Sonar Midi-kit Guide

5/24/2018 Sonar Midi-kit Guide

1/47

The SONAR

MIDI-Kit Guide

http://www.MIDI-Kit.nl

Version: 2.8

Author: T. Valkenburgh

January 26, 2006
http://www.midi-kit.nl/http://www.midi-kit.nl/


2/47

Ton Valkenburgh

SONAR MIDI-Kit Guide.doc 2/47

Contents

Introduction ............................................................................................................................................. 6Preface with version 2.8 ...................................................................................................................... 6

Preface with version 2.7 ...................................................................................................................... 6Preface with version 2.6 ...................................................................................................................... 6Preface with version 2.3 ...................................................................................................................... 6Why SONAR?..................................................................................................................................... 6Why the RD-700?................................................................................................................................ 7What you need to know....................................................................................................................... 7What you will get ................................................................................................................................ 7

Cakewalk Application Language programs .................................................................................... 7Example files................................................................................................................................... 7Cakewalk instrument definitions for the RD-700 ........................................................................... 7Satisfaction ...................................................................................................................................... 8

General musical aspects .......................................................................................................................... 9

Introduction ......................................................................................................................................... 9Time .................................................................................................................................................... 9Sound synthesis and MIDI .................................................................................................................... 10

Introduction ....................................................................................................................................... 10Ground tone and harmonics .............................................................................................................. 10Sampling............................................................................................................................................ 10

Attack ............................................................................................................................................ 11Decay............................................................................................................................................. 11Sustain ........................................................................................................................................... 11Release .......................................................................................................................................... 11

Oscillators.......................................................................................................................................... 11MIDI messages.................................................................................................................................. 11

Velocity ......................................................................................................................................... 12Volume.......................................................................................................................................... 12Expression ..................................................................................................................................... 12Soft ................................................................................................................................................ 12Sostenuto ....................................................................................................................................... 12Vibrato........................................................................................................................................... 12Modulation Depth.......................................................................................................................... 12After Touch ................................................................................................................................... 12Breath ............................................................................................................................................ 13Filter Resonance............................................................................................................................ 13Brightness...................................................................................................................................... 13Attack Time................................................................................................................................... 13

Decay Time ................................................................................................................................... 13HOLD 1 (Damper) ........................................................................................................................ 13Release Time ................................................................................................................................. 13

Specific instruments .......................................................................................................................... 13Bowed instruments ........................................................................................................................ 13Plucked instruments ...................................................................................................................... 14Wind instruments .......................................................................................................................... 15

Preparation ............................................................................................................................................ 17Conventions........................................................................................................................................... 18

Background ....................................................................................................................................... 18Track numbers and channel numbers................................................................................................ 18Note velocity ..................................................................................................................................... 19SNAP to grid ..................................................................................................................................... 19Ticks per quarter-note ....................................................................................................................... 19Empty measure.................................................................................................................................. 19


3/47

Ton Valkenburgh

Selecting events................................................................................................................................. 19

Creating the basic MIDI-file ................................................................................................................. 20Prologue ............................................................................................................................................ 20Step 1: creating a MIDI file............................................................................................................... 20Step 2: change the note velocity........................................................................................................ 21Step 3: remove doubles ..................................................................................................................... 21Step 4: randomize the timing............................................................................................................. 21Step 5: ad expression......................................................................................................................... 21Step 6: make the tempo changes ....................................................................................................... 22Epilogue ............................................................................................................................................ 22

Modifications for specific instruments.................................................................................................. 23The basics for the acoustic guitar ...................................................................................................... 23

Prologue ........................................................................................................................................ 23Step 7a: change the timing of the bass and chords........................................................................ 23Step 8a: give each string a channel................................................................................................ 23Step 9a: change track properties.................................................................................................... 24

Step 10a: ad fret noise ................................................................................................................... 24Step 11a: set chorus and reverb..................................................................................................... 24Step 12a: fine tuning...................................................................................................................... 25Epilogue ........................................................................................................................................ 25

More for the acoustic guitar .............................................................................................................. 25Prologue ........................................................................................................................................ 25Step 7b: change the timing of chords ............................................................................................ 25Step 8b: give each string a channel ............................................................................................... 25Step 9b: change track properties ................................................................................................... 26Step 10b: set the legato slurs ......................................................................................................... 26Step 11b: ad fret noise ................................................................................................................... 26Step 12b: set chorus and reverb.................................................................................................... 26

Epilogue ........................................................................................................................................ 26The violin .......................................................................................................................................... 27Prologue ........................................................................................................................................ 27Step 7c: set the legato slurs and switch between MONO and POLY............................................ 27Step 8c: set the staccatos.............................................................................................................. 27Step 9c: set the glissando............................................................................................................... 27Step 10c: set the chorus, reverb, resonance and pan .................................................................... 27Step 11 c: fine tuning..................................................................................................................... 28Epilogue ........................................................................................................................................ 28

The Flute ........................................................................................................................................... 28Prologue ........................................................................................................................................ 28Step 9b: ad the moment to catch breath......................................................................................... 29

Step 10b: Ad the phrasing............................................................................................................. 29Step 11b: fine tuning ..................................................................................................................... 29Epilogue ........................................................................................................................................ 30

Example MIDI-files .............................................................................................................................. 31Romance.zip...................................................................................................................................... 31Beautiful dreamer.zip ........................................................................................................................ 31Gavotte (Haendel).zip ....................................................................................................................... 31

Cakewalk Application Language Programs .......................................................................................... 33Short descriptions.............................................................................................................................. 33Arpeggio.cal ...................................................................................................................................... 33Controller.cal..................................................................................................................................... 33Emphasis.cal...................................................................................................................................... 34

Expression.cal ................................................................................................................................... 34Glissando.cal ..................................................................................................................................... 35GM Mode.cal .................................................................................................................................... 35



4/47

Ton Valkenburgh

Legato FS.cal..................................................................................................................................... 35Note channel.cal ................................................................................................................................ 36Note duration.cal ............................................................................................................................... 36Note velocity.cal................................................................................................................................ 37Random time.cal................................................................................................................................ 37Timebase.cal...................................................................................................................................... 37Trill.cal .............................................................................................................................................. 37MIDI-Kit error messages................................................................................................................... 38

MK001: Program error in ........................................................................................ 38MK002: This program requires CAL version X ........................................................................... 38MK003: This program requires CAL version X or higher............................................................ 38MK004: No event marked, process termindated........................................................................... 38MK005: No note marked, process terminated............................................................................... 38MK006: At least two notes must be marked, process terminated ................................................. 38MK007: Unsupported meter X/Y.................................................................................................. 38MK008: No notes marked at different positions, process terminated ........................................... 38

MK009: Notes are not in the same channel, process terminated................................................... 38MK010: More than one note marked, process terminated ............................................................ 38MK011: (Only) one note must be marked, process terminated..................................................... 39

CAL error and fyi messages.............................................................................................................. 39Attempt to change constant ........................................................................................................... 39CAL Error 001: Syntax error......................................................................................................... 39CAL Error 002: Divide by zero..................................................................................................... 39CAL Error 003: Wrong number of arguments function_name ..................................................... 39CAL Error 004:Unknown procedure procedure_name ................................................................. 39CAL Error 014: Value out of range............................................................................................... 40CAL Error 022: User pressed cancel............................................................................................. 40CAL Error 023: Cannot open include file file_name .................................................................... 40

