Groovy Bytes: Behind the Moon

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========================================================================= Hier eine Zusammenstellung von haeufigen Fragen die Midi-Themen betreffen: ========================================================================= Stand 7.8.94 Diese Zusammenstellung erhebt keinen Anspruch auf Vollstaendigkeit! Es sind Texte aus dem Fido-Netz sowie sonstigen Quellen, die ich Wahl- und Wertungsfrei zusammengestellt habe. Sie soll dem MIDI-Einsteiger helfen. Vielen Dank an die Mithelfer in FIDO/MAUS/uucp/MIDILink/EMC............ Ob die Aussagen der Texte richtig sind, kann ich im Einzelnen nicht nachvollziehen. Also: ALLES OHNE GEWAEHR ! Die Fragen mit den Antworten sind durch ******** von den naechsten Fragen getrennt. Bei mehreren Antworten sind diese durch -------- getrennt. Diese Zusammenstellung enthaelt KEINE Steuerzeichen fuer Drucker. Viel Spass Harald Rossner 2:2490/4045.3 Fido-Home-BBS oder 2:2480/9999.47 TBUS-BBS (MIDILink-Home-BBS) Wuensche und Anregungen werden gerne entgegengenommen. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> INHALT ====== 1) Welche MIDI-Boxen gibt es ? 2) Was ist MIDILink ? 3) Wie ist das MIDI-Format aufgebaut ? 4) Welche Buecher oder Textquellen gibt es fuer MIDI ? 5) Info ueber Wert,Funktion und Namen der MIDI-Controller ? 6) Wie ist die Schaltung eines MIDI-Kabels fuer SoundBlaster/GUS ...-Karte? 7) Wie sieht ein MIDI-Kabel aus, wie ist die Belegung? 8) Wie ist die Belegung der Sounds bei GM/GS ? 9) Wie sind die Hersteller ID's bei SysEx ? 10) Aufbau des "MIDI Sample Dump" Format. 11) Aufbau des "MIDI Timecode" Format. ******************************************************************************* Frage: Welche Musik- und Midi-orientierte Boxen gibt es? Antwort: Musik und MIDI-orientierte Mailboxen in Deutschland -------------------------------------------------------------------------- Name Ort Telefon ggf. Fido-Node -------------------------------------------------------------------------- Headquarter Duisburg 02066-7634 (2:2447/124) (MusicNet) -------------------------------------------------------------------------- KEY-Box Dortmund 0231-7212191 (2:2444/5103.2) (Kontakt zur Zeitschrift Keyboards) -------------------------------------------------------------------------- MES Leipzig 0341-4795879 (2:241/1101.2) -------------------------------------------------------------------------- MUSIK-BOX Bremen 0421-5669337 -------------------------------------------------------------------------- MIDICOM BBS Oldenburg 0441-74563 (2:2426/2040) (MIDILink Musicians Network) -------------------------------------------------------------------------- Chocolate Hill Stuttgart 07158-60035 (2:2407/36) (MIDILink Musicians Network) -------------------------------------------------------------------------- SoundDiverBox Markt Schwaben 08121-49912 (Kontakt zum Programmierer von Soundsurfer / Sounddiver) -------------------------------------------------------------------------- TBUS-BBS Muenchen 089-293881 (2:2480/9999) -------------------------------------------------------------------------- MusicBox Muenchen 089-3163154 (Mac Telefinder BBS) -------------------------------------------------------------------------- KEYS-BBS Muenchen 089-6518679 (2:2480/620) (MIDILink Musicians Network, Kontakt zur Zeitschrift Keys) -------------------------------------------------------------------------- MIDIGITAL Box 09396-2113 -------------------------------------------------------------------------- Diese Liste erhebt keinen Anspruch auf Vollstaendigkeit. Wer in diese Liste aufgenommen werden moechte kontaktiert Florian Anwander in der KEYS- BBS. Bitte immer die komplette Liste zwischen den beiden doppelt gestrichelten Linien weitergeben. ========================================================================== ******************************************************************************* Frage: Was ist MIDILINK? Antwort: ====================================================================== MIDILink Musician's Network - Linking Musical Professionals worldwide! ====================================================================== Info fuer Musiker und MIDI-Anbieter, Deutsche Ausgabe (1. Quartal 94) ==================================================================== Worum geht es? ============== [...] Der MIDILINK verbindet weltweit Musiker und MIDIaner aller Art, welche die MIDI-Technologie nutzen und/oder vorantreiben. Angefangen hat alles 1987 in den USA, als MIDI-Anwender ein Telekommunikationsnetz unter Gleichgesinnten aufbauten, um es speziell fuer ihren Erfahrungsaustausch und ihre Zusammenarbeit zu nutzen. Nachrichten (Fragen, Infos, News, Datenfiles, etc.) wurden in verschiedenen StAedten gesammelt und ueber Nacht automatisch per BBS's (Bulletin Board Systems) in andere StAedte weitergeleitet. Heute sind weltweit mehr als 20.000 Teilnehmer im MIDILINK verbunden. In zahlreichen fachspezifischen Konferenzen werden musikalische, technische und organisatorische Fragen rund um die MIDI-Technologie diskutiert und Erfahrungen auch in Form von Datenfiles und Programmen ausgetauscht. Mehr als 50 BBS's bilden dabei das weltweite Kommunikations- netz, auf welches jeder Teilnehmer durch Anwahl des ihm naechstgelegenen MIDILINK-BBS's leicht zugreifen kann. Anbieter von MIDI-Produkten haben inzwischen den MIDILINK auch als schnellen Draht zu ihren Kunden entdeckt, um Fragen zu Produkten und deren Anwendung auf direktem Wege zu beantworten. Einige Hersteller haben sich sogar mit einem eigenen BBS dem MIDILINK angeschlossen, um so seine Infrastruktur zu nutzen. Was bringt Ihnen das? ===================== Als MIDILINK-Teilnehmer koennen Sie weltweit Erfahrungen mit Anwendern Aehnlichen Equipments austauschen, Fragen stellen, von Herstellern direkten Support bekommen, etc./pp. Dafuer stehen Ihnen fachspezifische Konferenzen fuer alle MIDI-relevanten Computer (z.B. IBM, Macintosh, Atari, Amiga) sowie entsprechende Anwendungsgebiete (z.B. SoundProgramming, Sampler, Recording, MultiMedia, Video, SoundCards, Komposition, Karriere, etc.) zur Verfuegung, und zahlreiche Hersteller (z.B. Kurzweil, Music Quest, Turtle Beach, Twelve Tone, Steinberg/Jones, uam.) bieten Ihnen einen direkten 24h-Service in ihren Factory-Support Konferenzen. Zudem koennen Sie auf die reichhaltige File-Sammlung der EMC ("European MIDI Connection") zugreifen und sich Demos, frei verfuegbare Programme, Patches, Sequenzer- Dateien etc. in ihren Computer laden. Als MIDI-Anbieter koennen Sie die MIDILINK-Infrastruktur dazu nutzen, ihren Kunden einen 24h Support-Service zu bieten und gezielt beim Fachpublikum fuerIhre Produkte zu werben. Unter Verweis Ihrer Kunden auf den MIDILINK koennen Sie sich dann den Aufbau einer entsprechenden eigenen Infrastruktur ersparen. [... Die Teilnahme kostet nichts (ausser Telefongebuehr) ...] +---------------------------------------------------------------------------+ | "MIDILink Musician's Network" (MMN) & "European Midi Connection" (EMC) | | Fach-Konferenzen und File-Areas fuer ca. 20.000 MIDIaner weltweit | | Konferenzen & FileAreas verfuegbar bei den folgenden FidoNet-Boxen: | +---------------------------------------------------------------------------+ |MUENCHEN: TBUS-BBS (2:2480/9999),+49-89-293881, SO Rudolf Stricker | |MUENCHEN: KEYS-BBS (2:2480/620) ,+49-89-6518679, SO Florian Anwander| |OLDENBURG:MIDICOM BBS (2:2426/2040),+49-441-74563, SO Oliver Ried | |STUTTGART:Chocolate Hill (2:2407/36), +49-7158-60035, SO Michael Lederer | +---------------------------------------------------------------------------+ Und was erwartet Sie im Detail bei diesen deutschen MIDILINK-BBS's? Hier zunAechst eine Liste der Fachkonferenzen: =============================================================== =============== MIDILINK: Liste der MESSAGE-Areas ============= =============================================================== =============== MIDI & MIDILink Musicians' Network (MMN) ====== =============================================================== =======deutschsprachige Areas (in ganz Europa verfuegbar)====== =============================================================== MIDILINK.MLG allgemeine Area des deutschsprachigen MIDILink MMUSIKER.MLG Uebers Musikhoeren und Musikmachen HARDSOFT.MLG MIDI Hard und Software; deutsches MIDILink RECORDING.MLG Aufnahme und Studiotechnik; deutsches MIDILink SNDCARDS.MLG Soundkarten fuer IBM-Kompatible MBAZAR.MLG Musiker Flohmarkt; deutsches MIDILink KEYS.MLG Diskussions- und Informationsforum, der Zeitschrift Keys =============================================================== =========englischsprachige Areas (weltweit verfuegbar)========= =============================================================== M_MAIN-BOARD general topics of MIDILink interntl.(english!) M_COLLAB Area for songwriters collaboration(english!) M_CAREERS Area for musicians carreers and education (english!) M_GENERICS generic MIDI questions (english!) M_PROGRAM conference on MIDI programming (english!) M_RECORDING about recording and studio engineering (english!) M_SAMPLING about sampler / sampling (english!) M_VIDSOUND about video and sound (english!) M_SOUNDCRD about pc-soundcards (english!) M_ST-ATARI ATARI and MIDI (english!) M_APPLE APPLE/MAC and MIDI (english!) M_COMMODORE AMIGA / C64 and MIDI (english!) M_IBM IBM-compatibles and MIDI (english!) M_KURZWEIL MMN-Factory support for KURZWEIL MUSICAL PRODUCTS(engl.) M_12TONE MMN-Factory support for TWELVE TONE SYSTEMS (english!) M_STEINBERG MMN-Factory support for STEINBERG (english!) M_TURTLEBEACH MMN-Factory support for TURTLE BEACH SYSTEMS (english!) M_MACKIE MMN-Factory support for MACKIE RECORDING GEAR (english!) M_VOYETRA MMN-Factory support from VOYETRA TECHNOLOGIES (english!) M_MQUEST MMN-Factory support from MUSIC QUEST INC (english!) M_KEY MMN-Factory support for KEY MEDIATOR (english!) M_PWRCHORD MMN-Factory support for POWERCHORDS (english!) M_COOLSHOES MMN-Factory support from COOL SHOES INC. (english!) M_JAMMER MMN-Factory support for SOUNDTREK's JAMMER (english!) M_TAP MMN-Factory support for MUSIC PRINTER PLUS (english!) M_TEACH MMN-Factory support from TEACH SERVICES LMP (english!) =============================================================== =============== MIDI & Musik aus dem UseNet =================== RMM.COMPOSE - Usenet conf on composers & composing RMM.GUITAR - Usenet conf on guitars & playing them RMM.GUITAR.TAB - Usenet conf on guitar tabs, chords & lyrics RMM.BASS - Usenet conf on basses & playing them RMM.PERCUSSION - Usenet conf on drums & percussions RMM.SYNTH - Usenet conf on synths & samplers =============================================================== [...Jede Box hat dann noch jede Menge musikorientierte Fido-Areas...] Die beiden wesentlichsten Elemente am MIDILink duerften die internationale Vernetzung sein, und die Tatsache, dass innerhalb des Netzes eine kommerzielle Nutzung zulaessig ist - das gilt aber definitiv nur fuers MIDILink nicht fuer Netmails ins oder aus dem FIDO (!!!). ****************************************************************************** Frage: Wie ist das Midi-Format aufgebaut? Antwort: Physikalisch gesehen eine Stromschleife, Lowlevel-logisch 8N1, 31250 Bit/s (31,25 KBit/s) MIDI 1.0 Specification: Status Data Byte(s) Description D7----D0 D7----D0 ------------------------------------------------------------------------- Channel Voice Messages ------------------------------------------------------------------------- 1000cccc 0nnnnnnn Note Off event. 0vvvvvvv This message is sent when a note is released (ended). (nnnnnnn) is the note number. (vvvvvvv) is the velocity. 1001cccc 0nnnnnnn Note On event. 0vvvvvvv This message is sent when a note is depressed (start). (nnnnnnn) is the note number. (vvvvvvv) is the velocity. 1010cccc 0nnnnnnn Polyphonic Key Pressure (After-touch). 0vvvvvvv This message is sent when the pressure (velocity) of a previously triggered note changes. (nnnnnnn) is the note number. (vvvvvvv) is the new velocity. 1011cccc 0ccccccc Control Change. 0vvvvvvv This message is sent when a controller value changes. Controllers include devices such as pedals and levers. Certain controller numbers are reserved for specific purposes. See Channel Mode Messages. (ccccccc) is the controller number. (vvvvvvv) is the new value. 1100cccc 0ppppppp Program Change. This message sent when the patch number changes. (ppppppp) is the new program number. 1101nnnn 0ccccccc Channel Pressure (After-touch). This message is sent when the channel pressure changes. Some velocity-sensing keyboards do not support polyphonic after-touch. Use this message to send the single greatest velocity (of all te current depressed keys). (ccccccc) is the channel number. 1110nnnn 0lllllll Pitch Wheel Change. 0mmmmmmm This message is sent to indicate a change in the pitch wheel. The pitch wheel is measured by a fourteen bit value. Center (no pitch change) is 2000H. Sensitivity is a function of the transmitter. (llllll) are the least significant 7 bits. (mmmmmm) are the most significant 7 bits. ------------------------------------------------------------------------- Channel Mode Messages (See also Control Change, above) ------------------------------------------------------------------------- 1011nnnn 0ccccccc Channel Mode Messages. 0vvvvvvv This the same code as the Control Change (above), but implements Mode control by using reserved controller numbers. The numbers are: Local Control. When Local Control is Off, all devices on a given channel will respond only to data received over MIDI. Played data, etc. will be ignored. Local Control On restores the functions of the normal controllers. c = 122, v = 0: Local Control Off c = 122, v = 127: Local Control On All Notes Off. When an All Notes Off is received, all oscillators will turn off. c = 123, v = 0: All Notes Off (See text for description of actual mode commands.) c = 124, v = 0: Omni Mode Off c = 125, v = 0: Omni Mode On c = 126, v = M: Mono Mode On (Poly Off) where M is the number of channels (Omni Off) or 0 (Omni On) c = 127, v = 0: Poly Mode On (Mono Off) (Note: These four messages also cause All Notes Off) ------------------------------------------------------------------------- System Common Messages ------------------------------------------------------------------------- 11110000 0iiiiiii System Exclusive. 