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Control Change messages are used to represent some change in the status of a physical control on a device. These controls are the foot pedals, volume sliders, modulation wheels, and similar peripherals found on most electronic instruments. Some control messages act like simple on and off switches; for example, the sustain pedal on a synthesizer can only be down or up, so a single status byte can be used to specify which state the pedal is in, and no data byte is needed. Other controls are continuously changing and need to be represented by more detailed data called continuous controller data. For example, if you move the pitch wheel on a synthesizer very slowly from its resting position to one extreme up or down, MIDI transmits data representing the wheel's position at numerous points along its path. In this case, the data must be very high in resolution, so 14-bit (2-byte) messages are used. This provides a total of 16,384 values to track the movement of the wheel.

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MIDI is a universally accepted standard for communicating information about a musical performance by digital means. It encompasses both a hardware and software component, and though it could be used for sending information about many other things, such as the control of lighting in a theater, or even to control your coffee maker, it was developed to transmit instructions about music. Like a music score, on which notes and other symbols are placed, a MIDI transmission carries instructions that must be acted on by some device that can make sound. While a clarinet or guitar player will interpret a written music score and produce the sound required, it is most likely a synthesizer or drum machine that will react to MIDI information. Fortunately for us, a complete set of these instructions can be captured and stored by a computer, and several types of music software can be used to edit and alter them. If the information is sent to several different MIDI devices, an entire electronic orchestra can be at the musician's disposal.


There are many categories of MIDI software available. Perhaps the most common is the MIDI sequencer, which is a type of program that can record, edit and playback MIDI data. Sequencers, which originally were often found as stand-alone hardware devices, have very powerful capabilities to transform MIDI information, and today represent a very complex and mature category of software. Sequencers share many basic features, and allow the user to put the strength of a personal computer to the task of making music.

One final controlling device is the pitch-to-MIDI converter. This somewhat uncommon device is attached to a traditional acoustic wind instrument such as a saxophone or trumpet and converts the acoustic tones the instrument generates into MIDI notes. The Pitch-to-MIDI converter offers perhaps the best of both worlds, in that a musician can use his or her favorite instrument to create a performance that combines "natural" and synthetic sounds. Unfortunately, the conversion is not always accurate, and these devices still must undergo some refinements before they will be completely reliable. Nevertheless, converters are becoming more common, and offer musicians including singers tremendous expressive qualities in a MIDI performance.


Keyboard synthesizers are by far the most common MIDI devices, although the tone modules included with nearly all sound cards for the PC are also extremely common. Like any device that wants to join into a MIDI conversation, synthesizers are equipped with the proper connectors that allow MIDI information to pass in, and sometimes out. These connectors, called MIDI ports, are usually grouped in threes: MIDI In, MIDI Out and MIDI Thru. Figure 5 below shows a standard arrangement of the Ports on the back of a synthesizer, and also shows the end of a MIDI cable, which connects the sending and receiving devices. Unlike single ended audio plugs (guitar cords and stereo RCA plugs), MIDI cables and Ports use a 5 pin DIN connection. The MIDI communication does not have to be two-way; for example the MIDI input of device one can be connected to the MIDI Out of device two, but not vice versa. The MIDI Thru port is used to relay the information that is sent to a device on to yet another unit without altering it in any way. By using this port, many MIDI instruments can be chained together, allowing a single controller to transmit to numerous different sound-producing devices simultaneously.

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Samplers are electronic devices that allow you to record audio, manipulate it, and play it back using MIDI commands. In effect, they allow the entire range of acoustic sounds to be employed in a musical composition. Under the control of MIDI messages, dog barks, train whistles, car horns and more can be integrated alongside violins and guitars, but samplers can be used for a lot more than just sound effects. Because of their extensive capabilities, samplers are used to create entire original compositions, using exacting reproductions of traditional instruments. Composers can preview their orchestral works and arrangers can listen to elaborate horn arrangements before committing the music to notation. In addition to these tasks, an entire musical style has evolved that uses samplers to store short phrases from existing recordings that are then used as the basis for entirely new musical compositions. While some of these capabilities are possible using traditional synthesizers, samplers expand the musician's palette of sounds enormously.

