Lessons

Lesson Info

Mapping MIDI Notes

before we jump into new stuff. I think we had one hangover question that we wanted to address really quick from yesterday. And then we'll do a quick recap and then I'll tell much jokes. Maybe do some dancing, whatever really comes to mind. And we might even talk some more about period drummer. So awesome. Sounds good. That's s So here's a question. Can you quickly go over the difference between a project in a preset? Yes, A project in a preset, two different ways that you can save something in superior number two. So very quickly. There, there the related. So the project is the big scheme in a project. When you actually saved the file, the file extension will be dot as 2.0, so it'll be dots Period s 20 on what that is is that that project is going to basically capture everything in your session and make it very easy for you to share with other superior 2.0 users. So you use the project format. Really? If you were collaborating a lot Ah, preset is basically sort of a subdivision of the ...

project where you're saving very specific components of one of your kind of customization. So, for instance, if you came in and you wanted to customize the envelope on your snare drum, you could say that as a preset, and it would only obviously affect that particular instrument. Ah, combined preset. I know there's a lot of things. Is a project priest that combined preset ah, combined preset is just that. It's saving a Siris of presets all in one sort of kind of contained project. And when you open a combined preset as well do here, so combined preset. Let's open a tune, track one just so we can look at it. You'll see there's that dialogue box we went over yesterday that shows you all the different individual presets that have been saved in the combined preset. So you've got the preset, the combined preset, and then the project, and then and then maybe some with a little on then some. So all of that superior number 2.0, yeah. So I think that covers it pretty good will come out here. So today here's the plan. What we're going to be doing right now. Very, very brief recap of where we're at. So we're ready for the new stuff, and then we're gonna jump into mapping. And the mapping component of superior number 2.0, as you are about to see, is incredibly articulate. An incredibly detailed, very robust feature set that allows you to sort of customize your drums to your performance style, method and instrument. So we're gonna talk about that in just a second. I just want to make sure we're all caught up. Yesterday we went through the construct page. We went through all of the actual individual instrument. Custom is ations. We worked with the mixer a little bit. We worked with many grooves. We had quite a long day yesterday of getting through most of the basic stuff that's going to help you make the most out of your superior to experience. So if you joined us yesterday, thanks for coming back. You're about to see again. Why all the things we went over yesterday matter, even mawr Today as we're gonna tackle mapping and extra ums this morning before the lunchtime break. So without further adieu, as the French say, let's go to the mapping tab. Okay? There's a lot of information automatically and instantly that you're sort of confronted with, and it's not anywhere near as intimidating as it can look. But we're gonna go buy everything step by step and again, just like we did yesterday. If you have questions about a particular area that we're working on, our that we're talking about, it's best to get those into the chat room and get those asked in real time so that we don't kind of wait too long and pass the gold moment or opportunity to show you something. So just for the folks that were joining us yesterday kind of playing along, if you will, were still in the Avatar library, which is the stock library that comes with Superior two point. Oh, so we're in Avatar. And if we go back to the construct page, I'm still in the default kit. So I'm going to set my voice and layer limits right now toe unlimited like we did yesterday so that we have everything available in this kit that we need to. And then we're gonna come back to mapping, and we're gonna talk about ah few things here. Now, again, this can be a little daunting to look at the first thing you're going to notice is that the core page looks just like the construct page. There's no difference because it basically is a construct page. It hasn't changed, but well, you will notice is that all of the quick menus that appear on many of the other pages except the balance page because you're bouncing. But settings page so on and so forth are gone and have been replaced with some new features and a keyboard down at the bottom. Now severe Germer 2.0 is optimized primarily for three types of use. As we've been discussing, you can work with the midi grooves or MIDI files that we provide with it or sell after markets. You can work with mini that's already been recorded. You can work with the keyboard controller like we have here, and we're gonna talk a little bit more about in a minute, or you can work with an E drum kit. Now, we don't have any drum kits that appear in the studio just because we don't. But if you have any drum kit, we're about to show you a number of cool tricks and features that can help you tailor this to your drum kit, so you definitely gonna want to pay attention. And again, some of this stuff can be a little. I don't want to say, Hattie, but it doesn't necessarily always come as quickly or as intuitively of some of the other features. So don't be afraid. Don't hesitate to ask questions. We want to make sure