A GIANT STEP FOR MIDI TO STYLE
I have now worked with creating styles from midi for 7 years, and have learned everything without help from others.
Apart from the problem of transposing midi files, which almost never have the right key, as the vast majority are programmed to F, and must be transposed 5 half-steps either up or down.
According to gurus, a midi that is to be used to create a style must be programmed to C for the harmonization to be correct.
This has involved a good deal of work with programs such as Anvil Studio, which incidentally often cause serious errors with the harmonization, so that everything becomes disharmonious.
7 years ago we had a member in the forum who was fully trained and certified in midi.
This person had worked with midi all his life, and was the one who explained to me that all midi files must first be transposed to C in order to be processed in eg Style Works.
In all the years I have done this as he recommended, and have encountered many problems with poor sound, which turns out to be due to high transposition.
I have carried out extensive tests over the past few days and can state the following:
Some instruments tolerate high transposition worse than others - pianos and guitars very often get an unbearably bad sound if transposed from F to C.
A few days ago I experienced something strange when I failed to transpose the midi file - I only transposed intros and endings - in Style Works; I didn't use Anvil Studio.
This style worked as it should on the Pa5X, and I thought it was the Pa5X's AI that made this possible.
That's not how it is.
It is beyond doubt via extensive testing that it is not necessary (or correct) to transpose midi files to C.
The sound is also normalized if transposition is omitted.
The solution is like this with Style Works:
Set variations/mains/fills as neutral, and transpose intros and endings as playback +/- necessary half-steps so that these get the same key as they have as neutral.
As simple as that.
NEVER TRUST PROFESSIONALS
I have now worked with creating styles from midi for 7 years, and have learned everything without help from others.
Apart from the problem of transposing midi files, which almost never have the right key, as the vast majority are programmed to F, and must be transposed 5 half-steps either up or down.
According to gurus, a midi that is to be used to create a style must be programmed to C for the harmonization to be correct.
This has involved a good deal of work with programs such as Anvil Studio, which incidentally often cause serious errors with the harmonization, so that everything becomes disharmonious.
7 years ago we had a member in the forum who was fully trained and certified in midi.
This person had worked with midi all his life, and was the one who explained to me that all midi files must first be transposed to C in order to be processed in eg Style Works.
In all the years I have done this as he recommended, and have encountered many problems with poor sound, which turns out to be due to high transposition.
I have carried out extensive tests over the past few days and can state the following:
Some instruments tolerate high transposition worse than others - pianos and guitars very often get an unbearably bad sound if transposed from F to C.
A few days ago I experienced something strange when I failed to transpose the midi file - I only transposed intros and endings - in Style Works; I didn't use Anvil Studio.
This style worked as it should on the Pa5X, and I thought it was the Pa5X's AI that made this possible.
That's not how it is.
It is beyond doubt via extensive testing that it is not necessary (or correct) to transpose midi files to C.
The sound is also normalized if transposition is omitted.
The solution is like this with Style Works:
Set variations/mains/fills as neutral, and transpose intros and endings as playback +/- necessary half-steps so that these get the same key as they have as neutral.
As simple as that.
NEVER TRUST PROFESSIONALS
Shared knowledge provides increased knowledge
