G~. (~ MIDI BASICS TEACHER UNIT GUIDE NOTES

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1 G~. (~ MIDI BASICS TEACHER UNIT GUIDE NOTES BACKGROUND INFORMATION As the demand for synthesizers began to grow in the 1970s, many keyboard players found themselves amassing an arsenal of synthesizer keyboards. With such a variety of keyboards available, these performers wanted to "layer" the sounds of several instruments together to make one "fat" sound. Of course, this could be accomplished manually by playing two keyboards with two hands. But what if you wanted to layer the sounds of three or four instruments? Unless you grew more hands, this required a means by which different keyboards could communicate with each other. At first, the concept was to play one keyboard while one or more connected keyboards played in response to the performance as if their own keys were being played. Because synthesizers were manufactured by several different companies, a standard for communication needed to be developed to which all would adhere. The basic idea for a "universal musical interface," as it was first called, was proposed in After much discussion and planning between manufacturers, primarily from the u.s. and Japan, the name was changed to "Musical Instrument Digital Interface" (MIDI), and the official MIDI 1.0 Specification was released in The first commercially available MIDI-equipped instrument was the Sequential Circuits Prophet 600 Synthesizer, introduced the same year. Although there have been some updates and additions since its inception, the basic MIDI 1.0 spec has remained the same. MIDI DEFINED MIDI is a set of standardized messages that allow keyboards, computers, and other electronic music devices to communicate with one another. (MIDI is also being used to control other types of electronic devices like lighting systems and special effects systems.) In the same way that English has become the international language of business, MIDI has become the international means of communication for music technology. MIDI is a digital protocol; that is, numbers are used to represent each aspect of a performance. This information is sent through cables from one device to another as electronic signals. MIDI is only the information, not the hardware used to transmit it. Fig. 9-1 Itshould be stressed that MIDI does not have anything to do with sound -at least directly. MIDI circuitry is completely independent of any audio circuitry. MIDI allows a device to be controlled externally. In a sense, it's like a very sophisticated

2 information about how a device is being manipulated - for example, which notes are being pressed down, how hard they were pressed, how long they are held down, what pedals or wheels are being used, etc. The manner in which each device responds to that information and the specific sound that is produced as a result is not directly controlled by :MIDI. Although :MIDI was originally designed as a means of real-time communication between multiple keyboards, its use has been applied to many other situations. One of the primary uses of :MIDI is known as sequencing. A sequencer is a multitrack recorder and editor of :MIDI data. Sequencers are sometimes built into a keyboard, or they can be separate dedicated units. Also, software is available that transforms a personal computer into a sequencer. With a sequencer, a performer can overlay multiple tracks of :MIDI information. Because the sequence is stored as a list of numbers, it is possible for the musician to change any aspect of the sequence after it has been recorded by simply changing a number. For a more detailed discussion of sequencin& refer to Unit Twelve. Before we examine the specifics of how MIDI works, let's first consider the physical aspects of connecting MIDI devices. CONNECTING MIDI DEVICES MIDI Cables The:MIDI Cable is a special5-conductor cable that is specifically designed for the transmission of :MIDI data. The plugs at each end of the MIDI cable are 5-pin DIN connectors. Other cables such as speaker or microphone cables cannot be substituted for :MIDI cables. Fig. 9-2 Fig. 9-3 Fig. 9-4 MIDI Ports A MIDI Port is the connection port on a MIDI-equipped instrument-the place where a MIDI cable is plugged in. There are three different MIDI ports typically found on most devices: IN, OUT, and THRU. A :MIDI device receives MIDI information from the IN port. For an instrument to respond to :MIDI data, a MIDI cable must be connected to this port. The other end of the cable must be connected to the OUT of another device. The instrument receiving the :MIDI data is called a MIDI slave and the sending instrument is called.the MIDI master. In such a setup, the notes or controllers played on the master are also 1/ played" via :MIDI on the slave. The master does not have to be a keyboard - there are also :MIDI wind controllers, percussion controllers, guitar controllers, and other types of :MIDI generating devices. The THRU port is used to pass along any MIDI information that arrives at the IN port, so that multiple slaves can be connected to a single master. Linking several instruments together in this way is called daisy chaining. The THRU port differs from the OUT port-the OUT port sends:midi data that is generated by playing at

