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MIDI/Digital Audio Assignments, Definitions, Suggested Equipment Purchases Bill Miller (
[email protected]) Assignments Improvisation Assignment 1 - The Twelve Bar Blues Instructions 1. Enter chords. Remember, every song has a "chord progression." This is a series of chords that will sound while the melody is playing. The most common chord progression for the blues is 12 measures (or bars) long. Enter the following chord progression into an untitled BIAB file: 1 C7
2 F7
3 C7
4 C7
5 F7
6 F7
7 C7
8 C7
9 G7
10 F7
11 C7
12 Dm7
G7
2. Save this file as "improv1" on your network space (H: drive). 3. Select a Blues, Shuffle, or Swing style - a "feel" for your piece. For purposes of this assignment, please limit yourself to one of these three choices. Work within guidelines can also be creative! 4. Set the tempo to equal 124 beats per minute. 5. Set the chorus to end after measure 12. 6. Listen to your blues chord progression. If you have questions, be sure to ask! As you are listening, change your bass sound slightly, and perhaps your piano sound as well. A "slight" change here means that you should stay with a particular type of sound. For example, do not change your bass sound to a flute or marimba sound - this makes it more difficult for you to clearly hear the chord changes. 7. Please fill in the eight notes of a C Major scale. Indicate a sharp with the '#' character. Indicate a flat with the 'b' character. Use capital letters for each note name. Examples: F#, Bb, G
2 ____ 1
____ 2
____ 3
____ 4
____ 5
____ 6
____ 7
____ 8
A blues scale uses the same notes of a major scale, but changes them slightly. The pattern of a blues scale is: 1 - b3 - 4 - b5 - 5 - b7 - 8 8. Please fill in the seven notes of a C blues scale. Indicate a sharp with the '#' character. Indicate a flat with the 'b' character. Use capital letters for each note name. Examples: F#, Bb, G ____ 1
____ b3
____ 4
____ b5
____ 5
____ b7
____ 8
This C Blues scale will be used to create your melody. Practice playing these notes on the keyboard. 9. Record a melody using the blues scale. Select the "Rec" button on the screen. The computer will count off and you play any of the Blues scale notes. Remember, there are NO WRONG NOTES . . . just different choices! Even if you play a note that’s not in the scale . . . it will probably work. 10. Resave your work. 11. Begin the process again, until your improvisation covers at least three refrains (i.e. three times through the 12-bar structure). Attach your BIAB file with your improvisations complete. It should demonstrate good use of the software, as well as an understanding of the blues scale.
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Improvisation Assignment 2 - Original Blues Chord Progression Instructions In our last project we created a twelve-measure chord progression called "the blues." It used the following chords: I7, IV7, V7, and ii7, in the key of C major. Today you will create your own original chord progression using these same chords and record another improvised solo with this progression. The piece should be in either G major, F major or D major. Click on the word "key" in BIAB to change the key from the default key of C major before you begin. 1. In the spaces below, type the eight notes of the major scale you will use today. If you need help, ask. ____ 1
____ 2
____ 3
____ 4
____ 5
____ 6
____ 7
____ 8
2. Using the blues scale pattern that we learned last time, write the notes of the blues scale for your key. These will be the primary notes you will use in your improvised solo. ____ 1
____ b3
____ 4
____ b5
____ 5
____ b7
____ 8
3. Now determine the chords you will use to create your original blues progression. Write in the letter name of each chord you will use in the spaces provided. (i.e. if we were basing this on a C Major scale, the I7 chord would be C7, because ‘C’ is the first note of the scale. The IV7 chord would be F7, because ‘F’ is the fourth note of the scale. I7:
_______ (based on note ‘1’ of the scale)
IV7:
_______ (based on note ‘4’ of the scale)
V7:
_______ (based on note ‘5’ of the scale)
II7:
_______ (based on note ‘2’ of the scale)
4. Arrange the chords in any pattern you like in Band In A Box. You should however start and end with the I7 chord. Be careful not to have too many chord changes. One every measure or two is probably just fine in most cases. 5. Once you have settled on a chord progression, record an improvised solo over it. For full credit, please observe the following guidelines: • Your progression should be in 4/4 time and 16 measures in length. • Please set the "chorus" to record two times (so your improvised solo will be 32 measures in length.) • The "style" should be either blues or jazz related.
