ben m
Joined: 15 Sep 2002
Posts: 337
Location: UK |
| Week 10 - Applications of Music Technology |
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Hi everyone,
well, here are the questions for the final topic. On the whole they're not as 'techy' as some of the previous weeks questions, and there are some overlaps with other topics within this topic.
Ok, here they are;
 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?
Good Luck!
_________________
ben@audiocourses.com |
Tue Nov 04, 2003 2:03 am |
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Albow
Joined: 02 Sep 2003
Posts: 27
Location: Spain |
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See you Sunday guys.
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 record the vocal track straight and save it as a midi file. Then
you could use the pitch bend wheel to give the vocal the required sound.
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 would say lower latency would be more important due to the essential need
to have notes come out as they are played.
How long (in seconds) would 1 bar of music at 100BPM last?
100 BPM gives 0.60 seconds per beat. Taking 4/4 time as standard, that would
mean a 4 beat bar would 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?
Dividing the bpm by 60, you would find out how many bps. Dividing this by a
further 1000 will give you the beats per ms and you could program delays
based on that.
How would the above setup be used to create an eigth-note delay in a 120BPM
track?
Here we have 2bps = 500ms per beat. Given 4 beats to a bar, an eight works
out at 250ms.
How would the above setup be used to create a quarter-note delay in a 80BPM
track?
80 BPM gives 0.75 bps. a quarter note would repersent a beat. So the delay
would be set at 750ms.
How woud a click track typically be used and routed in a live setup?
The click track would be used by the drummer who would hear it locally or
through head/ear phones and the rest of the band would use the drummer as a
tempo reference
How could an electric guitar be used to create MIDI information?
You would connect the instrument a guitar-to-mid-converter which follows on
to connect to the midi sequencer.
What is digital amp modelling
Digital amp modelling is simulating the sound of a guitar being played
through an amp and having the amp miked. The simulation is carried out by
digitally- based software.
If digital amp modelling is used with no cabinet emulation, what will be the
effect on the sound?
The effect would be to remove any distortion or warmth from the sound and the
resultant sound would be bright and clear. It may then be less realistic as
an electric guitar sound.
How could a digital amp modeller be used live with amp switching controlled
by a sequencer?
The sequencer could be programmed to switch amps where configured to do so at
strategic points throughout the performance.
How can digital amp/cab modellers be used live to reduce onstage sound
levels?
Their would be considerable noise reduction as the need for amplifiers on the
stage would be removed and the accompanying buzzes and hisses, and the
over-emphasis of treble sounds on stage eliminated.
When using loops that have been triggered from a sampler via MIDI, what
implications does it have on the engineers choice of playback position?
It will mean that playback must start from the beginning for it to be in
perfect time sync.
When using true analogue hardware synths on tour, what issues may there be
with tuning?
The tuning may alter with heat, as may the voltages.
Why may it be useful to record a live performance onto multitrack rather than
a stereo medium?
Because further changes can be made to the recording after the live
recording. Sounds or effects can be added in, exisiting tracks tweaked to
enhance the sound for the finished marketable product.
What is punching-in/out and how is it useful in studios with limited tracks?
Punching in/out is replacing a section of a song, either with an improved
version of the same part or an alternative part. It is useful where there
are limited tracks because to do an alternative take would be to 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.
The MIDI controller can be connected to the lighting control system through a
midi converter. Then the lighting changes can be synced to changes in the
music.
How could a pitch-bend wheel be used to control lights in a 'xmas light'
style in a live situation?
The pitch-bend wheel could be assigned to the lights. Then the effect of
moving the pitch wheel up or down will have the corresponding effect of
applying greater or lesser intensity to the lights.
What problems are there with using MIDI for lighting control?
The problem is that you add more processing tasks to the serial bus, with a
greater chance of suffering latency problems. With this you may experience a
delay in the production of the lighting changes and it may become out of sync
with the music.
What is the MSC protocol?
Midi Show Control. This protocol is used to control timed events at a show
involving lighting and audio- visual effects and moving parts.
Why should MSC not be used to control equipment such as pyrotechnics?
Given the destruction that pyrotechnics can cause, they should not be under
control of MSC or any other human-independent automated control. Even if the
routine of the pyrotechnic sequence is under computer control, ultimate
control of pyrotechnics should be under the supervision of an expert.