0ddddddd This message makes up for all that MIDI .. doesn't support. (iiiiiii) is a seven .. bit Manufacturer's I.D. code. If the 0ddddddd synthesizer recognizes the I.D. code as 11110111 its own, it will listen to the rest of the message (ddddddd). Otherwise, the message will be ignored. System Exclusive is used to send bulk dumps such as patch parameters and other non-spec data. (Note: Real-Time messages ONLY may be interleaved with a System Exclusive.) 11110001 Undefined. 11110010 0lllllll Song Position Pointer. 0mmmmmmm This is an internal 14 bit register that holds the number of MIDI beats (1 beat= six MIDI clocks) since the start of the song. l is the LSB, m the MSB. 11110011 0sssssss Song Select. The Song Select specifies which sequence or song is to be played. 11110100 Undefined. 11110101 Undefined. 11110110 Tune Request. Upon receiving a Tune Request, all analog sythesizers should tune their oscillators. 11110111 End of Exclusive. Used to terminate a System Exclusive dump (see above). ------------------------------------------------------------------------- System Real-Time Messages ------------------------------------------------------------------------- 11111000 Timing Clock. Sent 24 times per quarter note when synchronization is required (see text). 11111001 Undefined. 11111010 Start. Start the current sequence playing. (This message will be followed with Timing Clocks). 11111011 Continue. Continue at the point the sequence was Stopped. 11111100 Stop. Stop the current sequence. 11111101 Undefined. 11111110 Active Sensing. Use of this message is optional. When initially sent, the receiver will expect to receive another Active Sensing message each 300ms (max), or it will be assume that the connection has been terminated. At termination, the receiver will turn off all voices and return to normal (non- active sensing) operation. 11111111 Reset. Reset all receivers in the system to power-up status. This should be used sparingly, preferably under manual control. In particular, it should not be sent on power-up. ---------------------------------------------------------------------------- Weitere Infos: To get your copy of the 1.0 spec, send a $2 check to: International Midi Association 5316 West 57th Street Los Angeles, CA 90056 (415) 321-MIDI Make your checks payable to the IMA. BYW, the 1.0 spec is technically identical to the .06 spec, but the description has been re-written. Since the spec has been offically approved, there shouldn't be any problem with posting this summary of the .06 spec: [This document is Dave Oppenheim's current version of the MIDI file specification, as sent to those who have participated in its development. The consensus seems to be to submit this to the MIDI Manufacturers' Association as version 1.0. I apologize for any loss of clarity that might have occurred in the conversion from a Microsoft Word document to this pure text file. I have removed some of the discussion about recent changes to the specification in order to keep the file size reasonable.--Doug Wyatt] Standard MIDI Files 0.06 March 1, 1988 ============================================= 0 Introduction This describes a proposed standard MIDI file format. MIDI files contain one or more MIDI streams, with time information for each event. Song, sequence, and track structures, tempo and time signature information, are all supported. Track names and other descriptive information may be stored with the MIDI data. This format supports multiple tracks and multiple sequences so that if the user of a program which supports multiple tracks intends to move a file to another one, this format can allow that to happen. This spec defines the 8-bit binary data stream used in the file. The data can be stored in a binary file, nibbleized, 7-bit-ized for efficient MIDI transmission, converted to Hex ASCII, or translated symbolically to a printable text file. This spec addresses what's in the 8-bit stream. 1 Sequences, Tracks, Chunks: File Block Structure Sequence files are made up of chunks. Each chunk has a 4-character type and a 32-bit length, which is the number of bytes in the chunk. On the Macintosh, data is passed either in the data fork of a file, or on the Clipboard. (The file type on the Macintosh for a file in this format will be "Midi".) On any other computer, the data is simply the contents of the file. This structure allows future chunk types to be designed which may easily be ignored if encountered by a program written before the chunk type is introduced. Your programs should expect alien chunks and treat them as if they weren't there. This proposal defines two types of chunks: a header chunk and a track chunk. A header chunk provides a minimal amount of information pertaining to the entire MIDI file. A track chunk contains a sequential stream of MIDI data which may contain information for up to 16 MIDI channels. The concepts of multiple tracks, multiple MIDI outputs, patterns, sequences, and songs may all be implemented using several track chunks. A MIDI file always starts with a header chunk, and is followed by one or more track chunks. MThd <length of header data> <header data> MTrk <length of track data> <track data> MTrk <length of track data> <track data> ... Track Data Format (MTrk chunk type) The MTrk chunk type is where actual song data is stored. It is simply a stream of MIDI events (and non-MIDI events), preceded by delta-time values. Some numbers in MTrk chunks are represented in a form called a variable- length quantity. These numbers are represented 7 bits per byte, most significant bits first. All bytes except the last have bit 7 set, and the last byte has bit 7 clear. If the number is between 0 and 127, it is thus represented exactly as one byte. Here are some examples of numbers represented as variable-length quantities: Number (hex) Representation (hex) 00000000 00 00000040 40 0000007F 7F 00000080 81 00 00002000 C0 00 00003FFF FF 7F 00004000 81 80 00 00100000 C0 80 00 001FFFFF FF FF 7F 00200000 81 80 80 00 08000000 C0 80 80 00 0FFFFFFF FF FF FF 7F The largest number which is allowed is 0FFFFFFF so that the variable- length representation must fit in 32 bits in a routine to write variable-length numbers. Theoretically, larger numbers are possible, but 2 x 108 96ths of a beat at a fast tempo of 500 beats per minute is four days, long enough for any delta-time! Here is the syntax of an MTrk chunk: <track data> = <MTrk event>+ <MTrk event> = <delta-time> <event> <delta-time> is stored as a variable-length quantity. It represents the amount of time before the following event. If the first event in a track occurs at the very beginning of a track, or if two events occur simultaneously, a delta-time of zero is used. Delta-times are always present. (Not storing delta-times of 0 requires at least two bytes for any other value, and most delta-times aren't zero.) Delta-time is in some fraction of a beat (or a second, for recording a track with SMPTE times), as specified in the header chunk. <event> = <MIDI event> | <sysex event> | <meta-event> <MIDI event> is any MIDI channel message. Running status is used: status bytes may be omitted after the first byte. The first event in a file must specify status. Delta-time is not considered an event itself: it is an integral part of the specification. Notice that running status occurs across delta-times. <meta-event> specifies non-MIDI information useful to this format or to sequencers, with this syntax: FF <type> <length> <bytes> All meta-events begin with FF, then have an event type byte (which is always less than 128), and then have the length of the data stored as a variable-length quantity, and then the data itself. If there is no data, the length is 0. As with sysex events, running status is not allowed. As with chunks, future meta-events may be designed which may not be known to existing programs, so programs must properly ignore meta-events which they do not recognize, and indeed, should expect to see them. New for 0.06: programs must never ignore the length of a meta-event which they do recognize, and they shouldn't be surprised if it's bigger than they expected. If so, they must ignore everything past what they know about. However, they must not add anything of their own to the end of a meta-event. <sysex event> is used to specify a MIDI system exclusive message, or as an "escape" to specify any arbitrary bytes to be transmitted. Unfortunately, some synthesizer manufacturers specify that their system exclusive messages are to be transmitted as little packets. Each packet is only part of an entire syntactical system exclusive message, but the times they are transmitted at are important. Examples of this are the bytes sent in a CZ patch dump, or the FB-01's "system exclusive mode" in which microtonal data can be transmitted. To be able to handle situations like these, two forms of <sysex event> are provided: F0 <length> <bytes to be transmitted after F0> F7 <length> <all bytes to be transmitted> In both cases, <length> is stored as a variable-length quantity. It is equal to the number of bytes following it, not including itself or the message type (F0 or F7), but all the bytes which follow, including any F7 at the end which is intended to be transmitted. The first form, with the F0 code, is used for syntactically complete system exclusive messages, or the first packet an a series Q that is, messages in which the F0 should be transmitted. The second form is used for the remainder of the packets within a syntactic sysex message, which do not begin with F0. Of course, the F7 is not considered part of the system exclusive message. Of course, just as in MIDI, running status is not allowed, in this case because the length is stored as a variable-length quantity which may or may not start with bit 7 set. (New to 0.06) A syntactic system exclusive message must always end with an F7, even if the real-life device didn't send one, so that you know when you've reached the end of an entire sysex message without looking ahead to the next event in the MIDI file. This principle is repeated and illustrated in the paragraphs below. The vast majority of system exclusive messages will just use the F0 format. For instance, the transmitted message F0 43 12 00 07 F7 would be stored in a MIDI file as F0 05 43 12 00 07 F7. As mentioned above, it is required to include the F7 at the end so that the reader of the MIDI file knows that it has read the entire message. For special situations when a single system exclusive message is split up, with parts of it being transmitted at different times, such as in a Casio CZ patch transfer, or the FB-01's "system exclusive mode", the F7 form of sysex event is used for each packet except the first. None of the packets would end with an F7 except the last one, which must end with an F7. There also must not be any transmittable MIDI events in- between the packets of a multi-packet system exclusive message. Here is an example: suppose the bytes F0 43 12 00 were to be sent, followed by a 200-tick delay, followed by the bytes 43 12 00 43 12 00, followed by a 100-tick delay, followed by the bytes 43 12 00 F7, this would be in the MIDI File: F0 03 43 12 00 81 48 200-tick delta-time F7 06 43 12 00 43 12 00 64 100-tick delta-time F7 04 43 12 00 F7 The F7 event may also be used as an "escape" to transmit any bytes whatsoever, including real-time bytes, song pointer, or MIDI Time Code, which are not permitted normally in this specification. No effort should be made to interpret the bytes used in this way. Since a system exclusive message is not being transmitted, it is not necessary or appropriate to end the F7 event with an F7 in this case. 2 Header Chunk The header chunk at the beginning of the file specifies some basic information about the data in the file. The data section contains three 16-bit words, stored high byte first (of course). Here's the syntax of the complete chunk: <chunk type> <length> <format> <ntrks> <division> As described above, <chunk type> is the four ASCII characters 'MThd'; <length> is a 32-bit representation of the number 6 (high byte first). The first word, format, specifies the overall organization of the file. Only three values of format are specified: 0 the file contains a single multi-channel track 1 the file contains one or more simultaneous tracks (or MIDI outputs) of a sequence 2 the file contains one or more sequentially independent single-track patterns The next word, ntrks, is the number of track chunks in the file. The third word, division, is the division of a quarter-note represented by the delta-times in the file. (If division is negative, it represents the division of a second represented by the delta-times in the file, so that the track can represent events occurring in actual time instead of metrical time. It is represented in the following way: the upper byte is one of the four values -24, -25, -29, or -30, corresponding to the four standard SMPTE and MIDI time code formats, and represents the number of frames per second. The second byte (stored positive) is the resolution within a frame: typical values may be 4 (MIDI time code resolution), 8, 10, 80 (bit resolution), or 100. This system allows exact specification of time-code-based tracks, but also allows millisecond-based tracks by specifying 25 frames/sec and a resolution of 40 units per frame.) Format 0, that is, one multi-channel track, is the most interchangeable representation of data. One application of MIDI files is a simple single-track player in a program which needs to make synthesizers make sounds, but which is primarily concerned with something else such as mixers or sound effect boxes. It is very desirable to be able to produce such a format, even if your program is track-based, in order to work with these simple programs. On the other hand, perhaps someone will write a format conversion from format 1 to format 0 which might be so easy to use in some setting that it would save you the trouble of putting it into your program. Programs which support several simultaneous tracks should be able to save and read data in format 1, a vertically one-dimensional form, that is, as a collection of tracks. Programs which support several independent patterns should be able to save and read data in format 2, a horizontally one-dimensional form. Providing these minimum capabilities will ensure maximum interchangeability. MIDI files can express tempo and time signature, and they have been chosen to do so for transferring tempo maps from one device to another. For a format 0 file, the tempo will be scattered through the track and the tempo map reader should ignore the intervening events; for a format 1 file, the tempo map must (starting in 0.04) be stored as the first track. It is polite to a tempo map reader to offer your user the ability to make a format 0 file with just the tempo, unless you can use format 1. All MIDI files should specify tempo and time signature. If they don't, the time signature is assumed to be 4/4, and the tempo 120 beats per minute. In format 0, these meta-events should occur at least at the beginning of the single multi-channel track. In format 1, these meta- events should be contained in the first track. In format 2, each of the temporally independent patterns should contain at least initial time signature and tempo information. We may decide to define other format IDs to support other structures. A program reading an unfamiliar format ID should return an error to the user rather than trying to read further. 