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Introduction to Sequencing - Sound Effects Story Instructions Besides being a very helpful music composition and performance tool, MIDI can be used to control other events such as lights in a rock concert or to play sound effects at just the right time in your favorite movie. As an introduction to Home Studio, you are going to compose a story and record the sound effects to accompany it. The end product will be a dramatic reading of your story (by you!) with the technology filling in the sound effects at just the right time. Have fun! Part I – Exploring the Sounds on the XP-10 Using the list of available sound effects as a guide, experiment with these sounds to become familiar with them and to start thinking about what could be used in your story. Remember to use the variation button to get even more sound effects. For the purpose of this project we will not be using the SFX drum set (that would be way too easy…). Part II – Writing Your Story Using Microsoft Word, compose your story. The story must be two to three minutes in length, and must be school-appropriate. As you write, indicate where sound effects will be placed. For example: "One day, Bob was walking down the street (footsteps). All of a sudden, a big car zoomed by (car passing)…" Each story should use at least ten different sound effects, although any single sound can be used repeatedly. As a maximum guideline, use no more than sixteen different sound effects (You can use each one more than once). Save your story on your network space with the name “SFX Story Script”. Part III – Record yourself reading your story on an audio track in Home Studio. When you have a take or takes that you like, normalize the audio level so it will blend well with other sounds. Part IV - Recording Sound Effects Now comes the fun part. Record the effects in such a way that they will arrive at the proper time. There will be time for you to select sounds, edit those sounds, and ensure that the dubbing will be effective. There are additional tutorial files in the ‘Course Documents’ section of the Blackboard site that will help you with setting up tracks in Cakewalk as well as explaining several recording techniques. Good luck, and have fun!!! Additional Options… The next step in learning the sequencing software can be to create a “soundscape” composition. Experimenting with instrument sounds and sound effects to create a mood or atmosphere. Students will often gravitate towards creating melodies, or bass lines, or other riffs, which is just what we want them to do eventually!
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Imitative Project: Polyrhythmic Percussion – African Drumming Instructions During our last class together you created three rhythm patterns to be used in your "Polyrhythmic Percussion Sequence." Please write these three patterns below in the space provided: TIME: 3 4 4 4 5 4 PART I: 1) Open up a new Cakewalk file, and save it as "polyrhythm-your name" 2) Set up Cakewalk so that tracks 1-4 are set up with a percussion sound 3) Find a sound that you feel would work well as the "time keeper." This sound should probably have a short timbre. 4) Set up Cakewalk to record on Track 1. Record your "time" for exactly 25 measures of 4/4 time. You may do this manually, or by using the copy and paste functions. You will probably want to make sure that your Metronome is set to "Click In Record" so that you can keep a very steady pulse while recording your time track. After you feel satisfied with this first track, turn OFF the Metronome . . . it will only confuse you later if you leave it on! 5) Now move to Track 2, and record your 3/4 rhythm pattern. WAIT FOR 4 FULL BEATS OF TIME BEFORE YOU BEGIN TO RECORD YOU 3/4 PATTERN! Continue to record the 3/4 pattern until the end of the 25 measures. (Watch the measure counter to help!) Note: You will want to select a different percussion sound for each of the tracks. Make it your goal to come up with four contrasting sounds! 6) You are now ready to move to Track 3 and to record your 4/4 pattern. Wait for the first 4 beats of TIME, followed by 8 repetitions of the 3/4 pattern BEFORE you begin to record the 4/4 pattern. Continue until the end of the 25 measures.
6 7) Now move to Track 4 and record your 5/4 pattern. Wait for the first 4 beats of TIME, followed by 8 repetitions of the 3/4 pattern and 8 repetitions of the 4/4 pattern BEFORE you begin to record the 5/4 pattern. Continue until the end of the 25 measures. SAVE OFTEN! SAVE OFTEN! SAVE OFTEN! Listen to what you have done so far. PART II: On Tracks 5 and 6 you are to simulate a percussion "dialogue" between two percussionists. Use sounds found in the 15th Tone Group (Percussive). Record one player on Track 5 and the other on Track 6. Use different sounds for each track. Using the "pan" feature, pan Track 5 completely to the LEFT, and pan Track 6 completely to the RIGHT. IF YOU DO NOT TURN THIS SHEET IN YOUR SEQUENCE WILL NOT BE GRADED AND YOU WILL NOT RECEIVE ANY CREDIT FOR YOUR WORK! Additional Thoughts… This project is usually introduced through participating in a drum circle. Borrowing various Latin and African percussion from the percussion closet in the band room or your friendly neighborhood general music teacher makes this a great time!
