> Tom:
>
> The ideas seem intriguing, but I'm not having a lot of luck
> understanding what you are proposing.
>
> I think some concrete examples might serve to explain it.
I'm not quite sure where to start, having no way to demonstrate it for
you. If you haven't used (say) GIMP or Dia, the analogy to them won't
seem concrete to you. I can tell you about places in my recent work that
IMO would have required a lot less repetitive editing if I'd had this, but
I don't know how to make that real to you.
OK, I will try to describe something from my most recent composition and
how IMO it would have been much easier for me with this. (Would linking
to it be too self-promoting?)
I have a seven-bar riff that I repeat or nearly repeat maybe a dozen times
(I didn't count) and in most places, it's also shared across 3
instruments. So 30 to 40 near-repititions, some identical to others.
(There's other partly-repeated stuff, but I'll focus on that). To keep
that riff from getting annoying, I vary it a little differently each time.
Some places have extra notes, and other small distinctions. Maybe half
of them leave out two notes. Twice, a contrasting theme turns into the
repeated riff. There's a sequence of expression controllers that are
essentially the same for all of the repititions and for half of that
contrasting theme, even though they vary in other respects.
To give you some idea of the way I work, I re-edit a lot. "Writing is
re-writing". The fewest number of drafts I have for any composition is
12, the most is 48. Each represents a few hours of editing.
Manually managing that would have been just short of impossible. Ian's
linked segments helped a lot, but they don't seem meant for this sort of
detail.
****** How I found myself doing extra work
Well before I was done, I'd de-linked most of the repititions so I could
vary it. I think I ended up with only two pairs of groups being identical
(all across 3 instruments, so two groups of 6, the others mostly groups of
3, out of originally one segment linked 30 to 40 times)
After I had to do that, some of my edits required that I follow up with
long minutes of manually cutting, navigating, and pasting. Every time I
edited that sequence of expression controllers, I copied it, found &
opened all the other segments of this riff, opened their expression ruler,
selected and deleted the old ones, moved playback to the right time, and
pasted in the new ones. A few times I just missed spots, though I think I
got it all straight in the end. Without controller commands, it'd have
been impossible.
Since I couldn't add lead-ins to the segments themselves without delinking
them, I ended up with a number of little one-bar segments that are just
annoying to manage. Here again, links helped but I still was doing stuff
the machine could have done.
****** What would have been different:
With this feature, I could have put the repeated stuff into the background
and included it in each segment that needed it. Then I could have done
all those variations with foreground edits. Any edits that I made to the
background would still have propagated everywhere. I'd have saved hours.
Does that help explain it?
Tom Breton (Tehom)
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