What is midi input to the phone. MIDI: hardware warehouse. Connecting a MIDI keyboard to a sound card

I'm wondering if someone is quiet, who is played by a computer like a musical instrument, can play midi-keyboards, or midi-controllers. That's right! Moreover, if you don’t play live, then turn the knobs, or, for example, play the part live, richer and more effective, lower writing in the sequencers. Vtіm, tsі pristroї - dodatkova stattya vitrat, scho do not get in the guts of non-professional musicians. Ale, for good luck, rozrobniki software to fix that to fix yogo. I on Narazi be a master of Android-attachment, you can transform yoga on a midi-controller. As a matter of fact, specific programs will have articles.

What can we do at once

Father, I admit that V is a happy Volodar android-attach and, of course, a computer based on windows. Look at the iMac and the summіsnі pristroї I, unfortunately, do not have the ability, ale vpevneniy, scho everything seems to be of a similar rank. Apply will be on the basis Ableton If you want, you can victorize other sequencers with midi trim. Now, I'll add an android-attachment. In my mind - tse lenovo phone A750 with Android ICS 4. Well, I know, on more early OS, I can't change it, so it's possible in such a configuration.

Programs I have selected free of charge, available on Google-Play Services. The power will be shown in the distance. Persha - tse TouchOSC(https://play.google.com/store/apps/details?id=net.hexler.touchosc_a). Friend - FingerPlay MIDI(https://play.google.com/store/apps/details?id=com.flat20.fingerplay&hl=ua). І as persha allows pratsyuvati, zagal, without additional programs(With your own driver), then you need to install your server on the computer in front of the program. Ale about everything.

Preparation

For the cob, we need to install a virtual midi port. How tse robiti, I described at. Who does not know - read. In a different way, we can only set up wi-fi with a static ip-address. In Windows 7, you can reverse (robity) by logging into " Center for management of borders and open access - Bezdrotovoe z'ednannya zadnannya-Vlastivostі-Protocol to the Internet version tcp/ipv4(Fig. 1).

Figure 1. Setting a static IP address on the computer.

Yak Bachimo on a little one, the static address 192.168.1.57 is inserted. We will need to remember this address, it will be given to us in good time, in the updated programs on android.

In a different way, can be installed wi-fi connection between a computer and a telephone. There are a lot of options here. I especially have an excellent wi-fi router installed, standard fittings, through the new one, the computer and the telephone are connected. Possibly and other options for connecting directly to the phone and the computer via wi-fi, but the topic is also about the article. Let's assume that the computer is using the computer and the phone. Now it is installed on the phone with the most important programs and can be repaired.

FingerPlay MIDI

The first program is FingerPlay MIDI. Keeping the main program in the memory of the phone, it requires a server installed on the computer, for setting up a power channel, through which MIDI notifications will be transmitted from the virtual port (Midi-Yoke) on the computer. On the back of the hand, it’s її on the phone. Run it, click on the click icon (a button with a gear) and go to the Settings tab (small 2).

Figure 2. FingerPlay settings.

First, install the Server type - FingerServer. In another way, the Server Address is set to the IP address of our computer. Now FingerPlayServer.zip is unzipped on the computer and run.bat is launched. I want to show respect that java is required for yoga robots. Later, it turns out, for some reason, the status of connecting the phone to that computer is in Bachimo. Now on the phone, check the box next to Connect to server and if everything is correct, then the status will change to Connected to 192.168.1.57 (or the address of your computer). The server window on the computer also changes, showing that the attachment is connected (small 3).

3. FingerPlay server window.

Like Bachimo, the status is Phone connected, which means that the phone is connected, and it also shows which way you need to have a midi-alert (Midi-Yoke 1). In addition, in the settings on the phones we can choose another virtual midi-attachment (small 4).

Figure 4

Axis, vlasne, and all preparations. Now you can turn the regulator, whether it's a regulator or not, and the vikni server will notify you about those, which parameter is being changed. Now it's time to move on to Ableton.

In Ableton, we have enough to choose one, midi-attachment, such as FingerPlay (in our butt, Midi-Yoke 1) (Fig. 5).

Figure 5. Switching Midi-Yoke 1 to Ableton.

If everything is correct, now you can map different controller buttons. І touching the screen on the phone, turning the Ableton parameters. For example, let's go to the Layout for the FingerPlay mixer (it's in the middle position on the panel on the right, div. small 6).

Figure 6. FingerPlay mixer layout.

Now Ableton has to press Ctrl+M, the midi-mapping mode is turned on. For example, we press on the volume control of the first channel of Ableton and we hit the first control on the phone screen. If everything is correct, a new entry will appear at the card card (small 7).

Figure 7 New parameter at the card midi-mapping.

Press Ctrl+M to rotate to normal mode. And now, as we push the first control on the screen, we change the volume on the first channel in Ableton! (Fig. 8).

Figure 8. The knob on the phone screen is called the Ableton knob.

Axis and everything, miss vikonano. In the same way, you can map the buttons, which are found in other FingerPlay layouts and display.