Cannot load Dynamic Link Library .............................................................................................. 40Command is disabled on the menu................................................................................................ 40Evaluation stack overflow............................................................................................................. 40Expression too complex ................................................................................................................ 40Expected closing quote.................................................................................................................. 40Miscellaneous error ....................................................................................................................... 40Mismatched parentheses................................................................................................................ 40Missing one or more closing parentheses...................................................................................... 41Not valid in (forEachEvent) or body expression........................................................................... 41Out of memory .............................................................................................................................. 41Proc does not exist in Dynamic Link Library ............................................................................... 41Program called (error) ................................................................................................................... 41

Program called (exit) ..................................................................................................................... 41Types do not match ....................................................................................................................... 41Undef of undefined variable.......................................................................................................... 41Unknown variable ......................................................................................................................... 41Valid only in (forEachEvent) or body expression......................................................................... 41Variable redefined ......................................................................................................................... 42

Equipment ............................................................................................................................................. 43Interconnection.................................................................................................................................. 43Hardware ........................................................................................................................................... 43

Software ................................................................................................................................................ 45Index...................................................................................................................................................... 46

Copyright 2004, 2005 T. Valkenburgh



5/47

Ton Valkenburgh

You are free to use the information of this guide for your personal use.

For commercial applications contact [email protected].

All products and company names are TMor trademarks of their respective owners. Cakewalk ProAudio and Cakewalk SONAR are trademarks of Twelve Tone Systems inc., Cubasis Notation is atrademark of Steinberg Media Technologies, Roland is a trademark of Roland Corporation, andYamaha is a trademark of Yamaha Corporation.

mailto:[email protected]:[email protected]


6/47

Ton Valkenburgh

Introduction

This guide provides a methodology for who want to create MIDI sequences, but are until now not

satisfied with the results. The techniques presented in this guide, should help you to create musicthat sounds like performed by human beings. Let us not forget that music is all about emotions.

The guide shows a systematic approach with the creation of MIDI sequences that allows you toimprove the quality of the performed music step-by-step. Creating good MIDI music is a matter ofpatience and building up experience. It means spending a lot of time to get music that really doessound like performed by human musicians.

Modern synthesizers have good sounds and allow also controlling many functions of thesynthesizer. We will show you how to use these facilities and to improve your resulting music.

To make life easy I will focus on two products: Cakewalk SONAR 3as sequencer , and theRoland RD-700as synthesizer.

However, if you do not have a RD-700 you still can use the presented concepts. For the suppliedCakewalk Application Language programs, the specific MIDI-functions, which are used for eachprogram, are listed. So you can decide whether you synthesizer will work with that specific CALprogram.

Preface with version 2.8

I have added the CAL error messages, because you may get them when running the MIDI-Kit.


I have added a piece of sound synthesis and MIDI.


I have added some textual changes, and updated the information of the SONAR programs.


I have adapted the guide for Cakewalk SONAR. I have added the information of the WEB-siteabout instrument characteristics to the guide. In addition, the characteristics of the violin are added.I created made more CAL programs, corrected CAL programs, and the guide reflects the usage ofthe new programs.

Why SONAR?1. I started years ago with Cakewalk and Twelve Tone Systems has proven to me also for the

later versions like SONAR - the capability to work well with many MIDI and audiointerfaces;

2. I am quite satisfied with the functions as sequencer of SONAR. One of the importantfeatures of SONAR is the Cakewalk Application Language, which can reduce the manualediting. We will use special created CAL programs for making life easier. The CakewalkApplication Language, however, has its limitations, and that means we cannot create allapplications with it, which we really need;

3. SONAR has also many synthesizer plug-in features. We will not focus on those, but takeadvantage of these features where appropriate.



7/47

Ton Valkenburgh

Why the RD-700?

1. I needed a piano and the RD-700 is a quality digital piano;

2. I needed a synthesizer and again the RD-700 provides a synthesizer. This synthesizer is ofgood quality and allows you controlling the sound, also in live performances.

What you need to know

To be able to use this guide you must have basic knowledge of the Personal Computer, MIDI andMIDI-editing with SONAR. I assume that you are able to install the needed programs andconfigure your PC and the interconnection between the PC and synthesizer.

In this guide, I will heavily use music score editing. Therefore, it will help if you are familiar withreading music scores. The assumption is that you have used SONAR or Cakewalk before, becausethis guide is not a replacement of the Cakewalk/SONAR manual.

Experience with playing a music instrument will probably give you a better feeling for music

performance aspects.

What you will get

Together with this guide, you will get example MIDI-files, and a set of tools and utilities, whichhelp to make your MIDI life easier.

You can down load the examples, the programs, and the tools and utilities from the WEB-site.

Cakewalk Application Language programs

I provide a set of CAL programs, that will be used in this guide. These programs increase yourproductivity, and give easy access to RD-700 features. The provided programs perform mostly amusical function. The programs take advantage of a library of CAL include programs. Cakewalkallows calling CAL programs within a CAL program and therefore it is easy to combine functionsif you like to do that. If you want to make your own programs you can use this library too. Theinclude programs are described in the Cakewalk Application Language Programming Guide,which can be found on the web-site.

Example files

I will use SONAR example cwp/MIDI-files1to show what can be achieved with the method of thisguide. There are always at least two related example files. The first one shows the basic input, andsecond one shows the result of the applied methodology. With the provided MP3pro file you canjudge the end result.

Cakewalk instrument definitions for the RD-700

The RD-700 has two different modes of operation as synthesizer:

The RD-700 mode: in this mode of operation, you can select all the RD-700 sounds andeven select the 100 standard set-ups or your own defined set-up;

The general-MIDI mode: in this mode of operation, the RD-700 acts as a general-MIDI 2device. This allows you to perform general-MIDI files.

1SONAR cannot store MIDI sequences in wrk format. Therefore, I provide cwp-format and MIDI-formatsequences.



8/47

Ton Valkenburgh

I have therefore created two sets of instrument definitions: a general-MIDI set and an RD-700 set.In addition to that we also provide an RD-700 Set-up definition which allows you to select via thecontrol channel2one of the 100 set-ups of the RD-700.

Satisfaction

For the rest you need a lot of time and patience. However, it will give you also a lot of fun andsatisfaction if the results are more than you may have expected.

2The default (manufacturer setting) control channel of the RD-700 is channel 16.



9/47

Ton Valkenburgh

General musical aspects

IntroductionMusic is build up with of a number of elements. I do not want to address all elements, becausemany good books are written about music elements. I will focus on those elements, which canmake the difference between bad and good computer music.

Music is not a frozen statue or picture. It is an object changing during the time it exists. Bystructuring this movement during this period, you will get the cadence, the meter, and the rhythmof music.

Music is also tone. However, also music without tone exists. Some primitive cultures have musicthat contains only beat and noise. In our western music culture, tone is a key element of music.

A sequence of tones with a different timbre or pitch is called melos. If we bound such a melos to a

specific cadence, meter and/or rhythm we get a melody.Harmony is the combination of two or more tones with a different pitch. It is an important element,but music can exist without harmony.

Color or timbre of a tone can change the perception of a piece of music. This element got more andmore emphasis.

Space has become an interesting element that has been explored by composers. In classical music,some composers have used it, but in electronic music, it is sometime essential. The reasonablepriced surround sound equipment's ensure that many listeners can also perceive the use of space bya composer.