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Imitative Project: Theme and Variation When a composer writes a "Theme and Variations," it is just that… a main theme (melody), followed by a series of variations. The variations are usually melodic material that is based on the main theme. There are many ways to "vary" the main theme of a composition. For example one could change the rhythm of the theme, or alter one or two notes. Listed below are eight ways that you might consider developing a "variation." This is only a starting point. You are sure to come up with your own as your work on this project. • • • • • • •
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Rhythm - Change the length of several notes in the main theme. Key - Transpose the theme from one key to another. Meter - Transfer the same melodic idea into a new time signature (i.e. 4/4 to 3/4, or 3/2 to 6/8) Dynamics - Use the mixer to change the volume of the theme. Instrumentation - Use a different combination of voices from the JV-30/35 to create a different effect. Tempo - Change the speed of the main theme. Slow it down, or maybe speed it up. Harmonic progression - Change the chord progression that may be accompanying your melody, or maybe add one if you did not use any chords in the main theme. Changing major chords to minor chords, or minor to major can be very effective to change the "mood" or "feel" of the music. Style - If your main theme is written in a very "strict" feel, you might try to make a variation more jazz like. Or maybe you will change the attack length of each note (staccato vs. tenuto). Be creative.
1) Set up an open file in Home Studio. Title your file "ThemeVar-(your name)." As a collaborative effort, make sure you put BOTH persons names in the title of your file. 2) In the "A" sequence of the file, compose a short THEME. It should be 8, 12, or 16 measures in length. (Hint: It is easier to create a variation from a simple theme than it is from a complex theme.) 3) In the "B" sequence of the same file, compose VARIATION 1. The variation should be at least two measures in length, but may be longer if you wish. 4) In the "C" sequence of the same file, compose VARIATION 2. The variation should be at least two measures in length, but may be longer if you wish. This variation should be noticeably different from the main theme and the first variation. 5) In the "D" sequence of the same file, compose VARIATION 3. The variation should be at least two measures in length, but may be longer if you wish. This variation should be noticeably different from the main theme and the first two variations. 6) Link all four sequences in this file into one complete arrangement. The THEME should be at the beginning and the end of the arrangement. 7) Save your completed work in your network space CODA: (Or "other helpful hints/ideas.")
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The use of percussion may be helpful to you in the development of a variation. If you find the idea of changing "styles" attractive, you might consider importing a BandIn-A-Box "style" into your music shop sequence, and then recording your melody on a separate track.
Additional thoughts… It’s very helpful to play some examples of theme and variation compositions. There are obviously several to choose from various instrumental and vocal settings. Go with what you know!
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MIDI Software and Hardware Resources www.m-audio.com – M-Audio – Cables, interfaces, digital audio, misc. hardware www.rolandus.com - Roland - Synthesizers, digital audio, misc. hardware www.yamaha.com - Yamaha – Synthesizers, digital audio, misc. hardware www.alesis.com - Alesis - Synthesizers, digital audio, misc. hardware www.korg.com - Korg – Synthesizers, digital audio, misc. hardware www.cakewalk.com - Twelve Tone Systems – Cakewalk line of sequencing, digital audio, loop editing and misc. software (Windows Only) www.apple.com/logicpro - Logic line of sequencing, digital audio software (Mac Only) www.digidesign.com - Digidesign – ProTools line of digital audio, sequencing software as well as digital audio hardware (Mac and PC) www.finalemusic.com - Coda Music – Finale line of notation software (Mac and PC) www.pgmusic.com - Band in a Box line of accompaniment software (Mac and PC) www.sonymediasoftware - Digital audio/video (some MIDI) software (PC) including Vegas, Sound Forge, and Acid www.sibelius.com - Sibelius notation software and PhotoScore scanning software (Mac and PC) www.steinberg.net - Cubase sequencing software www.motu.com - Mark of the Unicorn – Digital audio, misc. hardware, software (Mac and PC) www.midi-classics.com - A big website that outlines lots of manufactures and types of hardware/software www.mccormicksnet.com Nice place to start to get prices and information on MIDI hardware/software www.academicsuperstore.com Academic (student or teacher) prices on all kinds of software!