3 In addition to the hardware such as cables and a MIDI interface, computers also need special software to route MIDI communications within the computer. These "traffic managers" are extensions or drivers added to the computer's operating system. When a sequencing, notation or other MIDI program is opened, the MIDI traffic manager goes to work in the background to direct the MIDI co '.. One of the most 0 ular of these ro rams is 0 en Music S1 stem that particular instrument; the TIfRU port only sends along MIDI information that was created by a separate master controller and received at the IN port. Fig. 9-5 Fig. 9-6 Fig.9 7 MIDI Thru Box Hooking up a long daisy chain of instruments using the MIDI THRU ports of each instrument can cause problems in the MIDI signal. As the signal is passed from one instrument to the next in a long chain, it is possible for a corruption of the signal to occur, causing problems with the musical performance. The number of instruments in the chain before this occurs will vary with the equipment being used, but it is safest to limit a chain to only three or four instruments. If you have more instruments than that to connect, you can use a MIDI Thru Box, which simultaneously sends out multiple copies of an input MIDI signal to several devices. Connecting a Computer to a MIDI Device MIDI has allowed the personal computer to become a powerful tool for musicians. In order to communicate over MIDI, a computer must have a device that provides the MIDI IN and OUT ports for connection to the MIDI system and translates the MIDI data into the computer's own machine language. This device is called a MIDI Interface, which can be an external box or an add-on card which is placed inside the computer. With an external MIDI interface, a serial cable is connected from a serial port on the computer to a serial port on the MIDI interface. The MIDI In and Out ports of the MIDI interface are connected to a MIDI keyboard, sound module or other MIDI device. In addition to the traditional MIDI ports, most current models of keyboards and sound modules are being manufactured with Macintosh and/or Windows PC compatible MIDI interfaces built in. These instruments have a serial port (connection) next to the MIDI ports. The serial port allows the MIDI device to be directly connected to the computer with a single serial cable, eliminating the need for a MIDI interface and MIDI cables. A switch next to the serial port selects either Macintosh, PC compatible, or the MIDI ports. (Only one means of connection can be used at a time.) Most Windows PCs have internal slots for sound cards. A sound card is complete sound module or synthesizer on a circuit board that is connected inside of the computer. Most sound cards lack the higher sound quality of external sound modules-and keyboards, but they are an economical and convenient option: Sound cards do not require a MIDI interface or cables since the connections aremade inside the computer, although many do include the external MIDI connections.

4 (OMS) by Opcode Systems, available for both PC and Macintosh. Another option is Mark of the Unicorn's FreeMIDI, though it is not as universally accepted. Other MIDI Devices Many other devices now incorporate MIDI to one degree or another, including signal processing units, mixing consoles, and even lighting and special effects controllers. There are also devices designed to specifically assist in hooking up a MIDI studio and to manage the routing and nature of the MIDI information. Following are two of these devices: MIDI Patcher (MIDI Patchbay) - Similar in function to the MIDI Thru Box mentioned earlier, these devices go one step further, allowing MIDI data from any connected device to be sent to any other connected device. Different configurations can be stored as patches in the MIDI patchbay and can be called up with a Program Change command over MIDI. MIDI Processor - This device is used to alter an incoming MIDI data stream and then send the information on to the slave units. Typical processing options include transposing MIDI note data, reassigning MIDI channels, creating MIDI note delays, merging MIDI channels, and filtering out certain MIDI data. Fig. 9-9 MIDI CHANNELS The MIDI protocol was designed to send MIDI messages on up to 16 MIDI Channels. This system is very much like TV channels- even though several TV programs are available at any given time, the channel selector allows a TV set to display only one program at a time. In much the same way, certain MIDI messages are sent out on the MIDI channels, and the receiving MIDI instrument can be "tuned in" to a particular channel. In order for two instruments to communicate with one another, they must be set to the same MIDI channel. In this way, it is possible to send out MIDI messages from a master source to several slave devices on different channels. Each slave will respond only to those messages which are intended for it. This is particularly useful when sequencing - each track of the sequence can be set to its own MIDI channel and played back by the instrument that is intended for that track. When MIDI was first developed, the instruments of the time were mono-timbral,.-that is they could only play one sound or tiiribre at cit time. In oraer to create an arrangement with different sounds, several individual keyboards would have to be connected together via MIDI and each one assigned to a different MIDI channel. By the end of the 1980s multi-timbral instruments that could play four to eight different sounds at a time became available. These instruments were the equivalent of having several mono-timbral instruments all in one box. Within a few years multi-timbral capabilities and voice polyphony (how many notes an instrument could play at one time) had increased to the point where a Single keyboard or sound module with a sequencer could produce a complex musical

