MIDI - The Basics
By Owen Philp...
[All links load the same multi-picture HTML. Ed]
Hello, fellow musos - yes! I called you musos. For
that's what you are, my fine, sensitive soulmates. Musicians the world
over know that 'FEEL', or 'GROOVE' is the all. So why do we let
the computer dictate the form our music takes, IT MAKES ME MAD!!!
So this month I'm going to show you how to tame the beast, and make
it work for you. I am talking about 'SEQUENCERS', you at the back .
Right, we've got a thrilling title and our hardware is set up. All that's left between us and the music is the sequencer. A sequencer is for all intents and purposes a musical word processor. It allows us to write pieces of music, and then move, cut, copy and delete them in much the same way as we do with text. Only we're dealing with MIDI messages instead!
Now before we can start recording that chart version of the 'Birdy Song' and enthralling our family and friends with our virtuoso performances, we need to have a basic template or setup for our sequencer. After all, you don't really want to have to configure your sequencer every time you run the program - Do you ? I hope you answered NO or I'm going to feel rather redundant.
I have decided to change the format of these articles slightly, so I shall explain a function generically, you can then go to the section in your manual and find your sequencers specific commands to carry out any operation explained. There is also an Index at the bottom, explaining 'KEY' words which I've capitalized and enclosed in Quotes. I hope this is easier for all, but feedback - negative or positive, would be appreciated. I'm also willing to tackle any questions you may have. AtariPhile is a great Atari resource, so use it or loose it. Right, I'll just jump off the soap box then we can get under way.
The first thing we need to configure is the 'MIDI THRU' status (Fig 2). The 'GM' spec calls for 16 channels, but you don't want to have to change the 'CHANNEL' that your keyboard transmits on every time you record another track. So the programmers decided to create a 'MIDI THRU' in their software which means that whatever track you are recording to, the 'MIDI' data would be re-assigned to that tracks Channel status.
I'd better give an example, because that's none to clear to me - not this A.M. anyway. Lets say I'm recording a Bass part to track 4. Track 4 is set for MIDI channel 4, but my MIDI controller/Keyboard is transmitting on MIDI channel 1. If 'MIDI THRU' was off I'd either here the instrument voice I'd set 'MIDI' channel 1 for, or nothing at all. Neither of these would be very satisfying, whereas with 'MIDI THRU' turned on I'd hear the sound that I have set to Channel 4.
There is an exception here. If you are using a keyboard that produces sound, such as a Casio, you could hear the sound twice if 'MIDI THRU' was on. Why? You'd play a note and the keyboard would produce it, the sequencer using 'MIDI THRU' would also send a 'MIDI' message out to the keyboard telling it to play that Note. Double the notes and halve your 'POLYPHONY'.
So nearly all modern sequencers allow 'MIDI THRU' to be turned on, while ignoring 'MIDI THRU' on a channel of your choice. So if you have a Keyboard that also produces sound, check which channel it is outputting on and set your sequencers parameters to ignore 'MIDI THRU' on that channel. The more knowledgable may be able to find a 'LOCAL CONTROL OFF' function on your keyboard - allowing you to use 'MIDI THRU' on all channels (Check the 'MIDI IMPLEMENTATION CHART' at the back of your keyboards manual).
The next thing you need to set is your metronome. On most sequencers you can use the monitors click as a metronome. I for one prefer the sequencers own metronome, you can set this up to use whatever sounds you like, though shorter, more percussive sounds work best - e.g. Drums.
Tip 1 : A better idea is one that I use - record a drum track to play too, this acts as a rough guide and can add more 'FEEL' to your recordings. The metronome can be turned off for 'PLAYBACK' purposes, or your guide Drum 'PART' can be 'MUTED'.
The third important one is the count-in. This will generally be best set to 2 bars, this gives you time to get into the rhythm and tempo of a piece. Again check the boxes at the end of the article, these will assist you in setting your sequencers own.
The last item to set-up is the 'MIDI FILTER' (Fig 2). A filter stops certain information from being recorded or sent by 'MIDI THRU'. The only one of these that you won't usually require is 'AFTERTOUCH'. This creates lots of excessive 'MIDI' data, and can result in a 'OUT OF MEMORY' message. So unless you require 'AFTERTOUCH' performance data being recorded, turn it off.
Tip 2: Save your sequencer set-up with a file name such as 'Autoload.sng' or similar, you'll then be able to load in your template ready-made for when ever the music bug bites. You can extend the scope of this by saving 'Regularly Used' instrument set-ups to disk - Use names such as 'ROCK.SNG' or 'ORCHSTRL.SNG'. This enables you to go from having an idea, to recording it a lot quicker. Inspiration comes quickly, but departs even faster.
To familiarize you with your sequencer, I thought we'd record a simple 8 bar piece, so that we can become familiar with the basic workings of the software.
Step 1: Set your sequencers 'METRONOME' to 80 bpm (that's Beats Per Minute), nearly every song you find written will have a bpm shown, and this controls the 'TEMPO' (speed) of the piece.