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Setting Up MIDI Tracks in Home Studio / Recording Techniques 1) Open Home Studio 2002 2) Delete or Ignore the two audio tracks that are created by default. They are labeled as Audio 1 or Audio 2 and have the red sound wave icon. • •
Right click on the track header Select ‘Delete Track’
3) Setting up and recording on existing MIDI Tracks (They have the yellow MIDI port icon.) • • • • • • •
Give the track a meaningful name (i.e. instrument sound) by double clicking the existing name (MIDI 1, MIDI 2, etc.) and typing a new name. Select a MIDI Channel in the 'Ch' pull-down menu for the track. Remember CHANNEL 10 IS USED FOR DRUMS!! Select the same numbered 'Part' on the XP-10 Select a patch (sound) by right clicking in the 'Pch' menu. You can type in a patch name or scroll through the list. The patch you selected should appear in the display window of the XP-10. Arm the track for recording by selecting the 'R' button in the track header. It will turn red, and the 'Record' button will become active. Record your track! When you are finished, make sure to unarm the track
4) Repeat steps from part 3) above for other existing tracks 5) Creating new tracks • •
Right click in empty space on the left hand side of the main Home Studio window. Select ‘Insert MIDI Track’
Recording Methods (Basic) • • • •
Real Time (playing it in) Step Recording - Predetermine the length of notes and play pitches at your own pace Piano Roll - Draw in pitches and durations Notation View - Select pitches and durations using standard musical notation
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Recording Methods (Advanced) • • • •
Sound on Sound - This will blend previous information with new information recorded on the same track. Overdub - This will erase what was previous recorded and replace it with new material you record. Autopunch (replace) - This allows you to start and stop recording at a particular moment in the piece. Loop - This allows a particular section to play over and over again while you record. This is a great way to record drum parts!
Access these options from the 'Realtime' then 'Record Options' or 'Loop or Autoshuttle' menus.
The Metronome This is the steady beat time keeper for your piece. To turn it on or off... • •
Select 'Option' then 'Project' The metronome options tab will be exposed. Click or unclick the 'recording' or 'playback' option as desired.
The metronome options might also be on your desktop as a small metronome icon. This can be added by going to the 'View' then 'Toolbars' menus and selecting the 'metronome' option.
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MIDI Definitions from www.techweb.com (Musical Instrument Digital Interface) A standard protocol for the interchange of musical information between musical instruments, synthesizers and computers. MIDI was developed to allow the keyboard of one synthesizer to play notes generated by another. It defines codes for musical notes as well as button, dial and pedal adjustments, and MIDI control messages can orchestrate a series of synthesizers, each playing a part of the musical score. MIDI Version 1.0 was introduced in 1983. Not Sound, The Notes MIDI does not record analog sound waves like a tape recorder. MIDI encodes keyboard functions, which includes the start of a note, its pitch, length, volume and musical attributes, such as vibrato. As a result, MIDI files take up considerably less space than digitized sound files. Since the advent of the General MIDI standard for musical instruments, MIDI has been widely used for music backgrounds in multimedia applications due to its space-saving feature. It is MIDI technology you might be hearing as the latest mobile ring tone or on a thrill ride or attraction at a theme park. However, MIDI is only for music, not voice. See General MIDI. Editing Is Different MIDI recordings are edited in an entirely different manner than conventional recording; for example, the rhythm can be changed by editing the timing codes in the MIDI messages. In addition, the computer can easily transpose a performance from B major into D major. Such editing would be virtually impossible with recorded sound waves. For more information, visit www.midi.org. See MIDI sequencer, MIDI patch, MIDI voices, MPU-401, wavetable synthesis, FM synthesis and sound card.
13 MIDI Vs. Digitized Sound This shows musical notes stored in MIDI compared to digital audio. MIDI is musical notation, whereas digital audio is a sample of the actual waveforms. This is a conceptual example. The binary coding is not accurate.
The Power of MIDI This drummer is playing with two musicians in different parts of the country. They all hear the combined sound and see each other on screen (upper right). Starting in 2005, eJamming (www.ejamming.com) opened a new world of possibilities for musicians with MIDI instruments. Just like online gamers, who match their wits with players around the world via the Internet, musicians can jam with fellow artists in different venues. Due to MIDI's concise format, the "virtual band" has emerged.