5 arrangement. Most current models offer between sixteen to thirty-two part multitimbral capability. Since the MIDI spec only allows for 16 channels, instruments with 32 part multi-timbral capability have two MIDI In ports (MIDI In A and MIDI In B) with each port assigned to 16 MIDI channels. MIDI interfaces for computers have also evolved to overcome the limit of 16 MIDI channels. This advanced type of interface is known as a multi-port interface and can handle from 48 to 240 channels. A multi-port interface has a number of separate MIDI ports, each accommodating 16 MIDI channels. Software in the computer, such as Opcode's OMS, is used to assign a specific MIDI port to a particular sound module. A very powerful system capable of a 48 or more independent musical parts can be created with a few sound modules, a computer, an advanced sequencing program and a multi-port interface. MIDI MESSAGES Following are the types of MIDI messages which are associated with a particular channel and are called Channel Voice Messages: Note On, Note Off - When a note is played on a MIDI controller, a Note On message is sent along the MIDI cable. When the note is released, a Note Off message is sent. The pitch of each note is sent as a MIDI Note Number. There are 128 different MIDI note numbers. Middle C is note number 60, C# above middle C is number 61, and so on. With 128 notes possible, the range of MIDI is considerably greater than the 88 notes of a typical piano. Key Velocity - For each note that is played, MIDI transmits the velocity with which it is pressed down (attack velocity) and the velocity with which it is released (release velocity). The range of velocities is Many keyboards do not send a variable release velocity, and some do not send the attack velocities either. In such cases, a velocity value of 64 is usually sent. Mtertouch (Pressure) - Certain keyboards allow the performer to add additional pressure to a key after it has been pressed down. On keyboards that have this feature, the amount of aftertouch (0-127) is sent out the MIDI cable. This message is used to invoke vibrato, increase volume, etc. Aftertouch is most commonly.implemented as'cfiafutel aftertouch and affects all the notes currently played on a given MIDI channel. Polyphonic aftertouch, somewhat less common, allows each note in the channel to be independently controlled for the amount of aftertouch. Polyphonic aftertouch is considerably more expensive to implement and requires far more MIDI data to process each individual note. Pitch Bend Wheel - Whatever movements are made on the pitch wheel or lever are transmitted out MIDI. In this case, where a smooth glide of pitch is desired, a range of 128 values is not enough. Instpl1cl tw" l-...--

6 Controller Messages - These are messages that can be sent from several different controller devices on a keyboard or other instrument. (The word controller as used here refers to specific messages derived from manipulation of wheels, pedals, sliders and other devices that are called "controllers." This should not be confused with the more general use of the word "controller" as used in "MIDI keyboard controller," "MIDI guitar controller," "MIDI percussion controller," etc. These controller instruments will be discussed later in this unit.) Following are the most commonly used types of controller messages with their assigned controller numbers: Modulation Wheel (controller #1) - Whatever movements are made on the modulation wheel or lever are transmitted out MIDI, again with values of This message is usually used to apply a vibrato, open a filter, etc. MIDI Volume (controller #7) - MIDI provides a message to control the volume of the receiving instrument. Itis most commonly used to set the overall volume of an individual channel or musical part. This is often set at the beginning of a sequencing track or can be controlled from a volume pedal or slider. Ithas a range of values is MIDI Expression (controller #11) - This controller message is best used to control the volume of the receiving instrument for dynamic changes during a sequencing track or musical performance. This can also be sent from a volume pedal or slider, and the range of values is MIDI Pan (controller #10) - Pan refers to the placement of a sound within the stereo mix. MIDI provides for 128 values from far left to far right. Sustain Pedal (Hold Switch) (controller #64) - MIDI sends an on or off message for each press and release of the sustain pedal. Breath Controller (controller #2) - Breath control is a feature found primarily on certain Yamaha instruments. MIDI messages representing the amount of breath pressure applied to a special device (0-122') are sent. Program Change - One very useful aspect of MIDI is that it provides the ability to send a program (patch) change. Patches (the sounds that are available within an instrument) are stored in a synthesizer in specific memory locations, usually in banks. A MIDI Program Change message tells the receiving synthesizer to switch from the sound that it is currently playing to a sound stored in a different memory location. It should be noted that a MIDI Program Change messa e does not tell the receiving instrlltt'1pnt h""y.. L_ -,

