Floppyshop 2/Floppyshop - 2.zip/Floppyshop - 2.iso/diskmags/4671-5.790/dmg-5789/stp/hints_1.stp/hints_1.stp

Text File | 1996-05-09 | 19KB | 320 lines

                                   MIDI HINTS

Try this to line up the timing between tracks:-

Quantize the sequencer to a high resolution and record on one track a series of
repeating eighth notes,playing two notes per quarter note-metronome click.

On a second track record a series of eighth notes using a different key.

Play  the tracks back together,are they perfectly synchronized ?  (the  chances
are they are not if your timing was uneven on either track)

Quantize  the sequencer to eighth note resolution and play them  back  again.If
your sequencer does not recognise data after it is recorded go back and  repeat
the  previos  two steps at eighth note resolution,this time the  tracks  should
line up perfectly,because each one was corrected to the same eighth note beat.

Call  up  an  arrangement  that you have recorded  already  and  determine  the
shortest event in the sequence,quantize the sequencer to accomodate that  event
and  you  will get the best possible synchronization between  the  four  tracks
(that's  assuming that you didn't hit any notes that were so far off that  they
were corrected to the wrong beat)

By  setting the level to accomodate events only as short as the shortest  event
in   your   composition   you   can   make   your   performance    rhythmically
precise.Quantizing  the  sequencer to very high resolutions on the  other  hand
will affect as close to a real time feel as possible.

Either of these two options may be desirable,depending on your arrangement  and
technical ability.

But  what happens if you play notes more quickly than can be recognised by  the
sequencer ?

Or if you record a track at one resolution and play it back at another ?

If  the sequencer did not play back in proper time the quantization  level  may
not  have been high enough to account for the shortest event  recorded.Go  back
and  increase  the levels as much as possible and play it  back  again,is  your
timing problem solved ?

If  the sequence did play back as the original input,quantize the  playback  to
eighth note resolution.Now the sequence will play back strictly eighth notes.


                               UPGRADES/EXTRAS

Many  midi users often fail to realise that they can upgrade to a more  serious
sequencer for a much lower cost than that of buying it outright.

This  means  that  those of you who are using Sequencer One Plus  and  and  the
original version of Breakthru have the option to upgrade  cheaply.Interestingly
enough  those  of  you who are running version one and  two  of  breakthru  can
upgrade  to the plus versions of your software-and that will give you an  extra
16  midi channels thanks to a hardware add on.So if like many people  in  these
days of multi timbral synths you find that sixteen channels are just not enough
Breakthru plus and Breakthru 2 plus are the sequencers for you.

Version  two of Breakthru and Breakthru plus adds a whole host of new  features
to these sequencers

If you want to make the most of your midi equipment then you can't go far wrong
by  choosing to buy Patchking from Software Technology Patchking will  let  you
communicate with you midi equipment on a level that you may not of realised was
possible.

After all you have spent your hard earned cash on it so you may as well use  it
to it's full potential.

Patchking is an advanced graphical sound editing and librarian package for your
computer.

You  can  take  the  sounds that you already have  and  transfer  them  all  in
Patchking,making them brighter,moodier,slower or anything that takes your fancy
really.When you have got the sound that you want it is a simple matter to store
them  to  you working disk and the next time you need that perfect  bass  sound
just  load  up the bass catergory from Patchking and you will be able  to  pick
from  all the bass sounds that you want.Patchking also runs along side many  of
the  major  sequencer programs allowing you to change sounds as you  play  your
music back.

Patchking talks to your instrument via midi system exclusive messages,and  very
easy  to use via mouse operation.The on screen knobs sliders and  graphs  allow
you  to create exciting new sounds which you can put into your own  catergories
and again save them to disk,it even has a randomise feature which will help you
to  explore new possibilities.You can control many aspects of  your  instrument
from  midi channel settings to reverb parameters and  velocity  sensitivity,for
example  the envelope control tools will let you adjust the attack and  release
charecteristics of your sounds,which means you could sharpen up your  favourite
piece of strings sound just by changing the shape of its envelope path.

As  you  should  know  MIDI-the  musical  instrument  interface-allows  musical
equipment to be interconnected together and for the equipment to share data,but
the  power  of MIDI extends well beyond that.Calling up  presets  and  layering
events  between  keyboards eg:-midi data can be recorded into a  sequencer  and
then  played back on stage or for your own personal use in the comfort of  your
own  home,to drive keyboards,drum machines and even a digital  delay,and  since
midi data stream contains timing data the sequencer and the drum machine can be
synchronized,so  you  don't have to worry if your drum pattern will  hit  verse
four while your sequencer is on the second chorus.

Most of us are dragged into the world of midi by seeing a keyboard connected up
to either another keyboard or connected up through the use of midi cables to  a
computer.Where  it  is  two keyboards that  are  connected  together,the  first
keyboard  will  be  generating the the midi data and the  second  one  will  be
recieving  the data via the computer through the sequencer this doesn't  create
midi data but records it into the sequencer.