TouchOSC

Tsya program looks like a forward multiplatform. Yogo client is available not only for android, but also for iOS. And the server, obviously, can be run on mac-smart computers. And then I'll look at the link android + windows 7, like and guessing more. The server for windows can be obtained from the official website for the help: http://hexler.net/pub/touchosc/touchosc-bridge-1.0.1-win32.zip.

We install yoga in the phone and on the PC, if everything is correct, then the TouchOSC bridge icon will appear in the system tray on the PC (small 9).

Figure 9. TouchOSC Bridge server installed and running.

I give respect to those who given program vmіє pratsyuvati not only for the midi-protocol, but also for the OSC protocol. We squawk at tsomu vipadku midi. What is the cost of connecting with a computer - you can help yourself (wonderful). Now let's move on to installing TouchOSC on the phone. When you start the program, it immediately starts up in the blink of an eye. Here we press on the Midi Bridge (Fig. 10) and enter the ip-address of our computer.

Figure 10. Touch fitting OSC on the phone.

There is one inconsistency here, for which I have been tormented for a long time. On the right, my phone doesn't want to show my computer in the Found Hosts list. There, it’s constantly showing up 0. Regardless of the price, everything worked out miraculously, so it doesn’t work on the same respect. Let's move on to Ableton.

In Ableton, as it turns out, we need to select the Touch OSC midi port. This is the most powerful port, which appears on the system after the server is installed (Fig. 11).

Figure 11. Ableton's Touch OSC setup.

You can now try mapiti buttons and controls in Ableton, as indicated above. Similarly, you can beat our android controller and other sequencers.

Trochs about interface and capability

Especially folding, like Bachimo, do not blame. Especially for me, the most complicated thing was to legalize a computer with a phone, and that's just the case with TouchOSC. And what are the stinks, in fact, to proponuyut us like controllers? I’ll tell you once again that TouchOSC will be strongest both in terms of interface, and in terms of ready-made layouts.

Figure 12. Keys layout for TouchOSC.

There are 5 layouts, each skin has 3 bookmarks. On the little one 12, for example, bachimo, є navіt the layout of one octave of the piano. Multi-touch support є. In addition, the Touch OSC has a large number of controllers - here is the keyboard and all the controllers, faders, crossfaders, X-Y-controllers. Finger Play, unfortunately, there are no types of controllers, there are no keyboards. I have more than one rosette. Natomist, on vіdminu vіd Touch OSC, here you can easily edit the layout, create your own. Obviously, you need to get familiar with the syntax or hack the online constructor (https://dl.dropbox.com/u/1856630/fingerplay/index.html). If you want wine, it seems softly, it’s not good. The Touch OSC offers more layout options for iPods and iPhones. Editing is possible on windows. If you want in the least, there is a way to get your layout on android-appliances. Ale method to milk the folds.

Podbag

Well, at the same time, the programs can cope with their obov'yazkami. In skin, pluses and minuses, ale, a laptop, wi-fi, and an android-based phone, you can successfully win the phone as a controller. Well, if you choose from these programs, I still see the Touch OSC.

Synthesizer keyboard can only be used on one MIDI channel at a time (thus not included). special function division, which breaks the keyboard into two or more parts, the skin of which can go up to the channel. To that, the musician shows the number of the channel with the given sound, whichever you want to play (for the little one - the first channel with the inserted piano sound). Ring out to fight right on top panel synthesizer for additional buttons to switch the channel. After the repair of wines, you can repair the composition of the composition. Under an hour, the MIDI keyboard sends notifications about smart note numbers and the speed of pressing keys, as they are transmitted over the selected channel to the sound module. And wine, at its own pace, changes the height and thickness of the vibrated sound with the removal of MIDI-informations. The result of the robots you can feel from the acoustic systems.

Now let's take a look at the synth-sequencer links. Another little one depicts a schematic of a robotic synthesizer connected to a computer sequencer. І at the synthesizer, і at the computer,

I installed a sound card or a MIDI interface card - MIDI input and output. The stinks are entwined between themselves with special cords made of five-stranded roses. These cords transmit MIDI messages, sorted by independent 16 channels. It does not mean that the cords have 16 cores. The stench is zvichayni - three-wire (two signals each, and one vikoristovuetsya for grounding), just before the transmission of physical wires, all information is encoded in a special order, and when it is received, the reversal process - rozkoduvannya.

Otzhe, the musician wins on the keyboard like a tvir. MIDI messages should be on the sound module, for example, on the first channel, and we can hear sound in the speakers. Alerts and messages should be followed by this very first channel and to the MIDI output of the synthesizer, and then to the sequencer (div. Fig.). And in sequencers, there are parallel tracks themselves, like in multi-channel tape recorders, only the stench is spread not on the magnetic line, but in the operational memory of the sequencer (or the computer, like the sequencer is the program). A skin track can match one of the MIDI channels. For an hour of recording, all MIDI messages are recorded on it, as they come through the sequencer input on the selected channel. And when it is opened, all recorded data is read and transmitted by the channel itself, only through the weekend.

