Yes, it's easier to write one polyphonic figure than to get multiple monophonic lines work together as expected. You see all voices in one place and they are intuitively pitched because they are sharing the same pitch range. The difficulty with multiple lines is that instruments have individual pitch ranges, so the octave is sometimes wrapping around where you don't expect it.
Try setting the same typical pitch in their playing ranges, or put them exactly by octaves apart. That makes things more predictable.
One work around I found to get multiple monophonic lines to work together, is to create a separate container with interpretation on the global track, as a child container. It "sums" up the lines to work better. I do this all the time.
Im thinking, what if we made voice leading a sseperate paramater with more control over the highest and lowest voice, amoung many other things.
There is one envelope parameter already: Dynamics (multiplies Velocity). Using that very simple envelope is already difficult to handle. Simple math can have unintended consequences when the value ranges aren't well balanced.
At some point we might train specialized AI models to do such meta things. On the other hand, I find it more intuitive to just play the desired dynamics on a keyboard and only use the recorded Velocity (you can even use Record Parameter here). Sometimes processing parameters directly is more straight forward that tinkering with indirect modulation.
I actually meant "envelope" as in the direction of the entire piece. Or as I later suggested, a better term would probably be "voice leading." So, to extract the voice leading portion of the interpretation and make it its own parameter, it would control the direction of a specific instrument or it can be applied globally, influencing the overall direction separate from the interpretation.
I could see it being very helpful in gluing a piece together that has multiple monophonic voices.
There will be an experimental feature that synchronizes typical pitch among instruments in the same group. This should make the interaction of multiple voices more predictable.
So if you have a section of strings in group A (e.g. four instruments) and check that box, altering a typical pitch will set all typical pitches in the group to the same pitch class (e.g. Bb). Pitch calculations within the group are now more in synch with each other.
Only the Limit Strictly setting for Interpretation can force segments into a narrow range, which might break this promise (not recommended anyway),
Sun, 2025-10-26 - 16:49 Permalink
Yes, it's easier to write one polyphonic figure than to get multiple monophonic lines work together as expected. You see all voices in one place and they are intuitively pitched because they are sharing the same pitch range. The difficulty with multiple lines is that instruments have individual pitch ranges, so the octave is sometimes wrapping around where you don't expect it.
Try setting the same typical pitch in their playing ranges, or put them exactly by octaves apart. That makes things more predictable.
Sun, 2025-10-26 - 17:24 Permalink
I agree . parameter aliases are a big deal for me as well. I can see this working well with custom automation, even rhythmic parameters.
Have we ever considered an envelop parameter, that would iinfluence the direction of the entire ccomposition, or iindividual instruments?
Sun, 2025-10-26 - 17:31 Permalink
One work around I found to get multiple monophonic lines to work together, is to create a separate container with interpretation on the global track, as a child container. It "sums" up the lines to work better. I do this all the time.
Im thinking, what if we made voice leading a sseperate paramater with more control over the highest and lowest voice, amoung many other things.
Sun, 2025-10-26 - 18:10 Permalink
There is one envelope parameter already: Dynamics (multiplies Velocity). Using that very simple envelope is already difficult to handle. Simple math can have unintended consequences when the value ranges aren't well balanced.
At some point we might train specialized AI models to do such meta things. On the other hand, I find it more intuitive to just play the desired dynamics on a keyboard and only use the recorded Velocity (you can even use Record Parameter here). Sometimes processing parameters directly is more straight forward that tinkering with indirect modulation.
Mon, 2025-10-27 - 14:34 Permalink
I actually meant "envelope" as in the direction of the entire piece. Or as I later suggested, a better term would probably be "voice leading." So, to extract the voice leading portion of the interpretation and make it its own parameter, it would control the direction of a specific instrument or it can be applied globally, influencing the overall direction separate from the interpretation.
I could see it being very helpful in gluing a piece together that has multiple monophonic voices.
Tue, 2025-10-28 - 12:37 Permalink
There will be an experimental feature that synchronizes typical pitch among instruments in the same group. This should make the interaction of multiple voices more predictable.
So if you have a section of strings in group A (e.g. four instruments) and check that box, altering a typical pitch will set all typical pitches in the group to the same pitch class (e.g. Bb). Pitch calculations within the group are now more in synch with each other.
Only the Limit Strictly setting for Interpretation can force segments into a narrow range, which might break this promise (not recommended anyway),