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Desktop Music Handbook - Glossary of MIDI and Digital Audio Terms from www.cakewalk.com ACTIVE SENSING - a method by which a MIDI device detects disconnection. A message is sent to the receiver around three times per second, and if no message is received during this period, the unit assumes the MIDI connection has been broken. It then begins a routine to reestablish normal operation. ADDITIVE SYNTHESIS - a synthesis method that builds complex waveforms by combining sine waves whose frequencies and amplitudes are independently variable. ADSR - Attack, Decay, Sustain and Release are the four stages of an envelope that describe the shape of a sound over time. Attack represents the time the sound takes to rise from an initial value of zero to its maximum level. Decay is the time for the initial falling off to the sustain level. Sustain is the time during which it remains at this level. Release is the time it takes to move from the sustain to its final level. Release typically begins when a note is let up. In most sound generators, the time and the value reached are programmable. AFTER TOUCH - a measurement of the force applied by a performer to the key on a controller after it has been depressed. Either polyphonic, which measures the pressure on each individual key, or monophonic, reflecting the total pressure on all keys. AIFF - the standard file format for storing audio information on an Apple Macintosh computer. ALGORITHM - a set of instructions supplied to a computer for the purpose of solving a problem. ALL NOTES OFF - a three byte MIDI channel message that instructs the receiving device to terminate all notes currently sounding. ALIASING (FOLD-OVER) - ``false frequencies'' that are created when sampling frequencies greater than one-half the sampling rate. AMPLIFIER - a device that increases the amplitude, power or current of a signal. The resulting signal is a reproduction of the input signal as well as this increase. AMPLITUDE - the strength or magnitude of any changing quantity when compared to its \Qat rest' or \Qzero' value. ANALOG - information which is continuously variable in nature. ANALOG SYNTHESIS - a method of sound synthesis that relies on predefined waveforms to create sounds that vary over time. The amplitude, frequency and harmonic content of these waveforms can be manipulated to produce a vast number of different results. ARPEGGIATE - to play the notes of a chord in succession rather than simultaneously. ATTACK - the initial stage of an envelope. Refers to the time from the beginning of the sound to its highest or maximum level. BANK - a storage location in a sampler or synthesizer that typically holds a large number of individual program (sounds). BINARY NUMBERS - a numbering system based on 2 in which 0 and 1 are the only available digits.
15 BITS (BYTES) - a binary digit. Mode of information used by a computer to store numbers. One bit equals a \Qone' or a \Qzero'. Usually 8 bits equals one byte, however, MIDI uses a 10 bit-byte that includes a start bit, the 8 - bit data message, and a stop bit. BUFFER - an area of RAM used to temporarily store data. CENTRAL PROCESSING UNIT (CPU) - a silicon chip that performs calculations and acts as the brain of a computer. CHANNELS - one of 16 different data paths that are available to carry messages in MIDI. CHANNEL MESSAGE - a type of MIDI message that carries specific channel information. CHORUSING - a doubling effect commonly found on a synthesizer or sampler that makes a single sound appear to sound like an entire ensemble. The initial signal is split and appears at a slightly altered pitch from the original, or at a slightly later point in time. This time and pitch level are often controllable by a low frequency oscillator (LFO). CONTINUOUS CONTROLLER - a type of MIDI message that is generated by the movement of a continuous control. CONTROLLERS - various sliders, levers, knobs, or wheels typically found on a MIDI controller. Used to send continuous (as opposed to discrete) data to control some aspect of a sound. DECIBEL -a decibel (or dB ) is 1/10th of a bel, which is a relative measure of two sounds. DC (DIRECT CURRENT) - an electrical current that flows in one direction. DECAY - one of the four basic stages of an envelope. Refers to the time the sound takes to settle into its sustain level. DEFAULT - the "normal" or "startup" state of a hardware device or software application. DELAY - a common effect in a sampler or synthesizer that mimics the time difference between the arrival of a direct sound and the first reflection to reach the listener's ears. DIGITAL AUDIO - the numeric representation of sound. Typically used as the means for storing sound information in a computer or sampler. DIGITAL SYNTHESIS - the use of numbers to create sounds. Method most often used in today's synthesizers for generating sounds, as compared to analog method employed previously. DIN PLUG - a five-pin connector used by MIDI equipment. DISTORTION - a process, often found desirable by guitar players, that alters a sound's waveform. DRUM MACHINE - an electronic device, usually controllable via MIDI commands, that contains samples of acoustic drum sounds. Used to create percussion parts and patterns. DSP - digital signal processing. Processes used to alter sound in its digital form. DYNAMICS - the relative loudness or softness of a piece of music.
