This video draws together some techniques I’ve looked at in previous videos to emulate a plucked guitar part on a song, where the arrangement cried out for the Spanish guitar I don’t own.
The earliest sample-based instruments tended to have one sample for each note, leading to a “machine gun” effect with rapid retriggering. The drum part for New Order’s Blue Monday is a classic example of this, although, (ironically), it was meant to be an echo style effect, but the Linn Drum they were using kept crashing and they forgot to reprogram the dynamics at the crucial moment. With the growth of multi-sample instruments, samples are played on a “round robin” basis, each successive note triggering a different sample, so that there is variation in the sound, in an effort to generate a more human performance.
But musicians don’t only play with slight differences in intonation and attack, they also bring an arsenal of playing styles and techniques to bear. We can emulate vibrato with the pitch bend wheel, tremolo with the modulation wheel, but it’s not always straightforward. The current generation of sample based VSTi’s such as Kontakt have a solution – using keys outside the normal range of the instrument to switch to a wholly different set of samples, for example going from legato string playing to pizzicato. In this video, I look at the articulations available in Broomstick Bass and how to write those key switches into an existing MIDI part.
It’s one thing to tighten up the timing of a recorded part, be it MIDI or audio, but there’s no guarantee that it will be in time with the other parts in the song you’re recording. What happens when your bassist doesn’t sync with your drums, be they virtual or real, (or both)? Fortunately, Cubase has an easy system for copying the quantise from one part to another, so that you can copy the groove of one part onto any or all of the other parts playing at the same time. In this video, I give you an example of aligning the groove of a bass part with some pretty busy drums and look at some of the issues that can arise when you do so.
For those of us whose keyboard skills are not as complete as Rick Wakeman’s, recording MIDI from a keyboard can be a humbling experience when you open the resulting part for editing. What felt like a good performance can often be revealed to be a shambolic approximation of the desired recording, (or is that just me?). All too often, the temptation is to quantise the notes to within an inch of their life, leaving the part in time, but robbed of that human ebb and flow that separates man-made music from machine music. However, Cubase offers a halfway house between a performance that’s just go too much swing and sterile perfection – iterative quantising. This takes your ragged timing and smooths out the edges, leaving something close to the beat, but not welded to it.
Another issue with recording MIDI bass lines is that a bass guitar is (mostly) a monophonic instrument, but keyboard recording can leave you sounding adjacent notes that you could never play on a bass. This registers with the listener and detracts from the overall effect you’re trying to achieve. Cubase offers the facility to eliminate overlaps between notes, ensuring that your bassline is a one note wonder and doesn’t sound like you stumbled your way through. The video below looks at the application of both Iterative Quantise and Delete Overlaps to editing a less-than-perfect MIDI bass part.
The Logical Editor in Cubase is one of the more baffling features and yet is also one of the most powerful. Stemming from Cubase’s origins as a MIDI sequencer for the Atari ST, it allows you to define rules that apply across multiple selected MIDI parts all at once. Or, put another way, with a little thought you can set up rules that perform actions with single click that would otherwise take you hours of effort to achieve. This video introduces us to the cryptic world of the Logical Editor.