                          TRY THIS FOR REAL TIME INPUT

Pick up your favourite piece of score music (a piece that you are familier with
will  do just as well)and play it into your sequencer (record it) program  your
set up so that your keyboard is transmitting to and recording to track one.

When  you  have recorded your favourite piece record another  piece  that  goes
along with and fits well with it (you can always play two pieces of sheet music
that fit if you can't put two pieces together)and record the second piece on to
track  two while the track that you just recorded (track one in this  case)  is
played back.

Depending  on  which sequencer you are using this will probably  be  done  like
this:-

 1) Program your keyboard to transmit and recieve over  channel one

 2) Program the sequencer to transmit track one over  channel  one  and  assign
    track two to recieve over  channel one.

 3) Press record on your sequencer while listening to  the  playback  of  track
    one,play part two on your  keyboard.

Under normal circumstances this set up will not create any problems,but if  the
sequencers  software thru is engaged (which means that what is recieved at  the
sequencer  is  transmitted  through  its  out port)  and  if  the  keyboard  is
transmitting  and recieving over the same channel then midi data feedback  will
occur.In  this case what you play on your keyboard will be recorded  into  your
sequencer  and then sent back to the keyboard and played again.This happens  so
fast  that  the  note that you play and the note that is  sent  back  sound  in
unison-two voices are used to play one event.It only takes seconds of playing a
set up like this before all keyboard voices lock up and the sound will come  to
a  halt.If midi merge or echo is engaged at the keyboard too,then  dat  travels
continually between the two devices in a loop,and keyboard voices will lock  up
even quicker.

If  you are experiencing data feedback while trying to record a  sequence  just
re-program  your  keyboard  so  that it  is  transmitting  and  recieving  over
different  channels,or  disengage the software thru,and this should  solve  the
problem.

                              USING MIDI EFFECTS

Since  amplified instruments were invented musicians have relied on  electronic
effects  to  simulate natural ambience,ranging from warm reverb  to  space  age
textures  to full distortion.Effects such as reverb,choruses,echo  effects  and
delays  intercept  audio signals from a keyboard or  any  other  electronically
aided sound source.

These signal processors then processthe input signal and then send the modifies
sound to an amplifier or a speaker.

Next come delay units and these incorporated several of the time based  effects
in one box,these units have variable parameters to determine the amount of time
input signals are delayed,providing a variety of delay effects.Today there  are
midi  controlled  digital delays and midi digital reverb,that  can  respond  to
program   changes  and  sometimes  to  a  variety  of  other  midi   controller
messages.Aprogram  stored in a midi effect unit can be called up  automatically
by  choosing  a pre-set on a transmitting master.On higher end  models  effects
parameters  can  be  programmed  to respond  dynamically  or  in  real  time,to
controller data such as modulation and pitch bends.

You  can  bend  pitch  at the keyboard and increase reverb  time  at  the  midi
effect,or you can move the modulation wheel and increase the number of echoes.

Here  we  will look at both levels of midi sophistication  in  midi  controlled
delays  and reverb,changing effects presets and controlling effects  parameters
dynamically.

Digital effects are programmable,which means you can store settings in  program
locations,programmable  effects  usually come with a  number  of  manufacturers
presets,that  can be modified by a variety of parameters eg:- a digital  reverb
may  have presets for real life settings such as "large room" and "small  room"
which  means  you would get a different sound when played in a  different  room
(like  when  you  sing  in the  bath).Programmable  signal  processors  were  a
milestone  in the evolution of on stage technology,and at last musicians  could
reach  over in between playing songs and punch in a new sound.For  us  keyboard
players  though this wasn't enough,a typical keyboard performance  can  include
several preset changes,each needing a different effect.Changing presets at  the
keyboard  and  on  an  effects box is a lot of hassle that  we  could  well  do
without.

Once  again  midi  comes  to  the  rescue  by  responding  to  program   change
messages,midi signal processors can automatically call up preset effects when a
corresponding  program  is  selected  at you keyboard  or  at  any  other  midi
controller that you use.

                             DIRECT PRESET CONTROL

On  most  midi effects,calling up program 1 on the master  controller  triggers
program  1 on the effects unit,and as you can probably  remember,regardless  of
how preset numbers are labelled midi recognises the first program as program  1
and the second as 2 and so on and so on.Suppose that you are controlling a midi
reverb  and  midi controlled delay from your keyboard,an electric  piano  patch
will be stored as your keyboard preset 1,a program will be stored at the delays
location 5,and a plate reverb is is stored at the reverbs location 12,in  order
to  call up flange and reverb programs along with the electric piano  patch,all
three presets must be stored at the same midi location,eg:-the flange and plate
programs can be copied to location 1 on both the midi effects units.

Some  effects boxes provide you with preset mappings so you don't have to  move
the  preset  sound around,with preset mapping individual effects  programs  are
assigned  to one or more midi program numbers,instead of to  the  corresponding
master preset number.Midi control of effects completes a necessary and  logical
step in the evolution of electronically controlled music.The ability to  change
effects  settings  from a keyboard or other master controller  allows  you  the
musician  to  take advantage of a wider variety of effects,dynamic  control  of
effects  parameters more over leaves room for whole new dimensions  of  musical
ingenuity providing more evidence how midi can expand what you can do with your
set up.