everybody understands what we're doing. Okay, so obviously you'll tell your on the mapping page. And if we actually come all the way over here to the right hand side, we're going to see a small box that's got two tabs. One says Instrument, and one says, many nodes. Now you'll know which tab urine, because it's gonna be kind of highlighted the darker color so clearly. Right now we're instrument town and you'll notice again, just like in all of the other dialogues and preferences throughout the constructing of this kid on the map, ings and all the other things. Anything that's highlighted with the blue glow is what's going to be showing in this corresponding box followed me so far. So let's work with the snare drum, since it clearly has so much going on. So what we're seeing when we highlight the snare drum in this box is the total instrument. Now take a step back because we talked about this a little bit yesterday in Superior Drummer. The MIDI is organized by instrument and the reason it's organized by instruments because that's how most of us are going to see it. For instance, the snare drum is an instrument. We see the snare drummers one whole instrument. Now, with in that instrument, there are many different types of articulations that help a performance come to life. If all we had was one hit of the snare drum, it wouldn't be a very dynamic or very lively instrument in the sample realm. So as we click any instrument, the first thing we see here is all of the actual articulations that are available for that instrument. Now we're gonna show you how you can work with those articulations in a minute. But we picked the snare because it's very important to differentiate the difference between an instrument and an articulation. So again, the instrument is the snare. But every single one of these is a different articulation. And as I'm hitting them flam, you're going to see that we've got corresponding Midi notes and O T E s on the keyboard. So, for instance, you can see when I'm hitting the controller that admitted in through here. And this is my snare drum. Now what? Articulation. Let's see what? See what it does us select which articulation. That's our center articulation. And you know that because the little speaker icon and the actual key light up when you hit different things, right? So this'll keyboard on the screen is no different than this physical keyboard here. Okay, so the articulations each correspond to a different key or many note number on the keyboard. And this is where people get a little confused when you hit a snare drum or when you program a snare drum, you have to let Superior Drummer no, which articulation you're trying to get to. And that's why, on the keyboard, the different articulations are mapped two different keys because traditionally, when you would be programming and you have this keyboard along the bottom. If you're working your piano roll editor, for instance, in a Daw you'll have access to all these keys and can pick and choose which articulations you want to use. at which point in time that helped create a natural sounding MIDI performance. And this is something a lot of people still don't really grasp when their programming their own midi, is that these articulations all vary within one another via their velocity. So, for instance, were using this articulation right now, once used the centre snare hit. So at the bottom of this keyboard, we have a very handy tool in Superior Drummer. And this is the articulation preview, the AARP. And what happens is if you watch this velocity meter over here, it's going to show you depending on which articulation you've highlighted, right? What? These are all the way up. Does that make sense their own? Follow me here so you can actually preview. You know that when you touch here at 1 13 that sound you gonna get for the rough that makes sense. Right? And again, you can go drum by drum and you listen to the center hit on this Tom. Right? So you know that right now if your programming your media few program amidi notat 1 18 this is the velocity you're gonna get on this, Tom. And this knob here basically just makes the hits slower, faster for the preview, so it could be faster, like a real drummer. It sound check or slower. There's no right or wrong way. It's really about auditioning what's going to work best for how you're about to have the MIDI performed. And again, this is all relative to what you're doing. So, for instance, you can achieve the same thing on a keyboard controller by simply starting and going as hard as you can with the velocity as its program in your keyboard. Now a couple of things. Same thing with an E kit. While we're talking about it, you can hit a pad and start to hear how the velocities change with your keyboard controller, however, and your Elektronik drum brain, there's going to be one variable, and that's going to be how the actual hardware handles velocity, how it's set up and every controller. Every electronic drum brain has a mechanism to do this, and they're all different normally. So it really does go without saying that if you have a controller, if you have, whether it's a keyboard control or a pad control electronic drum kit, you want to sort of be intimate with its controls as well, because there's going to be a series of things that it's responsible for that the software is not responsible for and a lot of times in our support for more. A lot of times when we talk to people they're confused with as to what the hard we're supposed to do versus what the software supposed to do. So let me give you the perfect example. We're in the same midi controller. Obviously, if you could see you've