7 memory location. As a user, you must know what sounds are stored in each location so that you request the correct location for the sound you want. Fig. 9-10, Fig ; Bank Select - MIDI allows Program Change messages from 0 to 127. Therefore, if an instrument has more than 128 sounds on board, MIDI cannot specify direct program changes to all its patches. A message called Bank Select was added to the MIDI spec a few years ago. It can be sent before a program change to select a bank of patches within the instrument. The bank select message can provide direct access of up to 16,384 banks of up to 128 programs each making a total possibility of over two million patch locations addressable by MIDI! Since bank select is a relatively new type of message, many older MIDI instruments do not respond to it. Bank Select works by using two additional bytes of data along with the program change number for a total of three numbers that need to be set. These two bank select bytes are set with controller #0 (0-127) and controller #32 (0-127). See figure 9-10 for an example. General MIDI. Another development that has been added as an optional subset of MIDI is the General MIDI Standard. It was proposed in order to standardize instrument names, patch locations, NIIDI channel assignments, and drum kit note assignments between various synthesizer manufacturers. This makes it much easier to exchange MIDI files between General MIDI compatible keyboards and sound modules. Without General MIDI time must be taken to insure that the intended sound (patch) or drum kit notes will be the same when played on the other keyboard or sound module. Adherence to the General MIDI Standard also guarantees that an instrument is 16-part multi-timbral and at least 24-note polyphonic. (For more on keyboard features, refer to Unit 10.) " Both Roland and Yamaha have expanded on the General MIDI Standard with their own standards that have been incorporated into many of their products. The Roland GS and Yamaha XG standards still meet the original General MIDI Standard and are fully compatible with it. While Roland and Yamaha differ in their individual specifications, some of the additional requirements of the GS and XG standards are added sounds (patches), more polyphony and effects such as reverb and chorus. MIDI FILES When a file is created in a MIDI program, it can only be opened in that program. Unfortunately, this defeats one of the goals of MIDI which is universal data communication, thus making it difficult to transfer MIDI information from one application or computer platform to another. Standard MIDI File (SMF) is a specification that provides a solution. It is a standardized format that allows

8 different sequencers or computer programs to share MIDI data. This would include transferring data between a computer and a dedicated sequencer or between different computer platforms such as PC or Macintosh. Most dedicated sequencers and PC computers will read files from a MS-DOS-forrnatted 3.5" DS/DD (Doubled Sided/Double Density) disk. Macintosh computers can also read PC-formatted discs. This allows for cross-platform use of Standard MIDI files. Standard MIDI Files are also useful when transferring a MIDI file between two different sequencing programs or between a sequencing program and a notation program on the same computer. Although some information that is unique to a particular computer program will be lost when transferring, the music performance data will remain intact. Almost all MIDI programs allow files to be imported or exported in the SMF format. MIDI CONTROLLER INSTRUMENTS With MIDt it is possible to control several instruments from one keyboard. Since only one keyboard is needed, many companies manufacture synthesizers without keyboards. These rack-mount sound modules are playable only via MIDI, since they have no keyboard of their own. The advantages of these units are many: they are less expensive since they have no keyboard, they are smaller and lighter, and several of them can be mounted into a single 19" rack and transported easily. Several manufacturers also produce keyboard instruments that play no sounds by themselves, but only generate MIDI information to control other synths and sound modules. These instruments are called MIDI Keyboard Controllers. On these instruments, the design focus is on the "feel" of the keyboard and its flexibility in transmitting MIDI data. For more information on keyboard controllers, refer to Unit Ten on Keyboard Features. Another type of keyboard controller that is used in live performance is a MIDI Remote Keyboard. This is a portable keyboard that can be carried around like a guitar. It gives keyboard players the freedom to move around the stage like a guitar player. Keyboards are not the only instruments used for sending MIDI data. There are other types of MIDI controller instruments as well: MIDI Percussion Controllers - These controllers consist of pads that transmit MIDI data when struck by the percussionist. Each pad can be set to send its own MIDI note number or numbers as well as other MIDI information like velocity. There are three basic approaches to pad layout: those designed with a typical pitched percussion layout (patterned after a marimba), a set of individual pads that resembles a traditional drum set and those with more arbitrary layouts. An example of the latter is the Roland Octapad, which has eight pads in a rectangular configuration.

