ben m
Joined: 15 Sep 2002
Posts: 344
Location: UK |
| Week 10 - Applications of Music Technology |
 |
|
Hi everyone,
good work throughout the term - the end is in sight!
There are some tricky ones this week so some judicious use of resources will be required to glean some of these answers.
Ok here we go;
If during the recording of a MIDI part the musician has problems accurately performing a simultaneous note/pitch bend, how may this be solved?
If a PC or MAC is used in a life performance with a sequencer, what would be more useful, lower latency settings or larger disk buffer settings?
How long (in seconds) would 1 bar of music at 100BPM last?
If a delay unit with no tap/tempo sync options is to be used, what is the relationship between the delay time in ms and the tempo of the track in bpm?
How would the above setup be used to create an eigth-note delay in a 120BPM track?
How would the above setup be used to create a quarter-note delay in a 80BPM track?
How woud a click track typically be used and routed in a live setup?
How could an electric guitar be used to create MIDI information?
What is digital amp modelling?
If digital amp modelling is used with no cabinet emulation, what will be the effect on the sound?
How could a digital amp modeller be used live with amp switching controlled by a sequencer?
How can digital amp/cab modellers be used live to reduce onstage sound levels?
When using loops that have been triggered from a sampler via MIDI, what implications does it have on the engineers choice of playback position?
When using true analogue hardware synths on tour, what issues may there be with tuning?
Why may it be useful to record a live performance onto multitrack rather than a stereo medium?
What is punching-in/out and how is it useful in studios with limited tracks?
Briefly explain how MIDI can be used to control the lighting and visual elements of a show including how MIDI information is converted.
How could a pitch-bend wheel be used to control lights in a 'xmas light' style in a live situation?
What problems are there with using MIDI for lighting control?
What is the MSC protocol?
Why should MSC not be used to control equipment such as pyrotechnics?
What do the MSC commands Go, Stop and Fire usually do?
How accurate in the time domain is MSC?
What 3 parts are there to a MTC command?
What is a Macro in MSC terms? |
Mon May 09, 2005 2:30 pm |
|
|
chemira
Joined: 03 Jan 2005
Posts: 50
Location: Nova Scotia Canada Eh! |
|
|
|
Week 10 Music Technology
If during the recording of a MIDI part the musician has problems accurately performing a simultaneous note/pitch bend, how may this be solved?
By Playing the note and ignoring the pitch bend the musician can later modify the event at the point where the pitch bend is wanted using a modify event command or record the event and apply it to the note.
If a PC or MAC is used in a life performance with a sequencer, what would be more useful, lower latency settings or larger disk buffer settings?
Lower latency settings will keep the timing more accurate during a live performance using a PC or Mac.
How long (in seconds) would 1 bar of music at 100BPM last?
In 4/4 time
Time= (number of bars*240/Tempo
Time =(1*240/100)
Time= 2.4 seconds
If a delay unit with no tap/tempo sync options is to be used, what is the relationship between the delay time in ms and the tempo of the track in bpm?
Formula: Delay (ms)=(60/BPM)*1000
Example 1.
For 120 BPM song
Delay in ms= 60 divide by 120 times 1000
delay=500
This makes sense since the songs tempo is tapping at two beats per second. 500 ms = half a second. On to another example where you slow down the tempo a little bit.
Example 2.
For a 100 BPM song
Delay in ms= 60 divide by 100 times 1000
Delay = 600 ms
Again the tempo is Almost two taps per second but not quite, 600ms is more than the jalf of a second in example 1.
Example 3.
For 90 BPM song
Delay in ms =60 divide by 90 times 1000
Delay = 666.67
This is where it should make a conclusive amount of mathematical sense. Slowing down the BPM will create more time/ delay between each tap.
Check out http://synthesis.fap7.com/dlycalc.htm for a calculator that does just this.
How would the above setup be used to create an eighth note delay in a 120BPM track?
By taking the answer for my example 1. above which represents the full bar timing and dividing it by 8 to represent the eighth note delay that is asked for the answer would be
For 120 BPM song
Delay in ms= 60 divide by 120 times 1000
delay=500 divided by 8th note
delay=62.5 ms per eight note.
How would the above setup be used to create a quarter-note delay in a 80BPM track?
Formula: Delay (ms)=(60/BPM)*1000 divided by 4
Delay in ms = {(60 divided by 80) times 1000)} divided by 4
Delay in ms = (.75X1000) divide by 4
Delay =187.5 ms
How would a click track typically be used and routed in a live setup?
A click track would be distributed usually to someone responsible for the tempo of the song namely the drummer. The fold back or monitor feed would usually be sent using headphones to keep a good clear click track to the drummer without allowing people to hear the click.
How could an electric guitar be used to create MIDI information?
Electric guitars can be fitted with a hex pickup that converts string vibration into MIDI messages that can control different patches or sounds on a synthesizer.
What is digital amp modeling?
Digital Amp modeling is the analysis and duplication of the changes that are imparted by an amplifier to a signal paying attention to the spectral, harmonic and distortion characteristics that are present. The changes that occur during the amplifiers increase or decrease in volume are also analyzed and duplicated.
If digital amp modeling is used with no cabinet emulation, what will be the effect on the sound?