What do the MSC commands Go, Stop and Fire usually do?
Go - light on Stop - light off Fire - light flash
How accurate in the time domain is MSC?
Midi Show control is as accurate as Midi Time Code
What 3 parts are there to a MTC command?
A status byte followed by 2 data bytes. The status byte will detail the
action t be carried out - eg note one, the middle byte will detail which
sound to play and the third will specify the volume.
What is a Macro in MSC terms?
A Macro is a series of lighting manoevers carried out as one command. |
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Sat Nov 08, 2003 1:01 am |
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mommi
Joined: 21 Apr 2003
Posts: 47
Location: Tallinn, Estonia |
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Here you go guys, my last scribbling 
If during the recording of a MIDI part the musician has problems accurately performing a simultaneous note/pitch bend, how may this be solved?
Quoting
http://tomscarff.tripod.com/midi_analyser/pitch_bend.htm
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The Pitch Bend Change message is normally sent from a keyboard instrument in response to changes in position of the pitch bend wheel. The pitch bend information is used to modify the pitch of sounds being played on a given Channel. The Pitch Bend message includes two data bytes to specify the pitch bend value. Two bytes are required to allow fine enough resolution to make pitch changes resulting from movement of the pitch bend wheel seem to occur in a continuous manner rather than in steps.
As pitch bend information is sent through MIDI messages, it must be possible to record pitchbending information separately later by overdubbing it on an additional track. How exactly it is done I hope to find out this weekend in a practical manner 
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?
A suitable balance between the two, depending on the load on the computer (number of sounds the computer has to produce at the same time). Very low latency settings could cause dropouts or clicks in sound. It is best to find the buffer settings just high enough that the signal passes through undisturbed.
How long (in seconds) would 1 bar of music at 100BPM last?
For time 4/4 it would be 60 seconds / 100 BPM x 4 beats = 2.4 seconds.
For time 3/4 it would be 60 seconds / 100 BPM x 3 beats = 1.8 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?
We have an interval of 60 / BPM seconds (60 000 / BPM milliseconds) between beats. That value could be divided by two (for eights), three (for eight-note triplets) or four (for sixteenths). In short:
t
= 60 000 / BPM /
n
, where
n
= 1, 2, 3, 4.
How would the above setup be used to create an eigth-note delay in a 120BPM track?
t
= 60 000 / 120 / 2 = 500 / 2 = 250 ms.
How would the above setup be used to create a quarter-note delay in a 80BPM track?
t
= 60 000 / 80 = 750 ms.
How woud a click track typically be used and routed in a live setup?
The click track should be send to a drummer via a headphone foldback, seldom would any other band members want to hear it (bass or rhythm guitar players could make an exception). And for sure that track is not meant for an audience to hear.
How could an electric guitar be used to create MIDI information?
A Guitar-to-MIDI converter or just Audio-to-MIDI converter would do that. These devices convert input sounds to MIDI information. See
http://www.musicindustries.com/axon/index.html
What is digital amp modelling?
This is a process of generating sound of specific amplifiers / cabinets through digital processing. Modelling applies characteristic transformations to the sound that is being input to the modelling device. Presets for imitating a multitude of popular amplifiers are available. So a desired sound could be achieved without having to deal with real loudspeakers and microphones.
If digital amp modelling is used with no cabinet emulation, what will be the effect on the sound?
It is like taking output from an amplifier directly instead of passing the signal through a cabinet and then miking it. The effect of cabinet / microphone pair would be missing, which first of all means more basses and high frequencies being present.
How could a digital amp modeller be used live with amp switching controlled by a sequencer?
Advanced modellers are MIDI capable, ie they can be driven by incoming MIDI messages. A sequencer could fire messages instructing the modeller to switch presets, for example.
How can digital amp/cab modellers be used live to reduce onstage sound levels?
With amp/cab modellers, output from the instrument‘s pickup head can be plugged directly into the modeller and from that, sent to the mixing console. The act of amplifying and miking onstage will be skipped – it is the modeller that gives your favorite sound.
When using loops that have been triggered from a sampler via MIDI, what implications does it have on the engineers choice of playback position?
