Posts Tagged ‘#runningsound’

Midi_ports_and_cable

I have seen a lot of confusion over the discussion of MIDI.  Many of us know what it is and how to use it, but we keep on learning new ways to take advantage of this amazing communication protocol.  New MIDI equipped products are hitting the market every year, but if you are starting out or curious you probably just want to know what is MIDI really?

The definition is rather simple; Musical Instrument Digital Interface.

It is a way for devices that have the MIDI feature to communicate to other devices that have the same feature.  Typically you will see the following ports on the devices:

IN

OUT

THRU (also an out, put this is a pass-through from an external MIDI device)

 

These simply let you know where the flow of communication is headed.  These ports and the cables connecting them communicate one-way.  If you want the 1st device to send MIDI data to the 2nd device, connect the OUT from device 1 and connect it to the IN of device 2.  To have the same data from 1st device also sent to a 3rd device, connect the THRU (out) from the 2nd device to the 3rd device’s IN port.

 

MIDI has set up 16 channels for separate communications within each device.   Now, here is the kicker.  What does it do?

 

The confusion comes from the idea that MIDI allows you to record or transmit and layer sounds.  Try to think of it this way – MIDI transmits physical activity applied to the device.

It has no sounds.  It makes no noise. 

But if the player or performer plays a keyboard as the 1st device, MIDI will transmit the physical movement of the keyboard …. This can include what key(s) on the keyboard, how fast or hard they were hit, how much pressure was applied to the key(s) while they are held down, how long it was held, if the sustain pedal is pressed, if the modulation wheel is moving and a lot of other information.  When you capture or record the MIDI data of the performance, it will play back those movements.  If the 2nd device is a tone generator or sound module whatever sound is selected will respond to the MIDI ‘performance’.   If you change sounds, the performance will be in the new sound.

If the 1st device is a drum pad or trigger, the same thing applies.  The trigger will send MIDI data detailing which trigger is used, how hard it is hit and in some pad designs it will detect the area of impact and will trigger multiple sounds depending in zone and velocity of the strike.

I will continue the over view later on in this series. 

I would like to share a number of experiences and lessons I have learned over the years.  My friends call me a closet teacher.  Teaching is just something I love to do.  If I learned it, so can you.  And I have learned a lot about ‘running sound”.

I am fortunate to have had experience from four distinct points of view.  Each is an important but uniquely different facet of the big picture called ‘Live Sound Reinforcement”.  From spending a lot of time in each area, I was able to see how they all fit together and how we can make the job easier and improve the understanding and control of running sound for a live performance. 

Here are the four main branches in no particular order as you will see.

Studio engineer – controlled environment, fancy equipment (that never gets moved or unplugged) and time to ‘ rewind’ and try again.

Live Performer – need to hear ‘me’ more than others but need to hear others.  Loud volume, “in the moment” energy and excitement.  Changing environments and equipment.  Group or team involvement

Sound Reinforcement – make what the band/act is doing on stage sound good and not too loud in the audience of varying sizes and in challenging environments.

Audio and Instrument Sales – newest and coolest toys, contacts with company reps and training seminars, clients that are great musicians.

I have been combining these four branches for years.  If I run into difficulties in a live situation, I can set up the equipment after a gig and recreate the problem.  Then with no live audience or making sure the show goes on kind of pressure, I can look for a solution.  Sometimes it is more gear (or often just the right gear), sometimes a different cable or patch, sometimes a talk with the band members (LOL).

I will not go into heavy technical background or graphs unless I have to, but there are great references on line if you want to get details.  If you are starting out and do not have a lot of experience (or any) you will benefit quickly from this series and will be able to pick this up in no time. 

My name is Michael and studio friends call me MIDI Mike.  Welcome to MIDIMike’s Live Sound Reinforcement series.