Digital amp modeling will create the signal characteristics of the amplifier without the speakers additional characteristic changes to the signal. Open back or closed back cabinet simulations along with Microphone placement will drastically change the sound.
How could a digital amp modeler be used live with amp switching controlled by a sequencer?
The Midi switching can control the patch change messages to the amp modeler so that the changes would be remote, automatic and repeatable. This can free up the guitar player to swing their hair or sign autographs.
How can digital amp/cab modelers be used live to reduce onstage sound levels?
There will be no need to have a driving amp and cabinet at 10 on the stage, only the requirement for a signal with a line feed to the mixer sent through the monitors and Front of House PA.
When using loops that have been triggered from a sampler via MIDI, what implications does it have on the engineers choice of playback position?
The Playback position would have to be the start of the loop otherwise there will be missing segments until a new loop was triggered. Selecting marker positions which have all loops triggering at that start point would assist the engineer.
When using true analogue hardware synths on tour, what issues may there be with tuning?
The older synthesizers are susceptible to power demand changes that occur as the synth heats up which will generate more heat that in turn increases the power demand of the cuircuit. Tuning is derived by a balancing of a circuit which will be changed as the heat increases.
Why may it be useful to record a live performance onto multitrack rather than a stereo medium?
There are two few variables that can be balanced if there is only a two track recorded. The room sound may or may or may not be acceptable for a later mixdown and the more separation between mics the more variables available. Separate mics also give the option to overdub poor performances.
What is punching-in/out and how is it useful in studios with limited tracks?
If tracks are limited the punch in/out will enable the studio to punch in a fix at the point or section required without having to add a new track to the mix.
Briefly explain how MIDI can be used to control the lighting and visual elements of a show including how MIDI information is converted.
MIDI Lighting can be synchronized to a sequencer enabling the sequencer to trigger lighting effects and moods over course of a performance. The Light controller responds to MSC messages like Go, Stop, and Fire. This can be synchronized to a sequencer that can deliver system exclusive commands that the MSC lighting controller can respond too.
How could a pitch-bend wheel be used to control lights in a 'xmas light' style in a live situation?
A pitch wheel could be selected as the tempo control for the tempo of the lighting changes made during a live setup. The wheel could use up to increase and down to decrease the tempo.
What problems are there with using MIDI for lighting control?
If any problem occurs the lighting control can trigger hundreds of commands per second which could cause problems and complex macros may also cause timing problems.
What is the MSC protocol?
MIDI Show Protocol is a system exclusive command set that is a standard for controlling lighting systems with a MSC control device.
Why should MSC not be used to control equipment such as pyrotechnics?
Thee is a chance for error in timing or mistiming that could be catastrophic. The MSC device is capable of sending or receiving hundreds of Go commands a second.
What do the MSC commands Go, Stop and Fire usually do?
Go- starts a transitional action of fade in or out, the functions is sending the light to it’s next state.
Stop- will stop or over-ride all commands in their present state.
Fire- enables a macro to control the lights in a predetermined sequence.
How accurate in the time domain is MSC?
Within 1/30th of a second accuracy.
What 3 parts are there to a MTC command?
The device ID is the first part which selects which device will receive the command. Then the command which the most common ones being Go, Stop, Load and fire. Then finally the Data which is usually the cue number for the go command.
What is a Macro in MSC terms?
A macro in MSC terms is a complex series of commands that are sequence and time specified after they have been triggered by a fire command.
http://wsrv.clas.virginia.edu/~rlk3p/desource/TechNotes/MSC.html
Last edited by chemira on Sun May 15, 2005 3:47 pm; edited 2 times in total |
|
Fri May 13, 2005 7:50 pm |
|
|
|
|
hoaxwagon
Joined: 28 Feb 2005
Posts: 27
Location: Boulder Creek, CA USA |
|
|
|
hoaxwagon week 10 MT
If during the recording of a MIDI part the musician has problems accurately performing a
simultaneous note/pitch bend, how may this be solved?
Portamento is when a note rises or falls from one pitch to another and can be used to simulate a
manually operated pitch wheel modulated tone. Step entering the note/pitch bend could be done.
Which means the part would not have to be performed, just programmed in. I am really unsure
about this one.
If a PC or MAC is used in a life performance with a sequencer, what would be more useful,
lower latency settings or larger disk buffer settings?
They are both important although if you have a fast computer lower latency settings like those
achieved by having a smaller disc buffer size (samples per second) are more useful. Less
polyphony and tembre also decreases latency and is a small price to pay for the sequencers
actions being able to stay in time with the other live instruments. Larger disc buffer settings are
most useful when running a slower computer but the higher latency would be approaching
unacceptable.
How long (in seconds) would 1 bar of music at 100BPM last?
1 bar of music at 120 bbm goes on for 8 seconds. After some number crunching I do believe that
it takes 10.67 seconds for a bar (4 measures) of music at 100 bbm to pass.
If a delay unit with no tap/tempo sync options is to be used, what is the relationship
between the delay time in ms and the tempo of the track in bpm?
there are 60,000 ms in minute. Therefor if you divide 60,000 by the number of beats per minute
your sequencer is running at, lets say 100BPM, than the delay time in ms that coincides with the
1/4 note tempo or beat of the song is 600.