In our small diagram, for simplicity, it is not shown that the synthesizer transmits MIDI information on how many channels. However, if the musician is switching to another channel and starting to play with a different sound, then the MIDI output should be started by itself on another channel, and if another track is included in the sequencer of the other channel for recording data from the th channel, then everything played on the keyboard will be recorded .

Zagal procedure robots with a sequencer will look like an offensive rank. The musician on the synthesizer assigns the piano sound to the first channel, and the sequencer includes the recording of the first track, so that it will be forwarded to the first channel. After the operation of the wines, the piano part of the future composition will be played on the keyboard, as it will be recorded by the first track. After the recording is completed, the sequencer turns on the creation, and the recorded MIDI notifications are transmitted on the first channel from the third MIDI output, and the sounds are sent to the MIDI input of the synthesizer. From the entrance, the stench is consumed by the sound module, which will play the recording with the sound of the piano.

After recording the first track, the musician includes the recording of another track in the sequencer, bringing in another MIDI channel. Select the bass sound on the synthesizer and add another channel. Now you know the sequencer from the pause and hear the piano part - even the channels are absolutely independent one kind of one. The piano will play the bass part as it is being recorded by the sequencer on a different track. Now, as soon as you start the work, you will feel both the piano and the bass at the same time. This is how the parts of all other instruments are recorded.

If you connect to the MIDI output of the sequencer, be it a studio accessory (for example, an effects processor), and record special notes on one of the tracks, like an addition of "intelligence", then you will need a moment of composition at the time of the composition. Before speech, a lot of synthesizers, including those installed on sound cards, can be controlled by the effects processor, which can be controlled by the aid of a sequencer. At the required moment of the composition, the processor takes into account the sequencer's MIDI-information and the actual effect.
MIDI information and feedback

MIDI notifications - these are the signals to control, as they are transmitted over the MIDI interface. For example, when a key is pressed on a dynamic MIDI keyboard, three indications are counted, as if they describe the note: Pitch (note height), Velocity (key stroke speed) and Duration (trivality). The notes can be transmitted through one of the channels of the sound module, or they can be sent to the sequencer, which will record them in the same place of the composition. Such a group is reminded, tied to one hour of the song on that channel, called Event (Podiya). This is the skin note of the composition, recorded by the sequencer - chain.

It is required to clearly understand the difference between the information and support. Add-ons in the MIDI system are exchanged with notes, but only if they are recorded in the sequencer, they take two additional parameters- the hour of the announcement of that number to the channel - and they become pod_ami.

Another type of reminder for the importance of following MIDI notes is Controllers. The stench is used with different parameters of the synthesizer in the type of density and panorama of the selected channel. Before speech, do not confuse the MIDI-information and knobs that are controlled by a stand-alone synthesizer, as they are sometimes called controllers.

The MIDI standard transmits the presence of 127 controllers, the skin of which can be set to values ​​from 0 to 127. But in reality, no more than 20 are victorious. The stench uses the parameters to create notes through the skin channel. So, having written the first channel of the Volume controller to the sequencer, the value may be 127, and then the value of 64 to the other, you will remove the difference in the density of these two channels.

I, nareshti, the third important type of MIDI notification is SysEx, or "exclusive system notification". As controllers, stench is recognized for keruvannya by different parameters of synthesizers or other studio equipment. However, SysEx is “personalized”, so the stench is less likely to work in the boundaries of one particular building. It is necessary through those that 127 controllers simply do not match all the parameters of modern synths to control. Therefore, most controllers win in standard situations (“steer” the density and panorama on the channel, set the level to the best of the effect, change the frequency of the view and the resonance of the filter thinly). And the axis for processing by processors of effects, "deep" parameters of synthesis or operations with servicing the instrument ("skid" of editing sounds from a computer, for example) is selected by SysEx.

MIDI sync

In studios, it is often necessary to ensure that two or more add-ons are synchronized with the robot: a sequencer and a multi-channel tape recorder, two tape recorders at the same time. Previously, in the era of analog tape recorders, SMPTE synchronization was most often victorious, while most studio devices are synchronized over MIDI.

Fight like that. For example, you have a sequencer and a multi-channel tape recorder. If any sequencer is guilty step by step of "promoting" a virtual line (by analogy with a tape recorder), MIDI notes are recorded on the yak. For which all sequencers have a clock code generator, which generates MIDI notifications under the name MIDI Clock. For the help of this time code, there is more precise control of the sequencer's "stretching mechanism", as well as synchronization with external devices. The group of MIDI messages that are tuned for synchronization is called MIDI Time Code ((MTC).

Many modern digital tape recorders have such a time clock code generator itself, which is victorious for precise control of the mechanics. If you synchronize the sequencer generator and the tape recorder generator, the speed of the MIDI notification will exactly match the speed of the line (div. small).

And in order to turn on the tape recorder at the same time with the sequencer and at the same time after it, sing the line (rewind, zupinkka, record) to turn on the whole group of MIDI-recommendations, as they are called MIDI Machine Control (MMC). In sequencers, like they support MMC, the pressing of the buttons vibrates like a MIDI message, like it's negligently transmitted to the tape recorder. And youmu is left with less than a vikonati team.

