ben m
Joined: 15 Sep 2002
Posts: 337
Location: UK |
| 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?
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?
With respect to professional practice, place the following decisions in order of priority
i) select software to perform the task effectively
ii) select a computer
iii) identify and describe the task to be performed. |
Mon Oct 31, 2005 6:32 pm |
|
|
AndyBarber
Joined: 09 Sep 2005
Posts: 18
Location: North Wales |
|
|
|
Posted: Tue Nov 01, 2005 4:32 am Post subject: Week 10 - Applications of Music Technology
ANDY BARBER
--------------------------------------------------------------------------------
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?
Firstly record all notes that are to be played. The track can then be played back recording the required pitch bend controller data over the top as it plays.
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?
The buffer is a reserved part of memory used to hold an advanced supply of audio data to compensate for delays in processing. Buffering introduces latency as buffer needs to fill up by a certain amount before data can continue along the signal chain. Buffer size will remain fixed no matter what the sample frequency is, so the higher the sample frequency the quicker the audio data will pass through the buffer, lowering latency.
Smaller buffer sizes take less time for audio data to pass through it therefore lowering latency. However smaller buffer sizes have less overhead for delays in processing making CPU work harder.
If CPU is being excessively (ie. Running many plugins and effects) a higher buffer size would be preferable. In a live situation stability would be more desirable over a bit of latency there fore a larger disk buffer setting would be more useful.
3. How long (in seconds) would 1 bar of music at 100BPM last?
Assuming that there are 4 beats in a bar,
100 beats = 60 seconds
1 beat = (60/100) seconds = 0.6 seconds
4 beat = 1 bar = 4 x 0.6 = 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?
Delay time of 1 beat = 60000/(TEMPO bpm) ms
5. How would the above setup be used to create an eighth-note delay in a 120BPM track?
Delay time of 1 beat = 60000/(120) ms = 500ms
Eighth note Delay = 1/8th of a beat = 60000/(8 x 120) = 62.5ms
Or, 120bmp = 2 beats per second = 16 x 1/8th note (16 x 62.5 = 1 second)
6. How would the above setup be used to create a quarter-note delay in a 80BPM track?
Delay time of 1 beat = 60000/(80) ms = 750ms
Quarter note Delay = 1/4th of a beat = 60000/(4 x 80) = 187.5ms
7. How would a click track typically be used and routed in a live setup?
With a multitrack recorder a click track should be recorded on track1 for each song. The click track should be sent to its own output as you don’t want the click in the house mix. It is usually only sent (folded back) to the drummers personal monitoring system.
8. How could an electric guitar be used to create MIDI information?
An audio to MIDI converter can create MIDI sequences from wav/MP3/CD track. In real time mode it can instantly convert music coming into a line input of computer into a MIDI sequence. Detected notes can be either recorded, played or both. Allows instruments to be changed in real time eg. Playing the guitar and getting a piano sound. Another method would be to use a MIDI detector (hex pickup) which converts string vibrations into MIDI messages.
9. What is digital amp modelling?
A digital audio signal can be processed to make it sound as if has been recorded after being played through a guitar amplifier. Simulates/models the tone, vibe and feel of amplifiers with consideration to spectral, harmonic and distortion characteristics.
10. If digital amp modelling is used with no cabinet emulation, what will be the effect on the sound?
The signal will be less coloured as the sonic characteristics of the cabinet/speakers wont be included in the emulation.
11. How could a digital amp modeller be used live with amp switching controlled by a sequencer?
MMC (MIDI Machine Code) could be used by the sequencer to control an external digital amp modeller in real time. Program change messages can be programmed into a sequencer which in turn are sent to change patches on the modeller. This however would mean the live performance would be playing along to a click track.
12. How can digital amp/cab modellers be used live to reduce onstage sound levels?
Guitar signal can be sent straight from the modeller to the mixing desk. The guitar will then be only heard through the PA system or signals routed back to musician’s monitors at the desired volume.
