ben m
Joined: 15 Sep 2002
Posts: 337
Location: UK |
| Week 10 - Applications of Music Technology |
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Hi everyone,
again this week all questions should be attempted by everyone.
Any problems post them here.
Again look to build on each others answers and explore different avenues of thought.
-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 would 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?
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ben@audiocourses.com |
Mon May 05, 2003 1:24 pm |
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Dani
Joined: 28 Jan 2003
Posts: 35
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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 pith bend could be overdubbed onto the MIDI track after the note has been recorded using overdub mode.
-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, because it needs to be in close sync with the live members of the band.
How long (in seconds) would 1 bar of music at 100BPM last?
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?
-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 by the drummer/rythym section through headphones and the rest of the band would sync to them.
-How could an electric guitar be used to create MIDI information?
With the use of an audio to MIDI converter, either a MIDI guitar or a special pickup attached the guitar and fed into a audio top MIDI processor.
-What is digital amp modelling?
Digital amp modelling is the process of using computer algorithms to reproduce the sound signature of specific real world amplifiers and cabinets types.
-If digital amp modelling is used with no cabinet emulation, what will be the effect on the sound?
You will lose the sound of the cab and only hear the effect of the amp simulation.
-How could a digital amp modeller be used live with amp switching controlled by a sequencer?
It could make changes to the amp sim in real time during a performance.
-How can digital amp/cab modellers be used live to reduce onstage sound levels?
The use of digital amp/cab modellers reduces the need for backline amps and cabs which are normally used to get the required sound, but have the adverse effect of drowning the stage in guitar or bass.
-When using loops that have been triggered from a sampler via MIDI, what implications does it have on the engineers choice of playback position?
You have to start playback at the begining of the loop or it will not trigger correctly or be in time.
-When using true analogue hardware synths on tour, what issues may there be with tuning?
Heat will affect the tuning and also voltages.
-Why may it be useful to record a live performance onto multitrack rather than a stereo medium?
Because the artist may want to overdub/re-mix certain tracks before release or even to add extra tracks to the mix.
-What is punching-in/out and how is it useful in studios with limited tracks?
A punch in is when you record at a specific point and stop recording before overwriting a later peice of audio. Normally, when more tracks are available, this would be done on a seperate track and then comped.
-Briefly explain how MIDI can be used to control the lighting and visual elements of a show including how MIDI information is converted.
You can map a lighting rig to respond to MIDI through a converter. Note on and off information can be set to trigger the lights on and off. More complex systems allow for light moves as well as colour changes.
-How could a pitch-bend wheel be used to control lights in a 'xmas light' style in a live situation?
The MIDI inforamtion could be set to change the speed of the lights. Modulation increase increases the speed of the light flashing.
-What problems are there with using MIDI for lighting control?
When using electronic light triggering there will be a slight delay from the sequencer reading the information and that information reaching the actual lighting unit, this puts the lights out of sync. By moving the lighting track slighty further forwards (earlier) in the sequence, this can be offset.
-What is the MSC protocol?
MIDI Show Protocol.
-Why should MSC not be used to control equipment such as pyrotechnics?
These sorts of decisions need to made by human hand, in case of system disfunction.
-What do the MSC commands Go, Stop and Fire usually do?
Go - Turn ligh on
Stop - Turn light off
Fire - Flash light
-How accurate in the time domain is MSC?
Not Known
-What 3 parts are there to a MTC command?
Go, Stop, Fire.
-What is a Macro in MSC terms?
A series of light sequences condensed to one command. |
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Sat May 10, 2003 1:07 pm |
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Aidan
Joined: 08 Jan 2003
Posts: 38
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If during the recording of a MIDI part the musician has problems accurately performing a simultaneouis note/pitch bend how may this be solved?
By recording an overdub at a later stage.
If a PC or MAC is used in a live performance with a sequencer,what would be more useful,lower latency or larger disk buffer settings?
Lowe latency.Latency is the time lag taken while a PC/Mac performs operations using its disk buffer settings.Larger disk buffer settings would only mean more delays.
How long in seconds would one bar of music at 100 bpm last?
2.4 seconds-(60seconds divided by 100 beats multiplied by 4 beats to the bar)
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?
I would imagine whatever delay time you choose to set.
How would the above setup be used to create an eight 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 aclick track typically be used and routed in a live set up?
Usually the click track would be fed on headphones to the drummer/percussionist to enable him/her keep to the desired tempo.The rest of the band would play to the drummers beat.
How could an electric guitar be used to create MIDI information?
By using a MIDI guitar controller which consists of a module and special pick up.The pick up tracks the playing including pitch bend and relays this to mdule which in turn can feed any MIDI device in theory.
What is digital amp modelling?
It the process of using digital processing to reproduce sounds of particular amps and speaker cabs.The unit will contain a large numnber of patches of various popular amps and amp/speaker combinations and will allow any number of chosen combinations.Popular models at present are Behringer V Amp and Line 6 Pods,designed for guitarists.
If digital amp modelling is used with no cabinet emulation,what will be the effect on the sound?