System exclusive alerts

As already mentioned in the “MIDI support and support” section, system exclusive support (SysEx) - all the commands that can be controlled, like, on the control panel, only in the boundaries of one synthesizer or another Studio MIDI add-on. For example, the Volume controller changes the volume of the channel being fed back to any synthesizer, and the SysEx axis is incremented, which controls the level of the Distortion effect, and it is recognized for use with the Roland XP 30 synthesizer not to damage the Quasimidi Sirius synthesizer, which also causes distortion. However, regardless of the specialization of such skin care, the “mova” in such a stench is absolutely universal, and knowing the basics, you can easily pick up the “keys” to whether it’s some kind of studio tool or something, you need it.

Be-yaké system-exclusive notification є

a sequence of sixteen digits (div. small), as you can put together with any SysEx editor (there are editors for most of the different sequencers). The skin number of this information is to replace the same information, and all the programming science of SysEx is involved in putting the required number in the required space. And I will help to help others with a coristuvacha, I will add it under the name MIDI Implementation - for a new company-producer of roses, I explain to my coristuvachas the principles of encouraging SysEx for a specific skin model.

Otzhe, SysEx podomlennya mayut obov'yazkovu and dovilnu part. You should start to repeat the symbol F0 and end with the symbol F7 - these commands, like zmushuyat whether a synthesizer or other studio attachment, and stop receiving system information. Following the symbol F0, there are three more symbols, which carry information about the identification number of the virobnik, the identification number of the attachment in the MIDI system, and the identification number of the model of the attachment - they will be the same for any particular attachment. For example, for the Roland XP 30 synthesizer, the SysEx language part looks like this: F0 41 11 6A ……………..F7, de 41 is the Roland company code, 11 is the synthesizer identification number (the vin is set in the system menu of the instrument) and 6A - This is the XP-30 model code. Specific identification numbers for other synths can be found in the MIDI Implementation of their aids.

After the first few digits of the language part of SysEx, the part is quite enough. Її specifically, deposit the type of what you want. Ale won't start from the command number and end with the checksum values. The command number and її format need to be looked at again in MIDI Implementation, and the checksum is calculated by adding up all the digits, which adds up the command (after the її number) and the value that came from 128. F7.
Let's take a specific example. Let's say we need to insert a command into the arrangement to change the reverb type of the Roland XP30 synthesizer from the hall to the delay. The first step is to write the SysEx editor of the sequencer, write the command symbol F0 (Sys Ex cob) and revise the synthesizer's core. It is necessary for us to tell us what to write in the former part. We get in the MIDI Implementation of the helper of the koristuvach to the Data Transmission section (Data Transfer) and, surprisingly, the System Exclusive Messages section. Do you have a SysEx template for transferring data to the synthesizer. It appears that the Roland code is 41 and the XP 30 code is 6A. In the system menu of the synthesizer itself, we are surprised by deviceID - for me, it appears equal to the digit 17. Alece in the tenth system, and in the sixteenth system, it is shown as the number 10 (div. the table for the translation of tenth values ​​in sixteenth). In this order, you can continue SysEx (digits are entered through one clearing): F0 41 10 6A ...

Otzhe, marvel at the SysEx template given. Identification number of the command for our type is 12. Before the speech, in rich helpers, sixteen numbers are written with the language additions of the letter H for example (ex. Hexadecimal). In the SysEx template, XP30 codes, the stench is given by itself in such a way, for example, the command number is induced like 12H. But in the SysEx editor, the sequencer does not need to write the letter H - you know what to look for in hexadecimal numbers. In this order, we continue to remind: F0 41 10 6A 12 ...

Give the template a number of numbers, which will tell the synthesizer the address to send the command to. The stench is designated as aa, bb, cc and dd. These values ​​need to be looked up in tables called Parameter Address Map. After poring over the actual hour with the tables, it’s clear that the addresses for changing the type of reverb are written like this: 01 00 00 28. Now, we got to the command itself, so it’s written like 06 - it becomes obvious from the Data (Value) column of the Parameter Address Map table . We continue our SysEx: F0 41 10 6A 12 01 00 00 28 06…

Now I've lost my checksum. For which we need to add together the numbers of the address and the value of the command: 01 + 00 + 00 + 28 + 06 ... Ale, the numbers are written in the sixteenth system of numbers. To successfully complete arithmetic operation it is necessary to translate їх at the tenth look: 1 + 0 + 0 + 40 + 6 = 47. Now we can see 47 from 128 and we can take the number 81, as in the sixteenth system it will be written like 51. That's it, now our SysEx reminder looks like 41 ended: 10 6A 12 01 00 00 28 06 51 F7. Don't forget to save it in an okremy file and paste the rest in the necessary space for the arrangement.