13. When using loops that have been triggered from a sampler via MIDI, what implications does it have on the engineers choice of playback position?
If a key is being held down creating a sample which is being looped continuously, the engineer must start playback in a position before the key is pressed. If song is played back mid way through samplers trigger key, the sample will not be played.
14. When using true analogue hardware synths on tour, what issues may there be with tuning?
True hardware synths rarely stay n tune for long as their pitch drifts with temperature fluctuations.
15. Why may it be useful to record a live performance onto multitrack rather than a stereo medium?
Recording to multitrack increases flexibility if the track requires editing or post production. Different instruments on a multitrack can be edited/effected separately.
16. What is punching-in/out and how is it useful in studios with limited tracks?
Punch in/out recording allows you to replace a certain part of an audio track with a new recording with the rest of the track being untouched. Punching allows takes to be recorded again and again until the quality is satisfactory without the need for additional tracks.
17. Briefly explain how MIDI can be used to control the lighting and visual elements of a show including how MIDI information is converted.
A MIDI to Light control interface/console can be used to control lights in a live show. MIDI signals from keyboard or sequencer can be used to control an analogue control board which will vary the mains output voltage powering connected lights.
Power to light outputs can be varied by numerous MIDI control messages from note on/off, key velocity ,modulation wheel.
18. How could a pitch-bend wheel be used to control lights in a 'xmas light' style in a live situation?
Pitch bend can be used to change the channel on which MIDI information is being sent. With each light set to different channels they can be turned on and off in different patterns by varying the pitch bend. Different combinations of on, dim or off can be selected with program select messages.
19.What problems are there with using MIDI for lighting control?
MIDI drop outs and timing errors may occur.
20. What is the MSC protocol?
MIDI-Show-Control protocol is an extension of MIDI system exclusive commands used for theatrical control systems used to exchange cue execution data.
21. Why should MSC not be used to control equipment such as pyrotechnics?
MSC should never be used to control dangerous equipment such as automatic rigging, pyrotechnics or motion control systems as MSC messaging like MIDI is prone to signalling problems, drop outs and timing errors.
22. What do the MSC commands Go, Stop and Fire usually do?
Three most common commands for general lighting consoles.
GO - Initiates a fade in or fade out
STOP - Overrides and stops any messages being sent down a channel
FIRE - Triggers Macro to control lights in a predetermined sequence
23. How accurate in the time domain is MSC?
Commands are accurate to within 1/30th of a second.
24. What 3 parts are there to a MTC command?
1 status byte (tells MIDI device what function to perform) then 2 data bytes.
25. What is a Macro in MSC terms?
Macros are a series of command strings (button presses or display selections) that can be recorded for automated playback
With respect to professional practice, place the following decisions in order of priority
iii) identify and describe the task to be performed.
i) select software to perform the task effectively
ii) select a computer
http://wsrv.clas.virginia.edu/~rlk3p/desource/TechNotes/MSC.html
http://psg.com/~dlamkins/Articles/digital-amp-future.php
http://www.dmx512.com/web/light/midi/ryger/m2a.htm
http://www.harmony-central.com/Effects/Articles/Delay/
http://www.harmony-central.com/Features/Modeling/002.html
http://www.harmony-central.com/MIDI/Doc/intro.html
http://en.wikipedia.org/wiki/MIDI_Show_Control
http://www.multitrackstudio.com/recording.php
http://www.findarticles.com/p/articles/mi_m0KYX/is_4_7/ai_n13502313 |
|
Sat Nov 05, 2005 1:03 pm |
|
|
|
|
Polarman
Joined: 24 Jun 2005
Posts: 55
Location: Barbados |
|
|
|
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?
One way to resolve this is to let the musician first play and record the right notes and then let him/her record the pitch bends afterwards. The recording of the pitch bend can be recorded both in real time listening to the performance or added manually inside the sequencer.
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?
