Shreddage IIx - can't get single notes at correct pitch without powerchord being added
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- KVRer
- Topic Starter
- 4 posts since 25 Sep, 2014
Hi all
I am very frustrated because I can see the draw-dropping potential of this program, but I can't seem to unlock some basics (which I'm sure are unlockable judging by the rave reviews). Specifically, Shreddage IIx will play back samples at the correct pitch ONLY if it converts them to powerchords. I only want to play the single notes as written. I read something about the lower octaves being used to trigger the powerchord function, and someone said to just move up the pitch of the input MIDI notes an octave (ie write it higher) to fix it. However, although it removes the powerchord function, the pitch is now an octave too high. How can I set Shreddage IIx to simply play what I've written in the correct pitch without adding powerchords? I don't quite understand this feature, because if a part was meant to have a 5th added, you would just write that note.
I am sending MIDI input from a notation program to a DAW (but the problem also occurs when constructing MIDI directly in the DAW as well). Changing MIDI ocatves (+12 semitones) is simple to do, but it does not solve this problem. If I have a guitar tuned to drop C or drop B, and I want to play a single open C or B, I would like to play this sustained or muted (set by velocity) - but no powerchords added!
I am sure that this is so basic, but honestly nothing I have tried has worked. If anyone can clear this powerchord thing up for me I can finally get a taste of this Shreddage goodness. Any help is greatly appreciated!
I am very frustrated because I can see the draw-dropping potential of this program, but I can't seem to unlock some basics (which I'm sure are unlockable judging by the rave reviews). Specifically, Shreddage IIx will play back samples at the correct pitch ONLY if it converts them to powerchords. I only want to play the single notes as written. I read something about the lower octaves being used to trigger the powerchord function, and someone said to just move up the pitch of the input MIDI notes an octave (ie write it higher) to fix it. However, although it removes the powerchord function, the pitch is now an octave too high. How can I set Shreddage IIx to simply play what I've written in the correct pitch without adding powerchords? I don't quite understand this feature, because if a part was meant to have a 5th added, you would just write that note.
I am sending MIDI input from a notation program to a DAW (but the problem also occurs when constructing MIDI directly in the DAW as well). Changing MIDI ocatves (+12 semitones) is simple to do, but it does not solve this problem. If I have a guitar tuned to drop C or drop B, and I want to play a single open C or B, I would like to play this sustained or muted (set by velocity) - but no powerchords added!
I am sure that this is so basic, but honestly nothing I have tried has worked. If anyone can clear this powerchord thing up for me I can finally get a taste of this Shreddage goodness. Any help is greatly appreciated!
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- KVRAF
- 4683 posts since 16 Mar, 2004 from Columbia, MD
Hey Jason,
If you check the quick reference guide, you'll see that Shreddage 2 splits powerchords and single notes into the lower and upper areas of the keyboard, respectively. Powerchords are mapped from MIDI note G0 to E3. Single notes are mapped from G3 to E8. Therefore, to play single notes, just play any notes on or above MIDI note G3.
If you check the quick reference guide, you'll see that Shreddage 2 splits powerchords and single notes into the lower and upper areas of the keyboard, respectively. Powerchords are mapped from MIDI note G0 to E3. Single notes are mapped from G3 to E8. Therefore, to play single notes, just play any notes on or above MIDI note G3.
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- KVRer
- Topic Starter
- 4 posts since 25 Sep, 2014
Thanks for the reply Zircon - much appreciated. I get it now - I wasn't transposing it up enough. Had to come up by 3 ocatves. Let the exploration continue! Thanks again.
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- KVRer
- Topic Starter
- 4 posts since 25 Sep, 2014
Actually I do have a follow-up question....since I moved the input up 3 octaves, I seem to be having trouble with palm mutes now. With the palm mute articulation range set at 0-69, palm muting is occurring from 0-88. Why would the articulation range be completely ignored? I don't recall having this issue before, but perhaps I wasn't paying attention. Do you know why palm muting is being applied to the notes despite the note velocity being higher than the velocity range set for palm muting on the articulation screen?
Your help would again be appreciated. Thanks.
Your help would again be appreciated. Thanks.
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- KVRAF
- 4683 posts since 16 Mar, 2004 from Columbia, MD
The octave you're playing in should not have any bearing on the velocity range. Is it possible your keyboard has a velocity curve affecting your input? Most keyboards do have something like that; you might try going to the Engine page and altering our built-in velocity curve knob to make the 'touch' more or less sensitive. This will affect all incoming MIDI input, not just from your keyboard, but also from your daw's sequencer/piano roll etc.
Shreddage 3 Stratus: Next generation Kontakt Player guitar, now available!
Impact Soundworks - Cinematic sounds, world instruments, electric guitars, synths, percussion, plugins + more!
Impact Soundworks - Cinematic sounds, world instruments, electric guitars, synths, percussion, plugins + more!
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- KVRer
- Topic Starter
- 4 posts since 25 Sep, 2014
Ah yes, the velocity cure was the problem. It was set on -10 and wreaked havoc on the articulations. Setting it to zero solved it. I assume this function is there to be a sort of humanize function?
Anyway, my final question relates to how the articulations all work together. In order for the articulations to work together properly, do I need to set velocity ranges for each one such that they do not overlap each other? eg. I assume palm muting set to 0 - 69 and sustain set to 0 - 76 cannot work together, because they are specifying the same velocity trigger? Should I set each velocity to it's own unique velocity range so that it doesn't overlap? Or is there some sort of priority system? Just trying to understand how all these articulations co-exist. If it helps, I am not constructing MIDI notes within the DAW - instead I am simply playing MIDI input that is being sent to the DAW. Your clarification regarding this should be all I need to fully understand the basics of this amazing scripting! Thanks again.
Anyway, my final question relates to how the articulations all work together. In order for the articulations to work together properly, do I need to set velocity ranges for each one such that they do not overlap each other? eg. I assume palm muting set to 0 - 69 and sustain set to 0 - 76 cannot work together, because they are specifying the same velocity trigger? Should I set each velocity to it's own unique velocity range so that it doesn't overlap? Or is there some sort of priority system? Just trying to understand how all these articulations co-exist. If it helps, I am not constructing MIDI notes within the DAW - instead I am simply playing MIDI input that is being sent to the DAW. Your clarification regarding this should be all I need to fully understand the basics of this amazing scripting! Thanks again.
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- KVRist
- 340 posts since 16 Oct, 2011
Articulation preference is top to bottom, so the sustains will take priority over the mutes if the velocities overlap. If you want more range on articulations, you can set keyswitches for them.JasonBellx wrote:Ah yes, the velocity cure was the problem. It was set on -10 and wreaked havoc on the articulations. Setting it to zero solved it. I assume this function is there to be a sort of humanize function?
Anyway, my final question relates to how the articulations all work together. In order for the articulations to work together properly, do I need to set velocity ranges for each one such that they do not overlap each other? eg. I assume palm muting set to 0 - 69 and sustain set to 0 - 76 cannot work together, because they are specifying the same velocity trigger? Should I set each velocity to it's own unique velocity range so that it doesn't overlap? Or is there some sort of priority system? Just trying to understand how all these articulations co-exist. If it helps, I am not constructing MIDI notes within the DAW - instead I am simply playing MIDI input that is being sent to the DAW. Your clarification regarding this should be all I need to fully understand the basics of this amazing scripting! Thanks again.
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