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A MIDI transmission consists of a series of signals, called bits for binary digits, that pass through a MIDI cable. These signals are electrical impulses, some strong, some weak, that represent the 1s and 0s that make up the language of computers (any device that wants to send or receive MIDI data must be equipped with a microprocessor, the "brains" of every computer). When the impulses reach their destination, for example a synthesizer, the operating system of the synthesizer interprets them as a series of instructions that usually result in the production of a sound. This sound must be amplified, so the synthesizer will typically be connected to an amplifier or mixer.


MIDI was born in the early 1980's when electronic instrument makers, primarily in the US and Japan, recognized that their instruments must be able to talk to one another. After the details were worked out, manufacturers soon began to include electronic circuitry in their equipment that allowed them to understand the instructions MIDI used. Before long, nearly every instrument maker in the world had adopted the standard, and though there have been refinements and modifications to MIDI along the way, even the earliest MIDI instruments are still capable enough to be used today. Since its adoption, MIDI has dramatically changed the way music is created, performed and recorded.

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All samplers contain sample RAM that is used to hold digital recordings while the sampler processes them and plays them back. The amount of RAM determines the total length of recording time available to the unit. For example, if a sampler were to record sound using the quality of a commercial CD, it would require just over 10 MEGS (10,000,000 bytes) of RAM to hold just one minute of stereo or two minutes of monophonic sound. Many professional samplers contain hard disk drives for more permanent storage of recordings, while some also include floppy drives for moving sounds into and out of the unit. Besides the standard audio outputs used to record and playback, some samplers provide direct digital connections so sound can be moved back and forth to a digital tape recorder (DAT) or computer.


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Desktop Music Handbook - MIDI

Inside the synthesizer are the sound-producing components, the actual brains of the unit, that respond to messages received when a key is pressed on the keyboard or when a MIDI message is sent from some other source. The keyboard part of the unit is called a controller, which is a term used for any MIDI device that can initiate an action. There are other types of controllers, including those in the form of a guitar (guitar controllers), drum machines (drum controllers), and even those that look and work like wind instruments (wind controllers). It's possible to buy a controller that does not include the capability to make any sound, and it's just as easy to buy the sound producing components alone, which are devices commonly known as tone or sound modules. In essence, the devices we commonly refer to as "synthesizers" are actually tone modules with integrated keyboard controllers attached.

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When a synthesizer is first turned on, it will load one of its sounds into its RAM (random access memory) and prepare itself to receive note messages. These sounds are permanently stored in the synthesizer's ROM (read only memory) and are, in essence, individual computer programs that tell the device how to create the required sound. When the computer is directed to load a new sound, it must change the program it is currently running so it will be ready to play notes using the new tone. Hence, the MIDI message that tells the device what sound to make is called a Program Change message. Program Changes are followed by a single data byte.

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One final category of MIDI messages is called system messages. There are several types of system messages, but they all share the characteristic of transmitting information without a channel assignment. As a result, all instruments that receive messages of this type would act upon them, though one particular type of system message, called system exclusive, is intended for communicating only with a device or devices made by a specific manufacturer. System exclusive is often used when a musician wants to transmit large amounts of data to a specific synthesizer or receive data from the device.


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Three features were inadvertently disabled production runs of Cakewalk Home Studio 2004 and Home Studio 2004 XL. we discovered the error after the product shipped, so early adopters most likely have the version with disabled features. In case, you'll need to download this patch.


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Stand-alone librarian programs, or those usually included with the patch editor, simply store all the device's sounds and make them available for quick searching or sorting. Typically, a librarian will request a "dump" from the device via Sysx, then show the user the sounds currently available on the instrument. This listing can then be stored on a computer and reloaded into the device if needed. Not only are the names of the patches stored, but also the specifications as to how the sounds are created. In other words, if the internal memory of a synthesizer were wiped out, the librarian could send a list of the original factory programs back to the synthesizer and return it to its original status.