got, ah, pad bank up here like most smaller, many controllers do. And if I hit the snare, that's pretty pretty hard. I mean hitting it. But if I come up here and I just give it a light tap, you can see the velocity is already much higher appear on the sneer than it is. I really have to lay into it as opposed to just touch it. Those things make a difference when you're performing again. If you had this set up in your Daw to record the sounds from superior drummer through your performance, you're going to need to effect and change the way these things perform to your actual physical performance. same thing goes for a knee kit. Now there are some controls in the software that we're going to show you to help. But ultimately I want to really, really, really emphasize that it's a marriage of the two. It's just a important toe. Have everything dialed in superior Drummer as it is to know how your controller works, because a lot of the time again, our support team will get emails or the get help requests for people presuming that we know the minute intimate details of X Y Z control or that just came out five months ago. And then we'll get another guy who's got to control. That's a year old. And although they're very similar, every single controller has different things that it's capable over different settings or defaults or different map ings, even that you can utilize. So it helps a lot when you know more about your controller than we do before you come to us and ask us if we can help with software. So keep that in mind. It's just gonna help you make better music to. Same thing goes for an e kit, but we're getting ahead of ourselves. Let's let's keep talking about just these articulations and the mapping. So again it goes without saying that right now, all of the different layer levels for all those articulations right, we have our layer limits are set unlimited. So in mapping right now, as I'm previewing something, all the layer levels are available to me. I'm hearing at all, which is great, everything that was recorded, the way it's gonna play out and again, you can go through select different things. You know, if we select here, let's go to the ride and let's take the bell. You know, you've got the bow, the booth, right? It's nice to be able to preview those articulations so you can select all of these and we'll tell you why in a second. But one of the other things that you're gonna be hearing is as you're playing things, you can learn things as well. This'll comes in handy for keyboard players and drummers alike, a drummer. So, for instance, let's say that you want to select the bell and you want the bell to be here. Well, now it's here. Did everyone see what I just did? It was pretty self explanatory, but I'll do it again really quickly. Let's say that you want something particular right here on this Keys. Theo. Crash symbol there right now, but you don't want that crash symbol there. Let's say you want another snare drum there, So let's select the snare right click on the center. Articulation, right? We want that what they hear, all we have to do. I select it. Hit, learn. And now it's right there. So I know that that seems like studio trickery. But this is a midi learned function that most software that works with keyboards or any sort of external hardware has. You just have to remember, it's only going to do what you tell it to dio. Where this comes in really handy is again, if you can imagine all these articulations now, work with me on this, because again it's one instrument and we get a lot of confusion with folks with E kits, because here's what they think versus how the reality works when someone has an electronic drum kit and they hit the snare drum. The misconception is that all of these articulations are triggered by one note. So, for instance, right here, see everyone thinks that C one is responsible for the variants of these articulations and that somehow, by the way you hit it, you're going to get these different articulations Now. There are some electronic instruments, drum sets that have mesh heads and positional sensors that are capable of filtering through different articulations. However, never will all of these individual articulations respond toe one midi note number. I know. So hear me out really quick. It doesn't matter what type of positional sensing your snare drum has. What's happening with that positional sensor is really simple. This is this. I feel weird just doing like I'm holding pizza. Or maybe, but let's pretend this is the snare drum and let's say right in the middle is the center hit, all right. It's programmed in the hardware to pick up on C one. That's the MIDI note. That is when you hit the center and maybe all the way out to about the middle of each side. It's still programmed in the hardware to hit C one, but as you get closer to the edge is that positional sensor now is telling you that it's going to trigger the rim shot, which isn't see one anymore, right? It's a one. So that's not a function of the actual snare. Being intelligent or knowing when to shift or being one. They're two totally different. Many notes as everyone follow me, Drew, If we lost anyone, are there any question mark WTF sets? Okay, so it's two completely different notes. So a lot of times an e drummer by no fault of your own mind, because this I would think the same way we'll hit the drum and see all these articulations and be hitting the drum ever would be like I'm still getting the same sound everywhere. So you need to make certain in your controller that you have the ability. If you have a positional sensor sort of a drum and again, not every drum set or electronic drum