Handbook for Sound Engineers

MIDI 1103

specific device or a sound generator within a device
that’s assigned to a particular channel.

Whenever a MIDI device, sound generator, or pro-
gram function is instructed to respond to a specific
channel number, it will only respond to messages that
are transmitted on that channel (i.e., it ignores channel
messages that are transmitted on any other channel). For
example, let’s assume that we’re going to create a short
song using a synthesizer that has a built-in sequencer (a
device or program that’s capable of recording, editing,
and playing back MIDI data) and two other synths, Fig.
29-3.

1. We could start off by recording a drum track into
   the master synth using channel 10 (many synths are
   pre-assigned to output drum/percussion sounds on
   this channel).
   2. Once recorded, the sequence will then transmit the
   notes and data over channel 10, allowing the
   synth’s percussion section to be heard.
   3. Next, we could set a synth module to channel 3,
   and instruct the master synth to transmit on the
   same channel (since the synth module is set to
   respond to data on channel 3, its generators will
   sound whenever the master keyboard is played).
   We can now begin recording a melody line into the
   sequencer’s next track.
   4. Playing back the sequence will then transmit data
   to both the master synth (percussion section) and
   the module (melody line) over their respective
   channels. At this point, our song is beginning to
   take shape.
   5. Now, we can set a sampler (or other instrument
   type) to respond to channel 5, and instruct the
   master synth to transmit on the same channel,
   allowing us to further embellish the song.
   6. Now that the song’s complete, the sequencer can
   then play the musical parts to the synths on their
   respective MIDI channels, all in an environment
   that allows us to have complete control of volume,
   edit, and a wide range of functions over each
   instrument. In short, we’ve created a true multi-
   channel working environment.

It goes without saying that the above example is just

but one of the infinite setup and channel possibilities

that can be encountered in a production environment.

It’s often true, however, that even the most complex

MIDI and production rooms will have a system, a basic

channel and overall layout that makes the day-to-day

operation of making music easier. This layout and the

basic decisions in your own room are, of course, up to

you. Streamlining a system to work both efficiently and

easily will come over time with experience and practice.

29.2.2 MIDI Modes

Electronic instruments often vary in the number of

sounds and/or notes that can be simultaneously pro-

duced by their internal sound-generating circuitry. For

example, certain instruments can only produce one note

at a single time (known as a monophonic instrument),

while others can generate 16, 32, and even 64 notes at

once (these are known as polyphonic instruments). The

latter type is easily capable of playing chords and/or

more than one musical line on a single instrument.

In addition, some instruments are only capable of

producing a single generated sound patch (often

referred to a voice) at any one time. Its generating cir-

Figure 29-2. Up to 16 channels can be transmitted through
a single MIDI cable.

0000 = CH#1 0100 = CH#5 1000 = CH#9 1100 = CH#13

0001 = CH#2 0101 = CH#6 1001 = CH#10 1101 = CH#14

0010 = CH#3 0110 = CH#7 1010 = CH#11 1110 = CH#15

0011 = CH#4 0111 = CH#8 1011 = CH#12 1111 = CH#16

Figure 29-3. MIDI setup showing a set of MIDI channel
assignments.

1. mondo pad


2. taiko drums


3. piano


4. synth solo


5. MIDI guitar


6. strings


7. strings hi


8. strings lo


9. perc


10. satas claws


11. hells bells


12. horns


13. big bass


14. celeste


15. b3


16. blockhead

In Out Thru

Synth module (Ch #3)

In Out Thru

In Out Thru

Master controller (Ch#10) -

percussion

Sampler module (Ch #5)