For my taste, Kreisler, Busch, Thibaud, Szigeti, Morini and Casals all managed it pretty well. Tertis at times went too far on the viola, Sammons on the violin – although I love them both dearly. I suppose it is this expressive portamento that attracts the most opprobrium today, and I have to concede that Huberman sometimes executed it in an ugly way. Why then object when a violinist does it?’ – Mischa ElmanĪs I see it, the great players of the past used downward portamento in three ways: for transport from one note to another for joining up the notes into a coherent phrase, as a singer would do (hence the expression ‘breath glide’) and for expressing spontaneous emotion. I'll try to find some time to put together a MIDI file for you.‘When a singer slides beautifully from one note to another it is permissible. But it looks like a combination of several controllers being used in combination. It probably means that if you want a steel guitar both playing chords and being able to slide, you may have to spread it across several channels. This may be the missing ingredient you need, Cat!Īnd, I'm guessing that it will vary from device to device, depending just how the manufacturer has interpreted the specification. Now, many synths I've played with (not a lot) go into mono mode when you use the legato controller, cc#68 in a channel. The legato controller effectively puts the channel into mono mode temporarily in order to remove the attack portion of succeeding notes in a phrase. I think it's called Mode 4.Ĭertainly, when I look at one of my VSTs, it confirms that legato must be on before a channel will respond to portamento. Lastly, and I think this may be critical, the MIDI specification for GM2 says that the channel must be in "Mono Mode"! to start from middle C, cc#84 would be 60. a steel guitar.ĬC#84 is required to define a slide from a non-played note, like a violin sliding up to a note where the initial note is not played.ĬC#84 corresponds exactly to the MIDI note number of the unplayed note. Normally the slide is from the previous played note, especially e.g. Best practice to use 127 and 0, I suppose. This will need changing depending upon the distance between the notes and the amount of variability required.Īs one won't want it on all the time change cc#65 between 'on' (64-127) and off (0-63). Set cc#5 to define the timing of the slides between notes. Yup, I think I'll do a bit of copy and paste to redo the tutorial over here. I kinda remember posting the graph from the GM2 specification. We moved to the UK (from Germany) in November '13, and have just about got ourselves sorted out. That may be enough to jog the memory, but I'll put a more detailed post in a little while. 12 for an octave.ĭon't forget to set it back again to 2 at the end of the song. Then the 'coarse' bend in semitones, using CC#6, set to e.g. So, to set the RPN to pitch bend, set CC#101 (MSB) then CC#100 (LSB) to zero. The MIDI default is 2 semitones, but most devices should go up to 12. Pitch bend "sensitivity" is set using a pair of RPNs (LSB, MSB) followed by a data value corresponding to the number of semitones required.
Of course, VST instruments may not necessarily do it this way. Off the top of my head I seem to recall that cc#5 needs adjusting depending how close together the notes are and the effect required. The time it takes to slide from note to note is set using cc#5. I'll knock up a tutorial over the weekend and post it here.īut the essence of portamento is to switch it on or off using cc#65.
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