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Tips For Creating Sequence Data

With a little care and forethought it is also possible to

take maximum advantage of the EX instruments'

capabilities when creating multi-track performance

setups for sequence playback.

Polyphony vs. Simultaneous MIDI Note-on

Timing

Although a synthesizer's "polyphony" specification

indicates the number of notes that may play

simultaneously at the same time, this is not the same as

the number of notes which may be played via MIDI

control with precisely the same note-on timing.

For example, let's consider a MIDI sequence in which

128 notes have exactly the same note-on timing. The

MIDI protocol usually requires about 1 millisecond to

process a single note-on command. 128 note-on

commands will thus require at least 128 milliseconds to

process completely. At a tempo of 120, this is roughly

equivalent to one 16th note! Clearly, this will result in

audible delays.

Minimizing Audible Note Delays

Here are a couple of techniques you can use to

minimize audible delays and general sluggishness when

creating sequences with a large number of simultaneous

note-on events.

Clock Shift

In a sequencer with a quarter-note resolution of 480

clocks (the EX sequencer has 480-clock resolution),

each clock corresponds to approximately one

millisecond. Keeping this in mind, it is possible to set

voices which must fall right on the beat to the precise

note timing, while the timing of voices with a slower

attack - strings, pads, etc., - can be shifted 2 or 3 clocks

later. This type of fine adjustment can go a long way

toward reducing the sluggishness of a "heavy"

sequence.

Part 1

Part 2

Clock shifting can be easily accomplished in the EX

sequencers by using the Play Effects feature (Manual

page 189) to individually try out different amounts of

clock shift for each track without actually changing the

original data.

Track Numbers

Another technique is to take advantage of the track-

processing order of the particular sequencer used. The

EX sequencer, for example, processes sequencer tracks

in order from the lowest-numbered tracks to the highest.

Thus timing-critical voices can be placed in the lowest-

numbered tracks while less critical slow-attack voices

can be placed in the higher-numbered tracks. The

overall effect is similar to the clock-shift technique

described above. Please note, however, that the

effectiveness of this technique will depend on the track-

processing order of the sequencer used for playback,

and thus may not be suitable for sequence data

destined for playback on a range of different

sequencers.

Playing SMF/GM MIDI Data On the EX Sequencer

NOTE

• Since the EX5, EX5R, and EX7 are not directly

compatible with GM and XG files, such files may

not play as expected.

In most SMF (Standard MIDI File) sequences, including

GM and XG files, drums are assigned to track 10 and

thus tone generators designed specifically to play back

this type of MIDI data usually give playback priority to

track 10 to ensure proper drum and percussion timing.

Since the EX5, EX5R, and EX7 are primarily

synthesizers, and have been designed for maximum

user flexibility, track-10 playback priority is not

employed. If you notice that the drum/percussion track

of SMF data sounds sluggish when played back on the

EX sequencer, try shifting the drum track 2 or 3 clocks

earlier as described in the "Clock Shift" section, above.

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