Organization of memory and format of banks in synthesizers

In the permanent memory of the Sample Playback synthesizers, the recorded samples are the sounds of the sound of various musical instruments. MIDI alerts will call out the next sample from memory, and the synthesizer will create the desired sound. Ale in the memory of the samples are not just "stacked with a compartment", but organized in a singing ієrarchіchіchі structure. І so it is normal to work with any synthesizers and samplers, including multimedia ones, it is necessary to use 3 ways to take samples and different standards.

Even if you don't go into details, you might think that samples for recording in the memory of a synthesizer or a sampler are even easier to create: take a "live" instrument, digitize it as if it was played on a new note and the file is written to memory. Such a manifestation may be more correct. Ale, the world of memory is not boundless. To that, as a rule, a small amount of space is taken for the file from the recording of the "live" instrument, the ring and the singing MIDI note is assigned.

But for the formation of that chie sound of the synthesizer, there is one more subtlety. In order to make the sample sound higher or lower (for the implementation of other MIDI notes), an algorithm is used to change the pitch of the tone, which is based on changing the sampling rate of the sample. You, sing-song, know the effect of the "voice of Pinocchio", which is to come out, to increase the speed of the recording of the tape recorder. In synthesizers and samplers, everything is approximately the same, only the line-length mechanism is replaced by a special algorithm. And for the strong change in the sampling frequency, the naturalness of the sound is used. Therefore, for the creation of one sound of the synthesizer, a number of ring samples are zastosovuetsya, skins from such a wide range. Tobto digitized, for example, vikonnannya on musical instrument notes "to" skin octave, and fragments of these samples are assigned to corresponding MIDI-notes. As a result, natural sounding is saved and memory is saved.

For the purpose of understanding the totality of the samples, key information Synthesizer sound vikoristovuєtsya the term "Patch" (deak vikoristovuyut іnsha termіnologiyu) - the English word is translated as "z'ednannya". Petches are added to the main structure, which are called programs and tools (div. small below). With this leather patch, it can take up only a part of the sound range, or it can overlap with others - with which the sounds of different patches are superimposed one on one. If, for example, you want to play the synthesizer with the sound of a piano, you will recall the program itself, which is composed of dozens of songs. When pressed, be it the keys of a MIDI keyboard, the synthesizer does not just create a double sample with the required height, but a folding process, which includes more low commands.

The software and instruments of the synthesizer are stored at the bank. In one synthesizer, there may be only one, so there may be a bank of banks. The number of programs at the bank never exceeds 128 (it just happened historically - don’t joke about the number of attachments), and the number of banks themselves should fall into the standard, which supports the synthesizer of a sound card.

If you had autonomous sample playback synthesizers, then, singsongly, they paid attention to the fact that they may be written to the General MIDI type or the abbreviations GS or XG. The meanings are often written in the specifications of sound cards. The stench tells you what the standard is for the synthesizer.

The abbreviation GM or written General MIDI means that in the memory of the synthesizer there is at least one bank (maybe more) of 128 programs plus one bank of percussion instruments, which consists of 44 song drums of different sounds, moreover
a skin MIDI note is assigned to your drum (percussion banks and patches for these banks may be larger). All programs (both the main ones and the drum ones) can remember the number once and for the next, for which you can know in memory. Tse means that in GM-synthesizers the program that imitates the piano is always numbered 1, and number 53 is the choir simulator. Such a standard of introductions, in order to play music without problems, is recorded in any sequencer for the help of various synthesizers from the transfer of the result. This is a special file format, which is called a "standard MIDI file" that ensures that music is played on a synthesizer or a sound card.

The GM synthesizer has at least 16 MIDI channels. The skin channel can have songs for recording or for the creation of one program or one drum kit. Look at the specifications of sound cards or stand-alone synthesizers from which drive it is written like this: "Synthesizer can have 16-private multitimbralness".
whether there be any synthesizers in one more exchange - you cannot simultaneously play more than a sing number of notes, and it doesn’t matter, with one instrument you can play the notes or dekilcoma. This number is called polyphony, and for the GM standard, won is assigned at least 24 notes (possibly 28, 32 - GM does not block). This means that you planned to play a chord of 25 notes on the keyboard, calling for your friends, then you won’t see anything. Nine notes from the taken chord do not sound. Nine times 8 notes are reserved for drums and less than 16 are reserved for all other programs. In the specifications of some synthesizers for the description of polyphony, the following formula may be stuck: "The synthesizer can have 24 voices."

The pardon is even wider: none of the GM synthesizers sound the same - even though they have the same instruments. We call it wrong. The piano from Turtle Beach's Cuncun FX GM bag doesn't sound like the piano from the Korg N5 GM bag synthesizer. Zvichayno, insulting the stench of the piano, but the axis of the timbre of these pianos is different. The General MIDI standard assigns a more vulgar character to the instrument, which is guilty of being stored in memory under the lower number. Besides, the quality of the samples is specific, the "layout" of the keys on the keyboard and a lot of other parameters of the program are left on the basis of the picker.

