| MIDI Qualities as compared to Digital Audio |
|
|
Performance Event Data
Hire a custom writer who has experience.
It's time for you to submit amazing papers!
order now
Sound Quality Depends on External Sources
Flexible Data Structure
Parts can be individually altered
small storage demands
playback requires synthesizer
limited reproduction of nuances
|
|
| Digital Audio Qualities (as compared to MIDI) |
|
| Sampled-sound data Sound Quality inherent in data inflexible data structure parts not easily separated large storage demands playback requires D/A hardware perfect reproduction of nuances |
|
| Simple Project Studio Setup |
|
Computer goes to MIDI Interface and Audio Interface
Audio goes to mixer (which is connected to the sound module)
MIDI Interface goes to MIDI Controller and to Sound Module |
|
| Typical Production Process |
|
composition
MIDI sequencing
Record MIDI sequences to digital tracks
add live performance tracks
mix
master
export/encode |
|
| Order of History of Music Tech |
|
Edison Phonograph
Player Piano
Thermin
Magnetic Tape Recording
Moog Commercial Synthesizer
Switched on Back |
|
| Memory Help Music History |
|
| Every Pianist There Made Me Switch Back |
|
|
|
|
|
|
|
|
|
|
|
|
|
| Moog Commercial Synthesizer |
|
|
|
|
|
| Direct to Disk Recording*** |
|
Higher Quality with no degradation
random access, more efficient production
virtually unlimited tracks
inexpensive, reusable, portable media |
|
| Digital Audio Workstation! |
|
Direct to Disk Recording***
Graphical Editing Interface
Digital Signal Processing
Share sessions over digital networks
affordable, cost effective recording solution
facilitates integration of visual elements
easy export/ conversion to alternate digital formats |
|
|
|
Audio
MIDI
Recording/Mixing |
|
|
|
Digital Samples from 16bit 44kHz up to 24 bit 192 kHz
up to 192 playback tracks, unlimited virtual tracks
digital real editing |
|
|
|
256 midi tracks
event performance data
external sound modules or internal sound synths |
|
| Recording mixing protools spec |
|
complete mix control over signal routing, effects processing, dynamic faders, and automation control
store entire session for instant recall
share sessions with other users |
|
|
|
|
|
|
| changes you make effect other regions on the track |
|
|
|
| changes you make do not effect other regions on the track |
|
|
|
| places regions at precise locations |
|
|
|
| Regions Snap to nearest time increment specified by Grid |
|
|
|
Audio
MIDI
Auxiliary Input
Instrument
Master Fader |
|
|
|
| import/ record/ edit of digital audio |
|
|
|
| import/ record/ edit of MIDI data |
|
|
|
| used for audio routing, such as effects send or a sub-mix |
|
|
|
| combines function of MIDI and aux input into single track |
|
|
|
| controls overall level of the audio tracks |
|
|
|
| Series of compressions and rarefactions |
|
|
|
| shape of the sound; from simple sine wave to jagged and complex |
|
|
|
| height of wave; larger = higher volume |
|
|
|
| cycles completed per second (hz); higher it is the higher the pitch!
Children hear between 20Hz and 20kHz |
|
|
|
| 2x the samples per cycle
20 kHz frequency= 40kHz sample rate
higher frequencies require higher sample rates for accurate reproduction (avoids aliasing) |
|
|
|
discrete snapshots
higher the sample rate= better approximation of original sample |
|
|
|
| useful dynamic range of music/speech is 40- 105 db = 65 db. |
|
|
|
| each sample assigned it’s closest amplitude value |
|
|
|
| 4 bit= 16 different numeric amplitude values |
|
|
|
8 bit = 48 db
16 bit= 96 db
24 bit = 144 db |
|
| Sampling and Bit Depth Tradeoffs |
|
Higher sample rate and greater bit depth improve audio quality but at a cost:
Larger sample rate = more data
Higher bit depth = more bits |
|
| What does higher sample rates and bit depths equate to |
|
larger files and session sizes
greater storage requirements
higher system performance requirements |
|
| 1 min of audio storage sizes: |
|
| 16bit/48kHz stereo : 11.4 MB
24bit/28kHz stereo : 17 MB |
|
|
|
| compilation of 16 bit words |
|
| 8bit 11khz mono audio file |
|
|
| 8 bit 22khz mono audio file |
|
|
|
|
|
| 16 bit 22khz mono audio file |
|
|
|
|
|
| 16 bit, 44khz, stereo audio file, |
|
| 176 KB/sec -> Redbook Audio CD |
|
| three types of microphones |
|
| dynamic condensor and ribbon |
|
|
|
rougher response
rugged and reliable
not sensitive to environment
handle high volume w/o distortion
good for guitars/drums/some live vocals
preferred for live events |
|
|
|
wide, smooth frequency response
detailed sound, especially highs
great low frequency response
sensitive to transients (but you have to be careful)
good for acoustic instruments, studio vocals
delicate
can be mini |
|
|
|
warm, smooth quality
delicate
good alternative mike to complement condensor mike |
|
|
|
faders
pan
trim/gain
master fader
aux sends |
|
|
|
|
|
|
|
|
|
| allows inserting of device directly into signal path |
|
|
|
| allows sending of signal to external device |
|
|
|
| allows return of signal from send to mixer |
|
|
|
conform to visuals, timing restraints
seamless looping or length extension
creates “alt- mixes” without having to go back to mix stage |
|
|
|
| not an itunes sample!