3 Meta-Events A few meta-events are defined herein. It is not required for every program to support every meta-event. Meta-events initially defined include: FF 00 02 ssss Sequence Number This optional event, which must occur at the beginning of a track, before any nonzero delta-times, and before any transmittable MIDI events, specifies the number of a sequence. The number in this track corresponds to the sequence number in the new Cue message discussed at the summer 1987 MMA meeting. In a format 2 MIDI file, it is used to identify each "pattern" so that a "song" sequence using the Cue message to refer to the patterns. If the ID numbers are omitted, the sequences' locations in order in the file are used as defaults. In a format 0 or 1 MIDI file, which only contain one sequence, this number should be contained in the first (or only) track. If transfer of several multitrack sequences is required, this must be done as a group of format 1 files, each with a different sequence number. FF 01 len text Text Event Any amount of text describing anything. It is a good idea to put a text event right at the beginning of a track, with the name of the track, a description of its intended orchestration, and any other information which the user wants to put there. Text events may also occur at other times in a track, to be used as lyrics, or descriptions of cue points. The text in this event should be printable ASCII characters for maximum interchange. However, other character codes using the high-order bit may be used for interchange of files between different programs on the same computer which supports an extended character set. Programs on a computer which does not support non-ASCII characters should ignore those characters. (New for 0.06 ). Meta event types 01 through 0F are reserved for various types of text events, each of which meets the specification of text events(above) but is used for a different purpose: FF 02 len text Copyright Notice Contains a copyright notice as printable ASCII text. The notice should contain the characters (C), the year of the copyright, and the owner of the copyright. If several pieces of music are in the same MIDI file, all of the copyright notices should be placed together in this event so that it will be at the beginning of the file. This event should be the first event in the first track chunk, at time 0. FF 03 len text Sequence/Track Name If in a format 0 track, or the first track in a format 1 file, the name of the sequence. Otherwise, the name of the track. FF 04 len text Instrument Name A description of the type of instrumentation to be used in that track. May be used with the MIDI Prefix meta-event to specify which MIDI channel the description applies to, or the channel may be specified as text in the event itself. FF 05 len text Lyric A lyric to be sung. Generally, each syllable will be a separate lyric event which begins at the event's time. FF 06 len text Marker Normally in a format 0 track, or the first track in a format 1 file. The name of that point in the sequence, such as a rehearsal letter or section name ("First Verse", etc.). FF 07 len text Cue Point A description of something happening on a film or video screen or stage at that point in the musical score ("Car crashes into house", "curtain opens", "she slaps his face", etc.) FF 2F 00 End of Track This event is not optional. It is included so that an exact ending point may be specified for the track, so that it has an exact length, which is necessary for tracks which are looped or concatenated. FF 51 03 tttttt Set Tempo, in microseconds per MIDI quarter-note This event indicates a tempo change. Another way of putting "microseconds per quarter-note" is "24ths of a microsecond per MIDI clock". Representing tempos as time per beat instead of beat per time allows absolutely exact long-term synchronization with a time-based sync protocol such as SMPTE time code or MIDI time code. This amount of accuracy provided by this tempo resolution allows a four-minute piece at 120 beats per minute to be accurate within 500 usec at the end of the piece. Ideally, these events should only occur where MIDI clocks would be located Q this convention is intended to guarantee, or at least increase the likelihood, of compatibility with other synchronization devices so that a time signature/tempo map stored in this format may easily be transferred to another device. FF 54 05 hr mn se fr ff SMPTE Offset (New in 0.06 - SMPTE Format specification) This event, if present, designates the SMPTE time at which the track chunk is supposed to start. It should be present at the beginning of the track, that is, before any nonzero delta-times, and before any transmittable MIDI events. The hour must be encoded with the SMPTE format, just as it is in MIDI Time Code. In a format 1 file, the SMPTE Offset must be stored with the tempo map, and has no meaning in any of the other tracks. The ff field contains fractional frames, in 100ths of a frame, even in SMPTE-based tracks which specify a different frame subdivision for delta-times. FF 58 04 nn dd cc bb Time Signature The time signature is expressed as four numbers. nn and dd represent the numerator and denominator of the time signature as it would be notated. The denominator is a negative power of two: 2 represents a quarter-note, 3 represents an eighth-note, etc. The cc parameter expresses the number of MIDI clocks in a metronome click. The bb parameter expresses the number of notated 32nd-notes in a MIDI quarter- note (24 MIDI Clocks). This was added because there are already multiple programs which allow the user to specify that what MIDI thinks of as a quarter-note (24 clocks) is to be notated as, or related to in terms of, something else. Therefore, the complete event for 6/8 time, where the metronome clicks every three eighth-notes, but there are 24 clocks per quarter-note, 72 to the bar, would be (in hex): FF 58 04 06 03 24 08 That is, 6/8 time (8 is 2 to the 3rd power, so this is 06 03), 32 MIDI clocks per dotted-quarter (24 hex!), and eight notated 32nd-notes per MIDI quarter note. FF 59 02 sf mi Key Signature sf = -7: 7 flats sf = -1: 1 flat sf = 0: key of C sf = 1: 1 sharp sf = 7: 7 sharps mi = 0: major key mi = 1: minor key FF 7F len data Sequencer-Specific Meta-Event Special requirements for particular sequencers may use this event type: the first byte or bytes of data is a manufacturer ID. However, as this is an interchange format, growth of the spec proper is preferred to use of this event type. This type of event may be used by a sequencer which elects to use this as its only file format; sequencers with their established feature-specific formats should probably stick to the standard features when using this format. 4 Program Fragments and Example MIDI Files Here are some of the routines to read and write variable-length numbers in MIDI Files. These routines are in C, and use getc and putc, which read and write single 8-bit characters from/to the files infile and outfile. WriteVarLen (value) register long value; { register long buffer; buffer = value & 0x7f; while ((value >>= 7) > 0) { buffer <<= 8; buffer |= 0x80; buffer += (value & 0x7f); } while (TRUE) { putc(buffer,outfile); if (buffer & 0x80) buffer >>= 8; else break; } } doubleword ReadVarLen () { register doubleword value; register byte c; if ((value = getc(infile)) & 0x80) { value &= 0x7f; do { value = (value << 7) + ((c = getc(infile)) & 0x7f); } while (c & 0x80); } return (value); } As an example, MIDI Files for the following excerpt are shown below. First, a format 0 file is shown, with all information intermingled; then, a format 1 file is shown with all data separated into four tracks: one for tempo and time signature, and three for the notes. A resolution of 96 "ticks" per quarter note is used. A time signature of 4/4 and a tempo of 120, though implied, are explicitly stated. The contents of the MIDI stream represented by this example are broken down here: Delta Time(decimal) Event Code (hex) Other Bytes (decimal) Comment 0 FF 58 04 04 02 24 08 4 bytes: 4/4 time, 24 MIDI clocks/click, 8 32nd notes/24 MIDI clocks 0 FF 51 03 500000 3 bytes: 500,000 5sec per quarter-note 0 C0 5 Ch. 1, Program Change 5 0 C0 5 Ch. 1, Program Change 5 0 C1 46 Ch. 2, Program Change 46 0 C2 70 Ch. 3, Program Change 70 0 92 48 96 Ch. 3 Note On C2, forte 0 92 60 96 Ch. 3 Note On C3, forte 96 91 67 64 Ch. 2 Note On G3, mezzo-forte 96 90 76 32 Ch. 1 Note On E4, piano 192 82 48 64 Ch. 3 Note Off C2, standard 0 82 60 64 Ch. 3 Note Off C3, standard 0 81 67 64 Ch. 2 Note Off G3, standard 0 80 76 64 Ch. 1 Note Off E4, standard 0 FF 2F 00 Track End The entire format 0 MIDI file contents in hex follow. First, the header chunk: 4D 54 68 64 MThd 00 00 00 06 chunk length 00 00 format 0 00 01 one track 00 60 96 per quarter-note Then, the track chunk. Its header, followed by the events (notice that running status is used in places): 4D 54 72 6B MTrk 00 00 00 3B chunk length (59) Delta-time Event Comments 00 FF 58 04 04 02 18 08 time signature 00 FF 51 03 07 A1 20 tempo 00 C0 05 00 C1 2E 00 C2 46 00 92 30 60 00 3C 60 running status 60 91 43 40 60 90 4C 20 81 40 82 30 40 two-byte delta-time 00 3C 40 running status 00 81 43 40 00 80 4C 40 00 FF 2F 00 end of track A format 1 representation of the file is slightly different. Its header chunk: 4D 54 68 64 MThd 00 00 00 06 chunk length 00 01 format 1 00 04 four tracks 00 60 96 per quarter-note First, the track chunk for the time signature/tempo track. Its header, followed by the events: 4D 54 72 6B MTrk 00 00 00 14 chunk length (20) Delta-time Event Comments 00 FF 58 04 04 02 18 08 time signature 00 FF 51 03 07 A1 20 tempo 83 00 FF 2F 00 end of track Then, the track chunk for the first music track. The MIDI convention for note on/off running status is used in this example: 4D 54 72 6B MTrk 00 00 00 10 chunk length (16) Delta-time Event Comments 00 C0 05 81 40 90 4C 20 81 40 4C 00 Running status: note on, vel = 0 00 FF 2F 00 end of track Then, the track chunk for the second music track: 4D 54 72 6B MTrk 00 00 00 0F chunk length (15) Delta-time Event Comments 00 C1 2E 60 91 43 40 82 20 43 00 running status 00 FF 2F 00 end of track Then, the track chunk for the third music track: 4D 54 72 6B MTrk 00 00 00 15 chunk length (21) Delta-time Event Comments 00 C2 46 00 92 30 60 00 3C 60 running status 83 00 30 00 two-byte delta-time, running status 00 3C 00 running status 00 FF 2F 00 end of track 5 MIDI Transmission of MIDI Files Since it is inconvenient to exchange disks between different computers, and since many computers which will use this format will have a MIDI interface anyway, MIDI seems like a perfect way to send these files from one computer to another. And, while we're going through all the trouble to make a way of sending MIDI Files, it would be nice if they could send any files (like sampled sound files, text files, etc.) Goals The transmission protocol for MIDI files should be reasonably efficient, should support fast transmission for computers which are capable of it, and slower transmission for less powerful ones. It should not be impossible to convert a MIDI File to or from an arbitrary internal representation on the fly as it is transmitted, but, as long as it is not too difficult, it is very desirable to use a generic method so that any file type could be accommodated. To make the protocol efficient, the MIDI transmission of these files will take groups of seven 8-bit bytes and transmit them as eight 7-bit MIDI data bytes. This is certainly in the spirit of the rest of this format (keep it small, because it's not that hard to do). To accommodate a wide range of transmission speeds, files will be transmitted in packets with acknowledge -- this allows data to be stored to disk as it is received. If the sender does not receive a response from a reader in a certain amount of time, it can assume an open-loop situation, and then just continue. The last edition of MIDI Files contained a specialized protocol for sending just MIDI Files. To meet a deadline, unfortunately I don't have time right now to propose a new generalized protocol. This will be done within the next couple of months. I would welcome any proposals anyone else has, and would direct your attention to the proposal from Ralph Muha of Kurzweil, available in a recent MMA bulletin, and also directly from him. -- Michael S. Czeiszperger | "The only good composer is a dead composer" Systems Analyst | Snail: 2015 Neil Avenue (614) The Ohio State University | Columbus, OH 43210 292- ARPA:czei@accelerator.eng.ohio-state.edu PAN:CZEI ******************************************************************************* Frage: Welche Buecher und Unterlagen gibt es ueber Midi? Antwort: Steve De Furia & Joe Scacciaferro, Anmerkung:"Dieses Buch ist scheinbar die "MIDI Programmer's Handbook" Bibel fuer MIDI" M&T Books ISBN 1-55851-068-0 P.Gorges und A.Merck "Keyboards,MIDI,Homerecording" Muenchen, 1989, GC Carstensen Verlag ISBN 3-90802026-3-1 [1] Siegfried Just: <MIDITALK - Standard MIDI-Files>. ST-Computer 12/90. Heim-Verlag, S. 144ff, [2] Michael Cxelperger: <Introducing Standard MIDI File>. Electronic Musican, April 1989, S. 50ff [3] <Standard-MIDI-File in C / Babylon entschlsselt>. 