MIDI Logic editors are among my favorite tools here…they just allow me to move alot of stuff in a more batch-like way. I’ll still usually keep the ensemble patches in the mix, but at lower volumes depending on if I want more punch and clarity in articulations, or a more lush and loose feel.įrom there, if I need more I start working with individual tracks. Next thing I do is spin off anything that was using a group ensemble patch and build sections from individual solo instruments. Examples are humanizing the note on and note off events by a given percentage. You can allow weights and such to how much humanization occurs. Some of that stuff can work in real time, somewhat random, and never ‘exactly the same twice’. Next, I play with the humanization stuff in the track inspector. Cubase fortunately has plenty of tools to go back and forth between keeping expressive data contained with each note, or free flowing on CC lanes as needed. This way the all that expressive stuff binds to the notes and will quantize with them more or less in a ‘relative’ manner. I can fudge terraced dynamics by having CuBase terrace CC7 anytime it comes across p, f, mf, etc.), but it’s kind of a round about process…įirst thing I usually do is convert all of the CC lanes into note expression containers. In some cases I can build things in an expression map that will attempt to translate things in the import (I.E. ![]() I often have to ‘replace’ the imported hair-pin dymamics markings with new versions from inside CuBase before the expression maps start working. While you can build interpretations for the various symbols and markings in an imported ‘score’ using ‘expressionmaps’, Cubase doesn’t always match those up for you automatically at the time you do the ‘import’. That is more about getting all of the visual scoring information into the file. XML exports have no ‘interpretation data’ concerning actual play-back. Legato pedals, key-switches, tempo changes, special groove applications, and the list goes on. This can include all the ‘interpretations’ that Sibelius does while ‘playing back’ a score. MIDI exports from Sibelius are duplicates of the complete Sibelius ‘performance’. ![]() If for some reason you need all of the scoring information in CuBase too, then go for XML (Or you could even do both, and keep the XML import in a different ‘muted’ folder). So…if you’re just doing playback work, and a fancy score isn’t part of the CuBase objective MIDI might be more convenient. I can go about making changes and enhancements in Cubase from here. Now I’m at the same starting place I left off from in Sibelius…including my tempo changes and such. Now when I bring the MIDI file into CuBase, I can quickly and easily route the tracks to identical instrument setups to what I was using in Sibelius (using the presets I made before I left Sibelius). Save a preset in HALion 6, Kontakt Player, or ARIA Player, whatever…) in Sibelius before exporting it as a MIDI file. ![]() Since I use instrument plugins other than Sounds for Sibelius 7 (stuff I can load and use in ALL of my DAWs), I’ll make it a point to save my plugin setups in the plugins (I.E. This way the performance data (grooves, dynamics, etc.) will come into CuBase exactly as Sibelius played them at the time I did the export. If my intent is to make a better sounding mock-up and ‘scoring’ is not important inside CuBase, I’ll use MIDI.
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