How would the above setup be used to create an eighth-note delay in a 120BPM track?
250 ms delay should equal the eighth note on a 120BPM track.
How would the above setup be used to create a quarter-note delay in a 80BPM track?
750 ms should give you the 1/4 note delay that matches the quarter notes an 80 BPM track
How would a click track typically be used and routed in a live setup?
The drummer should have headphones on to monitor the click track and the other musicians can
follow the drummer.
How could an electric guitar be used to create MIDI information?
A guitar with a MIDI pick-up that is plugged into a guitar MIDI interface can create MIDI
information.
What is digital amp modelling?
Digital amp modelling is a technology which recreates the sounds from numerous amplifiers of
the past and present in a convenient package. There is software associated that can even call up
particular musicians tones on certain songs ( Jimmy Hendrix purple haze).
If digital amp modelling is used with no cabinet emulation, what will be the effect on thesound?
The sound would be just the amp simulation and the end result would be a hybrid sound created
by the combination of the particular digital amp model being used and whatever speakers that are
used.
How could a digital amp modeller be used live with amp switching controlled by a
sequencer?
The digital amp modeller can be used with MIDI and manipulated using MIDI Machine Code
messages. If the ‘live band’ is referencing the click track from a sequencer than the user defined
and set MMC messages can be read by the digital amp modeller to perhaps change the setting on
the modeller.
How can digital amp/cab modellers be used live to reduce onstage sound levels?
With the use of digital amp/cab modellers there is no need for a guitar loud speaker cabinet on
stage. The guitarist can get that great amp/ cab sound via monitor mix ( whether it be in ear or
wedge monitor). I saw a video of RUSH the other night and saw that the bass player had huge
clothes dryers spinning behind him instead of amps. I’d guess that Getty Lee is a fan of
somewhat lower stage volumes.
When using loops that have been triggered from a sampler via MIDI, what implications
does it have on the engineers choice of playback position?
The engineer would have no choice but to start at the beginning of the loop.
When using true analogue hardware synths on tour, what issues may there be with tuning?
The analogue hardware synth heats up as the time goes by and becomes less pitch stable. Some
synth’s have an auto tune capability although there is a button that needs to be pressed for this to
implement.
Why may it be useful to record a live performance onto multitrack rather than a stereo
medium?
When a live performance is taped using a multitrack recorder ( assuming that each instrument has
its own track) the tracks can then be adjusted separately, at a latter date, for a more polished mix.
If you record a band using a stereo 2 track medium you are pretty much stuck with that mix
because the tracks are already mixed together.
What is punching-in/out and how is it useful in studios with limited tracks?
Punching in an out is when you add parts to tracks that already have stuff on them. For ex., the
vocal track has empty space on it where the solo or lead of the song is. The lead or solo
instrument can be placed on that space of the vocal track to conserve tracks.
Briefly explain how MIDI can be used to control the lighting and visual elements of a show
including how MIDI information is converted.
MIDI is used to control lighting be way of a MIDI extension called MIDI Show Control. Through
the use of system control messages lighting can be manipulated and can coincide in sync with
other MIDI devices (audio or not).
How could a pitch-bend wheel be used to control lights in a 'xmas light' style in a live
situation?
What problems are there with using MIDI for lighting control?
This may be more of a deterrent, but the high cost of Midi Show Control sequencing devices
may be considered a problem. Another problem would be programming errors which would
result in undesirable results.
What is the MSC protocol?
MSC (a standard serial computer protocol) is used for theatrical
control systems to enable the exchange of cue execution data. MSC is a set of specific System
Exclusive messages and is an extension of the MIDI command set.
Why should MSC not be used to control equipment such as pyrotechnics?
A MSC system
should not be used to control equipment such as pyrotechnics because MSC can execute
hundreds of Go commands quickly. So in the case of cueing or programming errors you wouldn’t
want flaming balls rapidly flying through the air at undesired times.
What do the MSC commands Go, Stop and Fire usually do?
The MSC command ‘Go’ (data byte 01) can be used to execute a transition or fade to a desired
user pre-set cue.
The MSC Stop (data byte 02) command simply stops all running transitions.
The MSC Fire command triggers a pre-programmed keyboard Macro.
How accurate in the time domain is MSC?
MSC commands are accurate to within 1/30th of a second.
What 3 parts are there to a MTC command?
The 3 parts of a MIDI Time Code command are a status byte followed by two relevant bytes (the
least significant and the most significant).
What is a Macro in MSC terms?
The Macro is a single computer command defined by a 7 bit number used to trigger a
programmed sequence of repeated commands (algorithm). The macro, which is usually created
by the user, is a file containing the list of commands that saves users the time and effort of
inputting them over and over. |
|
Sat May 14, 2005 2:59 pm |
|
|
thx1138
Joined: 07 Jan 2005
Posts: 21
|
|
|
|
1) If during the recording of a MIDI part the musician has problems accurately performing a simultaneous note/pitch bend, how may this be solved?
The MIDI part could be edited after recording to correct any playing errors or, the note sequence could be recorded first and the pitch bend information could be added afterwards.