set has that kind of sensor. So here's kind of it's not always going to be hard and fast, but let's just call it hard and fast rule. If you're playing a rubber pad, it's not positional sensing, unless there's three different triggers and three different outputs accordingly coming from that pad. If you have a rubber pad with 1/4 inch input right or output trigger. You have one sound coming out of that pad, and you need to determine what sounds you want that to be. So there is one caveat to that rule that we're gonna talk about in a few minutes. But it really isn't going to achieve the thought process you're having like, Oh, is there a way where I can? There is no way to take one mini note and trigger independently based on position or feel all kinds of other different Many notes. It doesn't exist again. I always pictured the keyboard. It's the easiest sort of visual example of that's right. For every sound I have to have a corresponding Midi notes. Does that make sense? Is everyone with me? So we're on the snare drum. We start with the snare drum because again it's traditionally the most dynamic instruments in the electronic drum kit in any drum kit. But in the EQ it it's going to be the one that has the most articulations. So how do we accommodate this throughout the different various performance techniques? What's really simple? Let's start with Midi, since that's what we're working with with MIDI. It's very simple because all you're doing is assigning Ah, performance, daughter. A note in your piano roll were the articulation is that you'd like to use. So, for instance, is a kick drum in your piano roll editor, which will have a keyboard generally in a vertical kind of access weaken lineup. You put a dot where you wanted the kick drum. You put another dot where you want the snare drum. You follow the keys up, so on and so forth, and we'll talk more about this in pro tools and a little bit simple, right? You can articulate your high. It's all the articulations are spread out across the keyboard so you can see them and program them as they make sense. Now what does that mean? So if you want the drummer to do a role, there could be two articulations there could be, and then at the end, so you'd have to different notes that represent that enmity, right? The little buzz role, and you can work within those articulations this work. It's again the mirror inside the Marin, said Amir. So within those articulations are the different velocities. So maybe it's a it's a you know, there's a number of different things that go into programming or performing midi that make that realistic. If you're keyboard player, you just do exactly what I just did. That's why it's on the keys, and it's upto your magic fingers to make it happen. So if you're in a drummer, you would never want to trigger this. You would want to do that. So what you have to do is be good, because most guys can't even do a good press role without electronic drums. To be honest with them drummers, I'm looking in your general direction. We're kind of slacking. We need to pick it back up and the public service announcement. Good. Okay, so this you would just do by playing, you'd work it through. So you want to set the velocities up for you, whatever your primary note is, Or maybe you have again a multi position sensor where you've got two or three notes on your snare. In either configuration, you're going to be limited with any kit. Let me say it again. You're going to be limited with an E kits because the e kit takes into account the fact that you have one advantage over the mini performance and the keyboard performance and that is physically performing. You're literally playing the drums. So a lot of the things that need to be accommodated for can actually be done. If that makes sense, everybody follow me. So keep all that stuff in mind and no, it gets confusing. How this actually works inside of superior again is brilliant software magic and very, very incredible stuff. Because every single one of these articulations obviously available to you and through a mini groove. So if we come with us and join many group right, we can see what articulations are being hit on the keyboard. Different volumes. And as we go down, you say, Rick Well, how do I know where things are? Maybe you missed it yesterday, so I'm just gonna show going again. You always hit the question, Mark. You have a question. You hit the question mark and you go to the actual layout. The mini layout. Goto Avatar. Since its were in off whatever expansion medium you're in every single tune track product you have loaded library is gonna have its own mini map, and obviously this is mapped out across the keyboard. So you can see if we start over here at C one right here. We know we have the hit. Then we've got side stick. Hope we've got the center. Then we've got rough. So right now we got a rim shot and we could just follow it all the way up. And this will go all the way for a full, you know, eight octaves up to see eight. And you can see that in some instances, the actual sound set the pattern of sounds repeats itself on the other end of the keyboard. Anyone want to guess why that is? It's pretty simple because keyboard players put both hands. So maybe you just don't want to kick drums all down here. You want to appear, and it gives you an opportunity to do some of the other cool things we're gonna show you how to do. Okay. So again, if you're any drummer and you have a pad and let's pretend this is the pad right here, this is the pad right here. And we want that pad to be this drum. Right? We're gonna learn, is there? We want the center learn. There it is. Now it's that