Translated To Amiga From Rolands Midi GuideBook By Jimmi Lennon Nielsen (JAY-JAY Of Trade) Roland Midi-Guide Fourth Edition A System Wich Greatly Expands The Potintial Of Music Composition CONTENTS: Chapter 1. Conversation Between Musical Instruments. Chapter 2. Applications Of Midi. Chapter 3. What Makes Midi Conversation Possible. Chapter 4. One-Way Midi Conversation. Chapter 5. Closer Is Better. Chapter 6. Two Instruments Is Unison. Chapter 7. Combinations Of Differrent Kinds Of Instruments. Chapter 8. Sequencer System. Chapter 9. Computer Music System. Chapter 10. Midi Systems Expanding Into Various Fields. Chapter 11. Midi Channel And Mode. Chapter 12. Main Contents Of Midi Information. Chapter 13. Midi Implementation Chart. Chapter 14. How To Avoid Midi Problems. Chapter 1. (Conversation Between Musical Instruments.) Musical instruments finaly started "conversating" in the 1980's,a revolution in the world of eletronic music. NOW,one instrument can say to another:"play middle c,with about 60% strengt, then play E4,a little louder". The second instrument "listens"to this dialogue,and plays the notes in turn, as long as it can understand the language used. The "language"that is now shared by all electronic musical instruments is called "MIDI",and is featured in this MidiBook. Even though the instruments can now "converse",they still have no will of thier own. In fact,the only link in the chain with its own will is you,the musician. Then the instruments interpretyour performance by "translating"it into MIDI. "Midi" is considered to be "the language which is used to send performance information' from one instrument to another". Although Midi is a relatively new concept,it has already became a household word in the musical instrument scene. It is one of the common features of today's musical instruments. For your reference,midi stands for "Musical Instrument Digital Interface". Chapter 2. (Applications Of Midi). Midi is widely known as a "language between musical instruments". Midi has expanded in such a short period of time,because it can be applied to many kinds of situations. Midi is a universal term. Although there are many different languages in the world,such as English, French, German, Danish, ETC. ETC,midi has only one language,and can therefore provide communication between Japanese and American instruments,or German and Italian instruments. More importantly,Midi can even be used to "talk"to instruments from different manufacturers. Furthermore,Midi can be applied to many kinds of instruments. In this way it is possible for an electronic piano to "talk" to an synthesizer or a drum machine (for details please refer to Chapter 6.). Consequently, MIDI has an enormous potential for growth and development,as you shall see in this Midi GuideBook. Chapter 3. (What Makes MIDI Conversation Possible). Just how is MIDI used to provide this"converstion"? to explain this,look at the back of your instrument. There are several connectors,including a MIDI IN,and a MIDI OUT,and often a MIDI THRU. These are the ears and mouth of the MIDI conversation,and are essential for any MIDI communication. The actual "MIDI conversation" travels from the MIDI OUT of one instrument, to the MIDI IN of another instrument,to make this "conversation",connect MIDI IN To MIDI OUT,by one MIDI-CABLE between these two sockets. The CABLE used between those two sockets,has 5 pins,and matching perfectly in the holes of each sockets. NOTE NOTE !!!! (DIN SYNC sockets looks very similar to MIDI sockets,but they have an entirely different function,so please DONT CONNECT A MIDI-CABLE TO A DIN SYNC SOCKET,otherwise i cant guarantee what's gonna happen.). Why do we need 3 sockets (MIDI IN,MIDI OUT,MIDI THRU). MIDI IN is for "listening" to a MIDI conversation,that is the entrance for MIDI information. MIDI OUT is for "speaking",to senf the conversation from an instrument,and is therefore the exit point for MIDI information. As you can see MIDI IN,and MIDI OUT are relatively easy to understand,and use. However,MIDI THRU is comparatively more difficult. MIDI THRU is similar to MIDI OUT,in that it does "speak" to the next instrument,however it doesen't provide it's own conversation,it's merely "repeats" anything that is heared by the MIDI IN. Chapter 4. (One Way Midi Conversation). MIDI information is sent from MIDI OUT to MIDI IN,or from MIDI THRU to MIDI IN. The information is always sent "one-way",so that the "speaker" and the "listener" in a MIDI conversation remain the same, ALWAYS!!. For example a "MIDI KEYBOARD CONTROLLER" which has no sound of its own, or a "MIDI SOUND MODULE" which has no keyboard,and so on,have fixed roles. They are either the "master",or the "slave". The "master/slave" relationship is not always one to one. The number of "slaves" can be increased, 1:2 or 1:3 ETC ETC. As a result,even in very large MIDI systems,if you check that flow of information is all one-way,and all correct,and the realationship between the "master and slaves" is very clear,then the connectors will pose no problems. Chapter 5. (Closer IS Better). From the previous discussion,it would seem that we could construct a chain of instruments,one after the other,via a large series of MIDI THRU connections. Hoewever,in reality,a MIDI conversation involves some complicated "dialouge" and to many MIDI THRU can disrupt the conversation,making it progressively less easy to "understand". Consequently,the 4th or 5th instrument in a chain may recieve incorrect data (for furthere data please refer to Chapter 11). To avoid this situation,place the "master" and the "slave" as close together as possible. This does not mean the actual physical placement,but rather the number of MIDI connections between them. To simplify thei procedure,a MIDI THRU BOX,or OUTPUT SELECTOR should be used MIDI THRU BOXES send MIDI information from the "master" to the "slaves" at the same time,so that each "slave" recieves the information first hand. There are many kinds of MIDI DEVICES,but remember, although perhaps the simplest,the THRU BOX is the most necassary Chapter 6. (Two Instruments In Unision). This section will cover the uses of MIDI in performance,expression,and other facets of the music making process. Firstly,we shall discuss playing 2 instruments in unision. For example,the MIDI OUT of an electronic piano to the MIDI IN of a synth. Then,if the synth is set to a string sound,playing the piano will cause the synth to play exactly the same part on a string sound. The result is a very BIG sound,simulating the pianist being doubled by an orchestra. Another useful combination would be to use a harpsicord sound from the piano and a synth flute sound. Similary,two synths with pipe organ and choir sounds are very effective. Two trumpet sounds,slighly detuned,make the brass effect much thicker. The list is endless. Playing two instruments in unision can provide a wealth of musical possibilities. Another method is to use one synth sound that features a unique attack sound combined with another instrument whose sustain sound is interesting. In this way,a whole new syntheseized sound is created by playing two together. Playing two instruments in unison is a very basic way of using MIDI,and yet you can achive a much greater variety of sounds,thicker sounds than using only one synth. It can certainly expand your expressive capabillities,so try it and you'll begin to understand the fascination of MIDI. Of course,if you use MIDI THRU connectors.... 3 or 4 synths can create some amazing possibillities. Chapter 7. (Combinations Of Different Kinds Of Instruments). As i was mentioned earlier,it is possible for different kinds of instruments to "converse" through MIDI. Naturally,we expect keyboards to "talk" to each other,but what would a piano say to a drum machine. It is hard to imagine just what the result might be. Think what would happen if you connect a piano to a drum machine,the piano as the "master",the drum machine as the "slave". You may choose the sounds (assign them)so that by playing the key "C" on the piano,a bass drum sound is heard. Then perhaps a "D" would play the snare,and a "G" would play a tom ETC. Then,rater than using drum sticks,you can play the drums by pressing the appropriate keys on the keyboard. What happens if the drum machine is the "master" and the piano is the "slave". This time,if the drum machine is playing a pre-programmed rhytm,the piano will play the same part. However,whwnever the drum machine a "C", ETC..Just the reverse of the previous situation. NOTE !!!!!......,A drum machine has limited note capabillity,and can usally only remember a few songs,so it would be more practical to use a sequencer, or a computer,for this type of automatic performance. The combination of a piano and a drum machine, as this chapter has illustrated was only an example. It is possibel for many types of instruments to "converse" via MIDI. Chapter 8. (Sequencer System). One of the most powerfull uses of the MIDI language is to include a sequencer. Performing in unison,as we mentioned earlier,can provide some excellent sound possibilities,but still limits the performance to that of the master keyboard. A sequencer on the other hand,is capable of remembering several instrumental parts,making it possible to use a variety of sound sources. It then becomes a simple matter to construct an entire arrengement,or orchestration. For example,a sequencer as the "master" can control a synth for melody,a piano for chords,another synth for bass,and a drum machine,all at the same time. The data for this is 4 part performance being stored in the sequencer. Then,as the data is sent to all 4 instruments,the automatic performance begins. Chapter 9. (Computer Music System). Computers did not seem to relate to music very well before MIDI. Certainly it was hard to understand any "conversation" between computers and musical instruments. Thanks to MIDI it is now possible to build small boxes that can "interpret" the language of computers into MIDI,and vice versa. Theese boxes are called MIDI INTERFACES. All computers use what we call "software",that is ,information on a disk that tells the computer how to behave. One piece of "software"may programe the computer to be a sequencer for example,while another could be "sound edit" software,programming the computer how to modify the sounds of a syntheseizer. Many of theese programs are designed on all sorts of computers,specialy this one (amiga 500/1000/2000/3000),which of course is the best. Chapter 10. (Midi Systems Expanding Into Various Fields). We have already discussed a variety of MIDI