![]() To learn about MPE, read "What is MPE?" at left. Therefore, when playing two or more simultaneous notes, each note sends its own unique Pitch Bend and Control Change 74 information, permitting polyphonic pitch slides, polyphonic Y-axis, and polyphonic finger pressure. To overcome this 4th limitation, you must use a synth that is compatible with the new MPE standard, in which each note is sent over a unique MIDI channel. The same limitation applies to Control Change messages including Control Change 74 that is used for LinnStrument's Y-axis control. This is because MIDI requires that the Pitch Bend message must apply to all notes that are playing. You'll also notice one more limitation of the piano-optimized preset sounds of such common one-channel synths: 4) Polyphonic pitch slides or polyphonic Y-axis movements aren’t possible. ![]() For example, Audio Modeling's wind and bowed-string software instruments (see "For expressive bowed strings and winds" below) are all one-channel, monophonic instruments whose sounds are optimized for LinnStrument's pressure, long pitch slides and Y-axis. To get around these limitations, you'll need to either create your own sounds in your synth (see "Creating Sounds" at left), or use a synth that has presets optimized for LinnStrument's pressure, Y-axis and long pitch slides. This is because these piano-optimized sounds are expected a MIDI piano keyboard's bend wheel, which isn't very useful for bending more than 2 semitones. 3) Left/right pitch slides will be limited to 2 semitones. ![]() This is because MIDI piano keyboards don't have the ability to send Y-axis finger movements. 2) They don't respond to LinnStrument's Y-axis (forward/backward) control. If they do respond to pressure control, they are expecting the Aftertouch signal of MIDI piano keyboards, which is only sent after the key is fully pressed, so at best finger pressure is used to add a modulation or filter effect to a note that is already playing. When playing such piano-optimized sounds from LinnStrument, you'll notice some limitations: 1) They don't respond to LinnStrument's finger pressure to control the note volume from silence to full. Why? Most synthesizers respond to a single MIDI channel, so this provides the best compatibility with the preset sounds of these one-channel synthesizers, which are intended to be played from a conventional MIDI piano keyboard. By default, LinnStrument sends its MIDI data over a single MIDI channel (channel 1) and with a Bend Range of 2 semitones. Then in Cubase you add an instrument track with Kontakt, and then use extra MIDI tracks assigned to different MIDI channels that trigger the different patches.LinnStrument sends standard MIDI messages and therefore works with every MIDI sound generator in existence, so in a sense every MIDI sound generator is recommended. Each of these can be assigned to receive MIDI from a specific channel. For example, you could load up an instance of Kontakt and then in the Kontakt instrument you could load up violins, viola, cello, and double bass patches. You can set up multiple instrument patches up in these instruments and assign each instrument to receive MIDI from a specific MIDI channel. A multi-timbral instrument is one that can receive up to 16 different MIDI channels. MultiTimbral vs Multi-Outputįirst, let’s clear up the difference between multi-timbral and multi-output instruments. Let me demystify this for you so you can quickly set up your multi-output instruments. It took me a bit of time to figure out how to map these to different outputs in the Cubase Mixer. I work with quite a few multi-timbral instruments in my projects from Kontakt, and Omnisphere to Vienna Ensemble Pro instruments. While you might know how to work with your Multi-timbral instruments in Cubase, mapping these out to multiple outputs in Cubase requires a bit of extra steps.
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