simple. All you have to do is select the articulation by right clicking, right, so right click when it's orange, you'll know that it's selected and again that will apply to what you're listening to down here, right? Once it's highlighted, you click, learn, and then you just either touch the key or hit the pad that you want to assign that sound, too. And you're done. You can save that in your project or your combined preset. It will always be that way. So what a lot of folks do is obviously we have a map for the keyboard. But people like to move things around or put things where they're playing is a little more preferable. So they do that, and they save their own mini map. People heavy kits. They go through this process and they assign all the right articulations. They do everything they want to do, and then they save it so that every time they open superior, that could go to a preset. We got so far. Yeah, drew Any questions? Everyone Good? Yeah, I can one layer notes over a range of velocity. One layer, yeah. Can can one, uh, can multiple notes be triggered by different velocities. Yes, OK. And that would be a midi node. What? We're gonna talk about a few minutes, which is very similar. So this is kind of the basic, right? So it again, um, that would be this page, by the way, the question many knows what you're gonna get, Teoh. So I want to make sure that we understand the difference between a note and a node. You can remove any many note the same way. Click it, you learn. Remove So the remove button I generally don't like to do because I hate undoing having to do things because I'm lazy that way. But remove does exactly what you think it will do. You can just go in and remove any particular mini articulation that you want to from a drum or all of them, and start fresh and do something else. Okay, so now it's come down here. Actually, before we come here, because this could be a little intimidating to some folks. Let's come over here because our drop down menu is actually not located where it might be appear like we've seen on the other pages are drop down menu for everything on this page is right above the keyboard. You'll notice right now that we're in notes, right? Everyone sees that's highlighted. The other option for the keyboard is CC or continuous control. Now this is this is not really super monster advanced, but continuous control is a function of MIDI that allows it to send a command message. So let me give you an example. If you're on a keyboard and you turn the mod wheel is called the model will. If you're Germany didn't know, don't feel bad. I didn't know for the longest time, I just called it the wheelies thing, but you turned the mod wheel. This is sending information via MIDI, and it's what we call a continuous control, and the reason we call it that is because the information that it's generating the MIDI information is literally changing the sample or the actual sound in real time. A lot of people like, for instance, you'll see on a scent. They do this and give you kind of that guitar whammy bar effect. There's a number of different things you can assign to, and this is just one example. If you are on a keyboard continuous control. General lives in this area. You have some. You can assign different things to the controller. If you wanted Teoh, you could assign this rough to a continuous control so that when you hit a normal snare and then you pull the mod wheel down, it's giving you it's giving you that rough were continuous control with drums really comes into play is in the high hat control oven Eket because the high hat control has to be incredibly dynamic. So not only is it sending the message for the high hat toe open and trigger one sound and clothes and trigger another sound, we all know that depending on the actual pressure velocity of your foot on that pedal, the high a petal, you're getting a different sound from the symbols. So it has to anticipate all of that information. This is a really, really riel complicated sort of way beyond anything we're gonna talk about today sort of scenario. So a couple of things about high hats, none of them right now currently on the market are perfect. As far as electronic I heads go, Nothing you're doing is going to make it perfect. You're gonna be able to get a close, you're gonna be able to work with it. And you're more than likely going to have to learn a new when I say new on additional playing habit for when you record with electronic high hats because clearly they don't feel the same. Israel high hats and a lot of the way the physical hi hat responds is based on the way you feel it as a player under your stick, I will say on the Converse Elektronik, high hats are better than they've ever been in the history of Elektronik. Drums are drumming, so it's definitely worth taking the time to find out what's gonna work best for your playing style. And there are functions and features in the software to help accommodate that. We're going to show you some of those. But continuous control generally isn't something you would work with from a MIDI standpoint, meaning if you're using the midi grooves and you're working on a track and in pro tools, continuous control messages don't really anything you're gonna bother yourself with if you have someone performing a midi track using a midi controller, that's one continuous control messages and commands are gonna become more important. So since most of what we're doing is many based this morning with the mapping, we're going to move on. But as we get to some of the other presets and we look at some things, if you have any questions that fall within the realm of what's appear drummer can