TimeAn important aspect in music is the tempo. Tempo is the ration between measurable, objectivetime, and the time - we perceive - the subjective time. Constant ratios are perceived as machine-like. House music has very often a constant tempo. However, in human performed music the tempoalways changes. Often as indicated by tempo indicators, like: andante, allegro, etc. A humanperformer, however, also makes small changes in tempo, which are not indicated in the score.Adding these changes in your MIDI-files make them more realistic, and lively. There are somegeneral rules, which you can apply to make these tempo changes. However, you must realize thatthere are always exceptions on rules.

An increase in tempo gives more tension in the melody. In addition, if there is an increasein the tension of the melody - e.g. the melody line is going upwards, then mostly also thetempo will increase;

A decrease in tempo releases the tension in the melody. In addition, if there is a decreasein the tension of the melody - e.g. the melody line is going downwards, then mostly alsothe tempo will decrease;

A small rest is very often inserted after the end of a phrase bow. You can realize this bydecreasing the tempo at the end of the phrase bow, and use the previous tempo in the newphrase bow.

As I already told you, there are exceptions to the rules. E.g. an upwards going melody with andecrease in tempo gives an increase in tension. Mahler is one of the composers who use this.

If you are making tempo changes it is important to listen carefully to the result, and check whetherif sounds naturally.



10/47

Ton Valkenburgh

Sound synthesis and MIDI

IntroductionCreating the right sound for an instrument with MIDI is not always easy. Most synthesizers handleinstruments like piano's or organs. Therefore, you must change the set up of your synthesizer for aspecific instrument to come close to the real sound of that instrument. Knowledge about soundsynthesis, music instruments, and experience with playing it yourself of course will help a lot.However, most of us are not all able to play all instruments. Therefore, I will first explain a littleabout sound synthesis, and how to influence the timbre. Further, I will give guidelines about thecharacteristics of some music instruments, and how to handle their specifics in MIDI.

A MIDI sequence is not just a sequence of notes, but contains also control over the transformationof the timbre of the sound. Twiddling the timbre helps to create a realistic performing MIDIsequence. Notes are not always played by a musician in the same way. Using MIDI controllers is

the first step in the transformation. It is, however, a time consuming task. Not all synthesizers havethe same features and possibilities. Therefore, I will limit myself for the explanation of the conceptto the General MIDI 2 specification.

Ground tone and harmonics

All natural sounds can be seen as build up out of one or more sine ground tones and the relatedharmonics. The loudness and the phase shift of tones determines the timbre of the sound. Thegraphical form can look like a sine, saw tooth or square. E.g. a softly played flute produces almosta sine tone. A loud played trumpet shows us something like a saw tooth. Some instruments, like apiano, use multiple sources(strings) for producing the sound. The frequency of the different stringsare not exactly the same, and interfere with each other. The result is a more lively sound.

The stronger we pluck or blow an instrument, the more harmonics it will produce

Sampling

Currently, most commercial synthesizers used digital stored samples of real sounds. Tones of aninstrument will be recorded, digitalized, and stored in wave tables. From these pieces the wantedsound is created. The best sound quality will be reached with a lot of samples recorded at differentsignal levels and pitches. Below I show a sine tone, and how it changes over time.



11/47

Ton Valkenburgh

We can split up this signal in four periods: Attack, Decay, Sustain, and Release. Attack and Decayare part of the initial phase of the sound. Sustain and Release are the periods after the initial phase.In the initial phase the timbre changes fast. After the initial phase the timbre is more stable. Thedifferent values of the periods are characteristic for an instrument.

Attack

This is the start period during which the sound is build up. The period starts after a MIDI NoteOn has been received. The duration is dependent on the instrument and the pitch. For pluckedinstruments this period is relative short. For bowed and wind instruments it is longer. Mostly, outof nowhere the sound is reaching its full loudness.

Decay

Mostly, during the second period the loudness of the signal is decreasing a little. The sound willreach its normal timbre.

Sustain

During the sustain period the loudness is more or less stable. It can be almost stable (organs),decrease slowly (piano), and / or change (wind and bow instruments).

Release

This period starts when a MIDI Note Off has been received. Now, the sound is dying out.Duration is very dependent on the type of instrument, but also depends on pitch and playing style.For some instruments it is possible that the sound has been dyed out before the MIDI Note Offhas been received.

Oscillators

In the analog world, synthesizers are build with oscillators. Nowadays, these synthesizers are veryoften re-build with a computer program. A well known example of an analog synthesizer is theMoog synthesizer. An example of this concept as computer program isDreamstation fromAudioSimulation. Another approach is physical modeling. An example of this is the Csoundproject. Withits over 450 signal processing modules, it allows you to build your own instrument. Csound is oftenapplied in music education, because it give a good insight to the students in the concepts of sound.

For electronic instruments, the usage of oscillators is still a common practice. Most of the abovementioned aspects for sampling will be valid for creating sound with oscillators too. However, withoscillators you will have more grades of freedom.

MIDI messages

The timbre of a sound can be changed by MIDI messages. I will explain a number of messages,and how they influence the timbre. Some functions have a message for coarse and fine control.Most synthesizers, however, support only the coarse control, because this is sufficient in mostcases.

First, I will describe the functions which change the loudness. These functions are: Velocity,Volume, Expression, Soft and Sostenuto. Some of them change the timbre too.

Next, I will deal with the functions: Vibrato, Modulation Depth, After Touch, Breath, FilterResonance and Brightness. These have influence on the timbre.

At last, I will explain the functions which modify the timbre and volume during a time frame:Attack Time, Decay Time, Sustain and Release Time.

http://www.csounds.com/http://www.csounds.com/


12/47

Ton Valkenburgh

Velocity

At the begin of a note, also the pitch and the Velocity will be send. The timbre is dependent on theVelocity. The sound will contain more harmonics if the Velocity is higher. In some synthesizers

also the Attack Time will be shorter.

Volume

With Volume you control the loudness of the MIDI channel. There are two MIDI controllers: 7 and39. In general only the coarse control (7) is available and not the fine control (39). Volume doesnot influence the timbre. The control is logarithmic, just like the volume control of your audioequipment3.With both Volume and Expression at the value of 127 the loudness is 0 dB. Volumewill be used in general for loudness control of a channel.

Expression

Expression modifies also the loudness of a channel. However, not only the loudness changes, but

also the timbre. The MIDI-controllers for Expression are for coarse 11 and for fine 43. In generalyou will only see number 11. Expression is just like Volume a logarithmic control. Expression willbe used for dynamics in a sequence (diminuendo and crescendo).

Soft

The message Soft (MIDI controller 67) has the same function as the left pedal of a piano. Thetimbre will be softer; less strings will be hit of the piano. It is a switch function. All values above64 indicate On.

Sostenuto

This MIDI controller (66) is a damper function like HOLD 1. Sostenuto, however, applies only tothe notes which are On at the moment Sostenuto is received. This is the equivalent of the thirdpiano pedal. It is a switch function. All values above 64 indicate On.

Vibrato

For Vibrato, there are a number of MIDI controllers: Vibrato Rate (76), Vibrato Depth (77) andVibrato Delay (78). These controllers are used for the Vibrato parameters of a channel. The valueindicates a relative change. No change is indicated by 40 hexadecimal.

Modulation Depth

This MIDI controller (coarse:1 and fine: 33) is used for the modulation depth of a channel. Mostly

this is the frequency delta for the Vibrato. For many synthesizers, the final effect can be controlledby 'System Exclusive messages.