                           SEQUENCER MEMORY CAPACITY

Sequencers  record  events as midi messages as you will all  know,and  each  of
these takes up a certain amount of memory.
The  longer  the  message  the greater the number  of  events,the  faster  your
sequencers  memory  is used up.Since sequencer memory is filled  by  individual
events it is used up at a rate of how dense the piece is.

An  eight track sequence of fast chords will take up much more memory  in  five
minutes than one track of slow scales.This is a lot different than recording on
tape,which  is  used up at exactly the same rate regardless of  what  is  being
recorded.

Every  sequencer  has  only so much space in its memory  for  storing  recorded
events,when  that space fills up nothing more can be recorded just the same  as
when  a tape runs out.Sequencers however tend to run out of memory long  before
one  side  of a normal 90 minute tape would be finished,which is a  reason  why
sequencers  have  not got rid of their magnetic tape relatives  from  recording
studios.

So  before you consider recording your favourite piece of music think how  much
sequencer   memory   is  available  in  relation  to  the   demands   of   your
arrangement.The memory capacity of sequencers is usually expressed by how  many
notes  can  be  stored,and  this amount can vary quite a  bit  from  device  to
device.One  problem with estimating memory space according to a note figure  is
that events such as pitch bends and after touch are not notes, and would not be
accounted for in the calculation,and in addition one pitch bend or an  instance
of  an  aftertouch can create a lot more messages (watch those  heavy  fingers)
than  one note,this is because each small movement of the wheel or tiny bit  of
pressure on the keyboard generates a separate message.

Since  note  figures can be very misleading some manufacturers  express  memory
capacity  in  terms of how many bytes can be stored,if your  sequencers  memory
capacity  is expressed in bytes then you can safely assume that each note  that
you  play will be about ten (10) bytes,but remember if you are recording a  lot
of  pitch  bends  and  aftertouch  though that  you  will  have  to  take  into
consideration  as  well but remember as mentioned earlier sequencer  memory  is
used up at a rate that isnt dependant on how long the piece is but on how  much
data it contains.

As  you  should  know  MIDI-the  musical  instrument  interface-allows  musical
equipment to be interconnected together and for the equipment to share data,but
the  power  of MIDI extends well beyond that.Calling up  presets  and  layering
events  between  keyboards eg:-midi data can be recorded into a  sequencer  and
then  played back on stage or for your own personal use in the comfort of  your
own  home,to drive keyboards,drum machines and even a digital  delay,and  since
midi data stream contains timing data the sequencer and the drum machine can be
synchronized,so  you  don't have to worry if your drum pattern will  hit  verse
four while your sequencer is on the second chorus.

Most of us are dragged into the world of midi by seeing a keyboard connected up
to either another keyboard or connected up through the use of midi cables to  a
computer.Where  it  is  two keyboards that  are  connected  together,the  first
keyboard  will  be  generating the the midi data and the  second  one  will  be
recieving  the data via the computer through the sequencer this doesn't  create
midi data but records it into the sequencer.

                            TRY THIS FOR REAL TIME INPUT

Pick up your favourite piece of score music (a piece that you are familier with
will  do just as well)and play it into your sequencer (record it) program  your
set up so that your keyboard is transmitting to and recording to track one.

When  you  have recorded your favourite piece record another  piece  that  goes
along with and fits well with it (you can always play two pieces of sheet music
that fit if you can't put two pieces together)and record the second piece on to
track  two while the track that you just recorded (track one in this  case)  is
played back.

Depending  on  which sequencer you are using this will probably  be  done  like
this:-

  1) Program your keyboard to transmit and recieve over   channel one

  2) Program the sequencer to transmit track one over  channel one  and  assign
     track two to recieve over  channel one.

  3) Press record on your sequencer while listening to  the playback  of  track
     one,play part two on your  keyboard.

Under normal circumstances this set up will not create any problems,but if  the
sequencers  software thru is engaged (which means that what is recieved at  the
sequencer  is  transmitted  through  its  out port)  and  if  the  keyboard  is
transmitting  and recieving over the same channel then midi data feedback  will
occur.In  this case what you play on your keyboard will be recorded  into  your
sequencer  and then sent back to the keyboard and played again.This happens  so
fast  that  the  note that you play and the note that is  sent  back  sound  in
unison-two voices are used to play one event.It only takes seconds of playing a
set up like this before all keyboard voices lock up and the sound will come  to
a  halt.If midi merge or echo is engaged at the keyboard too,then  dat  travels
continually between the two devices in a loop,and keyboard voices will lock  up
even quicker.

If  you are experiencing data feedback while trying to record a  sequence  just
re-program  your  keyboard  so  that it  is  transmitting  and  recieving  over
different  channels,or  disengage the software thru,and this should  solve  the
problem.


                                 L.O.B. '96