Thursday, January 1, 2009
Insurance License California Variable Annuities
Midi connections
MIDI IN, OUT and THROUGH
communication between synthesizers or between sequencer and synths .
Say you have a sequencer, synth and a bi-timbral drum machine. You will say: "I'm not going to buy 3 midi interfaces to use only 3 channels in total!". No, of course. MIDI instruments can be chained. You can check all this with one MIDI interface, the sequencer. How?
Each entry has a MIDI interface (IN), output (OUT), and making referrals as shown THRU that incoming information in IN. It is a part that your sequencer sends the information to your keyboard, and secondly to the rhythm. In addition, we need you to send information from the keyboard to the sequencer. The connection becomes clear: The keyboard goes OUT to the IN of the sequencer, the IN of the keyboard to the OUT of the sequencer, and finally the keyboard to the THROUGH jack of the drum machine! Then, the sequencer You can, for example, choose to assign the first patch of your synth on channel 1, the second on channel 2 and the drum machine, say on channel 10. You must also record MIDI you play the keyboard synthesizer.
However, this is not without drawbacks. The most important of them is related to the flow of MIDI data (19.2 Kbps). You can not chaining an infinite number of MIDI instruments on pain of having lags in receiving information. Imagine the drama if your drum machine plays a rhythm in sync with the bass line! In practice, it is inadvisable to exceed 3 per string instruments. The second drawback is related to machine "recent" multimbrales about 16 parts. Suppose you wanted to use only 3 stamps on your super-keyboard (to get a wide polyphony, for example) and to assign 4 more to an expander connected to the keyboard by taking THROUGH. We need to understand the Pemi synth that information on the expander 4 stamps are not for him, as you may have results a little weird. And believe me, do understand that to a synth multimbral AC is not always easy ... The MC303 is a shining example ....
4 - The different MIDI messages
Returning to the information transmitted via the MIDI channels. As we have seen, can send notes, but also a bunch of other messages. The main message groups are:
- note on / off: beginning and end of notes
- exchange program: tell the synth to assign a particular stamp on the channel that transmits information
- controller: transmit information Movements of external controller (expression pedal, sustain, velocity, filter, filter resonance
... These are standardized message type and any machine that meets the standard MIDI understand them (with some exceptions, such as filters)
- System Exclusive or SysEx: Worst! it's message recognized by a single type of synth and allowing data from nonstandard controller. (For example, send a patch to synth)
5 - And the audio in all this?
I think now you understand what is the difference between MIDI and audio. The audio is the sound that comes out of your machines, and you can save on a K7 or scan over a Direct to Disk (HDD) or CD. The power of personal computers is so sweat can now use a PC as a digital recorder and most recently as station real-time effects. The majority of current sequencers allows it: these are audio sequencers. Sequencer because they manage the flow of MIDI hand, and because it allows AUDIO digital recording on the other.
What do we need to properly use an audio sequencer? The first thing is a fast hard disk. In effect, if you record two audio tracks while reading 4 other tracks, you can imagine it takes a good flow! The must is an Ultra SCSI Wisde ensuring fast throughput. However, the Ultra DMA present on most PC systems as standard, combined with a good hard drive is more than enough for amateurs. Then, if you want to use the capacity calculations of real time sequencer for type effects reverb, chorus ... you need at least a Pentium II -266 Mhz. But things go quickly, and the new generation of audio sequencer included virtual synthesizers. To do this, your computer will be more powerful, better. In terms of memory, a minimum of 64MB required, 128MB is better ....
And the sound card? It is a very important part of the audio-noon. First it includes a MIDI interface that will be your base interface. Then, she will allow the acquisition of audio signals through its analog-digital converters. And this is where it complicated. There are different forms of audio acquisition, determined by the sampling frequency and resolution (in bits). For example, a CD audio is sampled at 44KHz with 16 bits. Most sound cards have proposed format acquisition. But there is not what counts. The background noise in the input is very important. I remember doing a test with a SoundBlaster AWE 64 ... the horror ... there was more than its buit from my CS1x! Then do not hesitate to devote part of his buget in a capture card. And, there is little choice. Maps for amateurs who do not want to ruin are rare: The Guillemots ISIS and the SoundBlaster Live! Platinum are the only ones to have good characteristics for 2000FF. Then we move to the next level, with maps specializing in audio acquisition, which may have frequencies "ecantillonnages of 48 Hz or 96 kHz and resolutions of 16 bits to 24 bits. And the price is not the same ... It takes at least 4000 FF.
6 - Finally, recording several sources
.... Imagine the following situations: you just finish your songs, written in MIDI format. Now you must save it in audio format into an MP3 or burn CD. Your piece contains 8 tracks and you are using multiple intruments. How to register?
a) Your sound card has an entry audio.Vous have no choice, use the mixer. For this there are two solutions. Let each Track your table can transmit the audio signal to the sound card (via a subgroup in the output to-send), in which case you can register a track at a time while listening to others, or you may register as main mix output, and in this case, you need to cut all the tracks (with a mute in your MIDI sequencer) except the one you want to record and listen this track.
b) your card has several input (such as ISIS). Then you're happy, you can record all tracks simultaneously, within a track entrance, without them it is bunk.
Once your pieces in the form of 8 audio tracks, you can rework the song thanks to the engine internal effects in your sequencer, then make a downmix to generate a stereo wav file. 