systems,but there are still many more possibillities. For example,when changing a sound in a MIDI system it is also possibel to switch a variety of effects on or off,delay or reverb for example. A MIDI sequencer can also be syncronized with a MULTI TRAK TAPE RECORDER (MTR),expanding the number of available tracks. The concept is extremely versatile,and the future is still wide open. Chapter 11. (Midi Channel And Mode). MIDI is able to transmit a variety of information from a "master" instrument to a "slave" instrument. Either one part,or multiple parts can be transmitted,for example via a sequencer system. For this purpose,MIDI includes 16 channels. All the different types of MIDI "conversation" can be sent via theese 16 channels seperately. So with one MIDI cable,16 parts can be played at the same time. The concept of MIDI channels is similar to that of TV BROADCASTING in a sense. This means that your TV ANTENNA must be RECIEVING all theese transmitting at once. However,since all the the stations are transmitting on different channels, you simply need to select the channel ypu wish to see. MIDI channels behave the same way. A MIDI "master" instrument is just like a TV BROADCASTING STATION. A MIDI "slave" instrument is like your TV RECIEVER,although rather than transmitting through the air,MIDI is transmitting via cables. The MIDI "master" instrument can then decide which channel to transmit, rather like choosing which TV STATION it wants to be. On the other hand,the "slave" instrument can behave like the TV SET and choose which channel it wants to "hear". Even if information is recieved on all 16 MIDI channels,the "slave" will only "hear" the chosen channel,just like the TV SET. With this concept of MIDI channels,it is then possible to play 16 different parts on 16 instruments,via a sequencer,and all originally down on MIDI CABLE. As we mentioned before,it is necessary to use the same MIDI channel is a "master" and a "slave" are to play in unison,but there is another way to make the "slave" recieve the information. This is called "OMNI ON MODE",and it forces the "slave" to respond to all 16 MIDI channels at once. In a simple set-up of one "master" and one "slave" this becomes very useful, because the slave dosen't care which channel the "master is using,it will "hear"them all. However,when using a sequencer playing on a variety of different channels, it is possible to separate the information. So then the "slave" must be in the "OMNI OFF MODE" so that it will only recieve information on the chosen channel. There are also "POLY" ands "MONO" modes in MIDI,which decide whether the information is to be sent as "MONOPHONIC" information (ONE NOTE),or "POLYPHONIC" information (MORE THAN ONE NOTE). Keyboard instruments such as pianos and synts usually use the "POLY MODE". "MONO MODE" is mainly used for MIDI guitar controllers. In this mode,the information belonging to each guitar string is sent on seperate channels,dividing the sound source into 6 "MONOPHONIC" synths. Then a BASIC MIDI channel is set,and the next 5 channels are used for the other strings. To choose whether to use "POLY,MONO,OMNI etc),MIDI includes a MODE SELECTOR, with 4 possibillities, "MODE 1-4". MODE 1 :OMNI ON,POLY. Recieves the information on all channels.(POLYPHONIC). MODE 2 :OMNI ON,MONO. Recieves the information on all channels,but will only play one note at a time. MODE 3 :OMNI OFF,POLY. Recieves only on the chosen MIDI channel.(POLYPHONIC,usefull with sequencers). MODE 4 :OMNI OFF,MONO. Recieves on specific MIDI channel(s),will only play one note per channel. (Usefull with guitar controllers). Chapter 12. (Main Contents Of Midi Information). MIDI contains many kinds of information,that it can use to transmit performance details from the "master" to the "slave". Such things as when each note was played or released (note on and note off), (damper pedal on and off etc.). Also,the information is divided into "channel messages" and "system messages". These messages are sent via individual MIDI channels to specific instruments in the system,and therefore only effect those instruments recieving that channel. Channel messages include NOTE ON/OFF - DAMPER PEDAL ON/OFF - PITCH BEND,etc. These channel messages are further divided into 2 categories, "voice messages" and "mode messages". Note information is the most basic,it simply says which key was pressed, when it was pressed,and when it was realesed. A program change is used to cause the "slave" to change its sound. Synths,electronic pianos,and sampling machines have memories full of many sounds. With these program changes the musician can choose which sound to use. It is also possible to switch the memories of MIDI effects devices. A control change can add subtle nuance to a performance,things like modulation (i.e.,vibrato and tremolo),hold (damper) pedal,soft pedal,and portamento. These messages are not used in all MIDI instruments. An electronic piano will send and recieve damper pedal information,but it certainly does not require portamento. So even if the "master" instrument has portamento,the piano will not respond to that information. To find out which controllers a specific instruments will respond to,refer to the "MIDI Implemention Chart",at the back of the owner's manual for that instrument. Synths