Express yourself AND your music with MIDI CC11
ฝัง
- เผยแพร่เมื่อ 19 พ.ค. 2024
- In this episode, Alex will pull the trick to challenge you: Are you able to distinguish a live instrument from programmed samples? And how can YOU program your MIDI phrases so lively and originally that they sound realistic? Alex is going to provide you insights into what MIDI CC11 actually is and does, and how it can help you add more expression and musicality to your MOCKUP. And at the end of day… that exploring CC11 can be a lot of fun!
Virtual Orchestration is a collaboration between Berklee College of Music (Boston, USA) and Orchestral Tools (Berlin, Germany).
A big warm thank you to Clara Baesecke and her cello 🎻 for supporting us on this episode.
More info on her and her Ensemble Mosatrïc here: www.mosatric.com
Assets used in the video:
SFX :
The following sounds provided by: mixkit.co/
Air Whoosh
Video creation credits:
Script / video concept 📜 : Alex Lamy, Eduard Flemmer
Script Consultation 🔍: Sascha Knorr, Hendrik Schwarzer
Camera 🎥 and Editing ✂️ : Fabián Barba Hallal
Motion graphics 🎨 : Michael Logar
Production Assistant 🎬 : Aleksi Oksanen
This series is gold. Thanks.
One of the best videos about CCs!Thank you!
Educational stuff, thank you! I've been pondering the exact question of why one should even bother with CC11, thinking it was just a glorified volume knob.
AND IT IS! But the neat thing I've learned is that adding dynamics to your dynamics makes things more... DYNAMIC. I'll see myself out.
🎉thank you. Great as always
Even the meerkats are impressed :)
Thank You Very Much!
🙂🙏💛
Thanks a lot for this episode, it was a very informative video, amazingly produced (all these super clear and legible animations must have taken an insane time to create them) and also tremendously fun to watch and re-watch! It's a really enlightening and merry journey with this series, I like a lot its concise, clear and entertaining style and I've been making a lot of progress thanks to these videos, kudos to everyone for producing them :-)
Just love the cello!!!
Thank you very much for passing on valuable knowledge, which I can apply in my compositions 👍👍
Hello guys.
Thank you for another informative lesson ! 🤝
Regards, Yaroslav.
Thanks for the information and for the treat at the end, The cellist is tremendous, and shows that there is nothing like the human feel. But what you showed us about the Midi CC,s really helps.
Yeah, Clara is great! We felt we couldn’t just have fake cello at the start and then not let her play something for real 😅
Great video
Was just about to say, her playing just sounds very midi for some reason haha. Glad to know i am not yet completely deaf despite all the decibels.
It’s a relief to not trick people in this case! 😂 Good ears! 👍🏻
Thank You
The one giveaway at the end versus the beginning... you can hear Clara's fingers tapping the fingerboard and you can hear her breathing :-) That was missing from the opening section that used samples.
I love using CC11, it really helps to shape the phrasing independent of the note dynamics.
That, and the bowing doesn’t match, and there’s vibrato when her hand is still… amazing sound quality for samples though!
The bowing was the giveaway for me yeah, but I didn’t want it to be 100% either, it was really weird editing it 😂
It got into the uncanny valley quite quickly, and we even tried to match the room sound up a bit as well
@@alexlamymusic I bet! Fantastic job on the sound. I had it on in the background and didn’t think twice about that first tremolo, thought it was a real instrument playing. Is that an OT solo strings library?
@@simonpassmore Yeah, it’s their Nocturne Cello.
@@alexlamymusic Really impressive stuff. Great videos too!
Great stuff here, well done!
I feel like a video covering time signatures would fit the series quite well. Just a suggestion ;)
Love that idea, thank you 🙏
Thank you for this detailed episode! I'm still learning to find that balance between my expr. and dynamics, but this video should make it easier to get there.
Also, will you make a video regarding the different EQ's on samples? For example what to listen to when equalizing strings to eliminate unwanted frequencies that build up in your final mix ect.