After Touch

After Touch - also called Pressure - can be applied to a note only or to a channel, respectively KeyAfter Touch and Channel After Touch. After Touch changes the timbre of a note or fall notes in achannel. Higher values will result in a more bright timbre. Dependent on the implementation of themanufacturer this parameter also influences: Vibrato, Brightness and / or loudness. For AfterTouch, Universal Real Time System Exclusive messages are used.

3Loudness (dB) = 40 log (V/1272), in which V = Volume * Expression.



13/47

Ton Valkenburgh

Breath

This is the equivalent of After Touch, but it is specific for wind instruments. MIDI controllers are 2(coarse) and 34 (fine).

Filter Resonance

This MIDI controller (71) controls the harmonics of a channel. The value indicates a relativechange.

Brightness

The MIDI-controller 74 controls the high cut-off filter of a channel. Changes are relative. The realcut-off frequency is controlled by a System Exclusive message.

Attack Time

The Attack Time controller for a channel is 73. It is a relative change. The influence of thisparameter is immense. Changes in Attack Time had a dramatic influence on the characteristic ofthe sound. Increasing the Attack time of a plucked instrument changes it into a completely differentinstrument.

Decay Time

The Decay Time for a channel is controlled by MIDI controller 75. The change is relative.

HOLD 1 (Damper)

Hold 1 (damper) is used for the sustain period. The number of the MIDI controller is 64. Itis a switch. A value of 64 and higher means On. It is the equivalent of the right pedal of a piano.The right piano pedal, however, is continuous.

Release Time

The Release Time for a channel is controlled by MIDI controller 72. The change is relative.

Specific instruments

Bowed instruments

Violin

The violin has four strings: g, d, a and e. In Cakewalk, this is G4, D5, A5 and E6. Shorteningthe strings by placing the left hand finger on the fingerboard, gives the other notes. Normally inhigher positions, you can play one octave higher than the base note of the string. The highestpositions on the fingerboard can only be reached on the e-string. The highest note is g (G8).With flageolet notes you can create even d (D9).

Playing the violin, mostly one note at the time is played. However, double notes are possible. Formost MIDI performances the violin can be seen a monophonic instrument.

Playing techniquesFor the violin, there are many playing techniques. The normal technique is with the hair of thebow (col crine). The opposite is, playing with the wood (col legno). Another very well known styleis the plucking of the strings (pizzicato), with either the left or right hand.

Very important for playing the violin is the handling of the bow. Your draws can be up and down.Up-draws is mostly used for the lighter beats, because the down-draws gives a heavier sound.



14/47

Ton Valkenburgh

Changing the direction of the draws with each note is called dtach. This is an important drawtechnique in the baroque period.

Playing more notes within one draw is called legato. In the score, these notes are identified with a

slur.Tremolos are created by fast changes in the draw direction, many times per note.

It is very difficult to simulate the different playing techniques by changing the parameters of avoice. Therefore, the best way to recreate the special playing techniques with MIDI is to usedifferent samples for each playing technique. The samples are very often identified with(abbreviations of) the techniques mentioned above.

We will show how you can simulate some different playing techniques by changing the parametersof the voice.

Attack timeThe attack time of the violin sound is longer than e.g. of a piano. A violin player compensates that

by starting a little bit earlier than the piano player. When you create a MIDI sequence you need tocompensate for the difference of the attack time of the used instruments. Note that the attack time isdependent on the note velocity.

Plucked instruments

The Spanish guitar

The Spanish guitar has six strings: E, A, d, g, b, and e'. In Cakewalk, this is E3, A3, D4, G4, B4,and E5. The notation in the score is one octave higher than the real sound. By putting the fingers ofthe left hand between the frets, you can produce the other notes. Each fret means one semitone.Normally for the classical guitar, the highest tone of a string is one octave higher than the base toneof that string. Playing higher notes, is more difficult, but on the e' string three semitones higher ispossible. Electric guitars and country guitars allow higher positions. Sometimes the strings aretuned differently. E.g., all strings one semitone lower: Nirvana, or e.g. de-tuning the lowest stringto D. For playing lute music the third string is often de-tuned to fis.

Playing the guitar, a guitarist will normally not stop one note before playing the other note.However, if the notes are played on the same string each previous note is stopped automatically.Therefore, the guitar can best be seen as six monophonic instruments. One monophonic instrumentfor each string will give the best MIDI results. Another approach is - fewer channels consuming -using one channel for each voice.

There are three approaches for creating the sustained notes:

Instead of using notes with the right length, you use whole notes or even one and a halve

notes. This can be used with any synthesizer. However, your score is very difficult to read; The seconds approach can be used for synthesizers that support MIDI controller 72

(release time). You can select a release time in such a way that there is no difference inlong and short duration notes;

The third approach is using MIDI-controller 64 (hold 1 or sustain).

Which approach is the best, is determined by your synthesizer.

Playing techniquesI will explain certain playing techniques for right-handed people. It is easy to translate it for the lefthand.

Normally you will put your left hand finger just behind the fret. However, you can also create adifferent timbre by putting the finger of the left hand on the fret. This is called touff.



15/47

Ton Valkenburgh

In slow melodies very often a vibrato is used. There are three types of vibrato playing styles.Moving the string up and down while ensuring that the string will not be released from the fretcreates the sagittal vibrato. The change in the pitch is less than in the other vibrato styles. Thestronger Longitudinal vibrato is done by moving the finger between the two frets in the samedirection as the string. The strongest effect is realized with moving the finger transversal on thestring - the transversal vibrato.

Another effect is the glissando that is moving the finger across the frets - upwards or downwards -with one stroke to the string with the right hand.

The portamento differs from the glissando, because during the move of the finger across the frets,also the notes are played with the right hand.

Playing legato on a guitar differs a lot from playing on the piano in legato style. For a higher noteon the same string, the legato is played by placing the finger fast - the hammer effect - behind thefret without playing the string with the right hand. For a lower note on the same string, the legatoeffect is realized by releasing the finger fast from the string, while another finger is already in place

on the next position. Trills e.g. are realized with this legato style. If the note is on a differentstring - lower of higher, the effect is realized by playing the note on the other string softer thannormal. You can imagine that this sound differs from the above-mentioned method. Some MIDIinstruments, e.g. the Roland RD-700, have a build in legato effect for the guitar that provides thesound like above described.

A different touch of the strings will give a different timbre. There are a couple of techniques forplucking the strings. The normal plucking technique is called punteado. The thumb is used for thethree lower strings and respectively the pointer finger, middle finger, and the ring finger for thethree highest strings. Punteado is used with melodies, broken chords, and arpeggios.

The technique used with the fingernails like in flamenco music is called rasgueado.

Pizzicato is played by muting the strings with the right hand on the bridge.

When the notes are damped just after being plucked with the plucking fingers, you will get thestaccato sound.

The timbre of a tone is very dependent where you pluck the strings. Plucking close to the bridge iscalled sul ponticiello. This produces a shaper sound. An extreme form is called mtallique.Plucking halve way of the string is called sul tasto. It gives a soft sound. Hitting - not plucking - thebridge or the strings near the bridge with the fingertips or the thumb is called golpeando.

Very special are flageolet tones. You force e.g. the string to resonance one octave higher by placingyour left finger gentle on the string above the twelfth fret. There are two flageolet techniques(natural and artificial), but discussing these is out of the scope of this overview.

The best way to recreate these playing techniques with MIDI is to use different samples for each

playing technique. The samples are very often identified with (abbreviations of) the techniquesmentioned above.