68000er ST-magazin 10/91 - 11/91. Markt & Technik. [4] Kai Schwirzke: <MIDI macht die Musik - Standard MIDI-File-Format>. c't - magazin fr computer technik 07/93, S.232ff Heise Verlag This is a bibliography on synthesizers, midi, computer and electronic music that I have collected from various sources. I have tried to bring some structure into it, but not all books will fit into a single subject. NOTE: I haven't read these books, and the comments are from other people. On some of them I lost the original commentor's name. Sorry about that. If you have additions or correction to this information, please mail me. The latest version of this file can be obtained by ftp from ftp.cs.ruu.nl [131.211.80.17] in MIDI/DOC/bibliography or by mail from mail-server@cs.ruu.nl (send a message with HELP in the body). There is a more scientifically-oriented bibliography available in the Computer Music Journal archives, on the ftp sites mitpress.mit.edu /pub/Computer-Music-Journal/EdNotes or ccrma-ftp.stanford.edu /pub/Publications/cmj/EdNotes. Some references in this file that belong in that category will be removed in the future. ------------------------------ MIDI ------------------------------ The most-up-to-date printed specs for General MIDI, MIDI, and the MIDI file format can also be obtained for a few bucks from: International MIDI Association 23634 Emelita Street Woodland Hills, California 91367 USA ------------------------------------------------------------------------ Title: Computer music in C / Phil Winsor & Gene DeLisa. Publisher: Blue Ridge Summit, PA : TAB Books (Windcrest label), c1991. Subjects: Computer sound processing. Computer composition. C (Computer program language) Midi programming ISBN: 0-8306-3637-4 (p) : $22.95 It has a C source disk for the PC available for $25. ------------------------------------------------------------------------ Title: Mind over MIDI / edited by Dominic Milano ; by the editors of Keyboard magazine. Publisher: Milwaukee, WI : H. Leonard Books, c1987. Series Name: The Keyboard magazine basic library Other Series Names: Keyboard synthesizer library. Subjects: MIDI (Standard) Computer sound processing. ISBN: 0-88188-551-7 (pbk.) : $12.95 The book consists mostly of reprints of KEYBOARD magazine articles from the early-mid '80s plus several appendixes containing the MIDI 1.0 specification, a list of references, a glossary, etc. ------------------------------------------------------------------------ Title: MIDI- und sound-buch zum Atari ST. English Title: MIDI and sound book for the Atari ST / Bernd Enders and Wolfgang Klemme. Publisher: Redwood City, Calif. : M & T Pub., c1989. Subjects: Computer music--Instruction and study. Computer sound processing. MIDI (Standard) Atari ST computers--Programming. ISBN: 1-55851-042-7 : $17.95 ------------------------------------------------------------------------ Atari ST Introduction to MIDI Programming Len Dorfman and Dennis Young ISBN 0-916439-77-1 Bantam Books,Inc. 666 5th Avenue New York,New York 10103 ------------------------------------------------------------------------ Title: Music through MIDI : using MIDI to create your own electronic music system / Michael Boom. Publisher: Redmond, Wash. : Microsoft Press, c1987. Subjects: MIDI (Standard) Subjects: Musical instruments, Electronic. Subjects: Electronic music--Instruction and study. Subjects: Computer sound processing. ISBN: 1-55615-026-1 (pbk.) : $19.95 ------------------------------------------------------------------------ Title: The MIDI drummer : by a drummer for a drummer-- / by David Crigger. Publisher: Newbury Park, CA : Alexander Pub., c1987. Subjects: Electronic percussion instruments--Instruction and study. MIDI (Standard) ------------------------------------------------------------------------ Title: MIDI for guitarists / by Bob Ward and Marty Cutler ; Publisher: London ; New York : Amsco Publications ; New York, NY, USA : Exclusive distributors Music Sales Corp., c1988. Subjects: Electric guitar--Instruction and study. MIDI (Standard) ISBN: 0-8256-1126-1 (U.S.) ------------------------------------------------------------------------ Title: MIDI for musicians / by Craig Anderton. Publisher: New York : Amsco Publications, c1986. Subjects: MIDI (Standard) Computer sound processing. ISBN: 0-8256-1050-8 (pbk.) ISBN: 0-8256-2214-X (pbk. : cover) ------------------------------------------------------------------------ Title: MIDI guitar : a complete applications directory for the modern guitarist / [by Rey Sanchez ; forward [sic] by Randy Bernsen]. Publisher: Miami, FL : CPP/Belwin, c1988. Subjects: MIDI (Standard) Computer sound processing. Electric guitar. ISBN: 0-89898-544-7 : $15.95 ------------------------------------------------------------------------ Title: Midi guitar and synthesis : the basics of guitar synthesis / by Paul Youngblood. Publisher: Milwaukee, WI : H. Leonard Pub. Co., c1989. Subjects: MIDI (Standard) Computer sound processing. Electric guitar. ISBN: 0-88188-886-9 : $14.95 ------------------------------------------------------------------------ Title: The MIDI home studio / by Howard Massey. Publisher: London ; New York : Amsco Publications ; New York, NY, USA : Music Sales Corp. [distributor], c1988. ISBN: 0-8256-1127-X (U.S.) ------------------------------------------------------------------------ Title: The MIDI manual / David Miles Huber. Publisher: Carmel, Ind., USA : Howard W. Sams, c1991. ISBN: 0-672-22757-6, 250pp. ------------------------------------------------------------------------ Title: The MIDI programmer's handbook / Steve De Furia and Joe Scacciaferro, Ferro Technologies. Publisher: Redwood City, Calif. : M&T Pub., c1989. ISBN: 1-55851-068-0, 250 pp. Paperback. $24.95 Mix Bookshelf part # 3539C *** This book is now out of print *** New, advanced MIDI desk reference is perfect for programmers and MIDI power users. The heart of the book is a summary and explanation of every MIDI command, in hex, binary, decimal and English. Also features detailed discussion of software design concerns, synchronization formats, MTC, sample dump, MIDI files and system exclusive processing. It discusses writing software to handle MIDI information at the application level. In other words, they assume you have already written or otherwise obtained access to the necessary code to talk to your hardware to send and receive the MIDI data. This approach frees the entire discussion from being tied to any particular hardware or programming approach. Instead, it spends its time on that which is valuable to the experienced programmer. Issues such as MIDI file format, timing (SMPTE, MTC, etc), parsing MIDI data and processing it, MIDI sample dump standard, etc. are all handled in fine detail. ------------------------------------------------------------------------ THE MIDI IMPLEMENTATION BOOK, Defuria & Scacciaferro Contains complete documentation of MIDI commands implemented by more than 200 instruments. This data has come directly from hardware manufacturers and allows you to find MIDI functions of specific instruments, compare features of similar instruments and choose equipment to meet specific applications. A standard, one-page implementation chart is used for each product. ISBN ISBN 0-88188-558-4, 1986, 216 pp. $19.95 Mix Bookshelf, 1-800-233-9604 (US & Canada). Doesn't say who publishes it, and its terribly out-dated (1986), but they might have published another addition by now. The MIDI System Exclusive Book by Steve De Furia and Joe Scacciaferra, Third Earth Productions, Pompton Lakesm N.J. Distributed by Hal Leonard Books. ISBN ISBN 0-88188-586-x (1987) The MIDI Resource Book. Same guys. ISBN 0-88188-587-8 ------------------------------------------------------------------------ Title: MIDI programming for the Macintosh / Steve De Furia and Joe Scacciaferro. Publisher: Redwood City, CA : M&T Books, 1988. Subjects: MIDI (Standard) Computer sound processing. Macintosh (Computer)--Programming. ISBN: 1-55851-021-4 : $22.95 ISBN: 1-55851-022-2 (book & disk) : $39.95 ISBN: 1-55851-023-0 (disk) : $20.00 ------------------------------------------------------------------------ Title: C Programming for MIDI / Jim Conger. Publisher: Redwood City, Calif. : M&T Books, 1989. 501 Galveston Drive Redwood City, CA 94063 Subjects: MIDI, C, sequencing This book shows how to use the basic features of an MPU-401 interface. Includes a disk with MS-DOS code. ------------------------------------------------------------------------ Title: MIDI sequencing in C / Jim Conger. Publisher: Redwood City, Calif. : M&T Books, 1989. 501 Galveston Drive Redwood City, CA 94063 Subjects: MIDI (Standard) C (Computer program language) Sequential processing (Computer science) ISBN: 1-55851-045-1 (book) : $24.95 ISBN: 1-55851-047-8 (disk) : $20.00 ISBN: 1-55851-046-X (set) : $39.95 This book continues where the provious one lefts off. ------------------------------------------------------------------------ Title: MIDI systems and control / Francis Rumsey. Publisher: London ; Boston : Focal Press, 1990. Subjects: MIDI (Standard) Computer sound processing. ISBN: 0-240-51300-2 : $14.95 (U.S.) ------------------------------------------------------------------------ Title: MIDI, the ins, outs & thrus / by Jeff Rona ; edited by Ronny S. Schiff. Publisher: Milwaukee, Wis. : H. Leonard Books, c1987. Notes: "A complete guide to the understanding, use, and buying of MIDI instruments"--Cover. Subjects: MIDI (Standard) Computer sound processing. ISBN: 0-88188-560-6 (pbk.) : $12.95 ------------------------------------------------------------------------ Title: MIDI : a comprehensive introduction / Joseph Rothstein. Publisher: Madison, Wis. : A-R Editions, c1992. Subjects: MIDI (Standard) Series: The Computer music and digital audio series ; v. 7 ISBN: 0-89579-258-3 : $39.95 ------------------------------------------------------------------------ Microsoft Press put out a book on midi programming. I think that this is rather a weak book, but it might serve as an introduction for non-computer folk. ------------------------------------------------------------------------ Several other books are out that were written by musicians. They are interesting as a intro to using midi, but contain a dearth of info from my perspective. As a programmer, I have the wrong perspective to sort these out. ---------------------------------------------------------------------------- Die offiziziellen Spezifikationen zu MIDI gibt es mittlerweile bei M3C Systemtechnik in Berlin (in Englisch). Die Dokumente sind vergleichbar den DIN Blaettern zu den einzelnen DIN Vorschriften. Sehr technisch ohne zusaetzliche Erlaeuterungen, englisch. M3C Systemtechnik GrossbeerenstraBe 51 10965 Berlin MIDI 1.0 Spec+Addenda...79.- DM General MIDI Spec...25.- DM Standard MIDI File Spec...25.- DM MIDI Machine Control Spec...58.- DM MIDI Show Control Spec...25.- DM Jeweils (etwa) DIN A4 , erster Titel geheftet, die anderen geklammert. ---------------------------------------------------------------------------- Fast vergessen haette ich: ONLINE HELP (fuer ATARI - PC - MAC) MIDI Xplained Sprache Englisch (Zetterquist Software) Vertrieb Steinberg DM 69,-- ---------------------------------------------------------------------------- WEITERE INFOS IN ANDEREN MAILBOXEN: Wende Dich am besten an Alexander Weis(2:2464/112.108). Er hat eine hervorragende MIDI-Dokumentation geschrieben (MIDITALK). Da steht alles drin, was Du wissen musst! ......................................... In der Maus S3, 0711 2368367 (bitte nicht von 21:10-21:35 Uhr, Netz) unter dem Namen MIDILIT.LZH, da sind neben Buechern ueber MIDI dann auch noch Quellen zu Synthesizer-Grundlagen und Computer-Musik allgemein dabei. Oder fuer die FTPler: ftp.cs.ruu.nl /pub/MIDI/DOC/bibliography ******************************************************************************* Frage: Welche Funktion, Wert und Namen haben die MIDI-Controller ? Antwort: Hier die neueste Liste aus dem TSBB #18 vom Juli 92: Defined Continuous Controllers: 14-Bit Controllers (MSB/LSB): dec hex Function: 00/32 00/20 Bank Select 01/33 01/21 Modulation 02/34 02/22 Breath 03/35 03/23 (undefined) (formerly Aftertouch) 04/36 04/24 Foot Pedal 05/37 05/25 Portamento Time 06/38 06/26 Data Entry 07/39 07/27 Main Volume 08/40 08/28 Balance 09/41 09/29 (undefined) 10/42 0A/2A Pan 11/43 0B/2B Expression 12/44 0C/2C Effect Control 1 13/45 0D/2D Effect Control 2 14/46 0E/2E (undefined) 15/47 0F/2F (undefined) 16/48 10/30 General Purpose #1 (formerly Joystick X Axis) 17/49 11/31 General Purpose #2 (formerly Joystick Y Axis) 18/50 12/32 General Purpose #3 19/51 13/33 General Purpose #4 20/52 14/34 (undefined) 21/53 15/35 (undefined) 22/54 16/36 (undefined) 23/55 17/37 (undefined) 24/56 18/38 (undefined) 25/57 19/39 (undefined) 26/58 1A/3A (undefined) 27/59 1B/3B (undefined) 28/60 1C/3C (undefined) 29/61 1D/3D (undefined) 30/62 1E/3E (undefined) 31/63 1F/3F (undefined) (formerly Damp, Pitch Bend Sensitivity) 7-Bit Controllers (formerly switches): dec hex Function: 64 40 Damper/Sustain/Hold #1 65 41 Portamento On/Off 66 42 Sustenuto 67 43 Soft Pedal 68 44 Legato Footswitch 69 45 Hold #2 70 46 Sound Controller #1 (default: Sound Variation) (formerly Velocity Replace) 71 47 Sound Controller #2 (default: Timbre/Harmonic Intensity) 72 48 Sound Controller #3 (default: Release Time) 73 49 Sound Controller #4 (default: Attack Time) 74 4A Sound Controller #5 (default: Brightness) 75 4B Sound Controller #6 (default: undefined) 76 4C Sound Controller #7 (default: undefined) 77 4D Sound Controller #8 (default: undefined) 78 4E Sound Controller #9 (default: undefined) 79 4F Sound Controller #10 (default: undefined) 80 50 General Purpose #5 81 51 General Purpose #6 82 52 General Purpose #7 83 53 General Purpose #8 84 54 Portamento Control 85 55 (undefined) 86 56 (undefined) 87 57 (undefined) 88 58 (undefined) 89 59 (undefined) 90 5A (undefined) 91 5B Effect 1 Depth (formerly External Effects Depth) 92 5C Effect 2 Depth (formerly Tremolo Depth) 93 5D Effect 3 Depth (formerly Chorus Depth) 94 5E Effect 4 Depth (formerly Celeste Depth) 95 5F Effect 5 Depth (formerly Phaser Depth) 96 60 Data Increment 97 61 Data Decrement 98 62 Non-Registered Parameter LSB 99 63 Non-Registered Parameter MSB 100 64 Registered Parameter LSB 101 65 Registered Parameter MSB 102 66 *Mono Pitch (proposed; pending MMA & JMSC) 103 67 (undefined) 104 68 (undefined) 105 69 (undefined) 106 6A (undefined) 107 6B (undefined) 108 6C (undefined) 109 6D (undefined) 110 6E (undefined) 111 6F (undefined) 112 70 (undefined) 113 71 (undefined) 114 72 (undefined) 115 73 (undefined) 116 74 (undefined) 117 75 (undefined) 118 76 (undefined) Channel Mode Messages: dec hex Function: 119 77 *Mute Channel (proposed; pending JMSC) 120 78 All Sound Off 121 79 Reset All Controllers 122 7A Local Control On/Off 123 7B All Notes Off 124 7C Omni Mode Off 125 7D Omni Mode On 126 7E Mono Mode Off 127 7F Mono Mode On Registered Parameters (MSB/LSB): dec hex Function: 00/00 00/00 Pitch bend Sensitivity 00/01 00/01 Fine Tuning 00/02 00/02 Coarse Tuning 00/03 00/03 Tuning Program Select 00/04 00/04 Tuning Bank Select 127/127 7F/7F *Null Controller (proposed; pending MMA) ------------------------------------------------------------------------------ Oder in anderer Form (schon etwas aelter... muss also nicht mehr stimmen): Table 3: Status Bytes 176-191; Control and Mode Changes (per channel) (adapted from "MIDI by the Numbers" by D. Valenti-Electronic Musician 2/88) ------------------------------------------------------------------------------ 2nd Byte Value | Function | 3rd Byte Binary |Hex|Dec | | Value | Use - - - - -|- -|- - | - - - - - - - - - - - - - - - - - - - -|- - - - | - - - - 00000000= 00= 0 | Continuous controller #0 | 0-127 | MSB 00000001= 01= 1 | Modulation wheel | 0-127 | MSB 00000010= 02= 2 | Breath control | 0-127 | MSB 00000011= 03= 3 | Continuous controller #3 | 0-127 | MSB 00000100= 04= 4 | Foot controller | 0-127 | MSB 00000101= 05= 5 | Portamento time | 0-127 | MSB 00000110= 06= 6 | Data Entry | 0-127 | MSB 00000111= 07= 7 | Main Volume | 0-127 | MSB 00001000= 08= 8 | Continuous controller #8 | 0-127 | MSB 00001001= 09= 9 | Continuous controller #9 | 0-127 | MSB 00001010= 0A= 10 | Continuous controller #10 | 0-127 | MSB 00001011= 0B= 11 | Continuous controller #11 | 0-127 | MSB 00001100= 0C= 12 | Continuous controller #12 | 0-127 | MSB 00001101= 0D= 13 | Continuous controller #13 | 0-127 | MSB 00001110= 0E= 14 | Continuous controller #14 | 0-127 | MSB 00001111= 0F= 15 | Continuous controller #15 | 0-127 | MSB 00010000= 10= 16 | Continuous controller #16 | 0-127 | MSB 00010001= 11= 17 | Continuous controller #17 | 0-127 | MSB 00010010= 12= 18 | Continuous controller #18 | 0-127 | MSB 00010011= 13= 19 | Continuous controller #19 | 0-127 | MSB 00010100= 14= 20 | Continuous controller #20 | 0-127 | MSB 00010101= 15= 21 | Continuous controller #21 | 0-127 | MSB 00010110= 16= 22 | Continuous controller #22 | 0-127 | MSB 00010111= 17= 23 | Continuous controller #23 | 0-127 | MSB 00011000= 18= 24 | Continuous controller #24 | 0-127 | MSB 00011001= 19= 25 | Continuous controller #25 | 0-127 | MSB 00011010= 1A= 26 | Continuous controller #26 | 0-127 | MSB 00011011= 1B= 27 | Continuous controller #27 | 0-127 | MSB 00011100= 1C= 28 | Continuous controller #28 | 0-127 | MSB 00011101= 1D= 29 | Continuous controller #29 | 0-127 | MSB 00011110= 1E= 30 | Continuous controller #30 | 0-127 | MSB 00011111= 1F= 31 | Continuous controller #31 | 0-127 | MSB 00100000= 20= 32 | Continuous controller #0 | 0-127 | LSB 00100001= 21= 33 | Modulation wheel | 0-127 | LSB 00100010= 22= 34 | Breath control | 0-127 | LSB 00100011= 23= 35 | Continuous controller #3 | 0-127 | LSB 00100100= 24= 36 | Foot controller | 0-127 | LSB 00100101= 25= 37 | Portamento time | 0-127 | LSB 00100110= 26= 38 | Data entry | 0-127 | LSB 00100111= 27= 39 | Main volume | 0-127 | LSB 00101000= 28= 40 | Continuous controller #8 | 0-127 | LSB 00101001= 29= 41 | Continuous controller #9 | 0-127 | LSB 00101010= 2A= 42 | Continuous controller #10 | 0-127 | LSB 00101011= 2B= 43 | Continuous controller #11 | 0-127 | LSB 00101100= 2C= 44 | Continuous controller #12 | 0-127 | LSB 00101101= 2D= 45 | Continuous controller #13 | 0-127 | LSB 00101110= 2E= 46 | Continuous controller #14 | 0-127 | LSB 00101111= 2F= 47 | Continuous controller #15 | 0-127 | LSB 00110000= 30= 48 | Continuous controller #16 | 0-127 | LSB 00110001= 31= 49 | Continuous controller #17 | 0-127 | LSB 00110010= 32= 50 | Continuous controller #18 | 0-127 | LSB 00110011= 33= 51 | Continuous controller #19 | 0-127 | LSB 00110100= 34= 52 | Continuous controller #20 | 0-127 | LSB 00110101= 35= 53 | Continuous controller #21 | 0-127 | LSB 00110110= 36= 54 | Continuous controller #22 | 0-127 | LSB 00110111= 37= 55 | Continuous controller #23 | 0-127 | LSB 00111000= 38= 56 | Continuous controller #24 | 0-127 | LSB 00111001= 39= 57 | Continuous controller #25 | 0-127 | LSB 00111010= 3A= 58 | Continuous controller #26 | 0-127 | LSB 00111011= 3B= 59 | Continuous controller #27 | 0-127 | LSB 00111100= 3C= 60 | Continuous controller #28 | 0-127 | LSB 00111101= 3D= 61 | Continuous controller #29 | 0-127 | LSB 00111110= 3E= 62 | Continuous controller #30 | 0-127 | LSB 00111111= 3F= 63 | Continuous controller #31 | 0-127 | LSB 01000000= 40= 64 | Damper pedal on/off (Sustain) | 0=off | 127=on 01000001= 41= 65 | Portamento on/off | 0=off | 127=on 01000010= 42= 66 | Sustenuto on/off | 0=off | 127=on 01000011= 43= 67 | Soft pedal on/off | 0=off | 127=on 01000100= 44= 68 | Undefined on/off | 0=off | 127=on 01000101= 45= 69 | Undefined on/off | 0=off | 127=on 01000110= 46= 70 | Undefined on/off | 0=off | 127=on 01000111= 47= 71 | Undefined on/off | 0=off | 127=on 01001000= 48= 72 | Undefined on/off | 0=off | 127=on 01001001= 49= 73 | Undefined on/off | 0=off | 127=on 01001010= 4A= 74 | Undefined on/off | 0=off | 127=on 01001011= 4B= 75 | Undefined on/off | 0=off | 127=on 01001100= 4C= 76 | Undefined on/off | 0=off | 127=on 01001101= 4D= 77 | Undefined on/off | 0=off | 127=on 01001110= 4E= 78 | Undefined on/off | 0=off | 127=on 01001111= 4F= 79 | Undefined on/off | 0=off | 127=on 01010000= 50= 80 | Undefined on/off | 0=off | 127=on 01010001= 51= 81 | Undefined on/off | 0=off | 127=on 01010010= 52= 82 | Undefined on/off | 0=off | 127=on 01010011= 53= 83 | Undefined on/off | 0=off | 127=on 01010100= 54= 84 | Undefined on/off | 0=off | 127=on 01010101= 55= 85 | Undefined on/off | 0=off | 127=on 01010110= 56= 86 | Undefined on/off | 0=off | 127=on 01010111= 57= 87 | Undefined on/off | 0=off | 127=on 01011000= 58= 88 | Undefined on/off | 0=off | 127=on 01011001= 59= 89 | Undefined on/off | 0=off | 127=on 01011010= 5A= 90 | Undefined on/off | 0=off | 127=on 01011011= 5B= 91 | Undefined on/off | 0=off | 127=on 01011100= 5C= 92 | Undefined on/off | 0=off | 127=on 01011101= 5D= 93 | Undefined on/off | 0=off | 127=on 01011110= 5E= 94 | Undefined on/off | 0=off | 127=on 01011111= 5F= 95 | Undefined on/off | 0=off | 127=on ----------------- 01100000= 60= 96 | Data entry +1 | 127 01100001= 61= 97 | Data entry -1 | 127 01100010= 62= 98 | Undefined | ? 01100011= 63= 99 | Undefined | ? 01100100= 64= 100 | Undefined | ? 01100101= 65= 101 | Undefined | ? 01100110= 66= 102 | Undefined | ? 01100111= 67= 103 | Undefined | ? 01100111= 67= 103 | Undefined | ? 01100111= 67= 103 | Undefined | ? 01100111= 67= 103 | Undefined | ? 01100111= 67= 103 | Undefined | ? 01101000= 68= 104 | Undefined | ? 01101001= 69= 105 | Undefined | ? 01101010= 6A= 106 | Undefined | ? 01101011= 6B= 107 | Undefined | ? 01101100= 6C= 108 | Undefined | ? 01101101= 6D= 109 | Undefined | ? 01101110= 6E= 110 | Undefined | ? 01101111= 6F= 111 | Undefined | ? 01110000= 70= 112 | Undefined | ? 01110001= 71= 113 | Undefined | ? 01110010= 72= 114 | Undefined | ? 01110011= 73= 115 | Undefined | ? 01110100= 74= 116 | Undefined | ? 01110101= 75= 117 | Undefined | ? 01110110= 76= 118 | Undefined | ? 01110111= 77= 119 | Undefined | ? 01111000= 78= 120 | Undefined | ? 01111001= 79= 121 | Undefined | ? 01111010= 7A= 122 | Local control on/off | 0=off 127=on 01111011= 7B= 123 | All notes off (!!) | 0 01111100= 7C= 124 | Omni mode off (includes all notes off) | 0 01111101= 7D= 125 | Omni mode on (includes all notes off) | 0 01111110= 7E= 126 | Poly mode on/off(includes all notes off)| ** 01111111= 7F= 127 | Poly mode on(incl mono=off&all notes off)| 0 **Note: This equals the number of channels, or zero if the number of channels equals the number of voices in the receiver. ******************************************************************************* Frage: Wie ist die Beschaltung eines MIDI-Kabels fuer SoundBlaster/GUS ? Antwort: Vorschlag 1: ╔══════════════════════════════════════════╗ ║ Soundblaster - Card - Midi - Interface ║ ╚══════════════════════════════════════════╝ ┌──────────────────────────────────────────┐ │ + 5 Volt ┌──────────────┐ │ _____ │ O │ ┌────────┐ │ ├──|_____|────O + 5 Volt │ │ ┌────│───│────┐ │ │ │ R5 │ │ ┌┴─┐ │ ┌┴─┐ │ │ │ │ ┌───────┐ │ ┌──┼──┼──┼──┼──┼──┼──┼─┐ │ │ ┌──┼──┼──┼──┐ │ │ │ 14 13 12 11 10 09 08 │ │ │ │ 6 5 4 │ ┴ │ ├o IC 1 │ │ │ │ OC 1 │ Gnd │ │ 01 02 03 04 05 06 07 │ │ │ │ 1 2 3 │ │ └──┼──┼──┼──┼──┼──┼──┼─┘ │ │ └──┼──┼──┼──┘ └────┴──┘ └──┴──┘ │ ┴ │ │ │ │ RXD 15 o──────────────────────┘ Gnd │ │ │ │ 14 o ┌─────────────────────────┘ │ │ └───┐ 13 o │ + 5 Volt │ │ │ TXD 12 o───┘ O │ ├──|<──┤ 11 o ┌────────────────────┤ │ │ D1 │ 10 o │ | | | | | | | | +5V 9 o───┤ R4| | R3| | R1| | R2| | 8 o │ ┌──┬──────┐ |_| |_| |_| |_| 7 o │ │ ┴ │ │ │ │ │ 6 o │ │ Gnd O O O O O Gnd 5 o─┬─│───┘ (2) (4) (5) (4) (5) 4 o─┘ │ Midi OUT Midi IN 3 o │ 2 o │ 1 o───┘ Game-Port Stueckliste: ─────────── R1 - R4 = 220 Ohm R5 = 4.7 kOhm D1 = 1 N 4148 IC1 = 74LS00 OC1 = CNY 17 Mehr ist nicht zum Bau der Midi - Schnittstelle fuer die Soundblaster-Card noetig. Natuerlich fehlen in der Stueckliste jetzt noch die diversen Stecker und Sockel. Diese Schnittstelle laeuft seit geraumer Zeit bei Guido Schulze (2:245/32.2) und bei mir ohne Probleme. Die Stromversorgung fuer diese Schnittstelle kann man getrost vom Game-Port der SB-Card abnehmen. Diese Schaltung ist nach der Vorlage des Buches 'Midi auf dem PC XT/AT' aus dem Markt & Technik - Verlag entwickelt worden. Insgesamt kosten die Bauteile ca. 10 DM Viel Spass beim Basteln .... Ruediger Fuchs (2:245/32.0) -------------------------------------------------------------------------- Vorschlag 2: Die folgende Schaltung funktioniert fuer meine Gravis Ultrasound. Ich ueber nehme keine Garantie, wenn nach dem Anschluss an deine Soundkarte sich bei dir die Festplatte verbiegt, deine Freunding schwanger wird oder sonst was passiert... 15 pin D connector 220R pin-1 +5v ----+--------------------------/\/\/\---------------\ | \ 4 | Gnd--2 MIDI OUT | |\ |\ 220R / 5 pin-12 tr >---|------| o-----| o----------/\/\/\--------------/ | 14|/ 13 12|/ 10 | 220R +---------------------------/\/\/\-------------\ | \ 4 pin-15 rx <---|--------------------+ Gnd--2 MIDI THRU | |\ |\ | 220R / 5 | +--| o-----| o---+-------/\/\/\------------/ | | 1|/ 2 3|/ 4 | | | +------+ | 270R* | 220R +--/\/\/\--+ +------+----------/\/\/\--------\ |B |C |A | \ 4 +-|----------|----|-+ | MIDI IN | 8 6 2 | ----- / 5 | | / \ IN914 or IN4148 +-/ | 6N138** | --- | | | | | | 5 3 | | | +------------|----|-+ | | | |K | | pin-5 Gnd --------------+ +------+----------------------+ Inverters are LS7404 Leave pin 2 of the MIDI IN unconnected (Don't connect to ground) * this resistor was 5.6K in the original post, I used a the 6N138 optoisolator and found that this value was too high as not enough current was allowed to sink into the collector of the output transistor. **In the original post this was 6N135, I could not readily find this here (Australia) so I used 6N138 which I think is funcionally the same, one of the catalogues stated that this is a "high speed MIDI standard" device. Das ganze hat mich ca. 10,- DM gekostet, ein Gehaeuse hatte ich noch ueber. _______________________________________________________________________________ Vorschlag 3: Da muss etwas Elektronik zwischen. Die Teile kann man aber in den Steckern unterbringen, weil es nur wenig Bauteile sind. Am Computer ist der 15pol Sub-D Stecker. Am Keyboard sind zwei 5pol DIN-Stecker. Der Computer ist links gezeichnet: Computer --> Keyboard: 150 Ohm Pin 12 O-----------[===]---------+----O Pin 5 | 220pF === | Pin 9 O-----------[===]---------+----O Pin 4 150 Ohm Computer <-- Keyboard: Cny 17 ___ Pin 4 O-------| | Pin 15 O--+----| |--------------+ | |_*_|-----+--|<|---+------+------O Pin 5 |~| | 1N4148 | |_| | === 220pF | 2,2k Ohm | | Pin 8 O--+ +----[===]------+------O Pin 4 220 Ohm Vie Spass beim Basteln. PS: Mach keinen Kurzschluss, das koennte die Soundarte nicht moegen. ------------------------------------------------------------------------------- Vorschlag 4: DO IT YOURSELF: SOUND BLASTER MIDI INTERFACE =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= The following text explains how to build a MIDI interface for the Sound Blaster. The circuit is my own design, but works just like the commercially available interfaces that retails for $60-$90. Here is the list of parts necessary: Qty. Part 1 Sharp PC900 or HP 6N138 opto-isolator 1 DB15P (15 pin 'D' connector, male. like joystick connector) 3 220 ohm resistors (2 for input, 1 for EACH output you need) 1 3 conductor shielded cable (length is up to you) 2 Female 5 pin DIN connector (1 for input, 1 for each output you need) 1 PC board with pre-drilled holes (about 2" x 2" from Radio Shack) A few short lengths of hook-up wire All of these parts, except the first 2, are available from Radio Shack. Here is a diagram of the DB15P connector (looking at the solder side). gesehen von der Loetseite 1 5 8 o o o o o o o o o o o o o o o 9 12 15 Here is the 5 pin FEMALE DIN plug (solder side). 5 polige DIN-Buchse-/(-nstecker) von der Loetseite gesehen 2 5 o 4 o o 3 o o 1 This is the circuit for the MIDI INPUT. +-----> To pin 5 of 'D' connector | To pin 15 of 'D' connector <---+ | +-------+-----> To pin 9 of 'D' con. | | | | | 6 |5 |4 \ +---------------+ / 220 ohm | PC900 | \ resistor | or | / | HP 6N138 | | +---------------+ +------> To pin 6 of PC 900 |1 |2 |3 | | | \ | +-----> No connection 220 ohm / | resistor \ | / +-----> To pin 5 of DIN connector | To pin 4 of DIN connector <----+ Don't overlook the two 220 ohm resistors. Also, for cables longer than a few feet, connect pin 2 of the DIN to pin 5 of the 'D' connector. The output circuit is much simpler. 