And one more important respect. There are already a lot of synthesizer specs that fit into the specs of their specs, which is the same as the General MIDI standard. And yet, if the number of programs and banks is real, it is more rich, lower transfer standard. This icon shows that the synthesizer has a general MIDI bank and standard MIDI files that will be played without problems. Other banks are organized in a special order and compositions, recorded on their victories, will be correctly performed only on these annexes themselves.

Now about the abbreviations GS and XG. The GS standard was introduced by the Japanese company Roland. On the other hand, this standard was called GSS and deciphered as the General Synthesizer System. For the first time in three letters, only two have been left out, and the stench is most often deciphered like the General Synthesizer - the Main Synthesizer. GS - ce extension to the GM standard for a larger number of banks, obviously, and the number of instruments that are kept in memory. Moreover, the GS-attachment will be summed up from GM, tobto. Standard MIDI files will now run without problems. Increasing the number of programs is considered as adding variations to the main bank. This means that in the GS-synthesizer there will be instrument number 90 in the GM set under the name Warm pad, but the new one will have a couple of variations 90/1 and 90/2, which may or may not be similar to the main sound and will be placed in other banks . When a standard MIDI file is created, banks with variations will not be available, as the file will not record special MIDI notes. Play synthesizers GS may have 200-400 programs and 6-9 drum kits in permanent memory (if you want, you can have more).

Є є є є Vydmіnniy gs gm - Ts Obov'yazkov’s presence at the synthesizers, pindrust Roland "Ivskiy Standard, the Hard of the processor of the Esti, can be incurred by the cinema, the reverberates of the reverbeis. Ale effects - zagalni for all 16 MIDI channels, so you can apply on the first channel of the piano hall-reverb, then on all other channels you can not set a different type of effect, but you can also change the "holo" value.

XG is Yamaha's standard, which has recently appeared. Vіn is a further expansion of GM and GS in a large number of banks and tools in memory of that number of effects. The abbreviation is deciphered as eXtended General MIDI - Extensions of General MIDI, and vin is also summed up with GM. The sound table is organized in the same way as in the GS standard, that is. zbіlshennya kіlkostі programs vіdbuvaєtsya for help zbіlshennya іlkostі banksіv іz variatsіami. Play at the memory of XG-synthesizers over 400 instruments. At the same time, you can tweak three effects from the current 64, and 2 can work like the GS, once with the usual instruments on 16 MIDI channels, and another one can be played individually from the program. The choice of the remaining effect is even richer - at least 42 possible options. Krym tsgogo, vіdpovіdno to specifіkatsії XG, be it an effect, you can work out and zvnіshnі dzherel sound, connected to the line input. І GS and XG can have at least 32 voices in polyphony (more often - 64) and 16-private multitimbrality.

MIDI (Musical Instrument Digital Interface) - simpler seeming, digital interface of musical instruments. If all one did not understand, then listen to my explanation.
When music began to penetrate computers, then electronic instrument retailers thought: "Why don't we put some of the folding control of electric musical instruments (EMI) on the EOM?" What did it mean? As you know, the warehouse of musical teams every hour everyone changed in their own number and changed. This, obviously, gives freedom to creativity, but if a composer wants to score when arranging his songs, not one, but a dozen of different instruments. Krіm of that wine do not want a check for a rehearsal of the great orchestra, so you can feel your new idea. Most of all, there is nothing like an orchestra. So it would be bad for the mother to be able to program the scores, and then automatically perform them.
If there were any other EMI at that hour, it was just a shaft. You can get up to some of them by using a dart to connect an "electric musician" (such a box with lights and buttons, titles sequencer) with a special dart, a kind of overpowering command like "press a song note." But the main problem was that the musician did not fit the same model of instrument to another.
So it was possible to create a single interface (behind the line of communication for a set of control commands and a way to connect between attachments) connecting electronic musical instruments to sequencers and among themselves. MIDI became such an interface. Now we can bring the Yamaha synthesizer to the Roland sequencer and you will not have to work. Before speech, it is important at once how the sequencer stops the computer.

Now let's look at what allows us to work MIDI, in addition to transmitting commands to the onslaught of notes.

The synthesizer has a bunch of different knobs and buttons (filter, modulation, vibrato, reverberation level), to increase the vibrancy of the beat, to bring them to constantly turn the clock. Enter MIDI Commands controller management commands(With the handles themselves and with the buttons, as well as with foot pedals of the piano type). This means that the computer can send the synthesizer the command "turn the knob in some way (to the same position)" or "press / push the button", turn up the sound of the piano or the violin.

For example, we created-created sounds on our synthesizer, and they filled in the entire yoga memory. What do we need to work now? For MIDI, we can transfer the memory of the instrument (or some other MIDI attachment) to the computer in front of the data block ( MIDI bulk dump) save it on a hard drive. Via MIDI, we can send the data from the machine back to the synthesizer.

There's another problem. MIDI - for all command instruments. But all possible commands could not be transferred when the standard was expanded, that number of controllers introduced could not be used, so the loophole was missing - SYSX (System Exclusive Messages- exclusive -special - for the skin model The stench may be more than a standard cob (header, header) that is finished, and in the middle of the leather retailer write what you want.