Wind instruments

The Flute

Concert fluteThe concert flute - tone scale C - has a chromatic reach form (b) c through d. In Cakewalk, thisis (B4) C5 through D8. The highest octave is possible, but not very often used. Notation in thescore is the same as the sound.

Trills are not possible between b - c (B4 - C5), b - cis (B4 - C#5), c - des (C5 - Db5), cis - dis

(C#5 - D#5).



16/47

Ton Valkenburgh

Tremolos b - dis (B4 - D#5) end c' - es (C5 - Eb5) are difficult. Cis-e (C#5 - E5) is only possibleif played softly. In addition, in higher ranges there are some difficult to play trills and tremolos.The flute is a monophonic instrument, and therefore you should set the MIDI channel tomonophonic. This will give more realistic trills and tremolos.

PiccoloThe piccolo is like the concert flute, however, it sounds one octave higher. The lowest notes (b) -c- cis (B3 - C4 - C#4) are not possible. Therefore, the piccolo starts at d (D4). The highestnotes: a (A8), bes (Bb8), b (B8), c (C9) are difficult to play, only inff.

Notation in the score is one octave lower than the sound.

Bass fluteThe bass flute is like the concert flute, however, it sounds one quart lower. The tone scale is G. Thenotation is in C. In addition, a bass flute in F exists. The bass flute sounds a quint below thenotation.

Attack time

The attack time of the flute sound is longer than e.g. of a piano. A flute player compensates that bystarting a little bit earlier than the piano player. When you create a MIDI sequence you need tocompensate for the difference of the attack time of the used instruments. Note that the attack time isdependent on the note velocity.



17/47

Ton Valkenburgh

Preparation

To be able to use the CAL programs you must download SONAR MIDI-kit.zip from the WEB-

site: http://www.MIDI-Kit.nl, extract the files with e.g. WinZip, and store them in the directorywhere you keep your Cakewalk Application Programs.

If you are using the Roland RD-700 as synthesizer I recommend also to download the Roland RD-700-kit.zip from the WEB-site: http://www.MIDI-Kit.nl, extract the RD-700.ins file and SYSfiles, and store them in the directory where you keep your Cakewalk sample files, respectively yourSYS files. Start Cakewalk, go to instrument definitions, and import the RD-700 instrumentdefinitions.

You are now ready to create your first MIDI-file with this methodology.

http://www.midi-kit.nl/http://www.midi-kit.nl/http://www.midi-kit.nl/http://www.midi-kit.nl/


18/47

Ton Valkenburgh

Conventions

BackgroundCakewalk SONAR behaves very often different from what is expected. The background is thatduring the development of Cakewalk more freedom has been built in for the user. This means thatto ensure you get what you expected, we have to define a couple of rules. To be able to use theCakewalk Application Language programs you have to stick to the rules. Some of theseconventions are due to restrictions in the CAL programs. Others are just for making live easier, andto make memorization simple.

In a way, these conventions give limitations. The restrictions are as less as possible, and in the endwill make your MIDI-live much simpler.

Track numbers and channel numbers

Most of the MIDI-events are related to a channel. Either they define the characteristics of thechannel, e.g. the sound, or they control the live behavior of the channel.

Others control e.g. the synthesizer.

The following help file information of Cakewalk4shows how confusing things may look.

In MIDI-files and in Cakewalk files there is no relation between the track number and channelnumber. Cakewalk is very often confusing because even a relation ship between the channel as

seen in Cakewalk and as sent to the synthesizer is not always clear to the user.

MIDI transmits information on 16 channels, numbered 1 through 16. Every MIDI event isassigned to a particular channel. Some MIDI equipment can accept MIDI information on only a

single channel. This channel may be pre-assigned, or you may be able to change it. Other MIDIequipment, including many electronic keyboards and synthesizers, can accept information on

several different MIDI channels at once. Usually, these devices use a different instrument soundfor each channel.

On playback, the channel number is used to direct the MIDI information to a particular piece ofequipment. A single track can contain events on many different MIDI channels. The Chn

parameter in the Track view redirects all events in the track to the specified channel, ignoringthe actual channel number stored with each event. If this parameter is left blank, all events inthe tracks are sent to their original channels.

This parameter does not affect the channel information that is stored with each MIDI event.When the track is displayed in other views, like the Piano Roll or Event List view, you will seethe original channel that is stored in the file. You can edit the actual channel values in those

views.

Twelve Tone Systems

This means if you want to use different channels in a track you must set a channel number for thetrack. SONAR gives by default channel number one to events in a track. This is independent on thetrack number.

I recommend to use in general one channel number in a track5.

When you edit a score, the channel of the last entered note is the default for the next entered note.

4From Cakewalk Pro Audio 8.04.5Later I will show how the use of different channel numbers for the same instrument can help to make the soundmore realistic.



19/47

Ton Valkenburgh

Note velocity

When entering notes in Cakewalk you have to determine the note velocity. Many Music scoreeditors use as default 64. However, I will use in all MIDI-files the MIDI-controller 11 expression.

The default for expression we will use is 100 (mf). Together with a default for Note velocity of100, you will get about the same result as with a note velocity of 64 without the use of the MIDI-controller 11 expression.

Therefore, I recommend using 100 as the default note velocity.

SNAP to grid

Some of the tools in the MIDI-Kit are very sensitive to the position of the notes in the measure.Therefore, I recommend snapping the notes to a grid. Later you can change the position of thenotes to create a more lively performance.

Ticks per quarter-noteIn the pull down menu options/projects you can set the Ticks per quarter-note. The constantTIMEBASE, which can be used by CAL, will change accordingly. However, in some (sub)versions of SONAR TIMEBASE will always be 960 Ticks per quarter-note. Some CALprograms are sensitive to this bug; therefore, I recommend setting the Ticks per quarter-notealways on 960.

In the MIDI-Kit you can find a program Timebase.cal to check whether you version has thisbug.

Empty measure

I recommend keeping one empty measure at the beginning of the sequence. This is very convenientfor avoiding glitches when starting an audio recording of your MIDI-sequence.

Selecting events

You can select events and make changes on the selected events with the provided programs. Youmust, however, realize that if you mark note events in the staff view by dragging an area, that theother events within that area are not selected. If you want to select the other events too, you mustmake your selection in the events list, or use the select filter (by time) after the selection of thenotes. This important, because some of the programs will remove selected events before insertingthe new values of the events. If the events are not selected, they will not be deleted, and you mayget conflicting event values.



20/47

Ton Valkenburgh

Creating the basic MIDI-file

PrologueI will use the RD-700 in RD-700 mode unless otherwise stated. In the RD-700 mode of operation,you can use almost all RD-700 features including the GM-voices.

The sequence of the steps in the methodology is important. Some tools will not work properly ifyou follow another sequence. The first thing is to create the MIDI-sequence, which is the base foradding the specifics for the used instruments.

I recommend you to save after each step the work you have done in a different named file. Thatallows you always to go back one or more steps if you create a mess.

You will find the first examples on the WEB-site in Romance.zip. In this first example file wehave included all steps in cwp and MIDI-1 format.

Step 1: creating a MIDI file

There are different ways of creating MIDI-files in SONAR:

You can record it with Cakewalk by playing on the RD-700;

You can input it in Cakewalk by using the mouse;

You can import a MIDI-file you have created with another application, e.g. a notationapplication.

I always use the mouse to create a MIDI-file. I do it either in Cubasis Notation or directly inCakewalk. I use Cubasis Notation when I also need music scores.

