RC v6 and we want to know what you want to see in V6!

[lulukom]

I will add to my previous post that we need to drag the corresponding scale chord directly onto the chord and automatically create the length of the scale section in accordance with the length of the chord.Thank you .

[lulukom]

I would also like the scale drop-down list to be colored in colors corresponding to the distance from an exact match with the selected chord of the master track. Like how the chords of the master track are colored by distance from the tonal center. And the correspondence of the scale to the selected chord in the master track would also be indicated as a percentage and by the number of notes, for example, 6 out of 7 notes exactly correspond to the selected chord or 90%. Thank you.

[thebutler]

Thanks for all suggestions!

-GUI improvements, i.e., more organized and less chaotic.

I'd love to improve the GUI but I need some hints.
I am not sure what you mean by "more organized and less chaotic".

I've always felt all the elements in the area at the top of the main UI needs better layout/clarity/design - more 'modern' looking somehow. The items all bunched together at left, could be better laid out across the whole top section. Maybe start with centralising transport controls, then organise the other elements (marked inside red oval) around those. Make some things bigger/easier to read too...


I'm no UI designer, but for ideas just check out how other DAW's or apps look/work... i.e. ProTools, Cognitone Synfire, Logic, Cubase/Nuendo, StudioOne, etc... You'll see, no drastic changes needed here.

[Brian Collins]

I am coming at this question as a total novice in RC.

But one thing I would like to have is for a track (containing polyphonic phrases) to support multiple midi channels for output, and for the multiple concurrent notes (perhaps contrapuntal) to be split "intelligently" between those channels. Think string quartet or wind ensemble on a track.

I think that this could be done more easily and smartly than by (e.g.) Divisimate, as it would not have to allocate notes to channels in real-time as it would have total visibility of all notes in the complete phrase (or perhaps even track/part/line).

[lulukom]

+1

[kottke]

It's a small thing, but I would like to see the Melody Editor section sync with what's going on with the composition. For example, if the composition is already in G Minor and 3/4 and 100 bpm, for example, then the Melody Editor should sync to that by default.

[Brian Collins]

I am coming at this question as a total novice in RC.

But one thing I would like to have is for a track (containing polyphonic phrases) to support multiple midi channels for output, and for the multiple concurrent notes (perhaps contrapuntal) to be split "intelligently" between those channels. Think string quartet or wind ensemble on a track.

I think that this could be done more easily and smartly than by (e.g.) Divisimate, as it would not have to allocate notes to channels in real-time as it would have total visibility of all notes in the complete phrase (or perhaps even track/part/line).

I have been thinking about this a bit more, with a bit more experience of RC, and I don't necessarily think that this is the way to go.

I think there is more mileage (and more flexibility) by building on the existing Note Forwarding idea. In addition to the forwarding based on pitch range, note length, beat, velocity etc. I think RC could add the concept of a "voice". A voice would be centred on a chord tone at the start of a phrase (or each chord within a phrase) counting from the lowest chord tone upward, but definitely taking into account the inversion. Monophonic "lines" of notes in the phrase which progress only by step (scale or chromatic) or arpeggiated leap (within the chord), and do not cross any other line, are identified as a voice within the phrase and thus are selectable for note forwarding. As we start to use these rules, there may be further tweaks to the voice identification. But unlike selection based on pitch range, voices could overlap in pitch - just not at the same time - so could work for close-harmony phrases.

And we could also have a display option to colour notes by voice.

Edit: I guess this means that a Note needs a "Voice" property in its inspector, and probably an auto/manual switch for the cases when the automatic allocation of notes to voice doesn't quite work for all notes in a phrase.

Any thoughts??

[Brian Collins]

Actually the two variants I propose above are not incompatible and it could make sense to have both options.

The important new "smart" bit is the addition of a "voice" parameter to a note and the automatic allocation of voices to all the notes in a phrase (with optional manual override). And the master track voicing could perhaps also be involved in the allocation of voice to notes.

But once there is a defined voice for each note on a track, it could trivially be used for either note forwarding or splitting divisi output onto separate multi-out Midi channels. I would find this much more useful than DivisiMate, which is really targeted to live performance rather than composing.

Such a "voice" capability could possibly be the "signature" new feature of a major RC version and would open up the scope for creating sets of very reusable contrapuntal phrases and possibly even a counterpoint generator which knows and implements the conventional "species" rules for using and resolving dissonance. That would be exciting and a major leap forward for RC.

[BluGenes]

Ok, so, for this one, let me refresh on how this currently works, then the idea I had.

For progressions, when you save the progression in the time line to the browser, it is saved based what the master track chord naming you use. For example, you could be viewing the time line with traditional roman numerals, or using the actual chord names.

For roman numerals, the progression is saved as a relative progression, and with chord names, it is saved as absolute.

But, what if there was a 3rd option, both. The user could be prompted to save one or the other, or both.

This would also have the benefit of seeing both types on the timeline as well..

My mockup..

[heliacal]

The important new "smart" bit is the addition of a "voice" parameter to a note and the automatic allocation of voices to all the notes in a phrase (with optional manual override). And the master track voicing could perhaps also be involved in the allocation of voice to notes.

I really, really like this idea!

[musicdevelopments]

This is a good idea, BluGenes. I was already thinking about how both could be displayed.
Doesn't it get messy when you have to display "Cminmaj7" and "Iminmaj7" in the same box?
Does this look good or bad? :



EDIT: Fminmaj7 is on C Harmonic Major , but this is just a mockup...

[musicdevelopments]

The important new "smart" bit is the addition of a "voice" parameter to a note and the automatic allocation of voices to all the notes in a phrase (with optional manual override). And the master track voicing could perhaps also be involved in the allocation of voice to notes.

I really, really like this idea!

Yes, I like it too! I have definite plans to implement this after v6.0.
Thanks!
Attila

[Brian Collins]

This is a good idea, BluGenes. I was already thinking about how both could be displayed.
Doesn't it get messy when you have to display "Cminmaj7" and "Iminmaj7" in the same box?
Does this look good or bad?

It looks good to me. It seems clear and unambiguous.

Is there an issue in the presentation of inversions / slash chords?

[musicdevelopments]

Is there an issue in the presentation of inversions / slash chords?

Ouch, I have not thought of that!

[BluGenes]

You would have to use a custom font, of course, but, doable. I suppose dragging the size up or down would have to be considered. Smaller size, just use the one in the master track settings and when expanded, then show them both.