Don’t catch the question here. Is it about looping in the sampler? If so, such loops would not sound if playback was started after their triggering point. What it means is that the engineer has less flexibility in choosing the playback position if he / she wanted to have the loop playing.
When using true analogue hardware synths on tour, what issues may there be with tuning?
These devices are sensisive to heating. Most noticeably, their intonation (tuning) will change along with temperature.
Why may it be useful to record a live performance onto multitrack rather than a stereo medium?
The advantages are just like those in studio recording. At the very least, you can make an appropriate mix later without having to worry about ‚the right‘ balance at the live performance. You can apply different processing on different instruments. Or, would it be necessary and affordable, whole additional tracks with new instruments / vocals could be added in studio.
What is punching-in/out and how is it useful in studios with limited tracks?
Punching in/out is a function of a recorder allowing to mark the exact position from where recording should start (punch-in) and where it should stop (punch-out). Then, when recording, the recorder turns recording in and out at these positions automatically.
It is most useful for correcting mistakes of a take when track count is limited, since you can go without an additional track for re-recording the troublesome section. With punch in/out function, you are able to check where exactly the recording will take place and ensure that nothing valuable from the previous take will be erased.
Briefly explain how MIDI can be used to control the lighting and visual elements of a show including how MIDI information is converted.
Since MIDI is control data, it has not to be limitied to just music. Special MIDI-to-Analog interfaces can be used to drive whatever is needed through MIDI. You could have a sequencer sending out Note On / Note Off messages, with the note number indicating which light is to be controlled and the velocity information determining how bright or dark the light should be, or you could use Program Change messages for switching between presets.
How could a pitch-bend wheel be used to control lights in a 'xmas light' style in a live situation?
The MIDI converter should accept Pitch Bend Change messages. As was stated above (see the first question), these messages contain information about pitch bend value. That value could be made to correspond to the number of light to be switched on.
What problems are there with using MIDI for lighting control?
http://www.twyman.org.uk/midilite.htm
Limited functionality – commercial control products often offer just Note On with velocity, or just the ability to switch between presets. Writing sequences with Note On style is difficult.
What is the MSC protocol?
MIDI Show Control, a protocol for controlling a multitude of equipment during live shows. From
http://www.show-control.com/txt/mscspec.txt
:
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.
From
http://www.borg.com/~jglatt/tech/showctl.htm
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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.
Why should MSC not be used to control equipment such as pyrotechnics?
For safety reasons it is best to have a human control and responsibility over hazardous equipment. Actually, I’d use them together, MSC automation with human control, since electronics can be valuably stable in precise controlling repetitive actions.
What do the MSC commands Go, Stop and Fire usually do?
Quotes from the url above:
- Go starts a transition or fade 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.
- Stop 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.
- Fire triggers a preprogrammed keyboard Macro.
How accurate in the time domain is MSC?
From
http://www.show-control.com/txt/mscspec.txt
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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.
MSC subframe data is represented in fractional frames measured in 1/100 frame units, as specified by MIDI Cueing specification.
What 3 parts are there to a MTC command?
I suppose a MSC command was meant there, since MTC is a protocol, not a command…
MSC command template consists of three bytes - one for a device_ID, the second for a command_type, and the third for a command itself. Optional data bytes can follow depending on the command’s needs. A command_type can be interpreted as device_type, since this byte indicates what kind of devices (Lighting, Sound, Video etc or their more specific subtypes) the command is meant for.
What is a Macro in MSC terms?
Macro is a programmed sequence of commands. The Macro is defined by a 7 bit number and 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.
See you Sunday 
mommi |
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Sat Nov 08, 2003 1:53 am |
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Fenderocks
Joined: 09 Aug 2003
Posts: 26
Location: Music City, USA |
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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? A quick way to solve a wrong note that the artist is struggling with, for example a singer, save the vocal track and use pitch bend to alter the note to the exact note needed. What pitch bend does is it takes the information from the pitch bend and uses it to modify specifically to the pitch you need to any channel, with two data bytes to allow accurately the fine resolution to allow this procedure.
