I have a question about how to make what is called a slur in perfomed music translated into midi.
For example if I have two notes one on C3 and the second immediately after on E3, how to I make the notes pitch shift up from the C3 to the E3?
Pitchbend does not work because I want to shift more than the single pitch you are able to with the pitchbend.
I used to mess around with FL Studio and I could simply overlap the two notes in the piano roll and then check a button in the settings and it would slur the notes, is there a setting like that I dont know about in Cubase?
Are you talking about a portamento? Because a slur in midi would mean a non re-articulated note. Maybe you could explain in different terms what you want.
I’m still migrating to Cubase from Sonar, so I’m not yet well versed with Cubase specifics, but it seems to me that there are a few possibilites.
If you’re using synths, you might be wanting to switch on / off glide or portamento mode. I use Omnisphere, and it has this. This will change each overlapping note from a straight switch to a smooth glide between the two overlapping notes. In theory midi cc5 will change portamento speed, so 0 would be off completely, otherwise make your synth on / off switch learn a midi cc. Perhaps Fruity Loops uses some form of cc5 preset toggle switch, I don’t know.
If you’re using more real sounding instruments in sample libraries, this generally won’t work, and the pitch wheel invariably sounds awful. There is no solution except using libraries that actually have recorded realistic portamento, such as Audiobro’s LASS series of strings libraries. If you load the right patch, just overlapping notes on low key velocities triggers the portamento (the actual volume is controlled by the modwheel). It’s a cinch to use and sounds fantastic - great libraries.
I’ve been wanting an answer to this to, especially since i started playing with HSO. The most satisfactory solution I’ve found to date is to run the previous note into the next (which I believe is a very old way). The amount of overlap makes a big difference but it seems to work, although I’ve never used it on anything that was very upfront - mainly strings and bass. Getting velocities right matters too.
It really totally depends on the library. There is no one way to achieve this. As I said in the previous post, the only way that sounds remotely listenable on sampled real instruments is if the library itself has sampled portamento. For strings, LASS is one example, Hollywood Strings another, VSL another. In each case, portamento is activated differently. EWQL Symphonic Orchestra doesn’t have it (they have a software emulation which sounds horrible). Hopefully someone else can advise on Halion, I don’t use this.