and samplers can control vibrato,brilliance,volume,etc,by simply pressing the key harder after initially playing it. This effect is called "after-touch",and can be used to transmit the same effects via MIDI. Of course,the "slave" instrument must then decide how to use the after-touch information it recieves. Iff the "master" has a pitch bender,the information may be sent via MIDI. Once again,the "slave" will decide if it wants pitch bend,and even how much it wants. As menttioned earlier,MIDI has 4 MODES,and MODE messages are used to switch the MODE of a "slave". Some synths or electronic pianos are in MODE 1 (OMNI ON,POLY) whenever they are switched on,so you will need to switch them to MODE 3 (OMNI OFF,POLY) for use with a sequencer. Because of this,some sequencers will autmatically send a mode message to turn the "slaves" to MODE 3. Turning the "slaves" power on first,followed by the "master",will often achieve the same result. NOTE !!!..... MAKE IT A HABIT TO ALWAYS TURN THE MASTER ON LAST. ------------------------------------------------- System messages can be sent no matter how the MIDI channels of the "slave" or "master" are set,since they are used to control the whole MIDI system, that is, every instrument connected by the MIDI cables. For example,they van be used to synchronize a sequencer and a drum machine, so that they play exatly in time together,or to start and stop the performance, or simply to avoid MIDI system problems. Also,there are messages called "System Exclusive Messages",which are messages that are excluxive to a particular manufacturer. So that each manufacturer has an "Id Number" which their instruments will recognize. Any system exclusive data recieved with the wrong "Id Number",will be ignored by that manufacturers machines. With exclusive messages it is possible to transmit sounds between synths,or to change the parameters of a synth via a synth programmer,such as the ( PG-1000 or PG-300 ). Chapter 13. (Midi Implementation Chart). Although MIDI made it possible for a variety of instruments to communicate, this does not mean that all instruments wil understand the entire MIDI language. For example,connecting a MIDI cable from a synth to a MIDI effect may not make the effect behave the way you want. Or using a synth with pitch bend connected to an electronic piano will not force the piano to change its pitch. Simply connecting a MIDI is not enough. For the information to be succesfully communicated between the two instruments they must both understand that particular piece of information. If you are using a synth as a "master" and a electronic piano as a "slave", remember that they can only communicate with following effects, (NOTE,NUMBER DAMPER PEDAL,HOLD,PROGRAM CHANGE),.........ALWAYS. So,in a Multi-Instrument MIDI System,you will need to check what information each instrument can send and recieve. To quickly check this information,each instrument has a User's Manual that will include a "Midi Implementation Chart",showing the kinds of information that can be sent and recieved. On the left hand side of the chart,various types of MIDI information names are listed. They transmit/recieve column shows the capability of the instrumet to transmit or recieve that data using a "O" for yes,and "X" for no. If its capability depends on other factors,the additional information will also be shown. BASIC CHANNEL....There are two columns on basic channel, "Power On" and "Can Be Set". Power on shows which channel is set whe you first turn on the power. Recently,most instruments can remember a specific MIDI channel. In this case,the channel you selected last time you used the instrument will be recalled,in which case the chart will say "Memory works after the power is turned off". The next column says "Can Be Set". This shows how many MIDI channels can be set,usually 1-16. MODE....There are 3 columns for (MODE,POWER ON,MESSAGES,AND ALTERNATIVE). The power on shows the mode it is in when the power is turned on. The messages column shows if it is possible for the instrument to recieve MODE Messages,or after having recieved a MODE Message if it is possible to still change MODES. The alternative column is only used for instruments that can recieve messages which will switch the instrument to a special mode,the special mode being explained in this column. The column shows the note or range over which the instrument can recieve or transmit. It can usually only transmit as many note numbers as it has keys,while it may recieve very high or low notes,but play a note in a different octave as a result,this too is mentioned in this column. VELOCITY....There are "NOTE ON" and "NOTE OFF" columns for velocity. NOTE NUMBERS....This column shows whether the instrument can transmit or recieve these two velocities. It does not represent the actual "NOTE ON/OFF" capability,just the speed of the respective "NOTE ON/OFF". If there is an "X" in either column,it does not mean that the instrument cannot recognize how fast it was pressed or realesed. AFTER-TOUCH....This shows if the instrument can recieve/transmit after-touch information. The columns refer to channel after-touch (One Value Per Midi Channel) and (Polyphonic After-Touch) (A separate After-Touch For Each Note),but after-touch usally refers to channel after-touch. PITCH