You will only hear the amp head sound without speaker sound.This is like taking a direct dfeed from an amplifier and putting it straight to mixing desk.You will lose the colouration a cabinet /speaker would give.
How could a digital amp modeller be used live with amp switching controlled by a sequencer?The sequencer could make amp setting changes as programmed to coincide with various song choices.
How can digital amp/cab modellers be used live to reduce onstage sound levels? |
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Mon May 12, 2003 7:34 pm |
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Aidan
Joined: 08 Jan 2003
Posts: 38
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By using the amp modeller and not an onstage amplifier you are sending signal direct to desk and PA.You therefore do not have any onstage sounds apart from monitors giving lower noise 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?
The heat onstage will affect tuning as will general movement,humping,carraige as these analogue synths are very fragile.
Why may it be useful to record a live performance onto multitrack rather than stereo medium?
The advantage of multitrack is that you can add parts to tracks as you want or even completely new tracks without committing to stereo medium.You can remix and add instuments or parts as you see fit.
What is punching in/out and how is it useful in studios with limited tracks?
This is a technique which allows you to rerecord specific sections of a track.Its often used to rerecord a not so perfect guitar solo or vocal phrase.The point on the tape where you wish to rerecord is selected and record is pressed while the musician plays his part again.The tape is then stopped at point where new section is finished.
Its normally used where you dont have enough tracks to record the whole part again as in a small studio.
Briefly explain how MIDI can be used to control the lighting and visual elements of a show including how MIDI information is converted.
A convertor box must be used which converts MIDI information to controls on lighting rig.You could thus synchronise on/off sequences of lights to certain musical part.
How could a pitch bend wheel be used to control lights in a xmas stle in a live situation?
The speed of light changes would be controlled by the length and speed of pitch bend.
What problems are there with using MIDI for light control?
What is the MSC protocol?
MIDI Show Protocol-its used to control lighting with MIDI.
Why should MSC not be used to control pyrotechnics?
The use of pyrotechnics is dangerous and shouldnt be left to remote control with MIDI as it could be too unreliable.
What do the MSC controls Go,Stop and Fire usually do?
Go-means turn lights on
Stop-means turn lights off
Fire-means flash lights
How accurate in the time domain is MSC?
What three parts are there to a MTC command?
Positional information,?
What is macro in MSC terms? |
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Mon May 12, 2003 8:07 pm |
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resol69
Joined: 31 Dec 2002
Posts: 69
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| Nancy's thoughts |
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http://www.futureproducers.com/site/mode/dictionary
http://www.computermusic.co.uk/tutorial/a_sforbeg/asynth4.asp
http://www.indiana.edu/~emusic/MIDI.html
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If during the recording of a MIDI part the musician has problems accurately performing a simultaneous note/pitch bend, how may this be solved?
You could use a pitch bend wheel. A special control message specifically designed to produce a change in pitch in response to the movement of a pitch bend wheel or lever. Pitch bend data can be recorded and edited, just like any other MIDI controller data, even though it isn't part of the Controller message group.
-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?
I think lower latency settings, you don’t want the recorded music to all behind the rest of the band.
How long (in seconds) would 1 bar of music at 100BPM last?
There are 60 seconds in one minute, 100 divided by 60 = each beat approx. 1.7 seconds. Assuming the time signature is 4/4, there are 4 beats in a bar. 4 x 1.7 = 6.8 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?
There are 60 seconds in one minute You would divide the bpm by 60 to get the number of seconds per beat. Then multiply the number of seconds by 500 to get the number of ms. You now know how many ms there are in one beat and can set your delay in ms.
-How would the above setup be used to create an eighth-note delay in a 120BPM track?
120 divided by 60 = 2 seconds per beat. 2 x 500 = 1,000 ms per beat. 1,000 divided by 8 = 125 ms delay.
-How would the above setup be used to create a quarter-note delay in a 80BPM track?
80 divided by 60 = 1.3 seconds per beat. 1.3 x 500 = 650 ms per beat. 650divided by 4 = 162.5 ms delay.
-How would a click track typically be used and routed in a live setup?
A click track can be used in a headphone mix during a live setup. You wouldn’t want anyone but the performers to hear it. You would route the click to a track in the mixer and then send to the aux send you are using for the headphone mix. Do not send the click track to the stereo bus. Only the person with the headphones will hear it.
-How could an electric guitar be used to create MIDI information?
You could use a Guitar-to-MIDI converter like this one: http://www.musicindustries.com/axon/index.html
The guitar input goes into the converter, the converter out put goes to your computer or sequencer.
-What is digital amp modelling?
Digital amp modelling is hardware or software designed to make a guitar sound like it is coming out of amp when it really isn’t. The guitar output goes to the amp modeller, which makes it sound like it’s coming from a mic placed in front of an amp and is amplified with a pre-amp.
-If digital amp modelling is used with no cabinet emulation, what will be the effect on the sound?
The sound would be very clean, you would lose the warmth of the cabinet emulation. Don’t see the point of doing this, why use amp modelling then?
