Q 01: Why SE does not allow similar transformation with audio tracks, not only MIDI?
Q 02: When Styles imitating performance of famous musicians will become available?
Q 03: In your Style Library there are no Styles for some traditional instruments widely used in classical and jazz compositions.
Q 04: The professional musicians don't frequently use GM and XG. Will SE work efficiently with more sophisticated equipment of Korg, EMU, Kurzweil, Akai etc.?
Q 05: Is it possible to create Styles on my own?
Q 06: What is the best way to use the styles: should I simply play block chords and allow SE to create the bass line (for example) or should I play the bass line and let SE calculate the chords?
Q 07: What soundcards sound best with your demos?
Q 08: Is Vocal close to Violin physically or are Style names only relative? (While experimenting I managed to get a very interesting violin sound with the help of a Style for vocal parts).
Q 09: Using Styles for percussion and bass I got weird detioration of phrasing. Did I do anything wrong?
Q 10: Using a wind instrument Style for processing a solo part, I have obtained very soft slur performance instead of the original staccato-like - something which I didn't intend to do. Did I do anything wrong?
Q 11: Some solo guitar licks of one of the Styles sound excessive to my ear. How can I get rid of them?
Q 12: Processing a Harmonica part I have detected truncation and occasional loss of the notes in the end of the phrase. Why does it happen?
Q 13: By changing Start Time in Styles of guitar accompaniment the rhythmic pattern of the Syle is sometimes completely detiorated. Why does it happen?
Q 14: I have noticed, that I obtain a somewhat different result each time I process a part, even though the initial material, the Style and all settings remain the same. Is it normal?
Q 15: A Sax Style increases attack of the sound. Is this normal?
Q 16: I try to transform a Sax track which was created with a MIDI-keyboard. Parallel notes, which were present originally, are missing in the resulting track. Is it normal?
Q 17: I have noticed that the same Style (with an identical name) gives different result with SE30 and SEM20 for the same initial material. Why does it happen?
Q 18: I muted Expression parameter, but Expression values were transformed anyway. Is it a Style bug?
Q 19: How does the stand alone Style Enhancer differ from the Cakewalk version? Which has more features? Which is more difficult to use?
Q 20: I'm running Cakewalk 9.0 which includes a limited version of SEM20. I would like to increase the library of styles which are accessible from Cakewalk. From NTONYX site I understand that SE would run as a stand-alone program. This is not convenient if you wish to apply some styles to your Cakewalk MIDI tracks. Is it possible to have the full library as a plug-in to Cakewalk?
Q 21: Are the Style sets for SEM1.28 compatible with SEM2.0?
Q 22: Can I apply SEM20 percussion Styles for processing non-GM parts?
Q 23: Increase of the Transformation Regulators leads to limitation or deterioration of Velocity and Expression functioning. What to do in such cases?
Q 24: I've apparently successfully downloaded the Style Enhancer Micro 2.4, but I can't seem to access it through my Sonar. Where exactly should I put it so that the Sonar recognizes it?

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Q 01: Why SE does not allow similar transformation with audio tracks, not only MIDI?
A 01: SE analyzes and transforms only MIDI-data. Wave-files are absolutely a different kind of data. MIDI-sequence is a model, parametrical representation of musical performance, whereas the wave-file is "analog" one. Think of it as of a "bitmap" and "vector graphic". Probably in future PM-technology will be applied to audio-data as well, and we hope to be able to offer our input here too.

Q 02: When Styles imitating performance of famous musicians will become available?
A 02: We are still busy developing the SE Style Library of the most typical performance manners in order to create a minimal but sufficient set for imitation a naturally sounding instrument. We also invent original styles. However we do plan to develop Star Styles. It is necessary to remember though, that such styles will have to be used within the genre and melody mannerism of the musician whose performance is imitated. It is very unlikely that you'll be able to generate saxophone of Charlie Parker or guitar solo of Carlos Santana, if the initial material is completely alien to the musical style of these performers.

Q 03: In your Style Library there are no Styles for some traditional instruments widely used in classical and jazz compositions.
A 03: Creating SE Style Library, we primarily aimed to provide the user with Styles for the most popular instruments. New instruments and manners are constantly added to the Library. However most SE styles are rather versatile and you can apply them to imitate more than one instrument. All you have to do is to carefully use Transformation Regulators to fine-tune them to a particular instrument.

Q 04: The professional musicians don't frequently use GM and XG. Will SE work efficiently with more sophisticated equipment of Korg, EMU, Kurzweil, Akai etc.?
A 04: SE transformation of files is much more efficient on the professional equipment, than on ordinary soundcards. These instruments are more demanding for careful adjustment of Style and Transformation Regulators. But your efforts will be compensated in full by a much more impressive outcome. Please listen to our MP3 demos created with with professional equipment and judge by yourself.

