Sound and Recording : an introduction, 4th edition, Francis Rumsey (2002)
Chapter 14 – MIDI
Rumsey begins this chapter making the important point that MIDI has now become an essential part of many studio and multimedia productions, which is therefore why it is worth while our looking at. As over the past few weeks it has become clear that the audio aspects of say animation area key part on the effectiveness of the final piece. He then continues to explain that MIDI is often available in a pack incorporating the 3 key elements needed of recording, editing, and replaying both musical performance data and sampled digital audio data, which has helped to speed up the design section. It has become a useful programme in compiling audio aspects as it does not consume much memory space. The simple definition of MIDI according to Rumsey in brief is that it is basically a remote controlling electronic musical instruments.
Rumsey then explains that the programme handles the data, which controls the generation of sound data representing events taken place and is then stored and can be replayed by transmitting to musical instruments to reproduce the recording. Another advantage of midi is that the piece of music can be changed simply by changing the event as the data has been stored, which again can quicken the process. The rate is slow to be carried over simple cables and interface but also fast enough to allow instrument information to be transferred between many without noticeable change giving the feel of real time, which works well when putting the audio in with a real time film.
It is explained how MIDI allows sounds to be stacked meaning that they can be arranged so they double up so a composite sound can become made up of 2 synthesisers outputs. Also that each part of a midi message has a specific purpose therefore a controlling device can define which receiving instrument will act on the data. There are normally 16 channels and instruments can be linked to them to receive on specific channels or from all. Rumsey also states that as MIDI has become involved more with the recording studio it can now lock timing information to a pre recorded time code that may be delivered from a video, again making the joining of audio and film a much easier quicker process.
Rumsey begins this chapter making the important point that MIDI has now become an essential part of many studio and multimedia productions, which is therefore why it is worth while our looking at. As over the past few weeks it has become clear that the audio aspects of say animation area key part on the effectiveness of the final piece. He then continues to explain that MIDI is often available in a pack incorporating the 3 key elements needed of recording, editing, and replaying both musical performance data and sampled digital audio data, which has helped to speed up the design section. It has become a useful programme in compiling audio aspects as it does not consume much memory space. The simple definition of MIDI according to Rumsey in brief is that it is basically a remote controlling electronic musical instruments.
Rumsey then explains that the programme handles the data, which controls the generation of sound data representing events taken place and is then stored and can be replayed by transmitting to musical instruments to reproduce the recording. Another advantage of midi is that the piece of music can be changed simply by changing the event as the data has been stored, which again can quicken the process. The rate is slow to be carried over simple cables and interface but also fast enough to allow instrument information to be transferred between many without noticeable change giving the feel of real time, which works well when putting the audio in with a real time film.
It is explained how MIDI allows sounds to be stacked meaning that they can be arranged so they double up so a composite sound can become made up of 2 synthesisers outputs. Also that each part of a midi message has a specific purpose therefore a controlling device can define which receiving instrument will act on the data. There are normally 16 channels and instruments can be linked to them to receive on specific channels or from all. Rumsey also states that as MIDI has become involved more with the recording studio it can now lock timing information to a pre recorded time code that may be delivered from a video, again making the joining of audio and film a much easier quicker process.
No comments:
Post a Comment