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? Well the choice between these two would be tuff to choose from, and would really account for what the computer is capable of. I would first think to decrease the amount of latency because it is important to have all the notes and everything else being played at the same time with no slowing down, but you could as well have more dropouts and even some click noises. Larger buffer settings would be great as well enabling you to be able to get the signal high enough to not be interrupted.
How long (in seconds) would 1 bar of music at 100BPM last?
For time 4/4 time it would be 60 seconds broke down = 100 BPM x 4 beats = 2.4 seconds.
For time ¾ time it would be 60 seconds broke down = 100 BPM x 3 beats = 1.8 seconds.
Ha Ha
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? It all will depend how you divide your 60 seconds (60,000) / dpm / notes (quarter notes, eight notes ext.) for quarter notes you will divide just the 60000 and the dpm, after that for the rest of the notes you will divide an extra note, for examples the eight notes, an extra 2 is divided after the 60000, and the dpm. The eight-note triplets you divide an extra 3 and for sixteen notes an extra 4
How would the above setup be used to create an eigth-note delay in a 120BPM track?
Take your 60 seconds (60000) and divide by 120dpm, next divide a 2, which brings us to 250ms would be the answer.
How would the above setup be used to create a quarter-note delay in a 80BPM track?
Take you 60000 and divide by 80bpm and since its quarter notes you don’t divide another number. 750ms would be the answer.
How would a click track typically be used and routed in a live setup? A click track you would not want the audience to hear it so the best way would be headphones. Usually you would only what the drummer to have it because the drums are like a click track to everyone else in the band.
How could an electric guitar be used to create MIDI information? There are so many ways to have an electric guitar recorded or played back in MIDI. An Audio to MIDI converter is a great start and finish for the job or by simply using a pod or Roland guitar system by going out of the MIDI out.
What is digital amp modelling? Digital amp modeling is a simulation of a guitar being played through an amp with it milked. The program is generally on any recording software package, it allows you to take the audio piece into the amp simulator changing anything from what cabinet you want from what kind of sounds you looking for.
If digital amp modelling is used with no cabinet emulation, what will be the effect on the sound? Sometimes good depending on what you after, for example you have a full band recording with many different guitar tracks when the song comes up to a point where the whole band stops while only one guitar is playing for a bar or two and then everyone comes back in, by using the feature on the single guitar for that one part it will sound brighter and kind of weird lacking depth and warmth could kind of make it sound kick ass don’t you think.
How could a digital amp modeller be used live with amp switching controlled by a sequencer? The way to have a digital amp modeler to switch amps during a live show is to do this is by MIDI information. Since digital amp modelers use MIDI, the sequencer could relay the MIDI messages instructing the modeler to switch presets.
How can digital amp/cab modellers be used live to reduce onstage sound levels? The digital amp/cab modelers are plugged straight in to the instruments head being sent to the mixing board bypassing the step of even miking the cab, to produce the best stage sound.
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 only one I can think of for this question would have to be, the engineer choice of playback option is very limited because it’s being trigger from the sampler at the time is should be, where as the engineer if he wanted it sooner it wouldn’t sound right or even be in the time with the song. I tried.
When using true analogue hardware synths on tour, what issues may there be with tuning? When bringing an analogue hardware synths with you while touring the one thing to worry about is keeping the temperature around the same the whole time you out, because heat plays a huge part of keeping the tuning right and the volts as well, on an extra note: you never want move the machine right after being played into the cold weather as well.
Why may it be useful to record a live performance onto multitrack rather than a stereo medium? Well recording on to a stereo medium vs. a multitrack, you’re losing the ability to improve the live recording. By using a muititrack system you have the option to add sound effects and tweak any track if needed. It’s hard to be perfect all the time right?
What is punching-in/out and how is it useful in studios with limited tracks? Punch ins and outs are very good to have in a studio with limited tracks. Any part in the song that you didn’t like the first take or you think you could do it even better auto punch is a great tool without using another track. What you do is set up the time of the punch-in and punch-out and hit record, after that button is press is automatically erases from the punch-in through the punch-out and allows you to just re-record that part.
Briefly explain how MIDI can be used to control the lighting and visual elements of a show including how MIDI information is converted. First connect the MIDI controller to the lightning and visual elements control system through using a MIDI converter. Then the lightning and visual elements can be synced to the changes in the music.