220 ohm resistor To pin 12 of 'D' connector <---------/\/\/\/\/---------> To pin 5 of DIN con. To pin 15 of 'D' connector <---------------------------> To pin 4 of DIN con. Also, for cables longer than a few feet, connect pin 2 of the DIN to pin 5 of the 'D' connector. This circuit has been built and tested by me, using Voyetra's SPJr, and a cheap-o Casio keyboard. The input and output do work as shown here, but I don't have any other MIDI devices to use to test using more than 1 output device. Theoretically, it should work fine, but it has not been tested. The chances of hurting anything by trying is slim and none. This circuit DOES work, but I make no guarantees, nor will I be held responsible for any damages you may cause from your use of this information. Diese Schaltung ist noch nicht ausprobiert. ******************************************************************************* Frage: Wie sieht ein MIDI-Kabel aus und wie ist die Belegung? Antwort: Ein MIDI-Kabel besteht aus zwei 5-poligen DIN-Steckern (180 Grad) und soll nicht laenger als 15m sein. Das Kabel ist 2 adrig mit Abschirmung. (je dicker - je besser....). Will man mehr als 15m ueberbruecken so muss eine MIDI-THRU-BOX oder ein MIDI-LINE-DRIVER zwischengeschaltet werden. Belegung des Steckers auf die Loetseite gesehen: +--------+ +---------- Abschirmung -----I-----+ I 2 I 2 + +-Signal ----+5 4 +------- Signal ----------+ 5 4 I 3 1 3 + 1 I I +-------------------------------------------------+ 1 und 3 sind NICHT belegt. 2 geht nach 2, 4 nach 4 und 5 nach 5 des anderen Steckers. ******************************************************************************* Frage: Wie ist die Belegung der Sounds bei GM/GS ? Antwort: **** Brief Overview of Proposed General MIDI Level 1 Spec **** The heart of General MIDI (GM) is the _Instrument Patch Map_, shown in Table 1 (see below). This is a list of 128 sounds, with corresponding MIDI program numbers. Most of these are imitative sounds, though the list includes synth sounds, ethnic instruments and a handful of sound effects. The sounds fall roughtly into sixteen families of eight variations each. Grouping sounds makes it easy to re-orchestrate a piece using similar sounds. The Instrument Map isn't the final word on musical instruments of the world, but it's pretty complete General MIDI also includes a _Percusssion Key Map_, show in Table 2 (see below). This mapping derives from the Roland/Sequential mapping used on early drum machines. As with the Instrument Map, it doesn't cover every percussive instrument in the world, but it's more than adequate as a basic set. To avoid concerns with channels, GM restricts percussion to MIDI Channel 10. Theoretically, the lower nine channels are for the instruments, but the GM spec states that a sound module must respond to all sixteen MIDI channels, with dynamic voice allocation and a minimum of 24 voices. General MIDI doesn't mention sound quality of synthesis methods. Discussions are under way on standardizing sound parameters such as playable range and envelope times. This will ensure that an arrangement that relies on phrsing and balance can play back on a variety of modules. Other requirements for a GM sound module include response to velocity, mod wheel, aftertouch, sustain and expression pedal, main volume and pan, and the All Notes Off and Reset All Controllers messages. The module also must respond to both Pitch Bend and Pitch Bend Sensitivity (a MIDI registered parameter). The default pitch bend range is +-2 semitones. Middle C (C3) corresponds to MIDI key 60, and master tuning must be adjustable. Finally, the MIDI Manufacturers Association (MMA) created a new Universal System Exclusive message to turn General MIDI on and off (for devices that might have "consumer" and "programmable" settings). Table 3 (see below) summarizes these requirements. General MIDI has room for future expansion, including additional drum and instrument assignments and more required controllers. Also under discussion is an "authorizing document" that would standardize things such as channel assignments (e.g., lead on 1, bass on 2, etc.) and setup information in a MIDI file. Copies of the Level 1 Specification documents for General MIDI ($5 each at last notice) are available from the Internation MIDI Association, 5316 West 57th Street Los Angeles, CA 90056, (213) 649-6434. The first issue of the Journal of the MMA (back issues, $15 each) contains an article by PassPort Designs and Stanley Junglieb about General MIDI. Roland's GS Standard When Warner New Media first proposed a General MIDI standard, most MMA members gave it little thought. As discussions proceeded, Roland listened and developed a sound module to meet the proposed specification. At the same NAMM show where the MMA ratified General MIDI Level 1, Roland showed their Sound Brush and Sound Canvas, a Standard MIDI File player and GM-compatible sound module. Some companies feel that General MIDI doesn't go far enough, so Roland created a superset of General MIDI Level 1, which they call GS Standard. It obeys all the protocols and sound maps of General MIDI and adds many extra controllers and sounds. Some of the controllers use Unregistered Parameter Numbers to give macro control over synth parameters such as envelope attack and decay rates. The new MIDI Bank Select message provides access to extra sounds (including variations on the stock sounds and a re-creation of the MT-32 factory patches). The programs in each bank align with the original 128 in General MIDI's Instrument Patch Map, with eight banks housing related families. The GS Standard includes a "fall back" system. If the Sound Canvas receives a request for a bank/program number combination that does not exist, it will reassign it to the master instrument in that family. A set of Roland System Exclusive messages allows reconfiguration and customization of the sound module. This means that a Roland GS Standard sound module will correctly play back any song designed for General MIDI. In addition, if the song's creator wants to create some extra nuance, they can include the GS Standard extensions in their sequence. None of these extensions are so radical as to make the song unplayable on a normal GM sound module. After all, compatibility is what MIDI - and especially General MIDI - is all about. Music authors interested in the GS Standard should contact Tom White at RolandCorp USA, 7200 Dominion Circle, Los Angeles, CA 90040, (213) 685-5141. **** TABLE 1 - General MIDI Instrument Patch Map **** (groups sounds into sixteen families, w/8 instruments in each family) Prog# Instrument Prog# Instrument (1-8 PIANO) (9-16 CHROM PERCUSSION) 1 Acoustic Grand 9 Celesta 2 Bright Acoustic 10 Glockenspiel 3 Electric Grand 11 Music Box 4 Honky-Tonk 12 Vibraphone 5 Electric Piano 1 13 Marimba 6 Electric Piano 2 14 Xylophone 7 Harpsichord 15 Tubular Bells 8 Clav 16 Dulcimer (17-24 ORGAN) (25-32 GUITAR) 17 Drawbar Organ 25 Acoustic Guitar(nylon) 18 Percussive Organ 26 Acoustic Guitar(steel) 19 Rock Organ 27 Electric Guitar(jazz) 20 Church Organ 28 Electric Guitar(clean) 21 Reed Organ 29 Electric Guitar(muted) 22 Accoridan 30 Overdriven Guitar 23 Harmonica 31 Distortion Guitar 24 Tango Accordian 32 Guitar Harmonics (33-40 BASS) (41-48 STRINGS) 33 Acoustic Bass 41 Violin 34 Electric Bass(finger) 42 Viola 35 Electric Bass(pick) 43 Cello 36 Fretless Bass 44 Contrabass 37 Slap Bass 1 45 Tremolo Strings 38 Slap Bass 2 46 Pizzicato Strings 39 Synth Bass 1 47 Orchestral Strings 40 Synth Bass 2 48 Timpani (49-56 ENSEMBLE) (57-64 BRASS) 49 String Ensemble 1 57 Trumpet 50 String Ensemble 2 58 Trombone 51 SynthStrings 1 59 Tuba 52 SynthStrings 2 60 Muted Trumpet 53 Choir Aahs 61 French Horn 54 Voice Oohs 62 Brass Section 55 Synth Voice 63 SynthBrass 1 56 Orchestra Hit 64 SynthBrass 2 (65-72 REED) (73-80 PIPE) 65 Soprano Sax 73 Piccolo 66 Alto Sax 74 Flute 67 Tenor Sax 75 Recorder 68 Baritone Sax 76 Pan Flute 69 Oboe 77 Blown Bottle 70 English Horn 78 Skakuhachi 71 Bassoon 79 Whistle 72 Clarinet 80 Ocarina (81-88 SYNTH LEAD) (89-96 SYNTH PAD) 81 Lead 1 (square) 89 Pad 1 (new age) 82 Lead 2 (sawtooth) 90 Pad 2 (warm) 83 Lead 3 (calliope) 91 Pad 3 (polysynth) 84 Lead 4 (chiff) 92 Pad 4 (choir) 85 Lead 5 (charang) 93 Pad 5 (bowed) 86 Lead 6 (voice) 94 Pad 6 (metallic) 87 Lead 7 (fifths) 95 Pad 7 (halo) 88 Lead 8 (bass+lead) 96 Pad 8 (sweep) (97-104 SYNTH EFFECTS) (105-112 ETHNIC) 97 FX 1 (rain) 105 Sitar 98 FX 2 (soundtrack) 106 Banjo 99 FX 3 (crystal) 107 Shamisen 100 FX 4 (atmosphere) 108 Koto 101 FX 5 (brightness) 109 Kalimba 102 FX 6 (goblins) 110 Bagpipe 103 FX 7 (echoes) 111 Fiddle 104 FX 8 (sci-fi) 112 Shanai (113-120 PERCUSSIVE) (121-128 SOUND EFFECTS) 113 Tinkle Bell 121 Guitar Fret Noise 114 Agogo 122 Breath Noise 115 Steel Drums 123 Seashore 116 Woodblock 124 Bird Tweet 117 Taiko Drum 125 Telephone Ring 118 Melodic Tom 126 Helicopter 119 Synth Drum 127 Applause 120 Reverse Cymbal 128 Gunshot **** TABLE 2 - General MIDI Percussion Key Map **** (assigns drum sounds to note numbers. MIDI Channel 10 is for percussion) MIDI Drum Sound MIDI Drum Sound Key Key 35 Acoustic Bass Drum 59 Ride Cymbal 2 36 Bass Drum 1 60 Hi Bongo 37 Side Stick 61 Low Bongo 38 Acoustic Snare 62 Mute Hi Conga 39 Hand Clap 63 Open Hi Conga 40 Electric Snare 64 Low Conga 41 Low Floor Tom 65 High Timbale 42 Closed Hi-Hat 66 Low Timbale 43 High Floor Tom 67 High Agogo 44 Pedal Hi-Hat 68 Low Agogo 45 Low Tom 69 Cabasa 46 Open Hi-Hat 70 Maracas 47 Low-Mid Tom 71 Short Whistle 48 Hi-Mid Tom 72 Long Whistle 49 Crash Cymbal 1 73 Short Guiro 50 High Tom 74 Long Guiro 51 Ride Cymbal 1 75 Claves 52 Chinese Cymbal 76 Hi Wood Block 53 Ride Bell 77 Low Wood Block 54 Tambourine 78 Mute Cuica 55 Splash Cymbal 79 Open Cuica 56 Cowbell 80 Mute Triangle 57 Crash Cymbal 2 81 Open Triangle 58 Vibraslap **** TABLE 3 - General MIDI minimum sound module specs **** Voices: A minimum of either 24 fully dynamically allocated voices available simultaneously for both melodic and percussive sounds or 16 dynamically allocated voices for melody plus eight for percussion. Channels: General MIDI mode supports all sixteen MIDI channels. Each channel can play a variable number of voices (polyphony). Each channel can play a different instrument (timbre). Keybased Percussion is always on Channel 10. Instruments: A minimum of sixteen different timbres playing various instrument sounds. A minimum of 128 preset for Intruments (MIDI program numbers). Note on/Note off: Octabe Registration: Middle C(C3) = MIDI key 60. All Voices including percussion respond to velocity. Controllers: Controller # Description 1 Modulation 7 Main Volume 10 Pan 11 Expression 64 Sustain 121 Reset All Controllers 123 All Notes Off Registered Description Parameter # 0 Pitch Bend Sensitivity 1 Fine Tuning 2 Coarse Tuning Additional Channel Messages: Channel Pressure (Aftertouch) Pitch Bend Power-Up Defaults: Pitch Bend Amount = 0 Pitch Bend Sensitivity = +-2 semitones Volume = 90 All Other Controllers = reset (after Electronic Musician, 8/91 issue) ------------------------------------------------------------------------------- Der General Midi (GM) Standard und seine Sounds mit Klangbeschreibung: 01-08 Piano Nr. Name Beschreibung O1 Acoustic Grand Piano normaler akustischer Fluegel 02 Bright Acoustic Piano hellerer Fluegelsound 03 Electric Grand Piano elektrischer Fluegel 04 Honky-tonk verstimmtes Honky-Tonk-Piano 05 Electric Piano 1 voller E-Piano-Sound 06 Electric Piano 2 brillanter E-Piano-Sound 07 Haxpsichord Cembalo 08 Clavi Clavinet 09-16 Chromatic Percussion - Gestimmte Percussion 09 Celesta Celesta 10 Glockenspiel Glockenspiel 11 Music Box Spieluhr 12 Vibraphone Vibraphon 13 Marimba Marimba 14 Xylophone Xylophon 15 Tubular Bells Roehrenglocken 16 Dulcimer Laute 17-25 Organ - Orgeln und Akkordeons 17 Drawbar Organ normaler Hammond-Sound 18 Percussive Organ perkussiver Hammond-Sound 19 Rock Organ rockiger, leicht angezerrter Hammond-Sound 20 Church Organ Kirchenorgel, volles Werk 21 Reed Organ Harmonium 22 Accordion Akkordeon 23 Harmonica Mundharmonika 24 Tango Accordion Musette-Akkordeon 25-32 Guitar - Gitarren 25 Acoustic Guitar (nylon) akustische Gitarre mit Nylonsaiten 26 Acoustic Guitar (steel) akustische Gitarre mit Stahlsaiten 27 Electric Guitar (jazz) Jazz-Gitarre 28 Electric Guitar (clean) normaler E-Gitarrensound 29 Electric Guitar (muted) E-Gitarre,abgedaempft 30 Overdrive Guitar verzerrte Gitarre (Roehrenverzerrung) 31 Distortion Guitar verzerrte Gitarre (Transistorverzerrung) 32 Guitar harmonics E-Gitarre,Flageolet-Toene 33-40 Bass - Baesse 33 Acoustic Bass gezupfter Kontrabass 34 Electric Bass (finger) gezupfter E-Bass 35 Electric Bass (pick) E-Bass mit Plektrum 36 Fretless Bass bundloser Bass 37 Slap Bass 1 E-Bass,mit dem Daumen gespielt 38 Slap Bass 2 E-Bass,mit dem Daumen gespielt 39 Synth Bass 1 metallischer Sequenzerbass 40 Synth Bass 2 analoger Sequenzerbass 41-48 Strings - Streichinstrumente 41 Violin Geige 42 Viola Bratsche 43 Cello Cello 44 Contrabass gestrichener Kontrabass 45 Tremolo Strings tremolierende Streicher 45 Pizzicato Strings Pizzicato-Streicher 47 Orchestral Harp Harfe 48 Timpani Pauken 49-56 Ensemble - Orchester und Ensembles 49 String-Ensemble 1 helle,staccato spielbare Streicher 50 String Ensemble Legato-Streicher 51 SynthStrings 1 Synthesizer-Strings 52 SynthStrings 2 Synthesizer-Strings mit Phaser 53 Choir Aahs Ah-Chor 54 Voice Oohs Ohh-Stimme 55 Synth Voice Synthesizer-Chor 56 Orchestra Hit Orchester-Abschlag 57-64 Brass - Blechblasinstrumente 57 Trumpet Trompete 58 Trombone Posaune 59 Tuba Tuba 60 Muted Trumpet gestopfte Trompete 61 French Horn Horn 62 Brass Section Blechblaeser 63 SynthBrass 1 Oberheim-Brass 64 SynthBrass 2 Prophet-Brass 65-72 Reed - Holzblasinstrumente 65 Soprano Sax Sopransaxophon 66 Alto Sax Altsaxophon 67 Tenor Sax Tenorsaxophon 68 Baritone Sax Baritonsaxophon 69 Oboe Oboe 70 English Hom Englischhorn 71 Bassoon Fagott 72 Clarinet Klarinette 73-80 Pipe - Floeten und Pfeifen 73 Piccolo Piccolofloete 74 Flute Querfloete 75 Recorder Blockfloete 76 Pan Flute Panfloete 77 Blown Bottle angeblasene Flasche 78 Shakuhachi asiatische Floete 79 Whistle Pfeifen 80 Ocarina Ocarina 81-88 Synth Lead - Synthesizer-Solosounds 81 Lead 1 (square) Synthesizer-Solosound (Rechteck) 82 Lead 2 (sawtooth) Synthesizer-Solosound (Saegezahn) 83 Lead 3 (calliope) Synthesizer-Solosound (panfloetenaehnlich) 84 Lead 4 (Chiff) Synthesizer-Solosound 85 Lead 5 (charang) Synthesizer-Solosound 86 Lead 6 (voice) Synthesizer-Solosound (Yo-Voice) 87 Lead 7 (fifths) Synthesizer-Solosound (Quinten) 88 Lead 8 (Bass + lead) Synthesizer-Solosound (Bass + Solo) 89-96 Synth Pad - Flaechensounds 89 Pad 1 (new age) sphaerischer Flaechensound 90 Pad 2 (warm) warmer Flaechensound 91 Pad 3 (polysynth) Synthesizer-Flaeche 92 Pad 4 (choir) Flaechensound: Chor 93 Pad 5 (bowed) Flaechensound (glasharfenartig) 94 Pad 6 (metallic) metallischer Flaechensound 95 Pad 7 (halo) Synthesizer-Flaeche 96 Pad 8 (sweep) Synthesizer-Flaeche 97-104 Synth Effects - Synthesizereffekte 97 FX 1 (rain) Effekt: Regen 98 FX 2 (soundtrack) Effekt: Soundtrack-Sound (D-50) 99 FX 3 (crystal) Effekt: Klirren 100 FX 4 (atmosphere) atmosphaerischer Sound 101 FX 5 (brightness) heller Digitalsound 102 FX 6 (goblins) Effekt: Gnome 103 FX 7 (echoes) Effekt: Echos 104 FX 8 (sci-fi) Effekt: Computersound 105-112 Ethnic - Ethnische Instrumente 105 Sitar Sitar 106 Banjo Banjo 107 Shamisen Shamisen 108 Koto harfenaehnliches Instrument 109 Kalimba Kalimba 110 Bag pipe Dudelsack 111 Fiddle Fiedel 112 Shanai Shanai 113-120 Percussive - Percussion-Instrumente 113 Tinkle Bell metallischer Gloeckchensound 114 Agogo Agogo-Bell 115 Steel Drums Oelfaesser 116 Woodbloek Holzblock 117 Taiko Drum paukenaehnlicher Drumsound 118 Melodic Tom gestimmtes Tom 119 Synth Drum Simmons-Tom 120 Reverse Cymbal Crash-Becken mit Rueckwaerts-Effekt 121-128 Sound Effects - Soundeffekte 121 Guitar Fret Noise Griffgeraeusche der Gitarre 122 Breath Noise Atemgeraeusch 123 Seashore Wellenrauschen 124 Bird Tweet Vogelzwitschern 125 Telephone Ring Telefonsignal 126 Helicopter Hubschrauber 127 Applause Applaus 128 Gunshot Gewehrschuss ******************************************************************************* Frage: Wie sind die Hersteller ID's bei SysEx ? Antwort: >>>>>>>>>>>>>>>>>>>>>>>>>>> > SysEx - Hersteller ID's > >>>>>>>>>>>>>>>>>>>>>>>>>>> Amerikanische Hersteller ************************ ID(hex) Hersteller ------- ---------- 01 Sequential 02 IDP 03 Voyetra/Octave-Plateau 04 Moog 05 Passport Desings 06 Lexicon 07 Kurzweil 08 Fender 09 Gulbransen 0A AKG Acuostics 0B Voyce Music 0C Waveframe Corp. 0D ADA Signal Processors 0E Garfield Electronics (good morning monday) 0F Ensoniq 10 Oberheim 11 Apple 12 Grey Matter Response 13 Digidesign 14 Palm Tree Instruments 15 JL Cooper 16 Lowrey 17 Adams-Smith 18 Emu Systems 19 Harmony Systems 1A ART 1B Baldwin 1C Eventide 1D Inventronics 1F Clarity 00 00 01 Warner New Media 00 00 07 Digital Music Corp. 00 00 08 IOTA Systems 00 00 09 New England Digital 00 00 0A Artisyn 00 00 0B IVL Technologies 00 00 0C Southern Music Systems 00 00 0D Lake Butler Sound Company 00 00 0E Alesis 00 00 10 DOD Electronics 00 00 11 Studer - Editech 00 00 14 Jeff Tripp/Perfect Fretworks 00 00 15 KAT 00 00 16 Opcode 00 00 17 Rank Corp. 00 00 18 Spatial Sound / Anadi Inc. 00 00 19 KMX (Ken Yprilla) 00 00 1A Allen & Heath Brenell 00 00 1B Peavy Electronics 00 00 1C 360 Spectrum 00 00 1D Spectrum Design and Development 00 00 1E Marquis Musi 00 00 1F Zeta Systems 00 00 20 Axxes (Brian Parsonett) 00 00 21 Orban 00 00 24 KTI 00 00 25 Breakaway Technilogies 00 00 26 CAE 00 00 29 Rocktron Corp. 00 00 2A PianoDisc 00 00 2B Cannon Research Group 00 00 2D Rogers Instrument Corp. 00 00 2E Blue Sky Logic 00 00 2F Encore Electronics 00 00 30 Uptown 00 00 31 Voce 00 00 32 CTI Audio Inc. 00 00 33 S&S Research 00 00 34 Brotherbound Software Inc. 00 00 35 Allen Organ Co. 00 00 37 Music Quest 00 00 38 APHEX 00 00 39 Gallien Krueger 00 00 3A Big Brother.......... 00 00 3C Hotz Instruments Technologies 00 00 3D ETA Lightning 00 00 3E NSI Corporation 00 00 3F Ad Lib Inc. 00 00 40 Richmond Sound Design 00 00 41 Microsoooooooooooooooft 00 00 42 Theo Software Toolworks (Anne Graham) 00 00 43 RJMG / Niche 00 00 44 Intonic 00 00 47 GT Electronics / Groove Tubes 00 00 4F InterMIDI Inc. 00 00 55 Lone Wolf 00 00 64 Musonix Europaeische Hersteller *********************** ID(hex) Hersteller ------- ---------- 20 Passac 21 Siel (I) 22 Synthaxe (GB) 24 Hohner (D) 25 Twister 26 Solton 27 Jellinghaus (D) 28 Southworth Music Systems 29 PPG (D) 2A JEN 2B SSL Limited (GB) 2C Audio Vertrieb P.Struven 2F Elka / General Music 30 Dynacord (D) 33 Clavia Digital Instruments 34 Audio Architecture 35 General Music Corp. 39 Soundcraft Electronics 3B WERSI 3C Avab Electrinik AB (S) 3D Digigram 3E Waldorf Electronics GmbH (D) 3F Quasimidi 00 20 00 Dream 00 20 01 Strand Lightning 00 20 02 Amek Systems Ltd. 00 20 04 Dr. Böhm / Musican International 00 20 06 Trident Audio 00 20 07 Real World Studio 00 20 09 Yes Technoligy 00 20 0A Audiomatica 00 20 0B Bontempi / Farfisa 00 20 0C FBT Elettronica 00 20 0E LA Audio (Larking Audio) 00 20 0F Zero 88 Lighting Ltd. 00 20 10 Micon Audio Electronics GmbH 00 20 11 Forefront Technology 00 20 13 Kenton Electronics 00 20 15 ADB 00 20 16 Jim Marshall Procducts Ltd. 00 20 17 DDA 00 20 1F TC Electronics Japanische Hersteller ********************* ID(hex) Hersteller ------- ---------- 40 Kawai 41 Roland 42 Korg 43 Yamaha 44 Casio 46 Kamiya Studio 47 Akai 48 Japan Victor 49 Mesosha 4A Hoshino Gakki 4B Fujitsu Electric 4C Sony 4D Nisshin Onpa 4E TEAC 50 Matsushita Electric 51 Fostex 52 Zoom 53 Midori Electronics 54 Mtsushita Communication Industrial 55 Suzuki Musical Instrument Manufact. ------------------------------------------------------------------------------- Das Ganze noch in anderer Form: Die 1-Byte-IDs haben die Werte $01 (1) bis $7F (127). Wenn das Manufacturer-Byte $00 (0) ist, folgen zwei weitere Bytes. Somit hat man 127 + 128*128 moegliche ID's. Hier die Liste, die in SoundDiver eingebaut ist: 01 Sequential 02 IDP 03 Voyetra/Octave-Plateau 04 Moog 05 Passport Designs 06 Lexicon 07 Kurzweil 08 Fender 09 Gulbransen 0A AKG 0B Voyce Music 0C Waveframe 0D ADA 0E Garfield 0F Ensoniq 10 Oberheim 11 Apple 12 Grey Matter Response 13 Digidesign 14 Palm Tree Instruments 15 JL Cooper 16 Lowrey 17 Adams-Smith 18 Emu 19 Harmony Systems 1A ART 1B Baldwin 1C Eventide 1D Inventronics 1E Key Concepts 1F Clarity 20 Passac 21 Siel 22 Synthaxe 23 Stepp 24 Hohner 25 Crumar 26 Solton 27 Jellinghaus 28 Southworth 29 PPG 2A JEN 2B SSL Limited 2C P. Strueven 2D Neve 2E Soundtracs 2F Elka/General Music 30 Dynacord 31 Intercontinental 32 Drawmer 33 t.c. electronic 34 Audio Architecture 35 General Music 36 Cheetah 37 C.T.M. 38 Simmons 39 Soundcraft 3A Steinberg 3B Wersi 3C Avab Electronik Ab 3D Digigram 3E Waldorf 3F Quasimidi 40 Kawai 41 Roland 42 Korg 43 Yamaha 44 Casio 45 Moridaira 46 Kamiya Studio 47 Akai 48 Japan Victor 49 Meisosha 4A Hoshino Gakki 4B Fujitsu 4C Sony 4D Nisshin Onpa 4E TEAC 4F System Product 50 Matsushita 51 Fostex 52 Zoom 53 Midori 54 Matsushita 55 Suzuki 7D Non-Commercial SysEx 7E Non-Real-Time SysEx 7F Real-Time SysEx Mb: *** 3-Byte 00 01 Warner New Media 00 02 Music Logic Systems 00 03 PAIA 00 04 Othertech 00 05 K-Muse 00 06 Stypher 00 07 Digital Music 00 08 IOTA Systems 00 09 New England Digital 00 0A Artisyn 00 0B IVL 00 0C Southern Music Systems 00 0D Lake Butler Sound 00 0E Alesis 00 0F Sound Creation 00 10 DOD/Digitech 00 11 Studer-Editech 00 12 Sonus 00 13 Temporal Acuity Prod. 00 14 Jeff Tripp/Perfect Fretworks 00 15 KAT 00 16 Opcode 00 17 Rane Corp. 00 18 Spatial Sound/Anadi Inc. 00 19 KMX 00 1A Allen & Heath Brenell 00 1B Peavey Electronics 00 1C 360 Systems 00 1D Spectrum Design and Dev. 00 1E Marquis Music 00 1F Zeta Systems 00 20 Axxes (Brian Parsonett) 00 21 Orban 00 22 Indian Valley Mnfg. 00 23 Triton 00 24 KTI 00 25 Breakaway Technologies 00 26 CAE 00 27 Harrison 00 28 Future Lab 00 29 Rocktron 00 2A PianoDisc 00 2B Cannon Research Group 00 2D Rogers Instrument Corp. 00 2E Blue Sky Logic 00 2F Encore Electronics 00 30 Uptown 00 31 Voce 00 33 S&S Research 00 34 Broderbund 00 35 Allen Organ Co. 00 37 Music Quest 00 38 APHEX 00 39 Gallien Krueger 00 3A IBM 00 3C Hotz 00 3D ETA Lighting 00 3E NSI 00 3F Ad Lib 00 40 Richmond Sound Design 00 41 Microsoft 00 42 The Software Toolworks 00 43 RJMG/Niche 00 44 Intone 00 47 GT Electronics/Groove Tubes 00 55 Lone Wolf 00 64 Musonix 20 00 Dream 20 01 Strand Lighting 20 02 Amek Systems, Ltd. 20 04 Dr. Boehm/Musican International 20 06 Trident Audio 20 07 Real World Studio 20 0A Audiomatica 20 0B Bontempi/Farfisa 20 10 Micon Audio 20 16 Marshall ****************************************************************************** Frage: Wie ist der MIDI Sample Dump Standard ? Antwort: MIDI SAMPLE DUMP STANDARD 1) INTRODUCTION The MIDI SDS was adopted in January 1986 by the MIDI Manufacturers Association and the Japanese MIDI Standards Committee. The SDS defines the standard method for transfer of sound sample data between MIDI-equipped devices. Sample dumps may be accomplished with either an 'open loop' or 'closed loop' system. The open loop method simply involves the straight dump of all sample data from its source to the destination, with no timeouts, packet acknowledgements, or any other form of handshaking, much as in the manner of a sysex bulk dump, usually intiated at the source. The closed loop method allows the use of handshaking messages between the dump source and destination, and usually places the dump process under the control of the slave, to allow it time to process the incoming data as necessary. As with any standard, it can not be assumed that a device adheres to it unless the accompanying documentation specifically indicates it. Even then, it is best to check its conformity with non-critical data. 2) SPEC: SAMPLE DUMP FORMATS DUMP HEADER: F0 7E cc 01 ss ss ee ff ff ff gg gg gg hh hh hh ii ii ii jj F7 where cc = channel number ss ss = sample number (LSB first) ee = sample format (number of significant bits; 8->28) ff ff ff = sample period (1/sample rate) in nanoseconds (LSB first) gg gg gg = sample length, in words hh hh hh = sustain loop start point (word number) (LSB first) ii ii ii = sustain loop end point (word number) (LSB first) jj = loop type (00:forwards only; 01:alternating) DATA PACKET: F0 7E cc 02 kk <120 bytes> mm F7 where cc = channel number kk = running packet count (00->7F) mm = checksum (XOR of 7E, cc, 02, kk <120 bytes>) The total size of a data packet is 127 bytes. This is to avoid overflow of the MIDI input buffer of a device that may want to receive an entire packet before processing it. A data packet consists of its own header, a packet number, 120 bytes of data, a checksum, and an EOX. The packet number begins at 00 and increments with each new packet. It resets to 00 after it reaches 7F, and continues counting. The packet number is used by the receiver to distinguish between a new data packet, or a resend of a previous packet. The packet number is followed by 120 bytes of data, which form 60, 40, or 30 words (MSB first for multiword samples), depending on the length of a single data sample. Each data byte hold seven bits, with the msb in each byte set to 0, in order to conform to the requirements of MIDI data transmission. Information is left justified within the 7-bit bytes, and unused bits are filled with 0. Example: Assume a data point in the memory of a 16-bit sampler, with the value 87E5. In binary, that would be 1000 0111 1110 0101 and would be encoded as the following MIDI data stream: 01000011 01111001 00100000 The checksum is the running XOR of all the data after the SYSEX byte, up to but not including the checksum itself. 3) SPEC: SAMPLE DUMP MESSAGES DUMP REQUEST: F0 7E cc 03 ss ss F7 where cc = channel number ss ss = sample number requested (LSB first) Upon receiving the request, the sampler checks the sample number to see if it is within legal range. If it is not, the request is ignored. If it is, the sample dump is started. One packet at a time is sent, under control of the handshaking messages outlined below. HANDSHAKING MESSAGES: For all below: cc = channel number pp = packet number Packet numbers are included in the handshaking messages to accomodate machines that have the intelligence to re-transmit specific packets after an entire dump is finished, or if synchronization is lost. ACK : F0 7E cc 7F pp F7 Means last packet was recieved correctly (checksum OK, etc), please send next one. Packet number is packet being acknowledged as correct. NAK : F0 7E cc 7E pp F7 Means last packet not received correctly, please send again. Packet number is packet being rejected. CANCEL : F0 7E cc 7D pp F7 Means abort dump immediately. Packet number is packet on which abort occurs. WAIT : F0 7E cc 7C pp F7 Means pause dump indefinitely, until next message is sent. Allows the unit recieving the dump to perform other functions (disk access, etc), before receiving the remainder of the dump. The next message it sends (eg ACK, ABORT) will determine if the dump continues or aborts. 4) DUMP PROCEDURE: MASTER (DUMP SOURCE) Once a dump has been requested, either via MIDI or through the front panel, the DUMP HEADER is sent. After sending the header, the master must time out for at least two seconds, to allow the receiver to decide if it will accept this sample (has enough memory, etc). If it receives a CANCEL, within this time, it should abort immediately. If it receives an CAK, it will start sending packets immediately. If it receives a WAIT, it pauses until another message is received, and then processes that mesage normally. If nothing is recieved within the timeout, an open loop is assumed, and the dump starts with the first packet. After sending each packet, the master should time out for at least 20 milliseconds and watch its MIDI In. If an ACK is received, it sends the next packet immediately. If it receives an NAK, and the packet number matches the number of the last packet sent, it resend that packet If the packet numbers don't match, and the device is incapable of sending packets out of order, the NAK will be ignored. If a WAIT is received, the master should watch its MIDI In port indefinitely for another ACK, NAK, or CANCEL message, which it should then process normally. If no messages are received within 20 milliseconds of the transmission of a packet, the master may assume an open loop configuration, and send the next packet. This process continues until there are less than 121 data bytes to send. The final packet will still consist of 120n bytes, regardless of how many significant bytes actually remain, and the unused bytes will be filled with zeroes. The receiver should handshake after receiving the last packet. 