There not a clear answer to this. The important thing here is that the sequencer is able to play back the tracks without getting a CPU overload and that the disk buffer is big enough. Use as low latency setting as possible.
3. How long (in seconds) would 1 bar of music at 100BPM last?
This depends on the time signature:
If it is 4/4 100BPM equals 100/4 or 25 bars per minute => 1 bar of music would last 60/25 or 2.4 seconds
If it is ¾ 100BPM equals 100/3 or 33 bars per minute => 1 bar of music would last 60/33 or 1.8 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?
bpm = beats per minute.
One quarter note equals one beat.
There is 60 seconds per minute
The duration of one beat in seconds => 60/bpm or in milliseconds 60/bpm X 1000 ms.
This means that a quarter-note delay is calculated [60/bpm x 1000]
To make the formula suitable for all note values (quarter, eighth, sixteenth-notes) it will look like this:
Delays in milliseconds: 4 x [60/bpm x 1000]/N where
N = note value (4 for quarter note, 8 for eighth-note, 16 for sixteenth-note etc.)
5. How would the above setup be used to create an eighth-note delay in a 120BPM track?
We use our formula from above 4 x [60/bpm x 1000]/N
N = 8
4 x [60/bpm x 1000]/n = 4 x [60/120 x 1000]/8 = 250 ms
6. How would the above setup be used to create a quarter-note delay in a 80BPM track?
We use our formula from above 4 x [60/bpm x 1000]/N
N = 4
4 x [60/bpm x 1000]/n = 4 x [60/80 x 1000]/4 = 750 ms
7. How would a click track typically be used and routed in a live setup?
A click track is normally routed to the headphones of the drummer. The rest of the musicians will follow the drummer. If you have a stereo backing track that you are using live. The channel with the backing music will go to the PA system out to the audience and the other channel with the click track is routed to the drummers head phones.
http://www.soundonsound.com/sos/jun04/articles/qa0604-7.htm
8. How could an electric guitar be used to create MIDI information?
There is two solutions use an electric guitar to produce MIDI information. One way is to mount a MIDI pick up on the guitar the other way is to use a wav – to- MIDI converter. A wav-to MIDI converter can work both in real time and offline.
9. What is digital amp modelling?
Digital amp modelling is a digital simulation of real amp models and speaker cabinets. The algorithms simulates spectral harmonics, distortion and tone of the amp models. The serious breakthrough for digital amp modelling came with Line 6 POD. There are software plugins that can be used to such as Waves GTR, Amplitube, Guitar rig etc.
10. 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 will lack the sound of the speaker cabinet and the mic and its position. It is like connecting a guitar amp directly in to a mixer console.
11. How could a digital amp modeller be used live with amp switching controlled by a sequencer?
The sequencer could be set to send different program changes (different amp models) during the show. This means that the guitarist doesn’t have to think of changing sounds manually.
12. How can digital amp/cab modellers be used live to reduce onstage sound levels?
Since there is no amp miked up and that you normally have to have a decent amount of drive on the amp to get the sound you want. With amp/cab modeller you don’t have to do this since the output of amp/cab modeller is inserted directly to the mixer and out to the PA.
13. When using loops that have been triggered from a sampler via MIDI, what implications does it have on the engineers choice of playback position?
Since the sample is triggered with MIDI nothing will be heard if the loop is started to play back in the middle of the MIDI note. The engineers must play back the sample from at least where the MIDI-note starts.
14. When using true analogue hardware synths on tour, what issues may there be with tuning?
The pitch of the oscillator of the analogue synthesizers tends to drift. Cooling wasn’t the same for all of the oscillator cards, so they would drift at different rates. To combat these tuning problems, technicians tried various strategies such as installing internal cooling fans for improved air circulation. When using analogue synths on tour they have to adjust to the surrounding environment before use and as the temperature on stage rises during performance with lights on they tend to drift even further.
http://www.physicsenterprises.andrews.edu/diy_archive/schematics/synths/penfold/penfold.txt
15. Why may it be useful to record a live performance onto multitrack rather than a stereo medium?
Recording a live performance onto multi track gives some advantages. The performance can be mixed afterwards, it is possible to process and add effects individually on each instrument. Mistakes can be edited and overdubs are possible. With a stereo recording there are far less things you can do afterwards.