BEND....Whether or not the instrument can recieve/transmit pitch bender information. CONTROL CHANGE....This column shows or not the instrument can transmit/recieve controls like "MODULATION,DAMPER PEDAL,PORTAMENTO, etc.". These controls are particularly important when connecting two different synths, or a synth and a electronic piano. PROGRAM CHANGE....Whether or not the instrument can transmit/recieve program change information,and what numbers it uses. SYSTEM EXCLUSIVE....This column indicates what kind of data can be transmitted/recieved via System Exclusive Messages. SYSTEM COMMON....This section is for sequencer based MIDI systems. It indicates if the instrument will understand MIDI Song Possition Pointer, wherethe instrument can decide from which bar to start playing,and MIDI Song Selection,to decide which song to play,etc.. SYSTEM REAL TIME....Real Time Information refers to the ability of the machine to synchronize via MIDI. If it understands "Clock" information then it can play in time with other instruments. If it understands "Command" information,it will also know when to start/stop. AUX MESSAGES....This column is used to display whether the instrument is capable of receving information that will help it to avoid any MIDI problems This area is used for exceptions to the rules. For example,if the functions of an instrument change according to specific parameter settings,they will be indicated here. As a result,when you conect two or more instruments via MIDI cables,you merely need to check the relevant columns of their respective "Implementation Charts",to see if the communication you require is possible. NOTE !!!!!!!......Some synths can decide whether or not to transmit or receive specific data such as "Program Change" or "Portamento",which can create some interesting effects. Chapter 14. (How To Avoid Midi Problems). MIDI enables you to add expression to your music in may different ways. Things like "After-Touch","Synchronization" and "Pitch Bend",can substantially enhance the performance. However,this requires an exchange of large amounts of data,which also increases the possibility of error. Unexpected problems can be caused by faulty connetions,lack of knowledge,and many other factors. In this section some of the common problems are discussed,and their solutions explained. MIDI-CABLE CONNECTIONS....Obviously,if the cables are connected incorrectly the performance information can not be succesfully communicated. Make sure they are connected from the MIDI OUT of the "master",to the MIDI IN on the "slave",(or MIDI THRU to MIDI IN). HOW TO CONNECT MIDI CABLES,AND SWITCHING MIDI CHANNELS............. Whenever you wish to change a connection,always turn the power off before removing the cable.If you are playing and a cable is removed,you may not be able to stop the sound. Some keyboards will not change MIDI channels while a note is playing.so you will need to stop the playing before changing channels. POWER ON ORDER....Always turn the "master" instrument on last !!. In fact,you cannot cause damage by turning it on first,but it may make the set-up much easier to finish with the "master". This is because the "master" often sends out "Mode Messages" that will make the "slaves" behave correctly. PITCH BEND RANGE AND AFTER TOUCH EFFECTS......................... Although MIDI can transmit "Pitch Bender" and "After Touch Information",it actually only says how much the pitch lever was moved and how hard the keys were pressed. It does not say how far the pitch actually was moved,or what after-touch effect occured. The range of pitch change (Bender Range),and the effects caused by the after-touch need o be set on both instruments,the "master"and the "slave". MIDI AND DRUM MACHINES............................................ Drum Machines can be used in synchronization with sequencers,or as a sound source for a MIDI Keyboard,etc.. When a synth is the "slave",to change the sound you need to send a "Program Change Message". However,to change the sound of a Drum Machine you need only to play a different note. "C" for Bass Drum, "D" for Snare,etc.. Consequently,in a MIDI System using a sequencer,it would be better to set the MIDI Channel of the Drum Machine to a channel that is not being used, so that it does not recieive unexpected note on data. LOACL CONTROL..................................................... Some synths an equipment have a parameter related to MIDI called "Local Ctrl". When this control this control is "ON" (Local On) the keyboard of the instrument can play its own sounds,if Local is Off,the instrument can only send MIDI information out,without playing its own sounds. Local Off is convenient when usig sequencers which are capable of mixing the MIDI IN information with the MIDI OUT information. This function is called SOFT THRU. In this case,when you record using LOCAL OFF,and SOFT THRU ON,you can listen to the performance of the sequencer as well as the keyboard. This Midi Guide Book Was converted to amiga 500/1000/2000. From Roland Midi GuideBook.The Fourth Edition. By Jimmi Lenon Nielsen. Active member of Trade. For swapping Sounds,Modules,and other, please write to this adress. Jimmi Lennon Nielsen. Vestergaardsvej 41 1 Tv. 2600 Glostrup Denmark. 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