Chantly, you have already chanted the term more than once GENERAL MIDI? This is the standard, in which the numbers of the controllers are numbered (the knob for the quality of all instruments, which corresponds to this standard, enter the number 7, the knob "reverb" - 91 and so on), dial that order of directing patches (patch, sounds - for example, the piano may be number 1, and the church organ -20). Doesn't mean that synths built around the General MIDI standard should be compatible with the same sounds. Ni. On different instruments, the patch under the number 1 is a mestitime piano, but with a different intensity of sound. Let's spoil some of the floorings, so it's important for experts to figure out what kind of sound it is for experts. Basically, this standard is designed to create a musical accompaniment to Ihor.
In addition, there are even more expansions for a set of sound standards GENERAL SOUNDі XG.

We may have a computer and some synthesizers, for which we want to play in the same song in different parts (drums, solo, bass, background), all of them are to blame, but connected to one MIDI cable. A sequencer (a program that runs on a computer) transmits commands for all instruments to this cable. How, then, feed V, leather from the synthesizer in the same time commands, recognized especially to you? This is why MIDI channels (MIDI channel) are used.
The principle of dії is approximately like that of a radio receiver. Your receiver will receive only that radio station, as you will set it up. Axis and show, MIDI channel - the frequency of the radio station (type 104 and 4 FM), how the receiver is set. The computer has 16 radio stations with different frequencies, the skin of which transmits the part to only its own instrument, and in the skin synthesizer - receiver, patching to the radio station, as it transmits the part. Radiohvili is not going to follow, but through the wire.
Zagalom, you can transmit whether it's a party, be it a channel. True, General MIDI adopted the 10th MIDI channel for the drum part.
Really, MIDI channels are created without the participation of radio waves. We give the synthesizer an address (the number of the MIDI channel). And on the cob of the skin MIDI command, the number of the synthesizer channel, which is recognized, is transmitted. The synthesizer accepts all commands, but only misses those to replace the channel number.

What is MIDI and how are these files viewed as Wave files

What is MIDI

Standard MIDI(acronym for Musical Instruments Digital Interface, in literal translation - digital interface of musical instruments) - “mine”, for which MIDI-summ_snі add-ons are “joined”. In other words, this standard defines the number of messages (two commands) that can be exchanged with different MIDI devices.

Key feature to the MIDI interface, those that are exchanged with the most logical commands for some additional attachments, and the same time before the transfer sound like this MIDI can't.

Let's take a look at the interplay of two devices: a MIDI keyboard and a sound synthesizer. When pressed on the MIDI keyboard keys, as if, for example, the notes for the third octave, the MIDI keyboard will give the synthesizer the command to “start the creation of the note for the third octave”. If the button is released, the keyboard, having sent another message, will tell the synthesizer to assign the note LA of the third octave. With this, the sound, which is seen as a synthesizer, is stalely in the form of a concrete rest of that sound. By MIDI, I’m sub-chaired, only commands of the same sound are transmitted.

It should be noted that the potential sphere of MIDI jamming is not limited to musical instruments. With this very success, one can cherubate, for example, light-musical possessions, and for great bazhannya - inspire promiscuous robots. :)

It is obvious that if the sequence of MIDI-reminders can be saved in a sound file. One of the formats for choosing sequences MIDI-report (SMF - Standard MIDI File) is also regulated by the standard.

MIDI modifications

There are a number of modifications to the MIDI standard:

• GM (General MIDI)
• GS (General Standard),
• XG (eXtended General).

The skin of them, apart from the main MIDI-additions (one of which is seen in the butt of three others), describes the number of that specific set of instruments (timbres), how the language is to be played by the extension, summing up as GM, GS or XG. In fact, the characteristic of the most sensitive synth is only a hundred and fifty sounds and means that the synthesizer is subtly, for example, GM is obliged to create the sound of any given instrument. The skin instrument is assigned a song number. In addition, MIDI attachments are strictly responsible for the number of independent MIDI channels, and for the skin, there may be assignments of their own temperature and may indicate the sequence of MIDI channels. Changing the timbre, similarly to the beginning and end of the note, is also carried out after the removal of the unique MIDI-information by the MIDI synthesizer. In this way, it is ensured that the sound of the same MIDI file on different MIDI synthesizers is similar to the same standard.

For example, whether a synthesizer with a GM support can have the same capabilities: 16 channels, the skin can be assigned to a powerful timbre (instrument). You can select a timbre by a certain order by number from the totality of the timbres designated by the GM standard, which include 128 live and synthesizing instruments, which include piano, guitar, strings, flute and other. In addition, you can score at least one set of percussion sounds.