and can't do with continues control, feel free to fire him off, and we'll do our best to address them. Just don't go hyper star truck on me because it's it's a deep It's out there. Okay, so we've got our articulations. We know we highlight a drum. We see the articulation and that again, that's the instrument. So the instrument contains the articulation. Every articulation for an instrument is spread out against a different MIDI note. Yes, we all not. This should take a lot of confusion away immediately. Hopefully, there's Samy drummers out there going. That's the problem is it's not you. It's a normal expectation to think that when you hit a drum in a different place, it's going to sound different. It's only going to do that if it can, physically in the hardware and you program it to do so in the software. So we're back on the notes component of the actual keyboard down here and again, In case I haven't showed you. You can kind of shift the octaves. You can see things shift. C one C two. You can kind of work your way through a bigger keyboard so you can start a little bit differently. Okay, Rick, I want people to know, too, that this is we're not gonna teach mapping of specific kits, right? We're not. We don't think, Kevin, we're going to show you why in a second. OK, that is a great point because number one we don't need to because quite honestly, if you go into presets, I'll just show you. Now, since you're asking, you know you go into midi, you go into note mapping, you're going to notice that we have ah, whole bunch of many maps that are preset for you. So if you didn't know this little feature wasn't appeared. Drummer. Now you do. If you have any drum kit that's from a lease ISS any drum kit from Roland or any drum kit from Yamaha which are pretty much the Big three. You're in luck. This is already pre mapped for all of the instruments settings that when you find in a normal kid and if you don't have one of those you could use, learn right you can use learn in addition to one of those because maybe you have more pads or you could use generic, which is almost a general Midi style eket thing. But in any in any event, the learned feature is always the easiest way to assign a drum again. Anywhere you want it, pick the articulation clique learn Boehm hit it and it's gonna be there. Then you can save it. As you can see, you can save as so that you can load your own user preset your own. You know, we have a tune track Midi. Hi, Hat Articulation. This is a preset that we've created for folks toe work with Elektronik high hats with three kids. This is that page where all the drummers come out. Are you seeing that drew in the chat like the drummers like Okay, finally. Okay, yes. So it's there. Here's something that I need to really instill in every electronic drummer out there it is again the marriage of hardware and software, and it's trial and error. Probably not the best idea toe. Open your software and your E kit an hour before the gig and try and get it all figured out. You definitely want to give yourself time, and it's really not even a matter of making the right notes. Go to the right places because our software will do that. And most hard will will do that fairly flawlessly. It's about adapting these sounds and the way they react to your playing style. That's what the experimenting is about. That's where all of these presets coming. So again, we've got some pedal correction presets today. We're gonna talk about in a minute. I don't want to jump ahead of myself. But as far as note mapping goes, since we're here again, we're talking about a map and the map has the mini notes, so every articulation has its own note. So we have to map those notes across a midi keyboards so that we know where they are. So GM extended General Mini, extended general Many is a protocol that exists between all types of different hardware and software manufacturers that ensures that all the stuff works talks together wonderfully. It's a beautiful thing. Quite honestly, it's to ensure that in general many when you go to see one, it's a kick drum, and it doesn't matter whose software sound library using if they're subscribing to a general mini format. All of these similar things are always going to be in the same places now GM extended in our case means again there's General Mini, and then there's an extension of that because we have other sounds and other things that we have going on in our kids. We just we like silence. What can I say? And we want to give them all to you. So we show you where they are, and you can play with those any way you want to. But the General Midi mapping it will make all of this very compatible with anything else that says it's general. Many compatible. So, for instance, where would this be cool in a production? You by a bunch of many stuff that's not tune track related. Okay, you get the many stuff you set the mapping up to GM extended, so at least the primary components of those grooves you're gonna be able to listen to the way they were probably intended to be played. And then you can go in with a lot of the sound shaping and humanizing features we talked about yesterday in Adjust the new Mini to work. It's best with superior drummer. We don't expect everybody to just automatically work with superior German. That's why we give you all of these options and all these really cool features. Superior mapping Don't be confused because this is not superior. 