16. What is punching-in/out and how is it useful in studios with limited tracks?
Punch –in/out is to correcting/altering/recording a performance on a part of a track. This is done on the same track on which the same performance is recorded like the lead voice. If the studio has a limited amount of tracks blank sections on tracks can be used to further add recording using punch-in/out.
17. Briefly explain how MIDI can be used to control the lighting and visual elements of a show including how MIDI information is converted.
A simple MSC system can be used to sequence a series of sound and light cues to playback a thunder and lightning sequence perfectly every time. Additionally, it can be used to completely automate the execution of lighting cues in sync with music playback, motion control systems, or other show control devices. The timing can be precisely adjusted to the timing of the cues because MSC commands are accurate to within 1/30th of a second. The MIDI information is converted through logical circuits with relays giving commands to execute the specific tasks.
http://wsrv.clas.virginia.edu/~rlk3p/desource/TechNotes/MSC.html
18. How could a pitch-bend wheel be used to control lights in a 'xmas light' style in a live situation?
A pitch-bend wheel can be used to control lights in a 'xmas light' style in a live situation addressing different values of the pitch bend correspond to different intensity of the lights. If you have different set of lights different midichannel could be used for different sets of lights causing a “xmas light” effect..
19. What problems are there with using MIDI for lighting control?
The problems with using MIDI for lighting control is delay. Since MIDI is a serial protocol the bandwith can be to low if many messages are sent in one time. If the lights are set to act in accordance to the music a slight delay can occur.
20. What is the MSC protocol?
The MIDI Show Control (MSC) protocol (in the Real Time System Exclusive subset) is an industry standard approved by the MIDI Manufacturers Association in 1991. The MSC protocol allows all types of media control devices to talk with each other and with computers to perform show control functions in live and canned entertainment applications. Just like musical MIDI, MSC does not transmit the actual show media (!) - it simply transmits digital information about a multimedia performance.
http://en.wikipedia.org/wiki/MIDI
21. Why should MSC not be used to control equipment such as pyrotechnics?
Pyrotechnics is often thought synonymous with the manufacture of fireworks but it has a wider scope that includes items for military and industrial uses. Items such as safety matches, oxygen candles, explosives bolts and fasteners, and the automobile safety airbag all fall under pyrotechnics. The use of explosions, flashes, smoke, or flames on-stage is known as Proximate Pyrotechnics.
http://en.wikipedia.org/wiki/MIDI
MSC should never be used to control equipment which might be dangerous. This includes automated rigging or motion control systems, dangerous electrical equipment or pyrotechnics. An MSC system is capable of executing hundreds of GO commands very quickly. Pyrotechnics should always be disconnected from the power supply when they are being loaded. It is important to make sure that any device which is capable of receiving MSC commands is ready to do so. Fog control channels should be put on inhibitive submasters to allow quick over-riding in case of cueing or programming errors
In addition, there are strict legal and Health and Safety rules in many countries about the handling and storage of pyrotechnics.
http://wsrv.clas.virginia.edu/~rlk3p/desource/TechNotes/MSC.html
22. What do the MSC commands Go, Stop and Fire usually do?
The most common MSC commands for lighting control are GO, STOP, and FIRE.
GO- starts transition a fade or a cue.
STOP – stops running transitions. If no cue number is specified all transitions stops. If a cue number I specified the transition with the cue number all the others is left unchanged.