Step 2: Create 4 tracks, and name them Piano, Strings, Bass and Drums. Set Track 1 (Piano) to MIDI Channel 1, Set Track 2 to MIDI Channel 2, Track 3 to 3 and Track 4 to 10. These are the instruments we'll be using. We will set up the Program Change Data before we record anything. The reason that the Drums are on Midi Channel 10 is because 'GM' requires all Drum Kits to be set to that Channel only.
Step 3: Create a 1 bar part or pattern on each track, these should begin at bar 1 and end at bar 2.
Tip 3: Use the ruler bar that nearly all sequencers have to ensure you've done this. The ruler also helps when trying to place copies of 'PARTS' to other locations or 'TRACKS'.
Step 39: Couldn't resist throwing in some Hitchcock [Oh dear! Ed]. Well I bet the suspense was killing you?
Step 4: Choose the Arrange page on your sequencer, then click on the 1st part we've created for Track 1 (Piano). Somewhere you will find a 'PRG CHG' box (Fig 1). Insert PRG CHG 1, this will tell our MIDI module to set MIDI Channel 1 to a piano voice on a GM module. Set Track 2's 'PRG CHG' to 49, that is a string ensemble. Set 3 to 36, that's a fretless bass, and finally set 4 to 1, That's a standard drum kit.
Step 5: Create 4 'PARTS' or 'PATTERNS' from Bar 2 to 10 (That's one on each 'TRACK'). We will use each of these to record our performance into. Nice and simple so far - I hope...
Step 6: Place the song pointer/locater at the start of bar 2. Then choose the 'TRACK' that the Drum 'PART' is located on. We are now ready to record something, but what?
Step 7: Locate the key that triggers the 'Bass Drum' sound on your module, it's two octaves lower than Middle C on your keyboard. Start recording by pressing the 'RECORD' button. You are now going to play the Bass Drum part in 'LIVE'. In every bar there will be 4 'BEATS', I'd like you to play the Bass on every 1+3 beat. When you have finished Recording that, We'll take a look at it.
Step 8: We are now going to 'QUANTISE' the 'PART'. If you examine Fig 3, I'll explain. In Fig 1 you can see the 'UN-QUANTISED' part, and in Fig 1 you can see it 'QUANTISED'. No-one plays perfectly, but some times we play so loosely that it is hard to hear the rhythm of a piece. So 'QUANTISE' will pull the notes to the nearest 'NOTE DIVISION' specified. Set the 'QUANTISE' to a 4th Note. This will pull the Notes onto the 1+3 Beats. Sounds better, Huh?
Tip 4: Experiment with different 'QUANTISE' settings on parts, this can lead to new ideas - And if you don't like the result, use 'UNDO'. If only there was an 'UNDO' for life's little injustices.
Step 9: Well the Bass Drum on its own is rather boring, so lets add a snare drum on the 2+4 Beats. First ensure your sequencer is in 'OVERDUB' otherwise you'll 'REPLACE' the previously recorded part, rather than add to it. Put the locater/song pointer at Bar 2, press 'RECORD' and do it. 'QUANTISE' to the 4th note again, and sit back and enjoy the basic Drum rhythm to a 101 Rock songs. Goodness, you're so talented.
Step 10: Create another 'TRACK' and Label it HI-HAT. Set the 'CHANNEL' to 10, and create a 'PART' from bar 2 till bar 10. We shall use 'STEP INPUT' to play this part. Open your 'SCORE' or 'PIANO ROLL' editor, and select 'STEP INPUT'. Set the 'SNAP' and/or 'QUANTISE' level to 8th Notes. Now play in the HI-HAT part, See Fig 1. As you can see, you don't need to 'QUANTISE' this 'PART' and you've not needed to press 'RECORD'. Now leave the 'EDITOR' and return to the 'ARRANGE' page. Press 'PLAY' and enjoy.
'STEP INPUT' is useful for segments of music that you feel unable to play 'LIVE'.
TIP 5: As you can see, we have 2 'TRACKS' playing on the same 'CHANNEL', you could use this to 'RECORD' a different Drum Sound to its own 'TRACK'. Makes for easier editing. You can also do this to record 'PITCHBEND', 'MODULATION' and other 'CONTROLLER' data. If your 'SEQUENCER' doesn't support 'STEP INPUT', play the 'PART' in 'LIVE'. The feel of the 'PART' is 1&2&3&4&, if you say 1 on the 1st beat then say 'AND' then 2 on the 2nd beat, etc.
Step 11: Choose the Bass 'TRACK' and put the locater at Bar 2. You will now 'DRAW' a happening Bass part. Select the Bass part and set the locater to Bar 2. Now enter the 'SCORE' editor. You use the 'Pencil' tool + the 'Quantise' settings to determine the length of the notes. See Fig 5 and copy. Who says Music isn't artistic, you've just drawn some.
Step 12: Choose the Piano 'TRACK' and using whatever method suits, enter the music shown in Fig 6.
Step 13: Choose the Strings 'TRACK' and using whatever method suits, enter the music shown in Fig 4.
Step 14: Raise the 'TEMPO' to 120 bpm. You now have a interesting and reasonably paced piece of music!
You now have a 8 bar piece of Music that you've created. Next Article we'll get more adventurous and create a complete song, using the song we've created here, and you think your nervous? Personally I'm bricking it!!! (A musical expression I shall not define).
Here's your APPENDIX of all KEY WORDS.