A number of so-called MIDI controllers have also been transferred, which allow you to add to the nature of the sound of music, which is created by a synthesizer: for example, for the help of a series of sub-controllers Pitch, you can smoothly or sharply (lay down according to your needs and goals) change the height of the sound, for the help of the Expression controller - change the volume of the sound on the skin from 16 channels OK, for the help of the Pan controller, install any sound on the MIDI channel in stereo panoramas. - by extensions, as if they simply “do not understand” unknown commands

I guess that GS is for GM extensions, and XG is for GS extensions. Not only the number of instruments and controllers, but also the format of some MIDI-additions. Please note that MIDI files created using the XG command set may not work correctly on GS or GM devices. Zocrema, it may be that the drum parts are combined with the timbre of the piano, that the music can be turned into a cacophony. The most versatile and summative is GM, so a MIDI file, created from different GM versions, will work correctly on GS-i XG synthesizers.

View MIDI format as Wave format

It doesn’t matter to the light of the above that it doesn’t matter that the MIDI format is fundamentally different from the Wave format, the shards of assignments for collecting data are absolutely other to the type and assignments of saving sound, being only a way of presenting musical scores in a digital (dvіykovom) look. In such a manner, straight conversion of MIDI files to Wave files and others like them (including MP3) impossible.

MIDI sound clarity issues

The nature of the sound of the result of the synthesis can vary significantly from different synthesizers. It will be interesting to look at the main types of basic types of sound synthesis, which can be seen:

• Vlasne synthesis for deakim mathematical fallows;
• Wave-synthesis (sampling), that is the synthesis of sound on the basis of a distant digitization of sound fragments (samples).

The era of sound personal computers originated from synthesizers based on the first type of synthesis. It is especially necessary for the calculation of the appendix with even high productivity, but the synthesis of the same sounds is due to folding formulas. Obviously, in that hour (although it was more than a little fateful) for the synthesis of sound, the simplest mathematical staleness with the minimum number of additional harmonics, which improved the sound, MIDI-music on the computer zokrema.

Descho pіznіshe buv rozrobleniy new, richer more effective method- Wave-synthesis, which wins over the most important modern synthesizers. The principle that lies at the basis of yoga is simple: it’s easy to digitize sound fragments come true on a different pitch, which allows you to pick up the sounds of a different height. The task for the synthesis of the processor in this way is inconspicuously simpler, lower in the synthesis of sound winds for folding fallows. The quality of the resulting sound, when it is chosen, is the head rank, the quality of the outgoing sound fragment, as it can be as always high. Synthesizers, which follow the described principle, are called samplers (samplers), and victorists as the basis for synthesizing sound fragments are called samples.

Until recently, the samplers were available only through the road - often through the need for a large amount of operational memory for easy access to samples without stuttering when the musician was alive. That's why in the computers of those who want to play music (including those who are rich with you and me) sound cards with samplers have settled, which, unfortunately, if possible, are done to professional samplers. Yakіst zvukіv, scho beat in different models The sound boards in different varieties were strongly shaken and at the same time it was low.

Improved sound quality of MIDI files

One of the attempts to overcome the problem of the low quality of MIDI music on a computer was software synthesizers, which are based on the principle of Wave-synthesis. However, it is really possible to beat them only when listening to a long distance of preparation of MIDI files, for which the stench, vlasne, was created. When trying out live music with varying timbres of such a synthesizer, there was a sudden stutter between the moment of pressing a key on a MIDI keyboard and the appearance of a clear sound. In addition, the timbres cannot be replaced. If you want to seriously engage in music on your computer, they installed expensive sound boards, so that you can make a synthesizer with an arc of similar (although, unfortunately, I’m still “sewn in”) timbres, or pay for the possibility of choosing more timbres in the way of your vlasnu operational memory sound card, i.e. true samplers. Tse, zrozumіlo, spriyal increased the quality of the sound of MIDI-music of the new era.

Останнім часом широкого поширення набули програмні семплери з винятково невеликим (що досягнуто використанням передових алгоритмів та інтерфейсів на кшталт ASIO) часом затримки, що надають практично всі можливості апаратних семплерів і мають, крім того, набагато більшу гнучкість і зручність у використанні порівняно з останніми за рахунок Possibility of updating and close integration with software MIDI-sequencers, which are used for work with music for additional MIDI (recordings, editing of MIDI-parts, etc.). Might be in the sphere of creating music on a computer, in a vague position, behind software samplers.

It is noteworthy that understanding a bank of sounds (that is, a set of samples, which are timbres for one of the reviewed MIDI standards), to which we all sounded like that, is practically irrelevant to serious samplers - hardware and software. More than that, whoever plans to create MIDI files also wastes a lot of sense. You can add an absolutely perfect sample, and there is nothing to be surrounded by the frames of the hard remix of GM timbres. But the most zhorstky translation is the basis of the MIDI standards GM, GS, XG.

Imovirno, here there is a line, how the musician can hear that musician - they just have different goals. Just as for a listener in one of the first places it is versatility, powerful to specific standards, then for a musician it is a result that is as clear as possible, as responsive as possible to creative ideas. It remains impossible without the exact selection of a unique combination of instruments, which is unattainable within the framework, for example, GM would like to see the sounds of different GM-mad synths differ. In the hands of the musician MIDI - all the more difficult on a significantly larger scale, the foundation for the implementation of the most inventive creative ideas, the language for the successful compilation of yoga instruments.