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- #Sibelius ultimate rubato pro#
- #Sibelius ultimate rubato software#
- #Sibelius ultimate rubato professional#
The playback data is identical to the notation data, so this data by itself won’t be possible to quantize / transcribe differently.) * * *Īnd here is where it really gets interesting. (Note that when you enter music into your score in step-time in either Finale or Sibelius, no real-time performance data is generated. In Sibelius 7, choose Renotate Performance from the Flexi-time group of the Note Input Tab. In Sibelius 6, use the Simplify Notation>Renotate Performance plugin. In Finale’s MIDI/Audio>Quantization Settings, change the quantize value, then choose MIDI/Audio>Retranscribe. Try it: you can re-transcribe just a bar or two after import or recorded real-time note entry from your midi keyboard. This raw playback data has an additional benefit: it can be used to re-transcribe or re-notate a section of your score.
#Sibelius ultimate rubato software#
When you import a midi file or use Hyperscribe (Finale) or Flexitime (Sibelius) to record in real time, the software will not only display the notation correctly, but will retain your performance in the background. Finale calls this “Performance Data”, while Sibelius calls it “Live Playback”.
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a quarter note on beat 3 needs to show as a quarter note on beat three, even if it is not played exactly on the beat, or played ever so slightly softer or longer.īoth Finale and Sibelius partially solve this potential conflict of interest by including invisible “playback data” for each note that works with the visible notation in your scores. The music notation takes precedence over more subtle nuances of playback such as volume shading or timing, e.g. “+10”) which are either interpreted the same way each time on playback, or artificially randomized in some way.
#Sibelius ultimate rubato professional#
In live performance, context and experience are factors in how professional musicians interpret these markings, but these are simply values in the computer (e.g. We can visually indicate performance instructions for dynamics and articulations for instance, add a staccato if a note is to be played shorter, or an accent if it is to be played louder. The notation-centric nature of Finale and Sibelius is, by definition, different. Quantization, a phenomenon which until this point had been sidelining a fundamental, essential and defining aspect of music, could finally move “off the grid”. The basic idea is straightforward: once you manage to record the perfect take of any instrument with just the right “groove” or “feel”, the subtle variations of note start times, note durations and velocity can be copied from that instrument’s performance to another.
#Sibelius ultimate rubato pro#
Sequencer programs like Logic, Digital Performer & Cubase offer a different approach to give recorded performances a more unified, human feel, using a technology originally developed in 1992 by acoustic researcher Ernest Cholakis.Ĭholakis analyzed the recordings of professional studio musicians (mostly drummers and percussionists) in order to be able to describe, in a rational and objective way, the mix of conscious and sub-conscious articulation that musicians invoke to create a “feel”.Ĭholakis’ work ultimately led to Digital Performer’s “Groove Quantize”, Logic’s “ Groove Templates” and the “Feel Injector” feature in Pro Tools. The performers have coalesced in a tangible way that is undefinable and, whatever *it* is, everyone is doing it together.įinale and Sibelius offer ways to “humanize” playback, but these various algorithms simply randomize timing, velocity and duration which isn’t really what happens in a live performance. When a conductor coaxes a particularly emotional rubato from an orchestra, or a rhythm section lays down a massive groove, causing the listener’s body to move involuntarily, two things are certain.
![sibelius ultimate rubato sibelius ultimate rubato](https://www.noteperformer.com/gfx/performance_panel_sibelius_reverb.png)
Veteran live performers and session musicians sometimes refer to playing “in the pocket”, which means playing every note in the exact sweet spot for each beat in every bar. Subtle differences in the timing, volume and duration of phrases are what gives music its “feel” – to inject more tension or weight to make it more emotional and exciting.