2) If a PC or MAC is used in a live performance with a sequencer, what would be more useful, lower latency settings or larger disk buffer settings?
Lower latency settings would be more useful so notes would occur exactly when they are triggered. Larger disk buffer settings would also be useful if a lot of large audio samples are used in the performance.
3) How long (in seconds) would one bar of music be?
Length = tempo * time.
The difficulty arises because of the different units of measurement used. To resolve the problem a constant is introduced: 240 (60 seconds per minute * 4 beats in a bar)
Seconds = (bars * 240) / Bpm
(1 * 240) / 100 = 2.4 seconds.
4) If a delay unit with no tap/tempo sync is to be used, what is the relationship between delay time and tempo of the track in BPM?
The relationship between delay time and tempo in BPM can be expressed with a similar formula to the one in the answer above except it needs to be tweaked slightly as we are dealing in milliseconds.
Delay time in MS = (bars * 240 000) / Bpm
Where 240 000 represents 60 000 milliseconds in a minute * 4 beats in a bar.
5) How could the above set-up be used to create an eighth note delay in a 120 Bpm track?
Delay in milliseconds = ((240 000 * 1) / 8 ) / 120
Which is equal to 250 ms delay time.
6) How could the above set-up be used to create a quarter note delay in an 80 Bpm track?
Delay in milliseconds = ((240 000 * 1) / 4 ) / 80
Which is equal to 750 ms delay time.
(3, 4, 5 & 6: www.geocities.com/SunsetStrip/Underground/2288/9mustool.htm)
7) How would a click track typically be used and routed in a live set-up?
In a live set-up, with a conventional band, only the drummer would normally need to hear the click track as the rest of the band would keep in time with the drummer. Maybe sometimes other members of the band such as the bass player could need to hear the click track.
Musicians that need to hear the click track would have to use headphones from the sequencer as the click track is not for the audience to hear.
 How could an electric guitar be used to create MIDI information?
A hexaphonic pickup could be attached to the guitar, which would plug into a pitch to MIDI converter that would either include its own tone module or would be plugged into a MIDI receptive device.
9) What is digital amp modelling?
Digital Amp Modelling is emulation of the sounds of specific types of amplifier. Basically it emulates the sounds of amplifiers and their speakers and can offer simulation of amp micing too.
10) If digital amp modelling is used with no cabinet emulation, what will be the effect on the sound?
Digital amp modelling without cabinet emulation will eliminate the tones of the cabinet and any micing emulation. The sound will not have the warmth and depth of the speaker itself. It would be like recording straight from the amp without using the speaker. Low and high frequencies would be increased but the effect of the cabinet and micing would be missing.
11) How could a digital amp modeller be used live with amp switching controlled by a sequencer?
Most of the more advanced digital amp modellers can be controlled by MIDI, so a sequencer could transmit appropriate MIDI messages to the modeller to trigger switching between amp emulation types.
12) How can digital amp/cab modellers be used live to reduce onstage sound levels?
Instead of plugging instruments into amplifiers they could be plugged directly into digital amp modellers and sent to the mixing console, eliminating any bleed from other amps through any microphones and reducing a lot of excess noise.
13) When using loops that have been triggered from a sampler via midi, what implication does it have on the engineers choice of play position?
Loops will only play if triggered from their start points, the engineers choice of play position would be limited to the start points of any of the samples. If a song is played from in between any of these points loops will not play until another trigger point is reached.
14) When using true analogue hardware synths on tour, what issues may there be with tuning?
Analogue synths are temperature sensitive so changes in temperature will cause changes in tuning.
15) Why may it be useful to record a live performance onto multitrack rather than stereo medium?
It would be useful to record a live performance to a multitrack medium as the recording could be edited and properly mixed after the performance without having to rely on getting exactly the right mix when recording.
Also, other parts could be added afterwards, different compression could be applied to each individual track, the drums could be replaced using a drum replacer and additional vocal tracks and other instruments could be added if needed.
16) What is punching in/out and how is it useful in a studio with limited tracks?
Recording only within a particular range of a track without altering recorded data before or after that range is called 'punch' recording. This allows you to re-record specific areas of a track without altering the entire track and is therefore useful in a situation where tracks are limited.
Punch in is where the recording starts and punch out is the point at which recording stops.
(www.sagantech.biz/metro/help/Met01035.htm)
17) Briefly explain how MIDI can be used to control lighting and visual elements of a live show, including how MIDI information is converted?
MIDI data can be used to control non-musical devices such as electronic lighting systems. The MIDI show control protocol is used to allow MIDI systems to control lighting and other visual elements of a live show.
MIDI-to-analogue interfaces would be used to convert MIDI information so that lighting/visual devices could be driven by the MIDI data.
1 How could a pitch bend wheel be used to control lights in a 'xmas light' style live situation?
The controller messages from the pitch bend wheel could be used to control the intensity of the lights and transitions between one set of lights to another.
19) What problems are there with using MIDI for lighting control?
MIDI is a serial protocol (messages can be sent one at a time in one direction at a time), so the more information sent down the MIDI cable the more latency is possible. Slight delays could occur in the timing of the lighting effects and they could end up being slightly out of sync with the music.
20) What is the MSC protocol?