9 MIDI Woodwind Controllers - These instruments allow woodwind players to enter the world of MIDI. Most MIDI Woodwind Controllers are patterned after the saxophone- fingerings are typically the standard Boehm fingerings, and there is a mouthpiece (sometimes with a reed) in which to blow. Breath pressure can be used to control MIDI velocity and/or MIDI volume. Most include several octave keys so that the instrument has a much wider range than its acoustic counterparts. Examples include the Akai EWI (Electronic Wind Instrument) and the Yamaha WX7, WXll, and the more recent WXS. MIDI Brass Controllers - These controllers are designed for brass players to play via MIDI. Unfortunately, these controller instruments are not currently being made by any of the major electronic instrument manufacturers. One example of a brass controller was the Akai EVI (Electronic Valve Instrument) which most closely resembled a trumpet. It had three buttons that corresponded to the trumpet valves, and the overtones were produced by rotating a cylinder in the center of the instrument. Its range was several octaves. MIDI Guitar Controllers - The MIDI Guitar Controller is much like an electric guitar except that MIDI data is generated when playing the strings. Some companies have constructed MIDI retrofit kits for standard electric guitars. The Roland GR series guitar synthesizer and GI-10 Guitar MIDI interface are popular examples. MIDI Violin Controllers - This is a device that is attached to a compatible electric violin and transmits MIDI performance data to a sound module or synthesizer. The major manufacturer of electronic string instruments and MIDI violin controllers is Zeta. Pitch-to-MIDI Convertors - This device converts a monophonic musical line from a microphone or other electronic signal into MIDI data. Although it is still not a perfected technology, it is useful for translating a solo instrument such as a trumpet or the human voice into MIDI for controlling a "MIDI module.

10 BEYOND THE BASICS This section contains information that is not required for the basic or novice MIDI user. Itwill be of value for intermediate to advanced MIDI applications. MIDI MODES The MIDI standard was set up so that instruments could respond to the MIDI signal in different ways. There are two conditions that determine exactly how an instrument will respond to MIDI: Omni and Poly. The Omni parameter controls how many MIDI channels an instrument will listen to. When Omni is on, the instrument will listen to all MIDI channels simultaneously - it doesn't matter what channel a message is on, the instrument will respond to the message. When Omni is off, the instrument will only receive on one MIDI channel (which can be any of the 16 channels) and will ignore messages on any of the other channels. The Poly parameter controls how many notes can be played simultaneously. When Poly is on, the instrument will respond polyphonically - i.e., several notes at a time. When Poly is off (a condition called Mono), the instrument will respond monophonically - i.e., one note at a time. Fig With these two parameters, there are four possible modes: Omni On, Poly - In this mode, an instrument will respond to messages on all MIDI channels and will do so polyphonically. This mode is called OMNI Mode or Mode 1. Omni Off, Poly - In this mod~ an instrument will respond to messages on only one MIDI channel, but will do so polyphonically. This mode is called POLY Mode or Mode 3. Omni On, Mono - In this mode, an instrument will respond to messages on all MIDI channels, but will do so monophonically. This is called Mode 2. Omni Off, Mono - In this mode, an instrument will respond to messages on only one MIDI channel, and will do so monophonically. This mode is called MONO Mode or Mode 4. On some synths, to differentiate between the two MONO modes, they list them as MONO A and MONO B. The modes that are used most widely are the OMNI Mode and POLY Mode. The OMNI Mode is useful when you want a slave to respond to MIDI without being concerned about the channel being used for transmission. This is useful when layering sounds from two or more synths in a live performance situation. POLY Mode is necessary when working in a MIDI studio with several different