-How could a digital amp modeller be used live with amp switching controlled by a sequencer?
The sequencer could control the digital amp modeller and MIDI messages could be sent to the modeller, if it had MIDI features.
-How can digital amp/cab modellers be used live to reduce onstage sound levels?
You would not have cabs onstage. The players would listen to the output of the amp modelers in the monitors. Less clutter and less noise too! If only I could find guitar players who would give up their amps in the coffeehouse and use a modeller!
-When using loops that have been triggered from a sampler via MIDI, what implications does it have on the engineers choice of playback position?
I think you would have to start playback at the beginning of the loop, you cant’ start it in the middle?
-When using true analogue hardware synths on tour, what issues may there be with tuning?
The Circuitry in analogue synths is not as stable as in digital synths, so the analogue hardware synths so tuning can “drift” or go out of tune. This adds a warmer should which some musicians like.
-Why may it be useful to record a live performance onto multitrack rather than a stereo medium?
You may want to change the mix depending on how the room sounds. With stereo, you are stuck with the mix that you recorded. For example, maybe the guitar didn’t sound good in the room, but everything else did. You could add reverb to the guitar only. If you had a stereo mix, you would have to add reverb to everything, or live with what you recorded. Perhaps the drums were too low in the mix once you heard the recording. You could bring up the drums and leave the other levels alone.
-What is punching-in/out and how is it useful in studios with limited tracks?
Punching in and out refers to recording over a piece of music, and not the whole song. Suppose a guitar player did a great job recording a song except for a solo in the middle. You would punch in to start recording at the beginning of the solo and punch out at the end. You have recorded over the solo, but left the rest of the song intact. This is useful in studios with limited tracks since you can fix takes instead of having to do a new take and take up another track.
-Briefly explain how MIDI can be used to control the lighting and visual elements of a show including how MIDI information is converted.
MIDI messages can be sent to lighting and visual controls from show control software on your computer. Changes can be timed to the music since MIDI uses MIDI Time Code which can sync to SMPTE. MIDI information is converted by hooking up a MIDI converter box between the computer and lighting and visual control boxes.
-How could a pitch-bend wheel be used to control lights in a 'xmas light' style in a live situation?
Some pitch-bend wheels are assignable, you could assign one to the lights and change the amplitude of the signal, which I think would translate to making the intensity of the light change.
-What problems are there with using MIDI for lighting control?
Lack of flexibility: commercial units only seem to use MIDI Note-On messages to extract the light channel and intensity values. Using this Note-On strategy also prevents the MIDI port from being used to drive other sound modules etc. as notes will sound. Some commercial units also come with internal preset light sequences which aren't modifiable
-What is the MSC protocol?
MIDI Show Control: The purpose of MIDI Show Control is to allow MIDI systems to communicate with and to control dedicated intelligent control equipment in theatrical, live performance, multi-media, audio-visual and similar environments.
-Why should MSC not be used to control equipment such as pyrotechnics?
You would want a human to set off pyrotechnics, so they can be aborted at the last second if necessary. Suppose a singer stood in the wrong place at the wrong time, you wouldn’t want the pyros to go off automatically. (perhaps Metallica was using MSC during that James Helfield incident a few years back. 8O )
-What do the MSC commands Go, Stop and Fire usually do?
Go turns on the lights, Stop turns off and Fire makes the lights place.
-How accurate in the time domain is MSC?
MIDI Show Control uses a single Universal Real Time System Exclusive ID for all Show commands. Since data often contain some form of time reference, a "Standard" specification for transmission of time provides consistency and saves space in the data descriptions. MIDI Show Control time code and user bit specifications are entirely consistent with the formats used by MIDI Time Code and MIDI Cueing and are identical to the Standard Time Code format proposed in MIDI Machine Control 0.05. Some extra flags have been added, but are defined such that if used in the MIDI Time Code/Cueing environment they would always be reset to zero, and so are completely transparent.
-What 3 parts are there to a MTC command?
MIDI commands are made of a status byte followed by two data bytes. The status byte describes the action, such as “Note On,” and includes the channel the command is addressing. The first data byte tells MIDI what note to play, while the second data byte tells MIDI how loud to play the note.
-What is a Macro in MSC terms?
A macro is a programmed set of commands. For example, hitting middle C on a keyboard would turn all the lights on. The Macro is defined by a 7 bit 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. [/b] |
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Tue May 13, 2003 6:24 pm |
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resol69
Joined: 31 Dec 2002
Posts: 69
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| EEEK! wrong calculations |
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UH, those delay calculations were off. Let me try again. 
-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?
Take 60,000 (1 minute) and divide by the (BPM) = each beat in ms. You can now calculate your delay in ms.
-How would the above setup be used to create an eighth-note delay in a 120BPM track?
60,000 divided by 120 = 500ms per beat. 500 dvided by 2 = 250ms delay.
-How would the above setup be used to create a quarter-note delay in a 80BPM track?
60,000 divided by 80 = 750ms per beat. Quarter note = one beat or 750ms delay. |
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Wed May 14, 2003 6:25 pm |
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