As example we start with a nice piece of music from an anonymous composer: Romance forguitar. For guitarist it is a well know piece, which looks easier to play than it is in reality. To createa realistic guitar sound is hard work. However, it is good to start with the guitar, because theinstrument is well known, and that makes it easier to show the effect of the methodology.

Romance initial.mid is an example MIDI-file I have created for this part of our exercise. I haveset all note velocities to 1006.

Open this file and set your MIDI definitions for the track with the score.

Select port: Roland RD-700, bank select method: normal, bank: 11206-Roland RD-700GTR/Bass, and patch: Nylon Gtr 1.

Set the layout. Select octave-treble; the guitar sounds one octave lower than the notation.

Set the tempo. Select 100 beats per second for Romance.

When you play this initial MIDI-file, it sounds like computer music, and that is not what you reallywant. In addition, some notes may sound weird. That is, because due to the creation of the scorethere are double notes in the sequence. We will remove them later.

For you own benefit, you can now add performance aspects to the file. Later we will apply theMIDI-controllers. In the music score, I have indicated in the sequence some generic performanceaspects like: dynamics (ff, mf, mp,pp).

In the staff view of Cakewalk in Romance intitial.mid you can add these notation expressions too.In addition, in lyric notation I have indicated where the tempo should be decreased.

6With you can set all notes in a track to the same desired velocity.Note velocity.cal



21/47

Ton Valkenburgh

Note that in Cakewalk these are only notation expressions, which do not influence the sound. I usethe notation expressions as reference for setting the MIDI-controller expressions later.

Save your work as Romance 1.cwp. This is the starting point for the methodology.

Step 2: change the note velocity

Start with Romance 1.cwp and save it as Romance 2.cwp.

This step requires normally a lot of manual work. However, I have created a program that will domost of the work for you. This program Emphasis.cal sets the note velocity based on themeter and the position in the measure. In addition, a small amount of random value is added to thevelocity. Select the track and run the program. I recommend as a first try to use the default inputvalues.

You have now finalized the second step. Listen to the result. It is probably still not what you reallywant, but you will improve it later.

Save your work in Romance 2.cwp.

Step 3: remove doubles


I created the original file by first editing a score. To be able to create a neat score the leading voicenotes and the first notes on each count of the triplets are duplicated. First, we have to remove thisduplication by deleting the one of the first notes of the triplets.

With SONAR a cal program UNDUPE.CAL is shipped that can do the work. The program asksfor a time window in ticks. A too small time window may leave duplicates. Use the Event list forchecking the removal of all duplications. However, after removing the duplicates the reading of the

staff view may become more difficult. This is depending on either the short or the long double notehas been removed.

Save your work as Romance 3.cwp.

Step 4: randomize the timing


In music performance, notes are not played exactly in time. Therefore, we will randomize thetiming.

Select the track and run the CAL program Random time.cal7.Use a small number between 30and 50, if you have the Ticks per quarter-note on 960. Too much randomizing makes it less

natural.Save your work as Romance 4.cwp.

Step 5: ad expression


We will now use the notation expressions as reminder where to insert controller 11 (expression)messages. These MIDI-controller expressions will bring velocity changes in the performance. Wewill use the CAL program Expression.cal for inserting expressions. For mffill in 100 as value,for mpfill in 90, and forpfill in 80. For the diminuendo, you fill in the start value e.g. 100, and anend value e.g. 90. All according to the expressions related to the diminuendo. For the beat value,

you fill in one, and then the program inserts an expression at every beat.7This program is delivered with Cakewalk.



22/47

Ton Valkenburgh


Step 6: make the tempo changes

Start with Romance 5.cwp and save it as Romance basic.cwp.

You will now create the MIDI-controller tempo changes8for which we have put information in thescore. You can use the Insert Series of Tempos of do it step by step. On each measure count, youset a new tempo. End the end of the piece you must make relative big tempo decreases to get theright close of the piece. Listen and check whether you feel it sounds right.

Now comes the more difficult part of tempo changes. A musician makes very small changes intempo during a performance. You will only notice the lack of these tempo changes. These changesdifferentiates between computer music and human performance. Keep in mind what has beenstated in Time. Small changes of one per quarter note are mostly enough.

Play Romance, listen carefully, and make the changes where you think they must be.

When you are satisfied: save your work as Romance basic.cwp.

Epilogue

You have created the basic MIDI-file. The above-mentioned steps are the base steps for allinstruments. Due to tool restrictions the sequence of the steps are important. The programEmphasis.calmust always be used before you randomize the timing of the notes.

In the next chapter, we will go through the modifications for specific music instruments. If youhave build up more experience you will probably combine steps of this chapter with steps in thenext chapter.

8I am working on a program for doing most of the work. However, CAL is lacking the feature for making tempochanges. Therefore, I am working on an alternative approach.



23/47

Ton Valkenburgh

Modifications for specific instruments

The basics for the acoustic guitar

Prologue

The acoustic guitar has some specific characteristics. The player does not always control the lengthof the note. Mostly the length is determined by the natural dying out of the vibration of the string.However, if the notes are played on one string the lengths of a note is determined by the next notein sequence.

The most realistic sound for acoustic plucked instruments is to use a channel for each string, andset the mode of each channel on monophonic. The consequence of this is, that you must know onwhich string the note is played. In most cases, this means that you must have experience in playingthe specific instrument. In addition, the notes must have a longer duration than you will normally

see in the staff. We will use the MIDI-controller 72 (Release time) to get the normal dying-out.In The Spanish guitarother approaches are mentioned too. The advantage of using the releasetime is that you have full control over the dying-out time.

For those of you who do not have experience in playing the instrument, using a different channelfor each voice is a good alternative. However, depending on structure of the music the result maybe less realistic.

Step 7a: change the timing of the bass and chords

Start with Romance basic.cwp and save it as Romance 7.cwp.

Due to randomizing of the timing some notes will be played too early compared to the other

notes. The bass voice should always come a little bit earlier than the leading voice. Make theadjustments manually and ensure the bass notes will be played about 25 to 70 ticks9earlier thanthe note of the leading voice. You can make these changes in the staff or event list view. For thetime being, leave the chords as they are.

The notes of the chords must also from low to higher come a little later. Each following noteshould come about 1/64note duration later. This gives the right arpeggio. Use the programArpeggio.calfor creating the arpeggios. Make sure you only mark the notes of the chord. Use ashift value of 1/64note, and the default (10 %) for the shift variation. For the closing chord, Irecommend a shift value of 1/32note.

The staff view will become a little bit messy, but that is normal by making the performance morenatural.

When playing you should hear the bass just a little earlier than the leading voice. The chordsshould sound like a fast arpeggio, with exception of the last one.

However, it is still not, what you want to hear, but it should sound better.


Step 8a: give each string a channel

As example, use Romance 7.cwp as input, and save it as Romance 8.cwp.

Because I know the guitar very well, I will use six channels - one for each string. Start with thehighest E-string, and give it channel 1.

9This is the value if you have selected 960 Ticks per quarter-note.



24/47

Ton Valkenburgh

With CAL program Note channel.cal, we set each note channel to its related string. Use the scorefor determining the fingering. You mark all notes for a specific channel, and change the channelvalue.

If you are not familiar with playing the guitar you can set a channel to each voice. That means youwill have four channels in this example. You can divide the chords across the four channels.

Save the result as Romance 8.cwp.

Step 9a: change track properties

Start with Romance 8.cwp basic as input, and save it as Romance 9.cwp.

