El Fri, 19 de Oct de 2007, a las 09:43:57PM -0700, Ralph Little dijo:
> \version "2.11.32"
>
> \midi {
> \context {
> \Staff
> \remove "Staff_performer"
> }
> \context {
> \Voice
> \consists "Staff_performer"
> }
> }
>
> \score {
> {
> <<{c' d' e' f'} \\ {c' b a g} >>
> }
> \midi{
> } }
There is another limitation of MIDI, only smart enough MIDI performers
are able to play the following correctly (substitute it into your
previous example):
{
<<{d'4 c'2 b4 c'4 r2.} \\ {b4 c' d'2 c'1} >>
}
If all voices from a staff go to a single MIDI channel, then a
note-off cancels the sound of this note in this channel. This is a very
good reason to assign channels to voices, not staves.
Also note that MIDI tracks can mix notes tagged with different
channels. This way, a staff could translate to a single track with
notes on separated channels into the same track.
Assigning a MIDI output channel to a track is an option in some
sequencers, but you can always leave the channel of each note untouched
if you do not assign channels to tracks.
Could anybody test how this example sounds? c'2 in first measure should
sound as a half note together with part of the d'2 in the other voice;
also, c'1 in the second measure should last as a whole note, not a
quarter note.
--
F. Vila
_______________________________________________
lilypond-devel mailing list
lilypond-devel@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-devel
