Velocity Lane data to Controller Lane data?

Hi everyone!

I have an idea for a feature that would help me a lot, perhaps many others, too . What if the values in the Velocity Lane (derived from the p-mp-mf-f symbols in the score) could be copied and pasted into a Controller Lane, say Modulation or Expression? And, VOILA!, a controller waveform (graph) would be instantly created, with all the points connected together. This way, we could instantiate any instrument without an expression map and playback template and have it play back with the desired controller data. This would save us the time of laboriously creating the waveforms manually. Of course, we could alter them as desired. Would this be difficult to implement? Would anyone else like this feature?


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Some instruments use velocity for volume, but other instruments use velocity for different purposes.

Hi Mike - yes, seems like a good (workflow) idea. An expansion of copy/paste MIDI CC editor data from primary to secondary instruments, into allowing copy/paste into multiple CC editors for the same instrument.

Separately, its possible the velocity editor data itself is kind of unique and the suggested copy/paste action can’t be allowed - the data simply wouldn’t translate from this to other CC editors (of the same instrument)…? Just guessing… :slightly_smiling_face:

Possibly useful. OTOH ideally we don’t have to edit that data at all, I’m very curious to see where they go with the CC humanization project going on right now. It would be more in the Dorico spirit for the software to do such a good job with velocity & CC such that at most all you have to do is some touchups here and there.

If they gave us some ‘conductor controls’ over the system it could get very interesting. Say a slider for expressiveness (restrained - flamboyant), and another for rubato. Anyhow I’m wait and see.

It’s my experience that many instruments use Modulation (Controller #1) for increasing and decreasing volume. Some use Controller #11 (Expression), and some use Controller #7 (Velocity). It’s very inconsistent, confusing, and kind of maddening. Normally, when you use Controller #7, you’re simply riding the fader up and down, which alters the volume, but does not take advantage of the many samples at different volumes in the instrument itself.


In theory it could be a nice idea but I’m a bit sceptical, partly because, as Derrek says, most libraries use (or at least have the option to use) CC controllers at least for longer notes where dynamic moulding would be most useful. Of course the Dynamics lane anyway copies the data to the relevant controller in this case. And some libraries use velocity for specific purposes, such as portamento.

Since Velocity only involves Note On events, this feature would only connect these values to each other in a straight line with nothing in between. That’s not really a waveform. At slower tempo and longer notes, this gives a pretty bland result.

Isn’t that how Dorico is currently drawing the CC curves? For example, setting up both CC1 (2, 11 etc) and Velocity at identical values in the Expression Map seems to create the result you want.

Additionally, the same score marking like f might mean a different amount of volume between velocity driven patch like pizzicato and a CC patch like a sustain. I’d be interested to understand more.

UPDATE: There is a wonderful feature in Cubase called Track Input Transformer. It allows to remap the received MIDI values just before they get into the VI. I use it all the time to convert CC2 to CC1, to filter out the vibrato where it’s not needed, etc.

Yes, but I was also hoping that the programming crew could be able to automatically connect those single events with “ramps of in-between data” in order to transform them into controller curves. It must be possible for them to do that.


Perhaps you mean something like a generic sine wave shape?

This would be awesome for the auto-generated CC curves (as well as any conversion of the velocity data as you request), provided the auto-generated shape is small and discreet enough, since it’s better than the currently drawn straight lines.