Finally figured out why channel recording drops out

Started by maarkr, Mar 20, 2025, 04:33 PM

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maarkr

So I never could figure out how to record a new channel in style creator without getting dropouts... ie, playing Cmaj in quarter notes, notes do not always sound out. 
BUT! after looking at the step edit of the recorded channel, what happens is the notes of the proper velocity are being recorded, and those above the threshold are not being recorded properly (in this instance, a guitar chord played and recorded at velocity of 58 or under sound fine, but notes over that are muted sounds).  If I step edit the notes that are over 58 (many at 68 or 71) to under 58, they sound fine.  This can be lots of editing.  Can i record to keep a limit of 58 or under?  I'm guessing it's key pressure or velocity, but I tried changing some values w no luck? 
ALSO! I just figured out it's mainly an issue with MegaVoice instruments. YEAH!  I didn't realize that so many preset songs use megavoice instruments, so that's why I couldn't get it to record properly.
aka Gene Maarkr. PSR-SX900, FA-06, PX-5S, Yamaha HS10 monitors w sub, Yamaha drums, Epi Les Paul, Yamaha bass, Studio One DAW w Waves, NI, IKM, iZotope.
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Amwilburn

yes Megavoice instruments don't respond linearly from quiet to soft; they use the velocity layers to differentiate samples; so it's possible to have a *very* quiet sound at vel 98, but a much louder one at 97! It's particularly tricky with the guitars.

To program in megavoice, I actually *lock* the keyboard velocity then edit as needed. Yes you have to edit note by note.

*Much* easier to simply use a regular voice, then use Yamaha MegaEnhancer to 'megavoice' your midi file, then use that midi file in midiToStyle to bring those slices back into a custom style

Mark
https://www.youtube.com/user/MarkWilburnTLM/videos

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Mark Wilburn

https://psrtutorial.com/perf/markWilburn.html
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Dupe

You know, these Yamaha keyboards are awesome, as what can be accomplished. I haven't got a clue what this post is all about, but the answers we get from other members is so helpful, making this forum such a valuable tool for sorting out problems and learning new techniques. Many thanks to all those that know their stuff. Dupe 🎶 🎹 👍👍
Left handed player...paralysed right hand, wrist and fingers.
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BogdanH

To use MegaVoices (MV), we definitely need to study and understand MV structure first (Data List: Mega Voice Map chapter). There we can see, that MV is divided in velocity sections. For guitar (strumming) these are:
1-20: Soft strum, 21-40: Medium strum, 41-60: Hard strum
-at velocities above 60, there are various "effects/articulations", i.e. tap on strings, mute strings, etc.

We should keep in mind, that (for example) the velocity 10 (=middle of Soft) and 30 (middle of Medium) have practically the same loudness. The difference is only in the sound: 30 will have more pronounced attack and more pronounced sustain harmonics than 10.

For strumming accompaniment we first need to decide what kind of (strumming) sound we wish to have: Soft, Medium or Hard. If we decide for Hard, then we should only use velocities 41-60. Why? Because when we strum strings (one after another) fast enough, then all strings are pluck with the same "hardness". That is, it's impossible that first two strings would sound Soft and remaining strings Hard.
If we later realize that strumming sounds too hard, then we simply decrease velocities by 20 (to get Medium strumming), or we decrease by 40 to get Soft strumming -but overall loudness will remain practically the same.

I agree with Mark: it's a note by note editing process. But once we have notes velocities within region that we want (Soft, Medium or Hard), then we can relative quickly change overall sound by using MultiSelect.
I also agree that for recording it's easier if we use a normal voice. After that we change the voice to MV and move velocities into the desired region.

I have never tried MegaEnhancer->midi->midiToStyle process.. it's too much work  :)

Bogdan
PSR-SX700 on K&M-18820 stand
Playing for myself on Youtube
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