inspire you to try out other techniques. However, this is by no mean a foolproof technique, but I have found this to yield the best result for me.

I´m using Cubase myself, but this is a universal tip so it should translate to any platform. If you (like me) is an average piano/keyboard player, struggling to play faster passages without either missing notes or getting a terribly bad timing on 70% of the performance, I´ll share a silly tip that I use to compensate for my lack of precision.



Here goes:



Imagine you are about to record a 4 bar 16th note spiccato pattern, for instance on violins. This is where my piano or keyboard skills usually come short. I could just program these notes and adjust the timing and the velocity, but I´ll rather have the authentic rhythm and groove of a real performance as a foundation for my 4 bar spiccato part. So, what I do then is I play the 4 bars, with the *intended rhythm *and *groove* using my _left _and and my _right_ hand, and only one finger on each hand. (I prefer index finger) . I might just play C3-C4-C3-C4-C3-C4-etc. or whatever key that fits the part I´m recording over. The important part is; I only have to concentrate on keeping a steady rhythm, groove and velocity, without having to move my fingers around the keyboard. Now, I make sure when I play and record, that I accent the notes that I want to have accented.



Then, (yes) I have to go into the editor/piano-roll and fix the placement of these notes, but the rhythm, groove and velocity is already taken care of, so in Cubase I just hold down the cmd-button and change the notes to whatever place they originally were supposed to be. This is a much faster way, (I think) than programming manually and trying to find the right rhythm, groove and velocity.



For really fast ostinatos or repeated notes (like measured tremolo-style) I also make sure that the notes are not overlapping in length, using the “fixed length” option in Cubase. Then I usually just set them all to 32nd notes which in most fast spiccato-string cases is an adequate note value.


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## esencia

Shantar said:


> esencia, I will try to explain how I go about when doing faster (repetition/ostinato/runs/etc). I see you asked this question 6 months ago but I guess it´s ok to reply since this thread is a sticky.
> 
> 
> 
> Not sure this will really answer your question, but rather inspire you to try out other techniques. However, this is by no mean a foolproof technique, but I have found this to yield the best result for me.
> 
> I´m using Cubase myself, but this is a universal tip so it should translate to any platform. If you (like me) is an average piano/keyboard player, struggling to play faster passages without either missing notes or getting a terribly bad timing on 70% of the performance, I´ll share a silly tip that I use to compensate for my lack of precision.
> 
> 
> 
> Here goes:
> 
> 
> 
> Imagine you are about to record a 4 bar 16th note spiccato pattern, for instance on violins. This is where my piano or keyboard skills usually come short. I could just program these notes and adjust the timing and the velocity, but I´ll rather have the authentic rhythm and groove of a real performance as a foundation for my 4 bar spiccato part. So, what I do then is I play the 4 bars, with the *intended rhythm *and *groove* using my _left _and and my _right_ hand, and only one finger on each hand. (I prefer index finger) . I might just play C3-C4-C3-C4-C3-C4-etc. or whatever key that fits the part I´m recording over. The important part is; I only have to concentrate on keeping a steady rhythm, groove and velocity, without having to move my fingers around the keyboard. Now, I make sure when I play and record, that I accent the notes that I want to have accented.
> 
> 
> 
> Then, (yes) I have to go into the editor/piano-roll and fix the placement of these notes, but the rhythm, groove and velocity is already taken care of, so in Cubase I just hold down the cmd-button and change the notes to whatever place they originally were supposed to be. This is a much faster way, (I think) than programming manually and trying to find the right rhythm, groove and velocity.
> 
> 
> 
> For really fast ostinatos or repeated notes (like measured tremolo-style) I also make sure that the notes are not overlapping in length, using the “fixed length” option in Cubase. Then I usually just set them all to 32nd notes which in most fast spiccato-string cases is an adequate note value.



Thank you so much for the reply!... it´s a really nice and smart trick! put focus on rhythm and accents only, and then just to set the note values 

I've also discovered another cool trick to make it even more "human".
Under the Inspector panel for that track, 
Midi Modifiers:
Set Random in Position, and apply +-5 or 10
and use it combined with set Random Velocity and apply +-10 as you wish


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## Shantar

esencia said:


> Thank you so much for the reply!... it´s a really nice and smart trick! put focus on rhythm and accents only, and then just to set the note values
> 
> I've also discovered another cool trick to make it even more "human".
> Under the Inspector panel for that track,
> Midi Modifiers:
> Set Random in Position, and apply +-5 or 10
> and use it combined with set Random Velocity and apply +-10 as you wish



You´re very welcome. Let me know it it works for you! I really think this tip helpful to make things a bit easier for you without going the full robot-approach and plotting every note in manually. I never program anything, I always play either the full part or use this trick I just told you. Groove is everything, and it is really hard to program groove convincingly! Also, when doing more complicated patterns or even just triplets it is so much easier to get the rhythmic performance right in the first place without spending the whole afternoon fiddling around with the piano roll. Of course, this tip is mostly useful for faster type playing, and if you can manage to play any part without using this cheat trick, it will always sound better and more like an authentic performance I think.


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