capture essence of original
get to hook or melody quickly
timing is critical; no room for overshoot
natural beginning/natural ending
maintain energy and momentum to very end |
|
|
|
| generate signal, usually you can choose the wave type
in a synth |
|
|
|
| remove unwanted frequencies much like an equalizer (VDF filter in Korg)
in a synth |
|
|
|
| in a synth
create the attack and release of the sound (VDA- variable digital amplifier) |
|
|
|
low frequency oscillator
creates vibrato |
|
|
|
|
|
|
| attack decay sustain release
sound envelope |
|
|
|
| multiple concurrent voices (notes) |
|
|
|
| single voice (note) at a time |
|
|
|
| receives unique data on each channel, allowing it to function as multiple instruments |
|
|
|
| musical instrument digital interface |
|
|
|
| communicates performance data between computers, synthesizers, drum machines, controllers, digital mixers, processors, etc
even used for live performance control of multiple instrument settings, external devices, lighting, etc |
|
| Devices connected via midi cables |
|
|
|
|
|
|
|
|
|
|
| passes midi data to other devices w/o affecting it |
|
| How many channels per port? |
|
| 16!!! interfaces can have multiple ports |
|
|
|
note on- note off
velocity
key pressure (after touch)
program change
pitch bend
controllers
song position
sys-ex |
|
| Typical MIDI Set Up (begin with keyboard) |
|
MIDI Out of piano to MIDI In of sequencer
Out of sequencer to midi in of sound module 1
midi thru of sound module 1 to midi in of sm 2
midi thru of sm 2 to midi in of sm 3
midi thru of sm 3 to midi in of drum machine! |
|
| General MIDI or GM is what? |
|
| specification for synthesizers which imposes several requirements beyond the more abstract MIDI standard. it attaches certain interpretations to many parameters and control messages which were left unspecified in MIDI, such as defining instrument sounds for each of the 128 program numbers |
|
|
|
| allows portability of MIDI files across different platforms while retaining fundamental essence of the performance!!! |
|
|
|
24 voices to be active at the same time
responds to note velocity
support all 16 channels simultaneously
supports polyphony! |
|
|
|
|
|
|
|
|
|
|
|
|
|
| To Find how much data a time is in MB? |
|
| time * 60sec/min = seconds
seconds * 176 KB/sec (because of 16 44) = KB
1024 KB = 1 MB
KB * (1 MB/ 1024 KB) = Data in MB |
|
|
|
| coil of wire attached to a diaphragm suspended in a magnetic field
sound vibrates the diaphragm, coil vibrates, generates electric signal |
|
|
|
thin metal foil/ribbon suspended in a magnetic field
sound waves vibrate ribbon and generate electric signal |
|
| how a condensor mic works |
|
| conductive diaphragm and metal back plate, charged with static electricity
sound waves vibrate diaphragm, varies space between plates, changing capacitance, which can be detected and translated into electric signal |
|
| Two types of condensor mic |
|
|
| what if my condensor mic is not working?! *gasp* |
|
| requires battery of phantom power (48 volts DC) |
|
|
|
| a process which combines together two or more pre-existing elements resulting in the formation of something new |
|
|
|
|
|
|
|
|
|
|
| what if i want a basic midi/daw set up? |
|
| basic daw set up with a cord from the midi controller to audio mixer |
|
|
|
portability across multiple platforms
small file size
allows for real time control
allows for collaborative composition
facilitates production cycle during early “exploration” phase |
|
|
|
|
|
|
|