2.0, mapping. This will be mapping for superior one point. Oh, remember yesterday we talked about how superior 2.0 is indeed not just clever marketing, but it's the second generation of a program the Midi mapping available for the grooves and the instruments and period 1.0 is different, then superior two point. Oh, now, if you're one of those people out there and there are many that have superior 1.0, you may have not known this was there. So now you know and been trying to use that many. Listen to those sounds, and it's been sounding awfully not good. This will fix that, and then again, you can go in with some of the other things we discussed yesterday and adjust the humanization of all of these grooves to to suit your needs. Percussionist. This is also a by product of superior 1.0, in superior one point. Oh, there were three library kits. I'll show you was really quick. Just so you know what I'm talking about. Superior one Drummer, Superior one cocktail and Superior, one percussionist. Now, you've probably noticed in this menu this drop down library menu that these never go away. Those air always there. And you're probably like, What is that? If you did not own Superior Drummer one, you'll never have these sounds because they don't exist in any of our other libraries. They were exclusive of that product. And as it stands right now that products been discontinued for probably a good five or six years at least. So if you don't own him, I'm sorry. They're just gonna be a part of your library. You'd also notice on the settings page. When you come in here, it's the same thing. You have these default settings where it's looking for superior won't drummers Pier one cocktail in again. Not that anyone really cares, but since we're here. I mean, when you pull them up, it's a very different experience. You get kind of the empty kits s one drummer asked. One cocktail is a small cocktail kit, like you think so? And then asked one percussionist, which is what that map we just looked at was four. Looks just like this, E. I bet you didn't guess there was percussion with the title like That's one Percussionist, right? So these again were part of the core library Superior one. And that mapping would apply if you wanted to use that. And you had a You just go to percussionist and you'll be good to go. Makes sense. So let's go back to the construct page. Let's go back to Avatar and let's make sure we've got our default kids. Why am I talking like Oprah? I don't know, but now I know why she does it. Okay, so we're back in no mapping S r I map. You'll see little ass trick to it. So Sonic Reality, which is 1/3 party manufacturer, has their own mini map called I map for their own mini grooves. This will lock up a line of that format mod wheel. So this would be mapping, talked about control, command, control mapping you wanted to do to the mod wheel. And then we have our Deidre mapping. So again, before anything happens, this will be my recommendation to you before you do anything, determine what the purpose for superior drummer is today for you. So right now, if you say OK, I'm here to work with many. Leave it alone. You don't need to go to any. Everything's mapped the way it needs to map are midi is recorded, obviously with our own library. So all the articulations, everything is there for you. If you're starting with the keyboard, maybe you might want to start with general. Many extended Change the map to that so that you have the full range, depending on how big your keyboard is. And again. Not that we need to talk about controllers, but keep in mind that even though this is, let's see is like a three active, too active keyboard, I'm not good at math. Sometimes maybe you can hit the plus or minus buttons to keep the actors rolling forward. So you just kind of keep auditioning sound If you have an 88 key controller. All of them will map out across all 88 keys if you're an e drummer and that's where your starting today, start with a preset before you start adding things. And I tell this religiously, that anyone we talked to terms about let us at least get you in the ballpark first because that's what that's where it starts to go to Midi. Let's say you're using a Roland kit. Go to note mapping. Select a drums rolling and start there before you do anything else. Before you even adjust anything in the role in brain, you add a simple tick. Before you do anything, play it. Play something you would normally play and see how it responds. And then start selecting one component at a time to work on until you get it where you want it, whether it's adding or learning a drum, working with the paddle, the high hat pedal and save all of the other things that would happen in the Roland brain, for instance, maybe some of the different velocity settings, the gate settings, the mask time, any of the triggering, anything that has to do with Roland keep that, Roland. And here's why. I tell you that. And that's in any harbor case. You want to find out where your obstacle is. And if you can get everything smooth here and the minute you change something here it goes crazy. Guess what the problem is. It's not the software, and a lot of guys drive themselves crazy trying to figure out what we get Emails. Believe it or not, I don't I've been trying to play my E kit and you guys suck and this is horrible in its we get it. And then we start to backpedal, and we realize that the customer went in and changed their settings. Their mass temer their velocity so that it's not triggering anything that's lighter than you know, 25 or 30 on the on the actual. And you're like, Oh, unless you're wailing your leg into it all the time. That's why you're not hearing a sound. It helps, and we can only help you if you kind of keep things separate. So that would be where we would start with this. If you're gonna be using external hardware, I hope everyone follows me thus far