Handbook for Sound Engineers

1112 Chapter 29 MIDI In—The MIDI In jack receives messages from an external source and communicates this perfor- mance, control ...

MIDI 1113 that makes this concept work! Let’s try to understand this concept better by looking at a few examples. Fig. 29-17A sh ...

1114 Chapter 29 ports. The multiport MIDI interface, Fig. 29-18, is often the device of choice for most professional electronic ...

MIDI 1115 In recent years, software synths have grown from being novel and obscure programs that were primarily used by the acad ...

1116 Chapter 29 can be simultaneously played on a keyboard at any one time. Each sample in a multiple-voice system can be assign ...

MIDI 1117 such control parameters as tuning, level, output assign- ment, and panning position. Multiple outputs are often provid ...

1118 Chapter 29 cated from a standard music keyboard. In these situa- tions, wind controllers can often help create a dynamic fe ...

MIDI 1119 other controller messages, program change, cut and paste and track merging capabilities, tempo changes, etc. Programmi ...

1120 Chapter 29 song tempo before recording a sequence. I bring this up because most sequencers are able to output a click track ...

MIDI 1121 be changed at a later time, attention to tempo details can help you to avoid later pitfalls. Always name your track b ...

1122 Chapter 29 ging the loops into the program’s main soundfile view where they can be arranged, edited, processed, saved, and ...

MIDI 1123 of invention. Patience and creativity are probably your most important tools in the looping process. If there’s a soft ...

1124 Chapter 29 Direct communication between a patch editor and the device’s microprocessor commonly occurs through the use of M ...

MIDI 1125 gram and then save the notes and general layout as a NIFF (notation interchange file format) file. One of the biggest ...

1126 Chapter 29 definitive track assignments. This type might be the best choice when creating a MIDI sequence for the Internet ...

MIDI 1127 29.6.1 MIDI Real-Time Messages Although no time code–based reference is implemented, it’s important to know that MIDI ...

1128 Chapter 29 start command repositions the sequence back to its beginning, at which point it begins to play. Stop—Upon the t ...

Quarter-frame messages—These are transmitted only while the system is running in real or variable speed time, in either forward ...

This page intentionally left blank ...

1131 Chapter 30 Optical Disc Formats for Audio Reproduction and Recording by Ken Pohlmann 30.1 Introduction..................... ...