Do the least possible and achieve the most possible
If we all share everything we have, we all have everything
Every theory is only a hypothesis until it is practically proven
KEYBOARDS, SYNTHS & MODULES I HAVE HAD AND HAVE
Casio CTK 811-ex ||| Roland EXR-7 76 ||| Yamaha DGX-620 ||| Yamaha PSR-550 ||| Yamaha PSR-S700 ||| Korg Pa800 ||| Korg Pa3X 61 ||| Deebach XMS-Pro ||| Ketron Ajamsonic ||| Casio WK-7500 ||| Yamaha Tyros5 61 ||| vArranger ||| Ketron Audya5 61 ||| Yamaha PSR S950 ||| Solton X8 Chromatic ||| Yamaha Tyros4 10th Anniversary ||| Korg Pa4X 61 ||| Roland BK-7m ||| Technics KN-6000 ||| Technics KN-7000 ||| Roli Seaboard RISE 49 ||| Deebach MAX Plus ||| Yamaha Genos ||| Korg Pa700 ||| Korg Kronos2 73 ||| Tyros4 61 ||| Deebach BlackBox ||| Korg Pa2X Pro ||| Yamaha A3000 ||| Ghenos Plus ||| Medeli AKX10 ||| Korg Nautilus 73 ||| Yamaha DGX-670 ||| Korg Krome EX-88 ||| Korg OASYS 76 Sondius-XG version ||| Korg Pa5X 76 (Pythagoras Tuned) ||| Yamaha Tyros1 ||| Ketron Audya 76 (Own developed OS) ||| Yamaha PSR-3000 ||| Yamaha 9000 Pro ||| Yamaha MODX M8 ||| Korg Grandstage X ||| Roland Juno-D7 ||| Korg Kronos 1 73 (Pythagoras Tuned)
MY PA EQUIPMENT NON-ACTIVE AND ACTIVE
Aune S6 32 bit/384 kb DAC ||| Topping USB Isolator ||| MOTU 32 bit Audio Interface ||| TEYUN Q26 32 bit/384 kb Audio Interface ||| FM Acoustics FM 300A Power amp ||| FM Acoustics FM 255 Resolution Series Pre amp ||| STAX SR-L300 (Lambda) electrostatic headphones with STAX SRM-252S Amplifier ||| beyerdynamic T70 headphones (without pads) ||| Baffle horns equipped with Seas Exotic 8" fullrange units ||| JBL horns with Compression Planar membranes ||| Fountek NeoPro 5i (Special Edition) ribbon tweeters with Compression Planar membranes ||| Audiotek W460S Bullet tweeters ||| Hexagonal subwoofer with 12 pieces Push&Pull coupled Seas Prestige 8" units, 1 item 10" slave unit and built-in XTZ power amplifiers & Cambridge Azur 640A as pre amplifier ||| Yamaha HS-5 active monitors connected to MBL 6010 Pre Amp to all keyboards
Do the least possible and achieve the most possible
If we all share everything we have, we all have everything
Every theory is only a hypothesis until it is practically proven
KEYBOARDS, SYNTHS & MODULES I HAVE HAD AND HAVE
Casio CTK 811-ex ||| Roland EXR-7 76 ||| Yamaha DGX-620 ||| Yamaha PSR-550 ||| Yamaha PSR-S700 ||| Korg Pa800 ||| Korg Pa3X 61 ||| Deebach XMS-Pro ||| Ketron Ajamsonic ||| Casio WK-7500 ||| Yamaha Tyros5 61 ||| vArranger ||| Ketron Audya5 61 ||| Yamaha PSR S950 ||| Solton X8 Chromatic ||| Yamaha Tyros4 10th Anniversary ||| Korg Pa4X 61 ||| Roland BK-7m ||| Technics KN-6000 ||| Technics KN-7000 ||| Roli Seaboard RISE 49 ||| Deebach MAX Plus ||| Yamaha Genos ||| Korg Pa700 ||| Korg Kronos2 73 ||| Tyros4 61 ||| Deebach BlackBox ||| Korg Pa2X Pro ||| Yamaha A3000 ||| Ghenos Plus ||| Medeli AKX10 ||| Korg Nautilus 73 ||| Yamaha DGX-670 ||| Korg Krome EX-88 ||| Korg OASYS 76 Sondius-XG version ||| Korg Pa5X 76 (Pythagoras Tuned) ||| Yamaha Tyros1 ||| Ketron Audya 76 (Own developed OS) ||| Yamaha PSR-3000 ||| Yamaha 9000 Pro ||| Yamaha MODX M8 ||| Korg Grandstage X ||| Roland Juno-D7 ||| Korg Kronos 1 73 (Pythagoras Tuned)
MY PA EQUIPMENT NON-ACTIVE AND ACTIVE
Aune S6 32 bit/384 kb DAC ||| Topping USB Isolator ||| MOTU 32 bit Audio Interface ||| TEYUN Q26 32 bit/384 kb Audio Interface ||| FM Acoustics FM 300A Power amp ||| FM Acoustics FM 255 Resolution Series Pre amp ||| STAX SR-L300 (Lambda) electrostatic headphones with STAX SRM-252S Amplifier ||| beyerdynamic T70 headphones (without pads) ||| Baffle horns equipped with Seas Exotic 8" fullrange units ||| JBL horns with Compression Planar membranes ||| Fountek NeoPro 5i (Special Edition) ribbon tweeters with Compression Planar membranes ||| Audiotek W460S Bullet tweeters ||| Hexagonal subwoofer with 12 pieces Push&Pull coupled Seas Prestige 8" units, 1 item 10" slave unit and built-in XTZ power amplifiers & Cambridge Azur 640A as pre amplifier ||| Yamaha HS-5 active monitors connected to MBL 6010 Pre Amp to all keyboards



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