How could a pitch-bend wheel be used to control lights in a 'xmas light' style in a live situation? First assign the lights to the pitch bend wheel that you want for each channel of the pitch wheel or sensitivity. Then as the pitch wheel is moved up or down it will either change the lights that are assign or intensify or decrease the level of the lights.
What problems are there with using MIDI for lighting control? The problems that may arise by using MIDI for lighting control is a latency problem due to the amount of tasks to the serial bus, causing the lights to not even be in sync.
What is the MSC protocol? MIDI show control protocol is a way to control timed events such as lighting, visual effects and moving props during the show.
Why should MSC not be used to control equipment such as pyrotechnics? With pyrotechnics with the amount of danger there is there should be a separate device controlled by a professional who knows what they are doing.
What do the MSC commands Go, Stop and Fire usually do?
Go- will start the commands
Stop- ends the commands
Fire- triggers a preprogrammed effect of lights during the show.
How accurate in the time domain is MSC? Very accurate and consistent at the same level and the MIDI time code, if it wasn’t they would be used.
What 3 parts are there to a MTC command?
The 3 parts of a MTC is status byte and then two data bytes. The status byte will tell the action to be carried out as far as the note on, the first byte which is the middle byte will tell what sounds is going to be played, and the last byte which is the third byte will tell the velocity (how loud the note should be).
What is a Macro in MSC terms? With the MSC terms of macro this is a series of lightning maneuvers directed what to do by one command. Micro is defined by a seven bit number programmed to the control device. |
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Sat Nov 08, 2003 5:23 am |
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julesf
Joined: 31 Aug 2003
Posts: 58
Location: Southampton, UK |
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Late again,
Sorry Ben. 
MT Week 10
<b>-If during the recording of a MIDI part the musician has problems accurately performing a simultaneous note/pitch bend, how may this be solved?</b>
The part may be edited and corrected in the sequencer after the MIDI recording process is complete.
<b>-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?</b>
Lower latency would be the most important feature, though the disk buffer should be fine-tuned to also optimise stability. Hardware sequencers are generally better for live performance use.
<b>How long (in seconds) would 1 bar of music at 100BPM last?</b>
Assuming that the time signature is 4/4 then 1 bar would last for 2.4 seconds. ((60/100)*4)=2.4
<b>-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?</b>
(60,000/BPM)= ms per beat
<b>-How would the above set-up be used to create an eigth-note delay in a 120BPM track?</b>
(((60,000/120)/ *4) = 250ms (assumes 4 beats to the bar)
<b>-How would the above set-up be used to create a quarter-note delay in a 80BPM track?</b>
(((60,000/80)/4)*4) = 750ms (assumes 4 beats to the bar)
<b>-How would a click track typically be used and routed in a live setup?</b>
The click track could be generated from a DAW or from a time code generator or master clock.
Audio click can be selected or a MIDI click can be generated sent to a module or keyboard whereas the
Appropriate drum patch can be used to create the audio click. Side stick is popular. Good software or hardware accommodates a raised pitch for each 1st beat of each bar. Good software / hardware allows the user to program the desired pitch increase for the first beat of each bar as well as the velocity or volume for each first beat and each subsequent beat of each bar. The click can then be routed to foldback for the musicians to hear and work with.
A good foldback will allow each musician to have a separate mix including individual click track level. However this is the more complex set up and mostly all musicians will receive the same foldback mix.
<b>-How could an electric guitar be used to create MIDI information?</b>
Software is available to convert simple audio melodies into MIDI note on and off messages.
Hardware is also available to allow a guitar to directly produce MIDI note on and off messages.
Yamaha make such a system and I believe Roland do too.
<b>-What is digital amp modelling?</b>
Software and hardware solutions are available which allow amp modelling. The algorithms attempt to try and recreate the characteristics of classic and vintage amplifier / speaker set-ups. Roland attempt this with their COSM
Firmware, other market leaders are POD with the LINE 6 range, Behringer also produces a modelling solution. AmpFarm is a popular software modelling solution.
<b>-If digital amp modelling is used with no cabinet emulation, what will be the effect on the sound?</b>
Emulation omitting speaker simulation will have the effect of removing drive and warmth from the sound. In this instance emulation would be limited to that of signal line out quality which may be appropriate for certain situations.
