MIDI Comp. Is it possible?

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Dabbler
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Post 10 Jul 2022

Similar to how audio is comped has this already been suggested?

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huggermugger
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Post 10 Jul 2022

I think you mean compression? If so, yes, it's easy with the F8 Tool Window. Select the clip/notes. Scale the velocities down, then add velocity to bring the levels back up (sort of like makeup gain in an audio compressor).

The original has a wide dynamic range. The first variation is gently compressed. The second variation is moderately compressed. The third variation is highly compressed.
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crimsonwarlock
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Post 10 Jul 2022

huggermugger wrote:
10 Jul 2022
I think you mean compression?
Nope, he means comping. I have a suspicion that something close to MIDI or notes comping can be achieved, but I don't have the exact answer to that.

Fusion
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Post 10 Jul 2022

I have already requested this. See the post for workaround. I gave up and just record as normal as it is complicated to set up, and remember having problems with something about it. Would love to see this being fixed in an update.

viewtopic.php?f=6&t=7519957

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Dabbler
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Post 10 Jul 2022

Comping. Sorry. Thanks.

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mimidancer
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Post 11 Jul 2022

Dabbler wrote:
10 Jul 2022
Comping. Sorry. Thanks.
If you want to do multi-takes and then comp the best performance with midi. you will need to create new note lanes. the best way if you want to do multiple passes without stopping. is to create the number of note lanes you will need for your multi-takes. then leave two extra bars on the loop while you record. that will give you time to mute the current lane and arm the next before your next pass. After you have finished you can cut up the performances and comp them into a new lane. I hope this helps.

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selig
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Post 12 Jul 2022

IMO all timeline functions should apply consistently. This would include multiple takes for audio, MIDI, and automation in addition to a simple way to comp between multiple takes.
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integerpoet
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Post 12 Jul 2022

I have wished for this many times.

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DaveyG
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Post 12 Jul 2022

selig wrote:
12 Jul 2022
IMO all timeline functions should apply consistently. This would include multiple takes for audio, MIDI, and automation in addition to a simple way to comp between multiple takes.
I agree 100% with this.

We've discussed it before and I think the reason that audio and MIDI are treated differently is because audio was added much later, but when other companies do stuff like this most of them revisit what's already there with a view to making it consistent where possible. The Props/RS have never been great at doing this.

And, yes, I'm going to mention the F8 Tool window again. A floating window that looks decades older than the rest of the program and that doesn't fit on the screen if you expand more than a couple of categories (and has no scroll bar) represents that absolute reluctance of RS to revisit anything. All of that stuff should be on the sequencer toolbar - there is certainly plenty of room there.

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mimidancer
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Post 12 Jul 2022

selig wrote:
12 Jul 2022
IMO all timeline functions should apply consistently. This would include multiple takes for audio, MIDI, and automation in addition to a simple way to comp between multiple takes.
what about those who wish to overdub. Overdub is epically useful when recording percussion. Respectfully, because I love what you have done for reason, the midi comping method I described is not at all difficult.

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challism
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Post 12 Jul 2022

mimidancer wrote:
12 Jul 2022
selig wrote:
12 Jul 2022
IMO all timeline functions should apply consistently. This would include multiple takes for audio, MIDI, and automation in addition to a simple way to comp between multiple takes.
what about those who wish to overdub. Overdub is epically useful when recording percussion. Respectfully, because I love what you have done for reason, the midi comping method I described is not at all difficult.
Capture.JPG
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Players are to MIDI what synthesizers are to waveforms.
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mimidancer
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Post 13 Jul 2022

challism wrote:
12 Jul 2022
mimidancer wrote:
12 Jul 2022


what about those who wish to overdub. Overdub is epically useful when recording percussion. Respectfully, because I love what you have done for reason, the midi comping method I described is not at all difficult.
Capture.JPG
Yeah, I dub a lot. occasionally, I wub.