11 instruments, particularly when sequencing. Each instrument is set to its own MIDI channel. In this way, notes and controller messages intended for one instrument can be separated from those intended for another instrument, and a proper MIDI IForchestration" can be realized. In most cases, the MONO Modes are not that useful-if you want only one note at a time, you play only one note at a time. Mode 4 (MONO Mode) is used in certain instances, however-some guitar synths need it, and some early multi-timbral synths use it to achieve multi-timbral playback. There is one more mode that many synths include called MULTI Mode. With this mode, multi-timbral synths can playback more than one timbre at a time. Itis the same as having several POLY Mode synths inside one box - i.e., a different timbre is selected for each MIDI channel. The way in which each manufacturer's synthesizer is configured for multi-timbral operation differs, and the number of timbres that are available at anyone time varies from instrument to instrument. (Most commonly, instruments offer either 8-part, 16-part, or 32-part multi-timbral playback.) The MULTI Mode allows the synth to listen to several MIDI channels at the same time, but keeps them independent for each assigned timbre. SYSTEM MESSAGES All of the Channel Voice MIDI messages described above are always sent on a particular MIDI channel, thus making it possible to direct the messages to specific instruments, each set to its own receiving channel. There is another set of MIDI messages that is not channelized- all instruments in the MIDI system receive these messages, no matter which channel they are set to. Many of these IFsystem messages" involve timing and synchronization information so that multiple sequencers and programmable drum machines can be used simultaneously. There are three types of system messages: System Real Time, System Common, and System Exclusive. Following are the most widely used messages within each type. System Real Time Messages - System Real Time messages are those messages which keep all the time-dependent MIDI devices such as sequencers and drum machines in sync. MIDI Clock - MIpI Clock is a timing message that is sent out at regular intervals so that multiple sequencers and drum machines can stay in sync. In order for it to.~ wd:r.:k properly, one device mustbe chosen as the"master" device and all others set to be "slaves." The master sends MIDI Clock messages and all others lock themselves to that pulse. Start - This message is sent from the master to tell all slaves to start from the beginning of the sequence. Stop - This message is sent from the master to tell all slaves to stop playing.

12 Continue - This message is sent from the master to tell all slaves to continue playing from the point at which they were stopped. System Common Messages - System Common messages relay information that all instruments in the MIDI system have in common. Song Position Pointer - This message allows all time-dependent MIDI devices to locate a point in time in a sequence or drum song. It is accurate down to a sixteenth note. For example, you can ask all sequencers or drum machines to jump to the 3rd sixteenth note of the 2nd beat of the 45th measure, and all devices will locate to that point. System Exclusive Messages - System Exclusive is the most open-ended aspect of the MIDI. It allows messages to be sent to a particular device in order to control its inner workings. Because each device has its own internal architecture, these messages must be tailored exclusively for individual devices. The most common application of System Exclusive has been the development of patch editing programs for computers that allow you to change the parameters of a patch on a particular synthesizer. This is more than simply a patch change message (telling a synth to switch to another stored sound); these messages address the various internal parameters of the synth to change the way in which it produces the sound. MIDI IMPLEMENTATION CHART The MIDI Implementation chart is a standardized one page form that indicates what parts of the MIDI specification that a particular instrument implements. Virtually all manufacturers include a MIDI implementation chartwith every instrument or MIDI device made. The chart makes for an easy way to identify the MIDI messages that the instruments recognize and transmit. It does not provide information on other features, only the MIDI messages. The MIDI implementation chart is usually located in the back of the owners manual of the instrument.

13 IN OUT THRU MIDI II 'It L R Audio lia 1I11 1IE1l1l1aall Figure 9-1. MIDI connections are independent of audio connections. *it$@' my M "Wt ncb M& xn '~1 q=. t '1 IN = OUT THRU Figure 9-2. The three MIDI ports.

14 IN OUT THRU MIDI II II I I L...I I ElaElI3E1aEl II I'll a 1111 Ell EI I II II I I I II Slave Jr II 'It I II I L-....I. I 13E1E1l1aall II II a EI CUI II II II I II I Master Figure 9-3. Single Master and Slave MIDI Connection. In this configuration, any notes that are played and controllers that are used on the master are also "played" on the slave via MIDI. -.,

15 IN OUT THRU MIDI II IIEI IIIIIElIII II III III III III 1111 II Slave INOUTTHRU MIDI II Slave IN OUT THRU MIDI II II II II II Master " Figure 9-4. Master and Multiple Slave MIDI Connection. In this configuration, any notes that are played and controllers used on the master are also "played" on any or all slaves via MIDI. This allows for several slaves to be daisy chained together and controlled by a single master controller.