Q 05: Is it possible to create Styles on my own?
A 05: The internal structure of SE30 and SEM20 Styles is quite complex and we do not offer the user an option to create his or her own original styles. However, the user of Cakewalk software can use MFX Plug-ins which come with NTONYX Kit 1 and Kit 2, such as Chords Arpeggio, Chords Converter, Chords Creator, Smart Tremolo, Controller Adjuster, Drum Adjuster, Note Adjuster, Shape Creator, Step Adjuster, Velocity Scaler. These tools allow to transform MIDI data in the way rather similar to that of SE. But you'll have to build up chains of Plug-ins to execute more complex transformations.

Q 06: What is the best way to use the styles: should I simply play block chords and allow SE to create the bass line (for example) or should I play the bass line and let SE calculate the chords?
A 06: SE cannot produce Chords from the Bass Line - not yet, but some SE Styles can generate the Bass Line from Chords. In any case we would recommend to experiment with different Styles and different initial scores. Probably you will find new original modes of employment of this or that style leading to interesting results.

Q 07: What soundcards sound best with your demos?
A 07: Majority of SE MIDI demos adequately sound on Yamaha and Roland GM modules. We tend to believe, that GM sets of these manufacturers are well balanced and arranged. The compositions also sound well on the popular SBLive! card. However, no matter what hardware you are using, scale adjustment of Velocity and fine-tuning of other controllers may be required in some cases.

Q 08: Is Vocal close to Violin physically or are Style names only relative? (While experimenting I managed to get a very interesting violin sound with the help of a Style for vocal parts).
A 08: It is quite possible, that in your particular case the character of violin performance was indeed very close to human singing. However it should be remembered that there are some common regularities irrespective of the instrument you are using. For example, Volume and Tempo depend more on the genre, musical phrasing, rather than on the instrument used. Other paramenters are on the contrary instrument-dependent. For example if you reduce or altogether exclude Expression (Volume) value while using a Sax Style, you may use this (originally) Sax Style for Distortion Guitar imitation.

Q 09: Using Styles for percussion and bass I got weird detioration of phrasing. Did I do anything wrong?
A 09: Probably you have not paid enough attention to the Comment, where the Meter, optimal Tempo and type of percussion set is indicated. Especially noticeable misinterpretation of the initial material happens when you process 3/4 or 6/8 material by a Style intended for 4/4 meter (or vice versa).

Q 10: Using a wind instrument Style for processing a solo part, I have obtained very soft slur performance instead of the original staccato-like - something which I didn't intend to do. Did I do anything wrong?
A 10: You may have studied the Style comment not attentively enough. Many Styles perform automatic slur. Sometimes all notes are slurred, sometimes only those which are situated in certain parts of the musical phrase. You could have avoided automatic slurring by switching off (muting) Duration parameter. But before doing this you'd better have transformed the track by a special Auxiliary style "Solo Transformation".

Q 11: Some solo guitar licks of one of the Styles sound excessive to my ear. How can I get rid of them?
A 11: The best way is to use Transformation Regulators to reduce, or altogether exclude some of the effects. In some cases Wheel effects are linked to the Wheel regulator, sometimes they are linked to the Variable regulator.

Q 12: Processing a Harmonica part I have detected truncation and occasional loss of the notes in the end of the phrase. Why does it happen?
A 12: Many Styles for solo and most Styles for wind and vocal voices, include special "Breath Rule", which inserts a forced pause in the end of the musical phrase or between two phrases. Therefore, if you insert the "Phrase End" marker directly at the release of a key (ending of the note), this note will be shortened. If you place the "Phrase Start" marker between two short notes, the first note can disappear altogether. You have to take this into account when you mark phrases.

Q 13: By changing Start Time in Styles of guitar accompaniment the rhythmic pattern of the Syle is sometimes completely detiorated. Why does it happen?
A 13: The accompaniment generation Styles is based on special internal patterns, which are determined by Start Time parameter. If the initial 1/1 chord is supposed to be substituted with four 1/4 chords, but you set Start Time to 50% instead of default 100%, you'll end up with four 1/8 chords. Now suppose you set Start Time to 27% or other odd value - it will radically deteriorate the rhythm pattern or altogether crash it.

Q 14: I have noticed, that I obtain a somewhat different result each time I process a part, even though the initial material, the Style and all settings remain the same. Is it normal?
A 14: Of course it is - exactly like with human performance. A musician cannot play the same piece absolutely identically day after day. There is a random component in SE transformation - just to ceate a more convincing "natural" feel. To reduce or exclude such "a casual behavior" of a Style, all you have to do is to adjust RND controllers.

Q 15: A Sax Style increases attack of the sound. Is this normal?
A 15: Some Styles for wind instruments and strings add an Expression (Volume) envelope to soften the attack. You can decrease the depth of this parameter, if you don't like the result. You may also want to use Adjuster tool (SE30) or Controller Adjuster (MFX Kit 1 for Cakewalk) to change the Expression (Volume) envelope after applying a Style.

