MIDI 101

The term "Sequencers" ,today usually is applied to MIDI RECORDERS that record as you play them on a keyboard or other MIDI CONTROLLER. Whereas "score editor" is usually applied to recording MIDI using STANDARD notation, or in other words DRAWING the notes on a staff. I tried playing with score editors at the beginning, but as a drummer I found that "pounding it out" on the keyboard was better for me. The scope of the terms that follow can sometimes be applied to both sequencers and score editors, but I will be concentrating on sequencers. BTW, In the past sequencers applied to any type of software that would put NOTES into the computer. In 82 I released POLYQUENCERS. If you think that MIDI is complex today, try writing music using HEXADECIMAL numbers! That was back then and gradually things changed.

First I was just happy to have the pitch (MIDI NOTES) and rythem recorded by my computer. Then I wanted the computer to remember what sound (midi patch) was being used at a given point in the composition. Would the midi patch change from strings to bells during the chorus? Then I looked at EDITING features. At first I needed to edit my composition one track at a time.(each track sometimes may be called a midi VOICE, or a VOICE may be a term applied to a single sound on a single sound module, box, piece of gear) Then next I could CUT up my music the same as with an old razer blade through analog tape, with GLOBAL EDITING. Now with the bold tool of global editing I could cut through all of the tracks at once! I could cut at even phrase intervals such as 8 bars or 12 bars and completely re-arrange the pieces. Next the software would allow me to organize the midi voices into Groups or Sections. I could have all of the drums and percussion in one group for, instance and then all of the editing would take place on THE Percussion GROUP or section. I could cut and paste the group, raise the volume of the group (midi velocity), or I could even LOOP the group (make the group play the section over and over a specified number of times or until infinity) Later the software would allow for many separate LOOPS on different midi voices ( tracks)

THEN ONE DAY I WANTED TO HAVE MY MIDI SEQUENCER SYNC UP TO MY ANALOG TAPE RECORDER. I wasn't satisfied any more with just singing after all of the music was done. This is because my music was taking over the show! The music that I was writing never left any open "pockets" for the vocals to fit into. What I needed was a way to bounce back and forth from vocals to music so that the 2 could grow together. This could only be done with SMPTE and MTC, back then, but today I will be looking into SMPTE to sync up the finished music to VIDEO. With SMPTE in the old days, we "striped" the analog tape with a sort of clock signal along the entire length of the composition. Then I used a box such as the JL Cooper PPS-1 to read the clock signal from the audio tape and convert the clock signal into Midi Time Code and or MIDI CLOCKS. Now when I started the analog tape rolling, the midi sequencer would start up at the same time and stay in sync! With my stereo tape deck that meant that I only had 1 track to record vocals with, but now because of the interaction, I could make my music "breath". No more would my lead lines walk all over my vocals!

Now because I record DIRECT TO DISK, I am no longer plagued with clock signal droput. I will take the music up to the rythem section (bass, drums and bit of chording) and then start the vocals. Then I will add and embellish back and forth from there.

Whenever you work with your new sequencer, remember the rules that I follow every time that I make a major software leap.

1) Stumble around the software using the pull down menus and tool buttons for a few hours if you like.

2) But you will only get full use out of the software if you read the ENTIRE MANUAL once. I know that it is boring, and it might not even seem like you understand what you are reading at times, but eventually the pieces will start to come together.

3) Sometimes each manufacturer likes to create their own JARGON. Keep a marker in their GLOSSARY (if they have one)

4) When you go back to your project, keep the manual close at hand, because none of us can remember what the 100+ pages said. When you read the entire thing it was only to get an overview. If there are HELP screens then aquaint yourself with them.

5)Next, concentrate on only a few things. (Maybe just pounding out a few tracks today) Don't get overwhelmed with all of the editing features today. Just have fun and LAY DOWN TRACKS! (record tracks or record a few instruments)

6)Tommorow you can go back and start EDITING. "Let's see the only good drum beat is from measure (bar) 32-64. I'll throw away all of the rest and LOOP that section until I can think of a good ROLL,(break, fill).

7) As you EDIT keep saving to the Hard Disk every time before a major edit, because you will make mistakes, like throwing away the 32 bars that you wanted to keep! Sometimes UNDO will get you out and sometimes it won't. This is because sometimes UNDO only works on the very last EDIT. If you make cut out the 32 bars, then play a bit on the keyboard. The UNDO will only cut out the last thing, which would be the bit that you played on the keyboard. Sometimes this is the difference between "pro" and "home" sequencers. Some pro sequencers will allow unlimited UNDO. In other words UNDO back and back and back and etc.

8) Even with those with unlimited UNDO, it is still good to back up to hard disk every 15 minutes. What if the power goes out?

9)Since 99% of Western Music (pop,rock,country etc.) has vocals, you will then start to think of where and how to insert your vocals. With me these days it is by singing into the sound card mic input. With the CAKEWALK pro, you can have the AUDIO tracks such as your vocals, sync up with the midi tracks.

10)Remember I will be here to answer your SPECIFIC questions as you go through the rewarding journey of MUSIC PRODUCTION.

WHAT I USE TO RECORD TODAY
THE ROLAND STUDIO PACK