That’s not a bad idea, maybe down the line a general mixing tips video could be good. I can give you a bit of advice in meantime though! With sampled strings (or any samples actually) don’t make the mistake of assuming you always need to cut things out. They’re recordings at the end of the day, and they may have been processed, they may have lots of mics on offer, or they may be very raw and unprocessed. Listen first, look with a spectrum analyser too. Assuming your dealing with an unprocessed (as it was recorded) library, like Berlin Strings for example. The first thing is to get the sound you want with the mic mix. The second is, if you’re using reverb, is that causing muddiness or harshness? And if so, eq the reverb send (before the reverb plugin) instead of the strings - don’t take away frequencies for the sake of it. Then lastly, eq the strings. The most common thing that makes string samples sound a bit fake is when lots of notes are playing at once, the noise and the room tone is being multiplied as well, mostly the noise around the bowing of the strings, around 2-3kHz. Pulling a little bit of that out can help. Muddiness for our ears tends to build up a lot between 150-220hz. I’m constantly taming resonance at 190-200hz, even in live string recordings, where lots of the resonance of a room can come out. Listen to cellos and basses in that area, and a good practice is to use a dynamic eq there, rather than pull them all out completely. Overall sound can be helped a bit by scooping or boosting the low mids around 400-900hz too. I find some libraries can sound already too scooped out, and adding a couple of dB here adds a bit of richness in, or sometimes a smaller room, or ribbon/vintage mics can overemphasise this area, and little reduction can help a library blend with another set of samples.
Hope that’s a useful start! 👍🏻
@@alexlamymusic this is an entire episode's worth of content in one comment! Thank you! This is all going into my study / practice notes.
In the meantime I'll quantize everything to fu-
👏👏👏
Thanks for the video!
Is CC11 really just volume? Doesn’t it sometimes as well control vibrato?
Thanks for this creative lessen!
I have a question as to programming the MC-8 in Garageband. Can’t seem to assign the CC 1 and CC11 to adjacent faders in GB. Anyone who can answer this question?
Hi Martijn, have you done the fader assignment via the browser configuration page?
I'm using the MC-8 in Logic with the two CCs on adjacant faders. But as the assignment is done within the hardware it should be independent from the DAW.
If I remember correctly, the SWAM virtual instruments heavily rely on MIDI CC11.
Yeah, Swam and SampleModelling both have to receive CC11 before they can trigger, unless you tell them otherwise. It's also tone as well as volume. It doesn't sound the same as CC7 which is just volume. On an an analogue synth I may send it to envelope depth, so it could be effecting an amp and a filter envelope.
So... what midi controller was that? The throw looked decent like 40mm?
It’s a nakedboards MC-8. Didn’t measure the throw, but it’s quite good. Doesn’t take up much space on the desk either! At home mine is a bit more bulky 😅
It's the Nakedboards MC-8 and the throw is about 72mm.
The maker and developer of the MC-8 (MC: MIDI Controller with 8 faders hebben this name) is Nikolay Ershov from Moscow. A very nice controllers that’s not overpriced.
Hence this name!
Your sustained notes all look like they overlap in the piano roll slightly. Can you please explain the reasoning and how much should we overlap them by?
I do the same to get more of a legato between notes. That helps when your samples don't have true legato.
Hi Steven. The reasoning is different depending on the patch. Legato patches need the notes to overlap to trigger the transition between two notes, and it doesn’t matter how long they overlap, unless you want to extend them beyond the next note so that you go back and forth between two notes (which is easier when playing things in live).
With sustains, a very small overlap means you’re disguising the release of one sample into the attack of the next, and gets you a more natural transition.
With the expressive samples, it’s about where you need the sample to actually stop. Some you can allow to play the whole sample - in this case, finish the whole bowing. But some might have conflicting harmony, and so you end them more intentionally.
There’s no specific amount for the overlap, it’s just whatever works for that patch.
What is the name of this midi controller? Thanks!
I would also like to know. It doesn't seem to have any brand name printed on it.
This video has a lot of problems. In many, many libraries CC11 controls expression and CC1 controls things like vibrato, In other it's used for patches. Libraries like VSL allow you to customize what they do, with CC2 for expression for example. Since this is an educational video, a side note should've been mentioned.
Most libraries work the way we describe in the video, with East West being the only exception I know of beyond much more complicated patches. Not sure we can do the manuals for all of those in the video though! 😅
What were the other problems?