16 Thrus IN OUT THRU MIDI II 1111 a a a Figure 9-5. MIDI Thru Box. The MIDI Thru box allow a single master to address several slaves without concern for lengthy daisy chaining. It is also a convenient way to re-route MIDI signals without having to disconnect cables. ~7fn" trw", ",' t? Gil "- '@F « W-U-" lc'xtWrtMtGt'r mne t 'j - $ '5Y ')1@ t - - we,.,0= xc '('7P" \ 't rt v-a MT'ne''%'t%i'tj' 'ttt'" "re MIDI Interface OUT IN IN OUT THRU MIDI II I.'.IIIIIElIIIIEI

17 MIDI IN OUT THRU 000 PC-2:J COMPUTER I II MIDIJ T T t Mac L: PC Figure 9-7. Serial port with MIDI selector switch and MIDI ports. n ttw''c IT '~?fwt /-' r " d -n '1' ee-- 1., '" PrJ rnmmttlw Stud io 4-Modem QS7 0::_SC-880 0:: IflIX5[)R 0::_MU50 F adermaster ~:: TG77 J Qu icky ime Mus ic

18 II Bass Guitar Piano Drums MIDI Channel 1 MIDI Channel 2 MIDI Channel 10 E"igure 9-9. Each track in a sequence is assigned a separate MIDI channel, thm allowing each part to have its own timbre. "K 0 Patch Modular Bass ~2 MIDI MIDI Patch Controller Controller Change #0 #32 Number (0-127)

19 General MIDI Patch List Prog# 1-8 Instrument PIANO Prog# Instrument BASS Prog# Instrument REED Prog# Instrument SYNTHFX Acoustic Grand Piano Bright Acoustic Piano Electric Grand Piano Honky-Tonk Piano Electric Piano 1 Electric Piano 2 Harpsichord Clav Acoustic Bass Electric Bass (finger) Electric Bass (pick) Fretless Bass Slap Bass 1 Slap Bass 2 Synth Bass 1 Synth Bass Soprano Sax Alto Sax Tenor Sax Baritone Sax Oboe English Hom Bassoon Clarinet 97 FX 1 (rain) 98 FX 2 (soundtrack) 99 FX 3 (crystal) 100 FX 4 (atmosphere) 101 FX 5 (brightness) 102 FX 6 (goblins) 103 FX 7 (echoes) 104 FX 8 (sci-fi) Prog# Instrument 9-16 CHROMPERC Prog# Instrument STRINGS Prog# Instrument PIPE Prog# Instrument ETHNIC Celesta Glockenspiel Music Box Vibraphone Marimba Xylophone Tubular Bells Dulcimer Violin Viola Cello Contrabass Tremolo Strings Pizzicato Strings Orchestral Strings Timpani Piccolo Flute Recorder Pan Flute Blown Bottle Shakuhachi Whistle Ocarina 105 Sitar 106 Banjo 107 Shamisen 108 Koto 109 Kalimba 110 Bagpipe III Fiddle 112 Shanai Prog# Instrument ORGAN Prog# Instrument ENSEMBLE Prog# Instrument SYNTH LEAD Prog# Instrument PERCUSSIVE Drawbar Organ Percussive Organ Rock Organ Church Organ Reed Organ Accordion Harmonica Tango Accordion String Ensemble 1 String Ensemble 2 SynthStrings 1 SynthStrings 2 Choir Aahs Voice Oohs Synth Voice Orchestra Hit Lead 1 (square) Lead 2 (sawtooth) Lead 3 (calliope) Lead 4 (shiff) Lead 5 (charang) Lead 6 (voice) Lead 7 (fifths) Lead 8 (bass+lead) 113 Tinkle Bell 114 Agogo 115 Steel Drums 116 WoodBlock 117 TaikoDrum 118 Melodic Tom 119 SynthDrum 120 Reverse Cymbal Prog# Instrument GUITAR Prog# Instrument BRASS Prog# Instrument SYNTHPAD Prog# Instrument SOUND EFFECTS Acoustic Guitar (nylon) Acoustic Guitar (steel) Electric Guitar (jazz) Electric Guitar (clean) Electric Guitar (muted) Overdriven Guitar Distortion Guitar Guitar Harmonica Trumpet Trombone Tuba Muted Trumpef ". French Hom Brass Section SynthBrass 1 SynthBrass Pad 1 (new age) Pad 2 (warm) Pad 3 (polysynth) Pad 4 (choir) Pad 5 (bowed) Pad 6 (metallic) Pad 7 (halo) Pad 8 (sweep) 121 Guitar Fret Noise 122 Breath Noise 123 Seashore 124 Bird Tweet 125 Telephone Ring 126 Helicopter 127 Applause 128 Gunshot <I