This is the MIDI Show Control protocol and its purpose is to allow MIDI systems to control equipment in theatrical, live performance, multi media, audio visual and similar environments.
MSC is used to send non-musical information to non-musical devices such as electronic lighting systems.
(www.richmondsounddesign.com/txt/mscspec.txt)
21) Why should MSC not be used to control equipment such as pyrotechnics?
While MSC can be used to control pyrotechnics, it should not be, solely for safety purposes. While using pyrotechnics it is possible for people to be injured so they should always be human controlled as timing errors could occur if they are MIDI controlled. A sequencer (or whatever device is transmitting the MIDI information) is not going to tell whether someone is standing near to the pyrotechnic device (people aren't MIDI controlled so someone could easily be standing in the wrong place) when the pyrotechnics are supposed to go off).
A human controller would ensure that the device wouldn't go off if someone was standing too near it (even if it is tempting to blow up band members).
22) What do the MSC commands Go, Stop and Fire usually do?
GO - starts a transition or a fade or a cue.
STOP - halts currently running transitions. If no cue number is specified then all running transitions stop. If a cue number is specified then only that specific transition(s) STOP, leaving all others unchanged.
FIRE - Triggers a pre-programmed MACRO.
(web.tiscali.it/giordy/midi-tech/showctl.htm)
23) How accurate in the time domain is MSC?
MIDI show control time code is entirely consistent with the formats used by MIDI time code. It uses hour, minutes, seconds and frames so it is as accurate as MTC.
24) What three parts are there to a MTC command?
There are several MIDI messages that make up the MTC protocol and all but one are defined as sysex messages.
The most important message is the Quarter Frame Message which is not a sysex message. It is analogous to the MDI clock message and is sent 4 times every SMPTE frame. Its data byte contains the SMPTE time but each quarter frame message contains just one piece of the SMPTE timecode, 4 quarter frame messages contain one part each.
For cueing a slave device to a particular start point quarter frame messages are not used, instead Full Frame messages are used which is a sysex message that encodes the entire SMPTE message in one message.
There are other parts such as User Bits, notational information (time signature, bar marker) and set-up messages (punch in, punch out, event start/stop, cue points).
(www.borg.com/~jglatt/tech/mtc.htm)
25) What is a MACRO in MSC terms?
A MACRO is a set of commands used to instruct devices to perform a number of pre-programmed instructions triggered by the FIRE MSC command.
_________________
AcousticalWeaponsDivision/Alex |
|
Sun May 15, 2005 6:32 am |
|
|
|
|
JohnA
Joined: 20 Jan 2005
Posts: 28
Location: Mid Glamorgan, UK |
|
|
|
Audio Course
AUMT03
Week 10
Applications Of Music Technology
JohnA (mixindown)
1. If during the recording of a MIDI part the musician has problems accurately performing a simultaneous note/pitch bend, how may this be solved?
The musician can first record the performance of the notes into a sequencer. This performance can then be played back and the musician can add the pitch bend information as they listen back to the performance. Both the original performance and the added pitch bend can then be played simultaneously, with the pitch bend affecting the performance notes as if it was played in one take.
2. If a PC or MAC is used in a life performance with a sequencer, what would be more useful, lower latency settings or larger disk buffer settings?
Lower latency would be more useful as this would allow the performers to have the monitored music in sync with the performance rather than any delays caused by low latency.
3. How long (in seconds) would 1 bar of music at 100BPM last?
Each BPM is a quarter note. There are 4 quarter notes to a bar.
60 (sec) / 100 (bpm) = 0.6 (sec per beat) x 4 (bar) = 2.4 seconds.
4. If a delay unit with no tap/tempo sync options is to be used, what is the relationship between the delay time in ms and the tempo of the track in bpm?
The relationship between delay time in ms and tempo in bpm can be calculated as follows:
60,000 ms = 1 minute
Divide this by the bpm on the track.
This will give the delay time in quarter notes.
5. How would the above setup be used to create an eighth-note delay in a 120BPM track?
The above setup could be used to create an eighth-note delay in 120 BPM as follows:
60,000 / 120 = 500ms quarter note / 2 (for eighth notes) = 250ms
or you could use the calculation by using eighth note delays, which are 30,000 so:
30,000 / 120 = 250ms
6. How would the above setup be used to create a quarter-note delay in an 80BPM track?
The above setup would be used to create quarter note delay in an 80BPM track as follows:
60,000 / 80 = 0.75 = 750ms
7. How would a click track typically be used and routed in a live setup?
A click track would normally be routed from a sequencer / tape recorder /CD player / Mini Disc player, into the mixing desk and out into the drummers headphones / in ear monitoring. Each musician in the band then follows the drummer. Obviously, in a live set-up, the gaps between songs will probably be different from gig to gig so its advisable to leave at least a two minute gap between different click tracks on the sequencer. Also, give someone the specific job of being in charge of the click track (preferably the drummer if no engineer is available).
8. How could an electric guitar be used to create MIDI information?
An electric guitar could be used to create MIDI information by using a guitar synthesizer such as the Roland GR 20. You need three pieces of equipment to convert an electric guitar sound into MIDI information:
1. A pickup: This captures the waveform coming from the string
2. A converter: Translates the waveform into MIDI
3. A sound module: Matches the MIDI information with a voice (either digitized sound or synthesized one)
The converter and the sound module are usually in the same box, all in one system.
