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Chapter 2. Get real with MIDI > Dynamics - Pg. 23

Get real with MIDI · Load getreal/horns/horns. 23 Have a listen. What do you think? Examine the sequences in the Score window and you will see that they are all played accurately enough. What do I think? OK I suppose, but I'd want better than that if I was hiring them! View the sequences in the Matrix Edit window and things don't look so tight. If quantization is used while recording, things are very much improved because the actual note lengths are left unchanged but they all start at exactly the same time. This retains the sense of `realness' and is close to how a brass section actually plays. In fact we have achieved exactly what most `real' horn sections strive for! Listen to getreal/horns/hornsqua. Much tighter, but now they lack feeling and sound a bit mechan- ical. A quick way to loosen things up without spoiling the tight feel would be to randomize the notes by a few ticks in the Transform window. A similar effect can be achieved by altering the Q-Strength in the Extended Sequence Parameters box. Depending on the percentage used, only certain notes are moved. It can be progressively applied until the required degree of tightness is heard. Listen to getreal/horns/hornsit. That's more like it. The checks are in the mail! Dynamics A fine musical performance, whatever the genre, usually contains a degree of dynamic variation. It goes without saying that a MIDI sequence that emulates such a performance must also contain the same dynamic ingredients: volume (loud or soft), gradual changes of volume (crescendo and di- minuendo), sudden changes of volume (sforzando) and accented notes. Three MIDI controllers are used dynamically in Logic ­ volume, expression and velocity.