16 ECHO - the repetition of a sound delayed in time by at least 50 milliseconds after the original. An effect often found in synthesizers and samplers. ENVELOPE - changes in a sound over time, including alterations in a sound's amplitude, frequency and timbre. ENVELOPE GENERATOR - a device or process in a synthesizer or other sound generator that creates a time varying signal used to control some aspect of the sound. ERROR CORRECTION - a procedure found in digital audio systems that detects and correct inaccurate or missing bits in the data stream. EQUALIZATION (EQ) - boosting or cutting various frequencies in the spectrum of a sound. FADE IN/OUT - a feature of most audio editing software that allows the user to apply a gradual amplitude increase or decrease over some segment of the sound. FADER - also known as a slider or attenuator, this control allows the user to perform a gradual change to the amplitude of a signal. Commonly found as a feature of MIDI software programs. FILTER - a circuit which permits certain frequencies to pass easily while inhibiting or preventing others. Typical filters include low pass, high pass, band pass, and band reject. FLANGE - an effect applied to a sound wherein a delayed version of the sound is mixed with the original. FM SYNTHESIS - a synthesis method that involves the interaction of a signal (carrier) by another (modulator). FREQUENCY - the rate per second at which an oscillating body vibrates. Usually measured in Hertz (Hz), humans can hear sounds whose frequencies are in the range 20 Hz to 20kHz. FUNDAMENTAL FREQUENCY - the predominant frequency in a complex waveform. Typically provides the sound with its strongest pitch reference. GRAPHIC EQUALIZER - a device type that applies a series of bandpass filters to a sound, each of which works on a certain range of the spectrum. The frequencies that fall within the range, typically one-third octave, can be boosted or cut. HARMONIC - a sine wave component of a complex sound whose frequency is a whole number multiple of the fundamental frequency. HARMONIC SERIES - also known as the ``overtone'' series, this is the series of frequencies in a sound that are whole number multiples of the fundamental. HERTZ - a measurement used to represent the number of times per second a waveform repeats its pattern of motion (cycle). KEYBOARD SPLIT- a setup of a keyboard where different notes trigger different sounds. Also known as zoning. LCD - Liquid Crystal Display. A small screen found on electronic instruments that displays data. LFO - a low frequency oscillator that is used to alter a sound's frequency or amplitude. LIBRARIAN - a category of MIDI software that is used to organize and store a MIDI device's patch (program) data.
17 LOCAL ON/OFF - a three byte channel message that determines the status of the Local On function of a MIDI device. LOCAL ON allows the instrument to produce sounds from incoming MIDI data and its own keyboard. LOCAL OFF states that only external MIDI data is responded to. LOOP - to repeat a sequencer pattern or portion of an audio sample repeatedly. The point to which the program returns, whether the beginning or some other point, is usually definable by the user. METRONOME - a device or software function that produces a discrete pulse. Used to synchronize music with a specific tempo. MIDI - the Musical Instrument Digital Interface. An international standard for communication between a musical instrument and a computer. MIDI CLOCK - a system real time message that enables the synchronization of different MIDI devices. The standard rate is 24 divisions per beat. MIDI INTERFACE - a device that adds a MIDI In, Out and sometimes Thru port to a desktop computer. MIDI MERGE - used to combine MIDI data from various sources into a single source. MIDI MESSAGE - the different packets of data that form a MIDI transmission. MIDI PATCHER - a device that allows the routing of one or more MIDI signals to various MIDI devices. Typically reconfigurable to allow for different routings of the data. MIDI PORTS - the three connectors that pass MIDI data into (MIDI IN), out of (MIDI OUT) and through (MIDI THRU) a MIDI device. MIDI TIME CODE (MTC) - a timing system used as a universal reference for all the devices in a MIDI network. Represents the information contained in a SMPTE signal using MIDI messages. MIXER - a recording device that allows several different audio sources to be combined. Provides independent control over each signal's loudness and stereo position. MODULATION WHEEL - one of several common continuous controls on a MIDI device. Often used to add a vibrato effect to a sound. MONOPHONIC - the ability to play only one note at once. A characteristic of some older synthesizers. MULTITIMBRAL - having the ability to produce many different musical timbres (sounds) at once. MULTITRACK - in traditional recording technology, the ability to layer multiple different audio signals at once. In MIDI software, the ability to layer numerous MIDI data streams. NOTE ON COMMANDS - a channel voice message that indicates a note is to begin sounding. Contains two additional data bytes: Note number and Note velocity. NYQUIST FREQUENCY - the highest frequency that any given digital audio system can capture. Defined as one half the sampling rate of that system. OCTAVE - a frequency ratio of 2:1. A musical distance (interval) of 12 semitones. OSCILLATOR - an electronic device capable of generating a recurring waveform, or a digital process used by a synthesizer to generate the same..