9. What is digital amp modelling?
Digital amp modelling is a technology that attempts to (and does a very good job at IMHO) emulate the sound characteristics of particular amplifiers / cabinets, by recreating the sounds mathematically in digital format. The digital information that recreates these sounds is based on detailed analysis of traditional and classic amps and cabs. The first company to really succeed with this type of technology was line 6 with their Line 6 pod. Now we have examples such as Native Instruments Guitar Rig (great piece of kit) which comes as software and a hardware foot controller that supplies the pre-amp. It also offers the option of either one or two guitarists to use it at the same time (good for jamming).
10. If digital amp modelling is used with no cabinet emulation, what will be the effect on the sound?
If the digital amp modelling is used with no cabinet emulation, the sound will be brighter. A cab adds warmth and the opportunity to push the speakers to overdrive. This would be missing from the sound if no cab were used.
11. How could a digital amp modeller be used live with amp switching controlled by a sequencer?
A digital amp modeller can be controlled via MIDI. This means that perameters such as amp switching can be controlled with the sequencer sending MIDI control messages to the digital amp modeller at pre-programmed times.
12. How can digital amp/cab modellers be used live to reduce onstage sound levels?
To recreate certain sounds (Marshall 4x10 overdriven cab); you sometimes have to drive the speakers in the cab with high output from the amp. Using a 100watt Marshall head with a 4x10 cab at a small venue (and especially at rehearsals) just isn’t practical, it’s simply too loud for the rest of the music and the musicians (besides the feedback problems). With a digital amp/cab modeller, you can recreate this same sound but at virtually zero watts. You can then select the specific overall output level for that sound. It does not have to be 95 watts!. So that great overdriven 4x10 Marshall cab you are after can be done at any volume. This is how you can control the sound level.
13. When using loops that have been triggered from a sampler via MIDI, what implications does it have on the engineer’s choice of playback position?
When using loops from a sampler via MIDI, the engineer’s choice of playback positions is limited. Everything has to be based around the start of the loop. I need to look into this more.
14. When using true analogue hardware synths on tour, what issues may there be with tuning?
The oscillators on true analogue hardware synths need to warm up before they can perform properly. If they are not given time to warm up, they tend to drift when played. Their reliability can also be effected by both humidity and overheating.
15. Why may it be useful to record a live performance onto multitrack rather than a stereo medium?
It may be useful to record a live performance onto multitrack rather than stereo because it would be easier to edit the performance afterwards. If, for example, the bass guitar was too loud on a stereo track, there is little you can do to alter this without affecting other instruments in the same frequency. However, if the bass has its own track on a multitrack recorder, you have the control to edit or even delete and re-record it if the performance was not to your liking. This obviously applies to all tracks recorded on a multitrack recorder.
16. What is punching-in/out and how is it useful in studios with limited tracks?
Punching in/out is a recording procedure that allows the user to re-record over a previously recorded section. Depending on the set up, the punch in and out points can either be set using a sequencing package or manually controlled via a footswitch or having an engineer to press record/ stop.
In a studio with limited tracks, if you find you have run out of tracks but need to add more recording to the composition, you could use punch in and out to record on any sections that have no recording on. So if there are blank sections when vocals are not being sung, the lead guitar part could be punched in there.
17. Briefly explain how MIDI can be used to control the lighting and visual elements of a show including how MIDI information is converted.
MSC (MIDI Show Control) can be used to control the lighting and visual elements of a show. This can be done with using Sysex messages with the aid of a MIDI sequencer. Each sub-system (e.g. Lighting, dry ice machine) will have an ID, which the user can set in a Sysex message.
18. How could a pitch-bend wheel be used to control lights in a 'Xmas light' styles in a live situation?
The MIDI controller would have to respond to “velocity” for flashing events. So when a note on message is received, the pitch-bend velocity value is applied as a “dimming value”. This bypasses the CC value. When the note is released, the CC value is restored.
19. What problems are there with using MIDI for lighting control?
Most of the problems associated with MIDI for lighting control include MIDI delay. This is due to the fact that MIDI is a serial connection and so bandwidth is affected when a lot of information is coming down the MIDI cable. If there is a lot of information at one time, there is a delay in the processing of the information and so a delay in the execution of the information.
20. What is the MSC protocol?
MSC (Midi Show Control) is a subset of MIDI and uses System Exclusive messages to control lighting and other effect events in time with music. MSC can be controlled from a sequencer. It can also be use to control certain musical tools who’s functions are not covered by standard MIDI messages such as in a digital tape recorder for punch in and out times for an overdub.
21. Why should MSC not be used to control equipment such as pyrotechnics?
MSC should not be used to control equipment such as pyrotechnics because a fault with the information that controls pyrotechnics could be life threatening. MSC is capable of executing literally hundreds of Go commands extremely rapidly. MSC can be programmed to cause a chain of events one after the other, if an error occurred mid way through a chain of events, the MSC would just keep going. Trained individuals should always control pyrotechnics.