FIRE – Triggers the start of a pre-programmed macro.
http://wsrv.clas.virginia.edu/~rlk3p/desource/TechNotes/MSC.html
23. How accurate in the time domain is MSC?
The timing can be precisely adjusted to the timing of the cues because MSC commands are accurate to within 1/30th of a second.
http://wsrv.clas.virginia.edu/~rlk3p/desource/TechNotes/MSC.html
24. What 3 parts are there to a MTC command?
MIDI time code allows production environments to easily translate time code into to time-stamped messages that can be transmitted via MIDI. This allows Midi devices to be locked and triggered to SMPTE time code. MTCs second purpose or part is to make it possible to inform MIDI devices of an upcoming event that has to be performed at a specific time such as load, play, stop, Punch in/out, reset). MTC is made up of three message types: quarter frame messages, full messages and MIDI cuing messages.
Quarter frame
This is transmitted when the system is running in real or variable speed time in either forward or reverse direction. Four quarter frame messages a generated for each time code frame. A full SMPTE address needs 8 quarter frame messages the SMPTE address is updated every two frames. That means that 25fr/sec is 100 quarter frame messages would be transmitted every second. Each quarter frame contains 2 bytes (the common header and the message number with the encoding of the time filed digit).
Full messages
Quarter frame messages can’t be sent in fast forward/reverse/locate because it would clog the MIDI data line. When in one of these modes a full message is sent to encode a complete time code address within a single message. Once playback again MTC will send quarter frame messages.
MIDI cueing messages
These messages are used to address individual devices or program within a system. It’s a thirteen bit message that could instruct play, punch in, load, stop etc.
25. What is a Macro in MSC terms?
A Macro in MSC terms is a “mini-program” which will execute a series of commands in series. For example sound effects plus ice machine are triggered with one key. This saves the user having to repeat typing or data input. Macros are typically created to perform frequently used tasks. The Macro is triggered by the FIRE command.
www.angelfire.com/bc/nursinginformatics/glossary4.html
26. With respect to professional practice, place the following decisions in order of priority
i) select software to perform the task effectively
ii) select a computer
iii) identify and describe the task to be performed.
Order of prioriy should be:
iii) identify and describe the task to be performed.
i) select software to perform the task effectively
ii) select a computer
_________________________________________________________________
SOURCES:
http://wsrv.clas.virginia.edu/~rlk3p/desource/TechNotes/MSC.html
http://en.wikipedia.org/wiki/MIDI
http://www.physicsenterprises.andrews.edu/diy_archive/schematics/synths/penfold/penfold.txt
www.angelfire.com/bc/nursinginformatics/glossary4.html
http://www.soundonsound.com/sos/jun04/articles/qa0604-7.htm
http://wsrv.clas.virginia.edu/~rlk3p/desource/TechNotes/MSC.html |
|
Sat Nov 05, 2005 11:38 pm |
|
|
tobyh1000
Joined: 10 Jul 2005
Posts: 13
|
| week 10 |
|
|
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 the musician has problems, during recording, performing the simultaneous note or pitch bend this may be solved be pre-recording the one part of the song then adding effects or extra notes later on a separate track which can be layered over the original 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?
If a PC or MAC is used in a live performance with a sequencer, lower latency settings would be more useful than larger disk buffer settings, so to keep in time with the live music set.
How long (in seconds) would 1 bar of music at 100BPM last?
Time(s) = Length/Tempo
[If using 4/4 time]
Time(s) = 1(bars) x (60(s) x 4(no. of beats in bar)/100(BPM)
Time(s) = 1 x 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?
Delay(ms) = No of bars x 240,000/BPM
How would the above setup be used to create an eigth-note delay in a 120BPM track?
Delay(ms) = ((1 x 240,000)/ /120
Delay(ms) = 30,000/120
Delay(ms) = 250
How would the above setup be used to create a quarter-note delay in a 80BPM track?
Delay(ms) = ((1 x 240,000)/4/80
Delay(ms) = 60,000/80
Delay(ms) = 750
How woud a click track typically be used and routed in a live setup?