18 OVERDUB - the ability to record one sound on top of another. PATCH CORD - an audio cable used to connect the output of a device to an amplifier or mixer. PAN - to move a signal from the left to the right of a stereo field, or vice versa. PARAMETERS - characteristic elements of a sound that are usually programmable in a synthesizer or other MIDI device. PARTIAL - a sine wave component of a complex sound. PATCH EDITOR - a category of MIDI software used to control the sound characteristics of a synthesizer from a computer. PATCHES - also variously known as programs, timbres, or voices. The name used for the sounds that can be generated by a MIDI device. PERIOD - the time required for one cycle in a periodic waveform. Period is the inverse of frequency. PHASE - the relative position of a wave to some reference point. PITCH - a continuous frequency over time. PITCH BEND - a MIDI controller that can vary the pitch of a sound. POLYPHONIC - the ability to play many different notes at once. POTENTIOMETER (POT) - a variable resistor used to alter voltage. PRESETS - typically, the sounds permanently stored by the manufacturer in a sound generating device. PROGRAMS (SEE PATCHES) PROGRAM CHANGE MESSAGE - a two byte MIDI message used to request that a synthesizer change the currently loaded program. PUNCH IN/OUT - the ability to start and stop a recording at some point other than the beginning. QUANTIZATION - rounding or truncating a value to the nearest reference value. In a sequencer, used to adjust recorded material so it will be performed precisely on a selected division of the beat. In digital audio, the range of numbers used for specifying amplitude levels of a recorded signal. (16 bit quantization = 65,536 values; 8-bit = 256, etc.) RAM - random access memory. The temporary storage area of a computer or sampler. REAL TIME - a recording or realization of a sound processing procedure as it occurs. (see Step Time). RECEPTION MODE - one of four basic configurations used by a synthesizer that determines how it will respond to incoming data. ROM - read only memory. Permanent memory in a computer or MIDI device.
19 SAMPLER - an electronic device that can record, alter and playback digital audio data under the control of a MIDI data stream. SAMPLING - digitizing a waveform by measuring its amplitude fluctuations at some precisely timed intervals. The accuracy of the measurements is a function of the bit resolution. SAMPLING RATE - the rate at which samples of a waveform are made. Must be twice the highest frequency one wishes to capture. Commercial compact discs use a rate of 44,100 samples per second. SEQUENCER - MIDI software or less commonly, a hardware device that can record, edit and playback a sequence of MIDI data. SINE WAVE - the most basic waveform, consisting of a single partial. Forms the basis of all complex, periodic sounds. SMPTE TIME CODE - a timing standard adopted by the Society of Motion Picture and Television Engineers for controlling different audio and video devices. Allows a sequencer and an external device such as a tape recorded to stay synchronized. STEP TIME - entering notes one by one, as opposed to real time recording in a sequencer. SONG POSITION POINTER (SPP) - a system-common message that specifies where in a sequencer a device should begin to play. STANDARD MIDI FILE - a standardized form of data used for exchanging MIDI files between programs. STATUS BYTE - the first byte of a MIDI message that specifies what type of message it is. SUSTAIN PEDAL - a pedal on a MIDI controller (or acoustic piano) that keeps all notes sounding even a key is released. SYSTEM COMMON MESSAGES - MIDI messages used for various functions including tuning an instrument and song selection. SYSTEM EXCLUSIVE MESSAGE - MIDI message used to communicate with a device made by a specific manufacturer. SYSTEM REAL TIME MESSAGES - commands used to synchronize one MIDI device with another. TEMPO - the rate of speed at which a musical composition proceeds. Usually uses a quarter note as the timing reference. TIMBRE - the property of a sound that distinguishes it from all other. Tone color. TREMELO -a rapid alternation of two tones. Usually a third apart. On a synthesizer, this effect can usually be controlled by the modulation wheel or modulation amount. VELOCITY - a measure of the speed with which a key on a controller is pressed. Used to determine volume characteristics of note. WAVEFORM - the graphical display of a sound pressure wave over time. WAVETABLE - a storage location that contains data used to generate waveforms digitally.
