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Message: [QUOTE="Bombastus, post: 92262, member: 2178"] Difro Melody AI 1.2.0 fixes several piano-roll controls at once, including lasso selection, velocity editing, playback shortcuts, view switching, and broken edit commands. None of those changes rewrite the generator itself. Together, though, they make the part after generation much less fiddly. The distinction matters because generated MIDI is rarely finished MIDI. A phrase can have the right contour and still contain one awkward note, a flat dynamic shape, or a section you want to duplicate before export. Version 1.2.0 gives you more ways to make those small repairs without bouncing between Difro and a DAW for every adjustment. [HEADING=2]The editor finally behaves like one workspace[/HEADING] The most obvious improvement is the lasso. Difro now lets you hold Shift, Ctrl or Cmd, or Alt while clicking and dragging to select multiple notes, so modifier keys no longer get in the way of a basic piano-roll gesture. Selection sounds mundane until you are fixing generated material, where most useful edits involve a phrase, chord, or cluster rather than one isolated note. Once the right notes are selected, the repaired Ctrl or Cmd shortcuts for C, X, V, A, and B remove another interruption. Initial Audio does not spell out a fresh command map for every letter in the release notes, so there is no reason to invent one. The important verified change is that these previously broken piano-roll commands now register correctly. This is where [B][URL='https://goldmidi.com/community/threads/initial-audio-has-refreshed-difro-1-2-0-with-midi-tools.77644/']Difro’s repaired piano-roll workflow[/URL][/B] becomes more useful than the changelog makes it sound. You can select material, perform familiar keyboard edits, then keep working on the same MIDI instead of treating every rough edge as a reason to regenerate. A decent idea gets edited like a decent idea. [HEADING=2]Playback and view switching tighten the edit loop[/HEADING] Space now starts and stops playback, while Tab switches between the prompt and generated MIDI views. Those two shortcuts cut out repeated pointer travel during the part of the job where you are making a change, listening, comparing, then making another change. It is not glamorous. It is exactly the sort of friction you notice after the twentieth repetition. A useful editing pass can stay narrow. Play the generated phrase, stop at the problem area, select only the notes involved, make the change, then replay the same passage. If you need to compare the source-side prompt material with the generated result, Tab provides a direct switch instead of turning comparison into a small navigation task. Piano rolls work well for this kind of cleanup because they expose notes as discrete events with timing and other attributes instead of flattening the result into audio. Academic work on symbolic music tooling describes [B][URL='https://doi.org/10.1080/09298215.2025.2540434']event-level MIDI editing[/URL][/B] with piano-roll displays that pair note information with velocity and playback controls. Difro is using the same underlying advantage here. You can alter the structure while the musical idea is still editable. The gain is not raw speed alone. Fast transport and view switching make A/B-style listening easier because the cost of checking an edit is lower. When auditioning takes one key instead of a mouse trip, you are more likely to hear the change immediately rather than stacking several edits and discovering later which one damaged the phrase. [HEADING=2]Velocity editing is where generated MIDI starts feeling intentional[/HEADING] Initial Audio also says velocity editing in the piano roll has been improved, although the 1.2.0 notes do not specify a redesigned curve, new numeric range, or additional velocity tools. Keeping the claim narrow matters. The verified point is better velocity editing, not a secret dynamics system that the release notes never describe. Velocity deserves attention because identical pitches and timings can still feel mechanical when every note lands with the same emphasis. How strongly velocity changes the sound depends on the instrument you are auditioning, since one patch may respond mostly in level while another also changes attack or tone. Difro can host instruments directly, so the sensible place to judge those edits is through the sound you actually intend to use. Do not smooth every velocity just because the lane looks untidy. Generated phrases often need selective emphasis more than cosmetic uniformity, especially around pickups, repeated notes, or accents that should lock with drums. Edit the notes whose dynamics fight the arrangement, replay the phrase, and leave convincing variation alone. The same restraint applies to pitch and timing edits. If one note is wrong, fix one note. If a short passage needs copying, cutting, or reselection, use the repaired commands. Regeneration makes sense when the musical idea itself is weak, but a strong phrase with two local problems is usually an editing job. Difro 1.2.0 makes that distinction easier to act on because selection, transport, comparison, keyboard editing, and velocity work now sit closer together. The generator can still provide the raw material, while the piano roll handles the small decisions that turn a promising result into MIDI you would actually drag into a session. [/QUOTE]

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