20 C2 Kick Drum 1 Snare Drum 1 ~nare Drum 2 Side ::'11Ck Hand Clap C3 C4 lowtom 2 Closed Hi - Hat low Tom 1 Pedal Hi - Hat MidTom1 I Open Hi Hat Mid Tom 2 HighTom2 ICraSh Cymbal 1 HighTom 1 Ride Cymbal 1 phinese Cym... Ride Bell Tambounne Splash Cymbal COIM:>eIl crash Cymbal 2 Vibra Slap Ride Cymbal 2 High Bongo LowBongc ~ute Hi Conga n HighCong! ow Conga C5 C6 High Timbale Law Timbale HighAgogo LowAgogc (-~h~';" Maracas Short Hi Whistle ~g La Whistle Short Guiro Long Guiro Craves High Wood OIUIJ"I\ ow Wood Bloc" Mute Cuica bpencuica Mute Triangle Open Triangle SoaKer ~ingle Bells Belltree Castanets MuteSurdo --open Surdo Figure 9 -lib. General MIDI drum and percussion sound note assignments.

21 Mode Name Omni Poly Description OMNI On Poly Ustens to all MIDI channels. Plays many notes at a time. POLY Off Poly Ustens to only one MIDI channel. Plays many notes at a tim e. MONO A On Mono Ustens to all MIDI channels. Plays only one note at a time. MONOB Off Mono Ustens to only one MIDI channel. Plays only one note at a time. MULTI Mode is a mode on multi-timbral synthesizers that allows for playback of more than or timbre simultaneously. It is the same as having several POLY mode instruments in one syntt" Figure MIDI Modes. MIDI Modes determine how a slave is going to listen to MIDI.

22 MIDI BASICS ADDITIONAL RESOURCES READING: MIDI Basics Lee Whitmore Warner Bros. Publications The MIDI Companion Jeff Rona Hal Leonard Books MIDI for Musicians: Buying, Installing, and Using Today's Electronic Music-Making Equipment Brad Hill A Cappella Books The Musician's Guide to MIDI Christian Braut Sybex What's MIDI? Jon F. Eiche Hal Leonard Books VIDEO: MIDI Made Easy with Steve Leonard Bo Tomlyn Video Series Untangling MIDI with Brad Vinikow The "MIDEO" Series, Part One SOFTWARE: Interactive MIDI Guide Sonatina Music (PC or Mac available) This product comes in a software/book combination format.

23 I INTERNET RESOURCES: The Classical 1vflDI Archives This site has one of the largest collections of classical music MIDI files on the net. Harmony Central: :MIDI Tools and Resources This site is a tremendous source of information and resources. 1vflDI.COM This site is a good resource for MIDI information, links, files and can search for other MIDI sites. The 1vflDI Farm This site has MIDI information, resources and music education links. MIDI Resources for Teachers / shirk/midi.html This page contains an extensive list of links to MIDI related sites that may be of interest to music educators. 1vflDI Zone This site is also a good source of links, files and hardware information. Club MID Club MID is a shareware application for the Macintosh which allows you to play Standard MIDI files. This is a very convenient and simple way to play MIDI files.

24 MIDI BASICS VOCABULARY LIST aftertouch (pressure) bank select breath controller channel voice messages continue controller messages daisy chaining General MIDI Standard key velocity MIDI 1.0 Specification MIDI brass controllers MIDI cable MIDI channels MIDI clock MIDI Expression MIDI guitar controllers MIDI Implementation chart MIDI IN MIDI interface MIDI keyboard controllers MIDI master MIDI note number MIDI OUT

25 MIDI Basics Vocabulary - page 2 MIDI pan MIDI patcher (MIDI patchbay) MIDI percussion controllers MIDI port MIDI processor MIDI remote keyboard MIDI slave MIDITHRU MIDI thru box MIDI volume MIDI woodwind controllers modulation wheel MULTI Mode multi-port interface music education software music notation programs note off note on Omni Oft Mono (MONO Mode) Omni Off, Poly (POLY Mode) Omni On, Mono Omni On, Poly (OMNI Mode) program change patch editor patch librarian

26 MIDI Basics Vocabulary - page 3 pitch bend wheel pitch-to-midi convertor rack-mount sound modules sequencer sequencer programs serial port Song Position Pointer sound card Standard MIDI File (SMF) start stop sustain pedal (hold switch) System Common Messages System Exclusive Messages System Real Time Messages