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Some More Definitions MIDI – Musical Instrument Digital Interface – MIDI sends instructions, not actual sounds. MIDI allows music to be played much like a player piano. Standard MIDI file – (.MID) – Able to be read in lots of applications. It’s a standard set of instructions designed to allow music playback General MIDI – Standard set of instruments sounds used by a variety of equipment, software, etc. All computers, most keyboards, and many cellphones have GM sound sets. MP3, WAV, ACC, WMA – Audio Files – Actual sound recordings. MP3 – Compatible across many computers, iPods, other MP3 players. This is a compressed sound file but it still sounds good. WAV – Non-compressed sound file. Very large in side. Great quality though. You don’t want to email these, post them on your website, etc. Great for transferring straight to an audio CD ACC – A fancier compressed format similar to MP3. Not quite as compatible. Generally found in iTunes, iPod, etc. WMA – Windows Media File. A fancier compressed format similar to MP3. Not quite as compatible. Generally found on Windows machines. Software Synthesizer – Most computers now are fast enough to generate sounds internally for use by various applications. To get better sounds, you buy better software, not another “box” or keyboard Hardware Synthesizer – Either a box that gets hooked up to your computer (or other MIDI equipment) or a synthesizer keyboard that has sounds in it that can be hooked up to your computer (or other MIDI equipment). MIDI Controller – A keyboard, or drum trigger, or wind controller, or guitar controller that doesn’t produce sounds on it’s own, but can control a software or hardware synthesizer.
Types of Software MIDI Applications Sequencer Allows you to create music one part at a time Record in real time, step-record, type, point and click Allows for graphic notation or traditional music notation Example Applications: GarageBand and Logic (Mac) Cakewalk HomeStudio or Sonar (Windows)
21 Notation Allows you to create sheet music to print Record parts in real time on a keyboard, step-record, type, point and click Based on traditional music notation concepts Example Applications: Finale and Sibelius (Mac and PC) Accompaniment Creates accompaniment rhythm section tracks based on chord progressions Great for improvisation practice, rehearsal tracks Can view created tracks as notation Example Applications: Band-In-A-Box Drill/Ear Training Practice ear-training skills, learn to play jazz piano, guitar, etc. Example Applications: MacGammut (ear training) (Mac or PC) Alfred Essentials of Music Theory (Mac or PC) Audio Applications Loop based composition Takes short segments of material, MIDI files or audio files and allows you to “remix” or reconstruct them. Often can be incorpated with traditional MIDI or audio tracks. Example Applications: GarageBand (Mac) Acid (PC) Fruity Loops (PC) HomeStudio and Sonar (PC) (a little) Digital Audio Recording/Editing Record and edit audio files that can be used in other projects, burned onto a CD, published online, etc. Example Applications: GarageBand (Mac) Sound Forge (PC) Audacity (PC and Mac) (Free!) HomeStudio and Sonar (PC) Music Collection Manager, CD Ripping Example Applications: iTunes (Mac and Windows) Media Player (Windows and Mac)
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What To Buy??? This list of software will get you started. It is not a definitive list, nor are your options limited to these products. It will give you a good place to start and a sure-fire set of equipment that will work to do what you want to do. Macintosh 1. GarageBand – Free! Sequencing/Audio Recording/Looping 2. Logic Express 7.2 – $149.00 Advanced version of GarageBand – adds to flexibility Sequencing/Audio Recording/Looping Import GarageBand files, Export Standard MIDI Files 3. Band-In-A-Box 12 – $56.95 Accompaniment Software (chords/rhythm section) 4. Audacity – Free! Audio Editing Software 5. iTunes – Free! Music Library Management / CD Ripping (can also use Media Player)
Windows 1. Acid Pro 6 - $189 Looping/Audio Recording/Sequencing -orAcid Music Studio 6 - $44.95 Looping/Audio Recording and Sonar Home Studio 6 - $79.95 Sequencing/Audio Recording/Looping (Sonar Home Studio 6 XL adds additional functions. Substitute it for the above at a cost of $119.95)
2. Band-In-A-Box 2007 – $74.95 Accompaniment Software (chords/rhythm section) 3. Audacity – Free! Audio Editing Software 4. Media Player – Free! Music Library Management / CD Ripping (can also use iTunes)
23 Websites GarageBand – www.apple.com/garageband Logic Express – www.apple.com/logicexpress Acid Pro 6 and Acid Music Studio 6 – www.sonycreativesoftware.com Sonar Home Studio 6 and Home Studio 6 XL– www.cakewalk.com Band-In-A-Box – www.pgmusic.com Audacity – audacity.sourceforge.net iTunes – www.apple.com/itunes Media Player – www.microsoft.com/mediaplayer