22. What do the MSC commands Go, Stop and Fire usually do?
The MSC Go, Stop and Fire commands usually do the following:
Go: Starts a transaction.
Stop: This usually stops currently running Transitions. If no Cue Number is specified, all the running transitions stop. If a Cue Number is specified, only that specific transition stops. This leaves the others unchanged.
Fire: This usually triggers a pre-programmed keyboard Macro.
These are the types of commands that would be used to execute Macros on a lighting console.
23. How accurate in the time domain is MSC?
MSC is accurate to within 1/30th of a second. This makes it possible to precisely adjust the timing of cues.
24. What 3 parts are there to a MTC command?
Should this be “MSC”?
The three parts to a MSC command are:
Device ID, Command and Data.
Device ID: this is the number given to a subsystem e.g. lighting system. ID numbers range from 0 to 111. This can be used in a System Exclusive message so the various controllers daisy-chained together via MIDI can determine which of the controllers in a particular Sysex message is meant for.
Command: Various commands include GO, STOP, LOAD and FIRE.
Data: This is usually the Cue Number for the Go command, console Macro Number for the Fire Command, or other information.
25. What is a Macro in MSC terms?
A macro in MSC is a series of keyboard and mouse actions recorded to a single key, symbol, or name.
JohnA
http://www.soundonsound.com/sos/nov03/articles/backingtracks.htm
http://www.hazardfactor.com/dave/devices2.htm
http://web.tiscali.it/giordy/midi-tech/showctl.htm
http://wsrv.clas.virginia.edu/~rlk3p/desource/TechNotes/MSC.html
http://www.betterguitar.com/Equipment/Recording/AmpliTube/AmpliTubeLiveLEReview.html
http://www.logiq-electronics.com/ |
|
Sun May 15, 2005 3:02 pm |
|
|
rachelh
Joined: 16 Jan 2005
Posts: 35
Location: Trinidad WI |
|
|
|
WEEK 10: APPLICATIONS OF MUSIC TECHNOLOGY
If during the recording of a MIDI part the musician has problems accurately performing a simultaneous note/pitch bend, how may this be solved?
If a PC or MAC is used in a life performance with a sequencer, what would be more useful, lower latency settings or larger disk buffer settings?
If a PC or Mac is used in a live performance with a sequencer, a larger disk buffer setting would be more useful than a lower latency setting because the increase in buffer allocation would allow the processor to complete the tasks faster thus latency would be reduced as a result.
How long (in seconds) would 1 bar of music at 100BPM last?
In common time 4/4 a bar of music at 100 BPM would last 2.4 seconds, this can be deduced from the following:
[60 seconds ÷ BPM] x number of beats = full length (in seconds) of sample at that tempo.
60/100 x 4 = 2.4
If a delay unit with no tap/tempo sync options is to be used, what is the relationship between the delay time in ms and the tempo of the track in bpm?
If a delay unit with no tap/tempo sync options were to be used, the relationship between the delay time in ms and the tempo of the track in bpm would be:
How would the above setup be used to create an eigth-note delay in a 120BPM track?
How would the above setup be used to create a quarter-note delay in a 80BPM track?
How would a click track typically be used and routed in a live setup?
A click track would be used in a live recording to guide the musicians in terms of timing, it would normally be routed into the monitors / monitor of the musician/s that needs the track.
How could an electric guitar be used to create MIDI information?
An electric guitar could be used to create MIDI information by either recording the segment of audio as normal, that is miking the guitar amp then converting the recorded audio to MIDI information or a guitar pickup can be used.
What is digital amp modelling?
Digital amp modelling is the process by which computer algorithms are used to generate the sound of specific amplifiers/cabinets. This is useful as it allows for flexibility with equipment as one can accomplish a sorted after sound without having to own the equipment and opens up an entire list of possibilities to the artist.
If digital amp modelling is used with no cabinet emulation, what will be the effect on the sound?
If digital amp modelling is used with no cabinet emulation, the effect on the sound would be a loss of warmth.
How could a digital amp modeller be used live with amp switching controlled by a sequencer?
A digital amp modeller could be used live with amp switching controlled by a sequencer because modellers are equipped with MIDI capabilities, thus, MIDI Time Code can be used to control the amp switching.
How can digital amp/cab modellers be used live to reduce onstage sound levels?
A digital amp/cab modeller can be used live to reduce onstage sound levels by eliminating the need for actually having an amplifier/cabinet onstage. Thus instruments can be DI into the modeller which in turn is connected to the board, making the level of on stage noise reduce [due to the absence of equipment]
When using loops that have been triggered from a sampler via MIDI, what implications does it have on the engineer’s choice of playback position?
Playback has to be positioned before the actual ‘event’ so that during progression playback, the events/ loops are triggered on queue and in some cases triggered at all.
When using true analogue hardware synths on tour, what issues may there be with tuning?
When using true analogue synthesisers on tour, issues that may arise with respect to tuning are changes due to tuning, as analogue synths are sensitive to heat.
Why may it be useful to record a live performance onto multitrack rather than a stereo medium?
It may be able to record a live performance onto multitrack rather than a stereo medium if there are anticipated edits to be done after the performance, a stereo output can be generated/ applied in the studio anyway.