<b>-How could a digital amp modeller be used live with amp switching controlled by a sequencer?</b>
It is possible to use a hardware amp modelling effects unit that supports MIDI. IN this instance a a sequencer used to play MIDI parts in the tracks of a set could select appropriate amp modelling for each number. The MIDI patch change information could be sent to the modeller at the beginning of each song.
<b>-How can digital amp/cab modellers be used live to reduce onstage sound levels?</b>
Normally to get a good amp and speaker combination driven sound the amp has to be turned up to at least 75% of the maximum gain. This produces a great natural tone but at the cost of extortionate sonic levels. Amp modelling will offer emulation of the driven amp sound but at much lower levels. This allows for songs to be played with the quality of a big driven sound but at a level, which is sensible for a very small venue.
<b>-When using loops that have been triggered from a sampler via MIDI, what implications does it have on the engineers choice of playback position?</b>
Playback position may be limited to the start of the song if important MIDI messages are used to select patches and other parameters at the start of the song, which subsequently change throughout the song.
<b>-When using true analogue hardware synths on tour, what issues may there be with tuning?</b>
Analogue synths are prone to tuning drift. This tends to occur with temperature change therefore as the gig progresses and things heat up, synths can drift out of tune.
<b>-Why may it be useful to record a live performance onto multitrack rather than a stereo medium?</b>
If you mix the elements of the performance to a stereo pair then you will have no method of altering the mix content at a later date. However if you assign each sound source it's own track on a multitrack recorder then you will enjoy the ability to offer a complete mix down process in a controlled area at a later date. This would not just include individual levels but allow individual compression and FX as well.
<b>-What is punching-in/out and how is it useful in studios with limited tracks?</b>
Punching in and out allows a take to be spontaneously recorded for a given number of bars and then dropped out precisely as required. This is a useful process and may be applied manually or on a DAW or other equipment, which provides the facility maybe assigned automatically. If you have limited tracks then you may stack overdubs on the same tracks by punching in and out. Though this process does make for a tricky mixdown.
<b>-Briefly explain how MIDI can be used to control the lighting and visual elements of a show including how MIDI information is converted.</b>
There are now many pieces of equipment that are able to decode the MIDI protocol. These are not all music related units. Lighting controllers can utilise MIDI information. The system can decode and utilise MIDI messages that allow various channels of lights to be switched, faded, strobed, etc. The information can be included on the main sequencer on a channel reserved for lighting information.
<b>-How could a pitch-bend wheel be used to control lights in a 'xmas light' style in a live situation?</b>
The pitch bend information could be sent to a lighting controller that was set up to utilise it in some creative way. This could be pre programmed by the user. The pitch bend modulator could also bend the audio on a keyboard too. As you bend a note the pitch changes and so does the lighting too!
<b>-What problems are there with using MIDI for lighting control?</b>
The system has no specific standard and is not necessarily interchangeable between platforms. There is limited functionality and programming can be time consuming.
<b>-What is the MSC protocol?</b>
MIDI show control attempts to set a standard for the functionality of the MIDI protocol within live entertainment sector.
<b>-Why should MSC not be used to control equipment such as pyrotechnics?</b>
For safety reasons pyrotechnics should be controlled manually and always be key interlocked off until they are armed ready for use.
<b>-What do the MSC commands Go, Stop and Fire usually do?</b>
Go starts a sequence.
Stop stops the current running sequence.
Fire triggers a key program of commands (Macro)
<b>-How accurate in the time domain is MSC?</b>
MSC is as accurate as MTC.
<b>-What 3 parts are there to a MTC command?</b>
MTC uses a number of messages. Most are Sysex but the most important the quarter frame message is not. This quarter frame message defines the actual real time position data in Hrs, Mins, Secs, frames. It has a status byte and one data byte. There is also a full frame message used for fast cueing after a forward or rewind command. The other sysex messages that may be used by individual manufactures are user bits, notation, and set up.
http://www.borg.com/~jglatt/tech/mtc.htm
<b>-What is a Macro in MSC terms?</b>
A series of commands in one "macro" program that can be activated by a "Fire" command.
Job done,
Cheers,
Jules  |
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Sat Nov 15, 2003 8:09 am |
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