Q 16: I try to transform a Sax track which was created with a MIDI-keyboard. Parallel notes, which were present originally, are missing in the resulting track. Is it normal?
A 16: Some Styles are intended for Solo, while other - for Chords transformation. Solo parts produced by SE do not have overlapping notes. (By the way, the Sax cannot produce two notes simultaneously!) Of course, if you prefer to keep all notes from your initial part, you may want to use a Chord style, however, the individual nuances of each played note may not be preserved properly. The best way is to separate your initial track into two tracks (if it has double parallel notes), or into three tracks (if it has triple parallel notes). And then transform each track independently.

Q 17: I have noticed that the same Style (with an identical name) gives different result with SE30 and SEM20 for the same initial material. Why does it happen?
A 17: First of all, every style (by default) has some random settings, which will cause a different result every time you do a transformation - even if you use the same initial material. The second reason is that SEM20 is a MFX Plug-in, which is working as a filter (as all other MFX tools). And a filter gets data from internal buffer by portions. As a result, SEM20 may not always have all necessary information it needs for correct processing. For example, you mark the beginning and end of a phrase, but the portion transmitted through the buffer, does not correspond to the length of this phrase. SEM20 does not "see" the End marker and cannot execute the transformation correctly, so some nuances are lost. The best way to reduce this undesirable phenomenon is to increase the size of the buffer. As for SE30, it always has a complete fragment "before its eyes", so the tranformations are more accurate.

Q 18: I muted Expression parameter, but Expression values were transformed anyway. Is it a Style bug?
A 18: Many styles have an active Variable regulator, which can be connected to any parameter or to several parameters at once. Style developers do this to expand potentials of a style. If the Expression parameter is linked to Variable, you cannot get rid of its influence completely, even if you mute this parameter in the Control panel.

Q 19: How does the stand alone Style Enhancer differ from the Cakewalk version? Which has more features? Which is more difficult to use?
A 19: Each version has its own cons and pros. SE3.0 can't work inside Cakewalk/SONAR. Besides, you can apply several SEMs to different Cakewalk tracks and adjust all of them simultaneously. On the other hand, SE3.0 can process standard MIDI files and save the results both in MIDI 0 and MIDI 1 formats, which can be later opened by Cakewalk. SE3.0 is more powerful, as soon as the ways of transformation are concerned. You can not only hear, but also see the results of transformation in real-time. Transformations are made faster than in SEM2.0 Cakewalk Plug-in. Besides, in SE3.0 there are some useful tools like Adjuster, Drum Adjuster etc. Finally, you can transform tempo - something which is impossible to do with SEM2.0 for Cakewalk/SONAR. For more detail please see the Products Comparison page: http://www.ntonyx.com/se_comparison.html

Q 20: I'm running Cakewalk 9.0 which includes a limited version of SEM20. I would like to increase the library of styles which are accessible from Cakewalk. From NTONYX site I understand that SE would run as a stand-alone program. This is not convenient if you wish to apply some styles to your Cakewalk MIDI tracks. Is it possible to have the full library as a plug-in to Cakewalk?
A 20: Cakewalk/SONAR contains demo-version - SEM20 Lite. To use all opportunities of SEM, and also to have an opportunity to install additional Style Sets, you need to get the full version of SEM. You can purchase SEM20 plus six additional Style Sets (##2-7) containing more than 50 Styles each.

Q 21: Are the Style sets for SEM1.28 compatible with SEM2.0?
A 21: No, they are not. However, the NTONYX policy is directed to further development of our software, so registered users are entitled to discounts when purchasing our new products and to qualified technical support.

Q 22: Can I apply SEM20 percussion Styles for processing non-GM parts?
A 22: Yes you can. If your module does not support GM drum set, it is necessary to converse the percussion part into GM, to process it, and then to do reverse conversion. The best way to do this is to use Note Adjuster of MFX Kit 1 together with SEM20. Make the following chain: <Note Adjuster - SEM20 - Note Adjuster>. In the first Note Adjuster conversion of the note numbers is done. For example, 36 to 41, 37 to 62 etc. You can simultaniously adjust Velocity. In the second Note Adjuster the reverse conversion of the note numbers is performed: - 41 to 36, 62 to 37 etc. After this procedure you can process your percussion part, originally recorded in non-GM standard.

Q 23: Increase of the Transformation Regulators leads to limitation or deterioration of Velocity and Expression functioning. What to do in such cases?
A 23: All transformations of Velocity and Expression are performed by the Style relative to the initial value. If this initial value of Velocity is 100, and you anticipate of velocity bigger than +27, you should decrease the initial value first to give enough "space" to the increase you want. Sometimes it's desirable to decrease Velocity proportionally, to preserve the feel you got when playing the part live. In this case before applying a Style, you might want to use the NTONYX Controller Adjuster from MFX Kit 1, or Cakewalk/SONAR Event Filter.

Q 24: I've apparently successfully downloaded the Style Enhancer Micro 2.0, but I can't seem to access it through my Sonar. Where exactly should I put it so that the Sonar recognizes it?
A 24: After installation you can nominate SEM2.0 to any MIDI track in Sonar or Cakewalk. Right Click button in a field FX in Track Pane, choose MIDI effects -> Style Enhancer Micro 2.0. Please read SEM2.0 Help (F1) and read also Cakewalk Help about use MIDI FX.