First, you copy in the event list for each channel the expression MIDI-controllers for channel 1 inthe whole sequence, and adapt the channel numbers from 2 to 6.

Second, you insert at the beginning of the sequence for each channel the controller MONO(controller number 126) with the value 0.

Third, you insert after the MONO controllers for each channel the release time controller(controller number 72) with value 87.10

Fourth, you insert panoramic MIDI-controllers (controller number10) with a value of 64.

Fifth, you insert at the beginning of the sequence for each channel the bank (11206) and patch(130). Ensure that in the sequence the bank and patch are set before the other controllers.

Now, you go to the track view and set channel, bank, and patch to none in the track properties.

If you still have double notes in your sequence, you will hear it immediately. If you hear them,remove them manually.


Step 10a: ad fret noise

Start with Romance 9.cwp as input, and save it as Romance 10.cwp.

It is almost impossible to play the guitar without some fret noise. Therefore, you have to add somefret noise where you can expect it.

Add a track 2, and select Bank: Roland GM 2 tones-0, Patch: Gt fretNoise. Select for thechannel number 7. You now need to determine where fret noise is appropriate. Where the barringmoves from the fifth position to the seventh position is a good place to add fret noise. In addition,where the same finger position changes on the same string is a good place too. However, note thatthe three high nylon strings do not produce fret noise. Do not over do it. I have only added in fourplaces fret noise.


Step 11a: set chorus and reverb


To get a more natural sound we will add some reverb (MIDI-controller 91) and chorus (MIDI-controller 93). An amount between 30 and 50 for reverb and 50 for chorus should be enough. Addthe same amount for all 6 channels, and do not forget to give channel 7 in track 2 also the sameamount of reverb.


10The choice in release time is very dependent on the used synthesizer.



25/47

Ton Valkenburgh

Step 12a: fine tuning

Start with Romance 11.cwp basic as input, and save it as Romance.cwp.

Now listen carefully and if needed - fine-tune the balance between the leading voice, the triplets

and the bass. Do it by changing the expressions for the relevant strings. Also, listen if you hearglitches. Glitches can be the result of a wrong channel number of the next note or double notes.Correct them if you hear them.

The result should be a nice performance of the music piece.

Save the result as Romance.cwp.

Epilogue

As you have discovered, you have to do a lot of editing, listening, and correcting to get a realisticperformance.

As mentioned above it is easier to give each voice its own channel. In this approach, you must also

use each channel in mono mode. Because there are three notes in the chords, I have used fourchannels. I have used channel 4 for the bass line. To let you hear the difference between the twoapproaches you can listen to Romance (4 channels).cwp. Due to the nature of this piece of music,you will hardly notice the difference.

I have given two methods for the plucked strings instruments. I recommend for solo guitar the firstapproach - with six channels. The second approach - with a channel for each voice - is very suitablefor a guitar in a small combo. With more instruments, the sound is less critical for each specificinstrument.

More for the acoustic guitar

Prologue

I will now show more playing techniques for the guitar. I will use a very well known songBeautiful dreamer. You can find the examples in Beautiful dreamer.zip. We will first changethe guitar part of this arrangement for violin and guitar. For track 1 select channel 1, port: RolandRD-700, bank select method: normal, bank: 11204-Roland RD-700 Strings, and patch:ChamberSect.. For track 2 select channel 2, port: Roland RD-700, bank select method:normal, bank: 11206-Roland RD-700 GTR/Bass, and patch: Nylon Gtr 1.

Go now through step 1, 2, 4, 5, and 6 to create a basic MIDI sequence for the guitar track. Yousave the last file as Beautiful dreamer basic.cwp.

Step 7b: change the timing of chordsStart with Beautiful dreamer basic.cwp as input, and save it as Beautiful dreamer 7b.cwp.

Use the Arpeggio.calprogram to make the arpeggios. In the intro, intermezzos and finale you canshift a note length of 1/64. In the accompaniment part of the guitar I recommend a shift of

1/128notelength.

Save the result as Beautiful dreamer 7b.cwp.

Step 8b: give each string a channel

Start with Beautiful dreamer 7b.cwp basic as input, and save it as Beautiful dreamer 8b.cwp.

Allocate channel 2 to the notes on the highest string and 7 to the notes on the lowest string.




26/47

Ton Valkenburgh

Step 9b: change track properties


First, you copy in the event list for each channel the expression MIDI-controllers for channel 2 in

the whole sequence, and adapt the channel numbers from 3 to 7.Second, you insert at the beginning of the sequence for each channel the controller MONO(controller number 126) with the value 0.

Third, you insert after the MONO controllers for each channel the release time controller(controller number 72) with value 87.

Fourth, you insert panoramic MIDI-controllers (controller number10) with a value of 32.

Fifth, you insert at the beginning of the sequence for each channel the bank (11206) and patch(130). Ensure that in the sequence the bank and patch are set before the other controllers.

Now, you go to the track view and set channel, bank, and patch to none in the track properties.


Step 10b: set the legato slurs


Mark the notes on one legato slur and run Legato FS.cal. This will give the hammering effect,like legatos are played on the guitar. The RD-700 uses the Legato Foot Switch. If your synthesizeralso supports the feature I recommend to insert these controllers. Ensure that the marked notes arein the same channel. You will get an error message if they are not in the same channel.


Step 11b: ad fret noiseStart with Beautiful dreamer 10b.cwp basic as input, and save it as Beautiful dreamer 11b.cwp.

Add a track 3, and select Bank: Roland GM 2 tones-0, Patch: Gt fretNoise. Select for thechannel number 8. You now need to determine where fret noise is appropriate. Where the fingerposition changes on the same string you very often hear fret noise. However, note that the threehigh nylon strings do not produce fret noise. Do not over do it.


Step 12b: set chorus and reverb

Start with Beautiful dreamer 11b.cwp as input, and save it as Beautiful dreamer 12b.cwp.

To get a more natural sound we will add some reverb (MIDI-controller 91) and chorus (MIDI-controller 93). An amount of about 30 for reverb and 50 for chorus should be enough. Add thesame amount for all 6 channels, and do not forget to give channel 8 in track 3 also the same amountof reverb. Make the pan setting for track 3 the same as for the track 2.


Epilogue

The guitar part is now ready. Fine-tuning will be done after finishing the violin part of thissequence.



27/47

Ton Valkenburgh

The violin

Prologue

The violin will mostly be used as a monophonic instrument. However, in MONO mode somesynthesizers like the RD-700 produces a very clear cut off of the notes. Therefore, I do not usethe MONO mode for legato with the RD-700. For legato slurs (phrasing bows) I will use the RD-700 in POLY mode.

Again, I will use the song Beautiful dreamer. You can find the examples in Beautifuldreamer.zip. We will now modify the violin part of this arrangement for violin and guitar.

We will start with Beautiful dreamer 12b.cwp, and go through the basic steps 2, 4 and 5. Store theresult in Beautiful dreamer 5c.cwp.

Step 7c: set the legato slurs and switch between MONO and POLY

Start with Beautiful dreamer 5c.cwp basic as input, and save it as Beautiful dreamer 7c.cwp.We must ensure that the notes under the legato slur has exactly the length of the time differencebetween tow sequential notes. Mark the notes indicated by a slur, and run the program LegatoFS.calFS.. Use as percentage 100%, and set the Foot Switch value at 0 (OFF). Mark the firstnote after the slur and insert here with the program Controller.cal the controller MONO (126)with value 0. Mark the note of the next slur and insert with the program Controller.cal thecontroller POLY (127) with the value 0. Now you mark all the notes under the slur and repeat theprevious steps. You do this for the whole violin track. If you have sequential slurs, you handlethem separately, because the last note under a slur will be shortened by the program to 90% of itsoriginal duration. However, you do not need to insert a POLY controller before each slur.