A click track is routed from the sequencer to the drummer’s headphones. The click track is usually used specifically for the drummer, as the rest of a live setup band would then follow the drums.
How could an electric guitar be used to create MIDI information?
An electric guitar can be used to create MIDI information by connecting the guitar output to a to MIDI converter which could then be fed into a sequencer.
What is digital amp modelling?
Digital Amp modeling is the effect of emulating different types of amplifiers.
If digital amp modelling is used with no cabinet emulation, what will be the effect on the sound?
Digital amp modeling with no cabinet emulation would produce the effect on the sound would be lack of the warmth introduced with emulated amplifier and revert back to whatever original sound system is in place.
How could a digital amp modeller be used live with amp switching controlled by a sequencer?
A digital amp modeler can be used live with amp switching controlled by a sequencer through MIDI, and controlled through MTC messages.
How can digital amp/cab modellers be used live to reduce onstage sound levels?
Digital amp modelers can be used live to reduce on stage sound levels by inputting all the instruments into them instead of normal amplifiers which can then all be controlled from one mixing desk to avoid feedback issues and allow a consistent output level throughout.
When using loops that have been triggered from a sampler via MIDI, what implications does it have on the engineers choice of playback position?
Loops that have been triggered from a sampler via MIDI can only begin playback from the start of the sample, if any other playback position is stated, sections of the sample will not function correctly.
When using true analogue hardware synths on tour, what issues may there be with tuning?
True analogue hardware synths heat up after a while, and during a live performance the pitch will alter if this happens.
Why may it be useful to record a live performance onto multitrack rather than a stereo medium?
If recorded onto a multitrack, the different instrument tracks from the live performance can be edited if need be. But if recorded directly onto a stereo medium all the tracks will be mixed into one already.
What is punching-in/out and how is it useful in studios with limited tracks?
Punching-in/out allows the recording of a chosen selection in a specific track and is useful when only briefly editing a track. It is very useful when dealing with limited track space as there is not a need for a new track each time something is recorded.
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 lighting and visual elements of a show with the use of MCS(Midi Show Control) which can communicate with other MIDI devices to enable synchronization.
How could a pitch-bend wheel be used to control lights in a 'xmas light' style in a live situation?
A pitch bend wheel could control xmas lights by connecting up the voltage so it would act like a dimmer switch so the intensity of the lights could be controlled.
What problems are there with using MIDI for lighting control?
Problems with using MIDI for lighting control are possible latency problems due to MIDI connection being through serial protocol, lighting may not occur in sync with them music if this does happen.
What is the MSC protocol?
Midi Show Control protocol sends non musical information to non musical devices, such as lighting shows. It can be controlled via a sequencer to put non musical devices in sync with musical beats etc.
Why should MSC not be used to control equipment such as pyrotechnics?
MSC should not be used to control pyrotechnics as if an error occurs midway through a pre programmed chain of events it may never stop which could be very dangerous.
What do the MSC commands Go, Stop and Fire usually do?
MSC commands are as follows:
Go – Begins a transactions
Stop – Stops all transaction unless specified by a cue number.
Fire – Triggers a pre-programmed keyboard macro.
How accurate in the time domain is MSC?
The time domain in MSC is very accurate and uses an absolute ‘real’ timing format like MTC and SMPTE.
What 3 parts are there to a MTC command?
The 3 parts in a MTC command are the device ID, command and data bit.
What is a Macro in MSC terms?
A macro in MSC terms is when a series of pre-programmed events have been loaded within a light based device, (for example) that can be triggered when necessary.
With respect to professional practice, place the following decisions in order of priority
i) select software to perform the task effectively
ii) select a computer
iii) identify and describe the task to be performed.
i) identify and describe the task to be performed
ii) select software to perform the task effectively
iii) select a computer |
|
Mon Nov 07, 2005 8:54 am |
|
|
|
|
|
|
All times are GMT. The time now is Fri May 16, 2008 2:12 pm
|
|
|
|
| |