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motuscott
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Post 13 Jul 2022

wub a dub?
Vlad the Snarecrusher 🧂

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motuscott
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Post 13 Jul 2022

Impossible to stop myself from posting that. I tried, really I did
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selig
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Post 13 Jul 2022

mimidancer wrote:
12 Jul 2022
selig wrote:
12 Jul 2022
IMO all timeline functions should apply consistently. This would include multiple takes for audio, MIDI, and automation in addition to a simple way to comp between multiple takes.
what about those who wish to overdub. Overdub is epically useful when recording percussion. Respectfully, because I love what you have done for reason, the midi comping method I described is not at all difficult.
Totally agree - you want to over dub MIDI, should be possible. You want to overdub audio, should also be possible and should be exactly the same workflow. Same for automation!
Right now you want to comp audio, it is possible. You want to comp MIDI, it is sort of possible but is not at all the same workflow. Same for automation with the exception you cannot create lanes or takes for automation.
One of the reasons for wanting this is that you learn ONE workflow and it applies to every object/device. This goes a long way to making a complex system more simple to operate IMO.
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selig
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Post 13 Jul 2022

challism wrote:
12 Jul 2022
mimidancer wrote:
12 Jul 2022


what about those who wish to overdub. Overdub is epically useful when recording percussion. Respectfully, because I love what you have done for reason, the midi comping method I described is not at all difficult.
Capture.JPG
New Dub is different from overdub. New dub creates a new note lane, aka a “take” in audio speak (why not just use the same nomenclature throughout?). And while we’re on the subject, New Dub and New Alt do NOTHING to audio tracks - uggg….

Overdub in MIDI means to not replace what is already there, but to layer new data on top.
For total consistency, there should be MIDI “takes” just like audio when overdubbing, such that even if you layered a tom fill over the drum pattern on a MIDI track you could still access that one specific overdub on it’s own “take”.

Consistency is what I want to see (apologies for repeating myself about ‘consistency’ once again).
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challism
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Post 14 Jul 2022

selig wrote:
13 Jul 2022
challism wrote:
12 Jul 2022


Capture.JPG
New Dub is different from overdub. New dub creates a new note lane, aka a “take” in audio speak (why not just use the same nomenclature throughout?). And while we’re on the subject, New Dub and New Alt do NOTHING to audio tracks - uggg….

Overdub in MIDI means to not replace what is already there, but to layer new data on top.
For total consistency, there should be MIDI “takes” just like audio when overdubbing, such that even if you layered a tom fill over the drum pattern on a MIDI track you could still access that one specific overdub on it’s own “take”.

Consistency is what I want to see (apologies for repeating myself about ‘consistency’ once again).
Ugh is right. Why no consistency all across the board? That is both disappointing and frustrating.
motuscott wrote:
13 Jul 2022
wub a dub?
wub a dub NEW dub
Players are to MIDI what synthesizers are to waveforms.
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selig
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Post 14 Jul 2022

challism wrote:
14 Jul 2022
Ugh is right. Why no consistency all across the board? That is both disappointing and frustrating.
My favorite inconsistency right now is the shift key modifier. Depending on where you start dragging, in one case holding shift and dropping in the rack connects the audio cables to the other devices in the rack, but in another case holding shift and dropping in the rack does NOT connect the audio cables to the other devices in the rack. Wouldn’t it be nice if shift did the same thing in all cases of drag and drop (instead of doing the exact OPPOSITE in some cases)? Or even better, what if Shift just did the same thing EVERYWHERE in the interface?
Pro Tools did this from the start, with the shift modifier added to the option key allowed the next action performed to affect all ‘selected’ tracks/channels etc. Option did the same thing to ALL objects in the song. For example, to add a reverb send to just the vocals, select the vocals then holding option/shift and add the send to one of the tracks. Or press option while arming a track for record and ALL tracks are armed (or disarmed) for record. Add a third modifier (command) and now you can assign sends/inputs/outputs sequentially, like assigning the inputs to your drum tracks sequentially or assigning direct outputs to a selection of tracks sequentially (not a common need but super handy when it WAS needed!).

Bottom line, the “Option” modifier always meant one thing (do to all), “Shift/Option” modifier always meant one thing (do to selected), etc.
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