MIDI IN, OUT and THROUGH
communication between synthesizers or between sequencer and synths .
Say you have a sequencer, synth and a bi-timbral drum machine. You will say: "I'm not going to buy 3 midi interfaces to use only 3 channels in total!". No, of course. MIDI instruments can be chained. You can check all this with one MIDI interface, the sequencer. How?
Each entry has a MIDI interface (IN), output (OUT), and making referrals as shown THRU that incoming information in IN. It is a part that your sequencer sends the information to your keyboard, and secondly to the rhythm. In addition, we need you to send information from the keyboard to the sequencer. The connection becomes clear: The keyboard goes OUT to the IN of the sequencer, the IN of the keyboard to the OUT of the sequencer, and finally the keyboard to the THROUGH jack of the drum machine! Then, the sequencer You can, for example, choose to assign the first patch of your synth on channel 1, the second on channel 2 and the drum machine, say on channel 10. You must also record MIDI you play the keyboard synthesizer.
However, this is not without drawbacks. The most important of them is related to the flow of MIDI data (19.2 Kbps). You can not chaining an infinite number of MIDI instruments on pain of having lags in receiving information. Imagine the drama if your drum machine plays a rhythm in sync with the bass line! In practice, it is inadvisable to exceed 3 per string instruments. The second drawback is related to machine "recent" multimbrales about 16 parts. Suppose you wanted to use only 3 stamps on your super-keyboard (to get a wide polyphony, for example) and to assign 4 more to an expander connected to the keyboard by taking THROUGH. We need to understand the Pemi synth that information on the expander 4 stamps are not for him, as you may have results a little weird. And believe me, do understand that to a synth multimbral AC is not always easy ... The MC303 is a shining example ....
4 - The different MIDI messages
Returning to the information transmitted via the MIDI channels. As we have seen, can send notes, but also a bunch of other messages. The main message groups are:
- note on / off: beginning and end of notes
- exchange program: tell the synth to assign a particular stamp on the channel that transmits information
- controller: transmit information Movements of external controller (expression pedal, sustain, velocity, filter, filter resonance
... These are standardized message type and any machine that meets the standard MIDI understand them (with some exceptions, such as filters)
- System Exclusive or SysEx: Worst! it's message recognized by a single type of synth and allowing data from nonstandard controller. (For example, send a patch to synth)
5 - And the audio in all this?
I think now you understand what is the difference between MIDI and audio. The audio is the sound that comes out of your machines, and you can save on a K7 or scan over a Direct to Disk (HDD) or CD. The power of personal computers is so sweat can now use a PC as a digital recorder and most recently as station real-time effects. The majority of current sequencers allows it: these are audio sequencers. Sequencer because they manage the flow of MIDI hand, and because it allows AUDIO digital recording on the other.
What do we need to properly use an audio sequencer? The first thing is a fast hard disk. In effect, if you record two audio tracks while reading 4 other tracks, you can imagine it takes a good flow! The must is an Ultra SCSI Wisde ensuring fast throughput. However, the Ultra DMA present on most PC systems as standard, combined with a good hard drive is more than enough for amateurs. Then, if you want to use the capacity calculations of real time sequencer for type effects reverb, chorus ... you need at least a Pentium II -266 Mhz. But things go quickly, and the new generation of audio sequencer included virtual synthesizers. To do this, your computer will be more powerful, better. In terms of memory, a minimum of 64MB required, 128MB is better ....
And the sound card? It is a very important part of the audio-noon. First it includes a MIDI interface that will be your base interface. Then, she will allow the acquisition of audio signals through its analog-digital converters. And this is where it complicated. There are different forms of audio acquisition, determined by the sampling frequency and resolution (in bits). For example, a CD audio is sampled at 44KHz with 16 bits. Most sound cards have proposed format acquisition. But there is not what counts. The background noise in the input is very important. I remember doing a test with a SoundBlaster AWE 64 ... the horror ... there was more than its buit from my CS1x! Then do not hesitate to devote part of his buget in a capture card. And, there is little choice. Maps for amateurs who do not want to ruin are rare: The Guillemots ISIS and the SoundBlaster Live! Platinum are the only ones to have good characteristics for 2000FF. Then we move to the next level, with maps specializing in audio acquisition, which may have frequencies "ecantillonnages of 48 Hz or 96 kHz and resolutions of 16 bits to 24 bits. And the price is not the same ... It takes at least 4000 FF.
6 - Finally, recording several sources
.... Imagine the following situations: you just finish your songs, written in MIDI format. Now you must save it in audio format into an MP3 or burn CD. Your piece contains 8 tracks and you are using multiple intruments. How to register?
a) Your sound card has an entry audio.Vous have no choice, use the mixer. For this there are two solutions. Let each Track your table can transmit the audio signal to the sound card (via a subgroup in the output to-send), in which case you can register a track at a time while listening to others, or you may register as main mix output, and in this case, you need to cut all the tracks (with a mute in your MIDI sequencer) except the one you want to record and listen this track.
b) your card has several input (such as ISIS). Then you're happy, you can record all tracks simultaneously, within a track entrance, without them it is bunk.
Once your pieces in the form of 8 audio tracks, you can rework the song thanks to the engine internal effects in your sequencer, then make a downmix to generate a stereo wav file.
Subscribe to:
Posts (Atom)