You may have a glitch if the previous note duration exceeds the start of the next note and an

MONO or POLY controller has been inserted. Shortening the first note will solve the problem.Save the result as Beautiful dreamer 7c.cwp.

Step 8c: set the staccatos

Start with Beautiful dreamer 7c.cwp basic as input, and save it as Beautiful dreamer 8c.cwp.

Now we set the staccatos in measure 42 through 44. Mark the notes with staccato indication andrun program Note duration.cal. Fill in as duration 50 %, and as velocity 115 %.

Save the result as Beautiful dreamer 8c.cwp.

Step 9c: set the glissando


Mark the d-note for the glissando, and run the program Glissando.cal. Fill in for the grace notevalue: 83, and for the glissando duration 60. Listen to the result, and if needed correct the glissandoduration11in the event list.


Step 10c: set the chorus, reverb, resonance and pan


Insert at the beginning of track reverb (controller 91) with a value of 30, and a chorus (controller

93) of 70. Set the pan value on 96. Insert a resonance (controller 71) with a value of 70.11The glissando duration is very dependent on the synthesizer.



28/47

Ton Valkenburgh


Step 11 c: fine tuning

Start with Beautiful dreamer 10c.cwp basic as input, and save it as Beautiful dreamer.cwp.Now listen carefully to the result and make changes where you are not happy with the result. Bringsome changes in the tempo where appropriate. Think about the tempo changes, reverb settings, pansettings, expressions etc. E.g. set the resonance on 64 in the accompanying part of the violin.

The attack time of the violin like all bowed instruments - slower than the attack time of a guitar.Normally a violin player compensates for that by starting slightly earlier. Therefore, we will shiftthe violin part slightly by sliding it with -50 ticks to create the same result. Ensure making of allevents. Use the event list for marking what needs to be shifted.

The result should be a nice sounding performance.

Save the result as Beautiful dreamer.cwp.

Epilogue

Even with the tools you still have to do a lot of editing, listening, and correcting to get a realisticperformance.

Note that with another synthesizer you may have to use different values for the parameters.

The violin has many playing techniques. These techniques are difficult to simulate with just onekind of sample, like we have just done. Software synthesizers give a lot of flexibility with regard tousing different samples for one instrument, and therefore give you better possibilities to simulate aninstrument like the violin.

However, with software synthesizers the above used methodology can be very useful too.

The Flute

Prologue

As example, we use a Gavotte for flute and guitar from Hndel (Gavotte (Haendel).zip). Weshow you how to handle the specific characteristics of the flute. In the music score, you can see thephrasing for the flute. Out of this score, we created the MIDI file: Gavotte (Haendel) initial.wrk.In this file, we have already indicated the expressions, and with apostrophes where the playercatches breathe.

You need to go through the steps of Creating the basic MIDI-filefirst and save the result as

Gavotte (Haendel) basic.cwp. You can safe work by already taking into account the phrasingslurs. In step 3, you let the velocity of the notes connected with a phrasing slur decrease a little.

You go first through the steps for the flute and secondly for the guitar. In step 3 for the guitar youbalance the note velocity of high and low voice. In addition, you balance the sound between fluteand guitar. You can here also use the volume12control.

Skip step 4. In step 5, you randomize the timing of the flute with about 50 ticks. For the guitarpart, you randomize with the value of 70.

In step 6, you insert the MIDI-controllers for expression on both channels.

In step 7, you change the tempo where you think it is appropriate. Where a part is ended, you candecrease the tempo.

12The volume control does not influence the timbre of the sound like: velocity and expression.



29/47

Ton Valkenburgh

In step 8, you set reverb on 30 for both channels. You also determine the stereo position for theflute and the guitar.

Save your work as Gavotte (Haendel) basic.cwp.

Step 9b: ad the moment to catch breath

Start with Gavotte (Haendel) basic.wrk and save it as Gavotte (Haendel) 9.cwp).

Until now, we did not give the flute player any moment to catch his breath.

We will now change the duration of the note to 85 % of the original duration at the places, weindicate for catching breath. You can use the CAL program Note duration.calto perform this onmarked notes. You can mark a couple of notes by holding the shift key during marking.

Listen carefully and make it sound naturally.

Save your work as Gavotte (Haendel) 9.cwp.

Step 10b: Ad the phrasing

Start with Gavotte (Haendel) 9.wrk and save it as Gavotte (Haendel) 10.cwp).

A flute is a monophonic instrument, and we will use some features of the Roland RD-700, whichonly work if the channel is monophonic. Therefore, insert in the beginning of the sequence for theflute the MIDI-controller MONO.

Create the trillsWith tr,we have indicated where trills (shake) must be played. We will now create them. You canuse the CAL program Trill.cal. We mark the note, chose for modulation +2, and process it.Notice that Cakewalk will show in the staff the note duration of the modulation twice as long as themodulation note really is. Therefore, do not get confused by what you see in the staff.

StaccatoYou cut the staccato notes about into halve of the length. However, you must also increase thevelocity to about 115 % to get about the same loudness impression. Again, the Note duration.calprogram helps to do this quickly. Mark all staccato notes by marking them one by one whileholding the shift key.

Differentiate between normal and legato styleFor the flute part all notes with exception of the breath moments and the staccato notes have alegato style. A note starts the same moment that the previous note stops. This is not the normalplaying style for the flute.

First, process the notes, which are connected with a legato bow. Use the Legato FS.calCALprogram for this. This program ensures a small overlap of the notes, put the synthesizer inLEGATO mode, and creates a legato effect for the marked notes. Mark the notes connected withonelegato bow, and process them. Now shorten the other notes to about 90 % to get somedifference between portato and legato. You must hear a slight difference between legato en normalplay, but make the difference not too big.

Save your work as Gavotte (Haendel) 10.cwp.

Step 11b: fine tuning

Start with Gavotte (Haendel) 10.wrk and save it as Gavotte (Haendel).cwp).

Now listen carefully to the result and make changes where you are not happy with the result. Bringsome changes in the tempo where appropriate.

The focus in this exercise was on the flute, and less on the guitar.



30/47

Ton Valkenburgh

For the guitar, we recommend the process as described in The basics for the acoustic guitar.Probably the sound of the guitar is now to loud, and you have to adjust this by either theexpressions or the volume. Do not forget to insert panoramic controllers.

The attack time of the recorder is like all wind instruments - slower than the attack time of aguitar. Normally a flute player compensates for that by starting slightly earlier. Therefore, we willdelay the guitar part slightly by sliding it with +50 ticks to create the same result.

Now bring some expression in the music. Give some accents for the first beat in the measure forthe recorder, and make the guitar livelier by using the expression MIDI-controllers in certain parts.

Save your work as Gavotte (Haendel).cwp.

Epilogue

Also with the flute you have many playing techniques. So you also run into the limitations of usingone kind of a sample.

We have not shown the possibility to add all kind of playing noises like with the guitar. You canexperiment with it yourself.



31/47

Ton Valkenburgh

Sonar Midi-kit Guide

Documents

Transcript of Sonar Midi-kit Guide