Some programs also provides features that can assist the user with the operation of his/her MIDI hardware. It is not uncommon to find sequencers that will list all the different sounds in your synthesizer, allowing you to work with specific names rather than the less familiar patch numbers. Some will also import or export system exclusive (Sysx) data to a synthesizer, meaning you can load an entire setup of sounds before the first note is played. While they don't offer all the editing capabilities of full-blown patch editors (discussed later), these patch librarian features are very useful, especially in settings where there are two or more MIDI devices.


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Samplers provide numerous other manipulation techniques, some of which will be mentioned in the section on digital audio. These include time compression/expansion, which is the ability to stretch or shrink sounds without changing their pitch; amplitude modulation, a technique used to change the sample's amplitude (loudness) at a variable rate; and playing back a sound in reverse. In all, samplers offer versatile options to the musician for shaping and crafting their music.

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In addition, Studio Instruments (helpful hints) includes a comprehensive collection of pre-recorded patterns and presets providing a creative jump-start to making music. These patterns can be placed on multiple pads that the user simply clicks to trigger sections of their songs. Cakewalk Studio Instruments (https://middleeastexplorer.com/serial-code/?file=8566) also allow the user to play the individual sounds of each instrument from their computer keyboard – if you can type, you can now play drums, piano, bass, or electric piano. More advanced users can easily control Cakewalk Studio Instruments with a MIDI keyboard or other MIDI controller. Each Studio Instrument also features customized companion effects to enhance their sounds.

When a synthesizer can make more than one type of sound at the same time, it is called multitimbral. This term comes from the French word timbre (pronounced "tam-ber"), which means tone or sound color. If a synthesizer can make the sound of a trumpet, flute, clarinet and oboe simultaneously, it is clearly multitimbral. How many different timbres can be used at once is a significant factor in determining the usefulness of a tone module for one's music; for example if you plan to write your next symphony using a single synthesizer, you should be sure it is at least 16-part multitimbral and has 24 or more voices of polyphony. For choral music, four-part multitimbral and 8-voice polyphony might be adequate, but obviously the more the merrier.


Controller data can be used for many different functions in MIDI, even multiple functions at the same time. For this reason, the different controller data streams are numbered from 0 to 127. Some of these controller numbers have become standardized to control certain tasks, for example, controller 10 (often abbreviated cc 10) is most often used for panning between left and right speakers, while controller seven (cc 7) is typically used for volume changes. Many synthesizers allow the user to change the effect controller data will have. When this is possible, any controller could theoretically be used to control any aspect of a sound that changes over time.

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In addition to a standardized assignment of program change numbers, General MIDI includes several other guidelines, the most important of which is the use of Channel 10 for drum sounds. It also provides a Drum Map, which is the fixed assignment of certain drums sounds to specific MIDI note numbers (Table 2). For example, sending middle C, MIDI note #60, will trigger a high bongo sound on the receiving General MIDI instrument (visit). A "C" one octave below, note #48, will produce a Hi-Mid tom, and so on. This mapping scheme provides yet another layer of standardization, thereby insuring that MIDI sequences can be transported among different studios (hop over to this web-site) and desktop systems around the world.

Because of the complexity of many of today's synthesizers, an entire software niche has developed to facilitate the control of such devices from a computer. Patch editors typically display all of a synthesizer's programming controls on one or two computer screens, allowing the user to "see into" the synthesizer and control it directly from the computer keyboard (Figure 11). Rather than spend many minutes pushing buttons, trying to locate a particular screen within the synthesizer's own display, the patch editor lays all the device's parameters before the user, and allows him or her to make extensive changes with the sweep of the mouse or press of a few keys. Changes made on the computer screen are typically sent immediately to the device, making it possible to preview them before any permanent changes are made.