Dealing with Logic’s Beat Mapping

Do I really have to do it? You know – load an audio file in Logic, enable Beat Mapping, then drag a Measure/Beat ruler position to the corresponding peak in the audio waveform. If you are working on very simple materials, maybe the automatic detection can work nearly alone. If you are working on real music, it doesn’t work.

After many long tedious sessions of Ctrl-Shift-dragging and hoping the beat to sticks to the desired position, and usually ending up with a bumpy Tempo track, I’ve decided a better solution had to be found. My preferred workaround is to beat the Tempo in a new MIDI track. Then, I’ll ask Logic to get the beat mapping from that one. If things are a bit out, I can simply nudge the MIDI event, proportionally respace them with the Time Handles, or even add or delete events if a beat should be added or removed.

This works a lot better for me. At least, it is a tempo I beat myself on real music, and not an informed hint from a machine.

Incommunicable microtuning

Not many DAWs, notation programs, players, virtual synths and sound libraries allow for alternative tuning and microtonal accidentals. Some allow them, but then are unable to communicate to other software the altered notes.

For example, a DAW or music program may allow for microtonal accidentals, but then send out a message that most sound players can't understand (like VST Note Expression vs MIDI Tuning Standard).

Alternative tuning is useful for music in non-Western standards (Post-Minimalism meets Ancient India). Or for ancient music (for example, tuning a harpsichord to match a lute). Or for experimental music (Harry Partch-inspired microtuning scales, or the mystical Pythagorean tuning).

Microtonal accidentals are used in much contemporary music or hybrid music, but also to transcribe as finely as possible folk music. Some experimental rock/EDM is using clusters, and going over the walls of the Equal tempered system.

Yet, not all the DAWs, notation programs, and sound generators can communicate their alternative tuning and exoteric accidentals. A world open to the world in theory, but less in practice.

Composing at the sequencer or notation software

If you are like, a considerable amount of time is spent, before even touching a key, to decide if the project has to be done in a sequencer/DAW software, or a score notation program. If you can’t read written music, there is only a choice. If you can, you are falling between two stools, torn between two possible choices.

In general, I tend to go for a sequencer when I have to write for visual media, or to create a credible mockup of classical music. If I have to compose something in a style that implies sophisticate notation craft, I go for the notation software. If you are like me, you know that a written page of music is something more than music – it is an art in itself, where the composed symbols on the page translate into performed music, and are never just a mere transcription of resounding music.

There are situations where the choice continues to be hard. Hybrid scores, for example, might require so much realtime control, that notation software may lack the needed tools. Sibelius, for example, allows for MIDI controls written over the score. Handy, if all you have to do is to send an articulation switch here and there. Not much so, if you have to control the hectic filter opening or a synthesizer.

Dorico seems to promise to be the best of both worlds. As a notation program, it thinks are a contemporary composer does, with an innate flexibility in recording, transcription, separate editing of the two parallel graphic and performance layers. And then actual playback. As a sequencer, it has a clever piano roll page, where you can access notes as two overlapping layers (graphic; performance), running next to lines representing MIDI controllers and a lane with articulation changes.

Still, I feel that a sequencer will continue to be my preferred tool to model sound as clay; and notation software will mostly serve for art music, where either real performers are involved, or the graphic art is simply too important to leave it to a bare Score page in software conceived for noisier music.

Sound maps extending over 128 entries

Keyswitching can be done better with a common reference map, allowing for easy exchange of the same code between different sound libraries. The same Expression Map or Articulation Set can then be used or easily adapted to the various libraries in your arsenal.

My personal maps for libraries like VSL and Spitfire are modeled on the UACC map. Spitfire is not always coherent with their own map, and it is easy to understand why, thinking on how little conventional are some or their libraries like Tundra or Uist.

VSL has no reference organization system, but they have tried to standardize their presets over the years. Collections from different generations have a similar system to organize the many articulations, but these systems different between the different generations, and the different instrument families. The very flexible Vienna Instruments allows however to create your own presets, and set them as they better fit your workflow.

It may seem strange, but the 128 slots allowed by the Spitfire's UACC map are not always enough. My personal map contain many nuances, going from the basic sustain vibrato or non vibrato, or espressivo, to things like molto sul pont., with heavy pressure, or various degrees of measured tremolo. Overthinked and overworked, maybe, but an effective tool to avoid thinking to the mechanics behind the libraries when actually making music.

Something I've done in Logic to get more articulation slots is to duplicate the first 128 entries to the second group of 128 in the Articulation Set, to fill all the available 256 slots. This way, any variation to the base articulations can fall in a slot mirroring the ones in the first group. For example, there are two basic Longs at #1 and #2 in the UACC map. If you need two more, you can place them at #129 and #130.

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