What is punching-in/out and how is it useful in studios with limited tracks?
Punching in/out is the process by which a segment of audio can be punched in/ inserted or punched out/ removed from a recording. This process can help when there is a limit on the number of tracks available as it allows this edit to be done in the existing track where the punching in/out audio is to be inserted/ removed.
Briefly explain how MIDI can be used to control the lighting and visual elements of a show including how MIDI information is converted.
MIDI can be used to control the lighting and visual elements of a show via the use of MSC / MIDI Show Control Protocol. MSC is a sequencer that is used to control non-musical devices such as lighting and effects events by cueing them to musical events. MSC is a subset of MIDI, which utilises System Exclusive messages. This set of specific System Exclusive messages, are used to send non-musical commands to devices such as an electronic lighting system.
How could a pitch-bend wheel be used to control lights in a 'xmas light' style in a live situation?
A pitch blend wheel can be used to control lights in a Christmas light style in a live situation by acting as the interface by which the lights change.???
What problems are there with using MIDI for lighting control?
The problems associated with using MIDI for lighting control are
What is the MSC protocol?
MSC or MIDI Show Control Protocol is a sequencer that is used to control non-musical devices such as lighting and effects events by cueing them to musical events. MSC is a subset of MIDI, which utilises System Exclusive messages much like MIDI Sample Dump Standard is a subset of MIDI. This set of specific System Exclusive messages, which are used to send non-musical commands to devices such as an electronic lighting system, is called MIDI Show Control. Today, there are numerous non-musical systems that can receive these MIDI commands (via a MIDI jack on the system's main controller), and thereby be remotely controlled by one master controller, or even controlled by a sequencer (for totally automated operation). In fact, MIDI Show Control is even used to control certain musical tools whose functions aren't normally covered by standard MIDI messages. For example, MIDI Show Control can be used to control a digital tape recorder, accessing various features over MIDI such as setting the punch-in and punch-out times for an overdub. [1]
Why should MSC not be used to control equipment such as pyrotechnics?
MSC should not be used to control equipment such as pyrotechnics of the nature and danger associated with pyrotechnics; in general, al explosive devices should be controlled directly by a human being and not a machine.
What do the MSC commands Go, Stop and Fire usually do?
In MSC the commands go, stop and fire are utilised for the following:
GO- for which extension 1 in the command menu is reserved starts a transition or faced to a cue. Transition time is determined by the cue in the Controlled Device. If no Cue Number is specified, the next cue in numerical sequence GOes. If a Cue Number is specified, that cue GOes. Transitions "run" until complete. If the Controller wishes to define the transition time, TIMED_GO should be sent. In Controlled Devices with multiple Cue Lists, if no Cue Number is specified, the next cues in numerical order and numbered identically and which are in Open Cue Lists GO. If Q_number is sent without Q_list, all cues with a number identical to Q_number and which are in Open Cue Lists GO. [1]
STOP- for which extension 2 in the command menu is reserved halts currently running transition(s). If no Cue Number is specified, all running transitions STOP. If a Cue Number is specified, only that single, specific transition STOPs, leaving all others unchanged. [1]
FIRE- for which extension 7 in the command menu is reserved triggers a pre-programmed keyboard Macro. A 7-bit number defines the Macro. The Macros themselves are either programmed at the Controlled Device, or loaded via MIDI file dump facilities using the ASCII Cue Data format or any method applicable to the Controlled Device. [1]
How accurate in the time domain is MSC?
The time domain utilised in MSC is as accurate as SMPTE and MTC as it incorporates a time code word of hours: minutes: seconds: frames. After all, MSC is successfully utilised to synchronise /control non-musical devices such as lighting and effects events by cueing them to musical events, thus it is proven accurate.
What 3 parts are there to a MTC command?
The three parts of a MIDI Time Code /MTC command are:
I. Quarter frame messages- these are transmitted only when the system is running in real or varispeed time and in either the forward or backward directions.
II. Full messages- quarter frame messages are not sent in the fast forward, rewind or locate modes because this would unnecessarily clog our outrun the MIDI data lines. When the system is in any if thee shuttle modes a fall message is used that encodes the complete time code address into one single message.
III. MIDI cueing messages- are designed to address individual devices or programs within a system.
What is a Macro in MSC terms?
In MSC terms, macro is defined by as a 7-digit number. The Macros themselves are either programmed at the Controlled Device, or loaded via MIDI file dump facilities using the ASCII Cue Data format or any method applicable to the Controlled Device. [1]
================================
Reference:
[1] http://www.borg.com/~jglatt/tech/showctl.htm |
|
Mon May 16, 2005 3:27 am |
|
|
|
|
ben m
Joined: 15 Sep 2002
Posts: 344
Location: UK |
| Hoaxwagon |
|
|
Hoaxwagon - you may want to have another go at your 'bar of 100bpm' question as your answer is a little on the long side!
A bar consists of 4 beats, so if you know the tempo (100bpm) then you can work out how long each beat lasts, and consequently how long a bar will be etc. |
|
Mon May 16, 2005 10:33 am |
|
|
|
|
All times are GMT. The time now is Fri Aug 29, 2008 7:26 am
|
|
|
|
| |