5) DUMP PROCEDURE: SLAVE (DUMP DESTINATION) When receiving a sample dump, a device should keep a running checksum during reception. If its checksum matches the checksum in the data packet, it will send an ACK and wait for the next packet. If it does not match, it will send an NAK containing the number of the packet that caused the error, and wait for the next packet. If, after sending an NAK, the packet number of the next packet doesn't match the previous packet number (the one that was NAK'd), and the unit is not capable of accepting packets out of order, the error is ignored and the dump continues as if the checksums had matched. If a receiver runs out of memory before the dumpo is completed, it should send a CANCEL to stop the dump. 6) SDS OVERVIEW SAMPLE DUMP DATA FORMAT: DUMP HEADER: Sysex ID: Universal Non-Real Time Channel Number Sub ID: Header Sample Number (2 bytes, LSB first) Sample Format Sample Period (3 bytes, LSB first) Sample Length (3 bytes, LSB first) Sustain Loop Start Point (3 bytes, LSB first) Sustain Loop End Point (3 bytes, LSB first) Loop Type Eox SAMPLE DUMP DATA FORMAT: DATA PACKET: Sysex ID: Universal Non-Real Time Channel Number Sub ID: Data Packet Packet Number Sample Data (120 bytes) Checksum Eox SAMPLE DUMP MESSAGES: DUMP REQUEST: Sysex ID: Universal Non-Real Time Channel Number Sub ID: Dump Request Sample Number (2 bytes, LSB first) Eox SAMPLE DUMP MESSAGES: HANDSHAKING FLAGS: Sysex ID: Universal Non-Real Time Channel Number Sub ID: ACK or NAK or CANCEL or WAIT Packet Number Eox ******************************************************************************* Frage: Wie ist der MIDI Time Code aufgebaut? Antwort: Detailed Specification (Supplement to MIDI 1.0) 12 February 1987 Justification For MIDI Time Code and Cueing -------------------------------------------- The merit of implementing the MIDI Time Code proposal within the current MIDI specification is as follows: SMPTE has become the de facto timing reference standard in the professional audio world and in almost the entire video world. SMPTE is also seeing more and more use in the semi-professional audio area. We hope to combine this universal timing reference, SMPTE, with the de facto standard for controlling musical equipment, MIDI. Encoding SMPTE over MIDI allows a person to work with one timing reference throughout the entire system. For example, studio engineers are more familiar with the idea of telling a multitrack recorder to punch in and out of record mode at specific SMPTE times, as opposed to a specific beat in a specific bar. To force a musician or studio engineer to convert back and forth between a SMPTE time and a specific bar number is tedious and should not be necessary (one would have to take into account tempo and tempo changes, etc.). Also, some operations are referenced only as SMPTE times, as opposed to beats in a bar. For example, creating audio and sound effects for video requires that certain sounds and sequences be played at specific SMPTE times. There is no other easy way to do this with Song Position Pointers, etc., and even if there was, it would be an unnatural way for a video or recording engineer to work. MIDI Time Code is an absolute timing reference, whereas MIDI Clock and Song Position Pointer are relative timing references. In virtually all audio for film/video work, SMPTE is already being used as the main time base, and any musical passages which need to be recorded are usually done by getting a MIDI-based sequencer to start at a pre-determined SMPTE time code. In most cases, though, it is SMPTE which is the Master timing reference being used. In order for MIDI-based devices to operate on an absolute time code which is independent of tempo, MIDI Time Code must be used. Existing devices merely translate SMPTE into MIDI Clocks and Song Position Pointers based upon a given tempo. This is not absolute time, but relative time, and all of the SMPTE cue points will change if the tempo changes. The majority of sound effects work for film and video does not involve musical passages with tempos, rather it involves individual sound effect "events" which must occur at specific, absolute times, not relative to any "tempo". MIDI Time Code System Components SMPTE to MTC Converter This box would either convert longitudinal (audio-type) or vertical (video-type) SMPTE time code from a master timing device into MTC. The function could be integrated into video tape recorders (VTRs) or syncronization units that control audio tape recorders (ATRs). Alternately, a stand-alone box would do the conversion, or simply generate MTC directly. Note that conversion from MTC to SMPTE time code is not envisioned, as it is of little practical value. Cue List Manager This would be a device or computer program that would maintain a cue list of desired events, and send the list to the slaves. For performance, the manager might pass the Time Code from the SMPTE-MTC converter through to the slaves, or, in a stand-alone system it might generate Time Code itself. This "central controller" would presumably also contain all library functions for downloading sound programs, samples, sequences, patterns, and so on, to the slaves. A Cue List Manager would pre-load intelligent MTC peripherals (see below) with this data. MTC Sequencer To control existing equipment or any device which does not recognize MTC in an MTC system, this device would be needed. It would receive the cue list from the manager, and convert the cues into normal MIDI commands. At the specified SMPTE times, the sequencer would then send the MIDI commands to the specific devices. For example, for existing MIDI equipment it might provide MIDI messages such as Note On, Note Off, Song Select, Start, Stop, Program Changes, etc. Non-MIDI equipment (such as CD players, mixing consoles, lighting, sound effects cartridge units and ATRs) may also be controlled if such a device had relay controls. Intelligent MTC Peripheral In this category belong devices capable of receiving an MTC Cue List from the manager, and triggering themselves appropriately when the correct Time Code (SMPTE or MIDI) has been received. Above this minimum, the device might be able to change its programming in response to the Cue List, or prepare itself for ensuing events. For example, an intelligent MTC-equipped analog multitrack tape machine might read in a list of punch in/punch out cues from the Cue List Manager, and then alter then to internally compensate for its bias current rise and fall times. A sampling-based sound effects device might preload samples from its own disk drive into a RAM buffer, in anticipation of needing them for cues later on in the cue list. It should be mentioned that while these functions are separately described, actual devices may incorporate a mixture of these functions, suited to specific applications in their market. A MIDI Time Code System The MIDI Time Code format contains two parts: Time Code and Set Up. Time Code is relatively straightforward: hours, minutes, seconds and frame numbers (approximately 1/30 of a second) are encoded and distributed throughout the MIDI system so that all the units know exactly what time it is. Set Up, however, is where MTC gains its power. It is a format for informing MIDI devices of events to be performed at specific times. Ultimately, this aspect of MTC will lead to the creation of an entirely new class of production equipment. Before getting into the nuts and bolts of the spec itself, let's talk about some of the uses and features of forthcoming devices that have been envisioned. Set Up begins with the concept of a cue list. In video editing, for example, it is customary to transfer the video master source tapes, which may be on expensive, two-inch recorders, to less-expensive recorders. The editing team then works over this copy, making a list of all the segments that they want to piece together as they are defined by their SMPTE times. For example, the first scene starts at time A and ends at time B, the next scene starts at time C and ends at time D. A third scene may even lie between the first two. When done, they feed this cue list time information into the editing system of the master recorder(s) or just give the cue list to an editor who does the work manually. The editing system or editor then locates the desired segments and assembles them in the proper sequence. Now suppose that instead of one or two video recorders, we have twenty devices that will play a part in our audio/video or film production: special effects generators for fades and superimpositions, additional decks with background scenery, live cameras, MIDI sequencers, drum machines, synthesizers, samplers, DDLs, soundtrack decks, CDs, effects devices, and so on. As it stands now, each of these devices must be handled more or less separately, with painstaking and time-consuming assembly editing or multitrack overdubs. And when a change in the program occurs (which always happens), anywhere from just a few items to the whole system may need to be reprogrammed by hand. This is where MIDI Time Code comes in. It can potentially control all of these individual production elements so that they function together from a single cue list. The master controller which would handle this function is described as a Cue List Manager. On such a console, you would list what you want each device to do, and when to do it. The manager would then send the cue list to the various machines via the MTC Set Up protocol. Each unit would then react as programmed when the designated MIDI Time Code (or conventional SMPTE Time Code) appears. Changes? No problem. Simply edit the cue list using simple word-processing functions, then run the tape again. MTC thus integrates into a manageable system all of the diverse tools at our disposal. It would drastically reduce the time, money and frustration needed to produce a film or video. Having covered the basic aspects of a MIDI Time Code system, as well as examples of how an overall system might function, we will now take a look at the actual MIDI specification itself. MIDI Time Code For device synchronization, MIDI Time Code uses two basic types of messages, described as Quarter Frame and Full. There is also a third, optional message for encoding SMPTE user bits. Quarter Frame Messages Quarter Frame messages are used only while the system is running. They are rather like the PPQN or MIDI clocks to which we are accustomed. But there are several important ways in which Quarter Frame messages differ from the other systems. As their name implies, they have fine resolution. If we assume 30 frames per second, there will be 120 Quarter Frame messages per second. This corresponds to a maximum latency of 8.3 milliseconds (at 30 frames per second), with accuracy greater than this possible within the specific device (which may interpolate inbetween quarter frames to "bit" resolution). Quarter Frame messages serve a dual purpose: besides providing the basic timing pulse for the system, each message contains a unique nibble (four bits) defining a digit of a specific field of the current SMPTE time. Quarter frames messages should be thought of as groups of eight messages. One of these groups encodes the SMPTE time in hours, minutes, seconds, and frames. Since it takes eight quarter frames for a complete time code message, the complete SMPTE time is updated every two frames. Each quarter frame message contains two bytes. The first byte is F1, the Quarter Frame System Common byte. The second byte contains a nibble that represents the message number (0 through 7), and a nibble for one of the digits of a time field (hours, minutes, seconds or frames). Quarter Frame Messages (2 bytes): F1 <message> F1 = Currently unused and undefined System Common status byte <message> = 0nnn dddd dddd = 4 bits of binary data for this Message Type nnn = Message Type: 0 = Frame count LS nibble 1 = Frame count MS nibble 2 = Seconds count LS nibble 3 = Seconds count MS nibble 4 = Minutes count LS nibble 5 = Minutes count MS nibble 6 = Hours count LS nibble 7 = Hours count MS nibble and SMPTE Type After both the MS nibble and the LS nibble of the above counts are assembled, their bit fields are assigned as follows: FRAME COUNT: xxx yyyyy xxx = undefined and reserved for future use. Transmitter must set these bits to 0 and receiver should ignore! yyyyy = Frame number (0-29) SECONDS COUNT: xx yyyyyy xx = undefined and reserved for future use. Transmitter must set these bits to 0 and receiver should ignore! yyyyyy = Seconds Count (0-59) MINUTES COUNT: xx yyyyyy xx = undefined and reserved for future use. Transmitter must set these bits to 0 and receiver should ignore! yyyyyy = Minutes Count (0-59) HOURS COUNT: x yy zzzzz x = undefined and reserved for future use. Transmitter must set this bit to 0 and receiver should ignore! yy = Time Code Type: 0 = 24 Frames/Second 1 = 25 Frames/Second 2 = 30 Frames/Second (Drop-Frame) 3 = 30 Frames/Second (Non-Drop) zzzzz = Hours Count (0-23) When time code is running in the forward direction, the device producing the MIDI Time Code will send Quarter Frame messages at quarter frame intervals in the following order: F1 0X F1 1X F1 2X F1 3X F1 4X F1 5X F1 6X F1 7X after which the sequence repeats itself, at a rate of one complete 8-message sequence every 2 frames (8 quarter frames). When time code is running in reverse, the quarter frame messages are sent in reverse order, starting with F1 7X and ending with F1 0X. Again, at least 8 quarter frame messages must be sent. The arrival of the F1 0X and F1 4X messages always denote frame boundaries. Since 8 quarter frame messages are required to definitely establish the actual SMPTE time, timing lock cannot be achieved until the reader has read a full sequence of 8 messages, from first message to last. This will take from 2 to 4 frames to do, depending on when the reader comes on line. During fast forward, rewind or shuttle modes, the time code generator should stop sending quarter frame messages, and just send a Full Message once the final destination has been reached. The generator can then pause for any devices to shuttle to that point, and resume by sending quarter frame messages when play mode is resumed. Time is considered to be "running" upon receipt of the first quarter frame message after a Full Message. Do not send quarter frame messages continuously in a shuttle mode at high speed, since this unnecessarily clogs the MIDI data lines. If you must periodically update a device's time code during a long shuttle, then send a Full Message every so often. The quarter frame message F1 0X (Frame Count LS nibble) must be sent on a frame boundary. The frame number indicated by the frame count is the number of the frame which starts on that boundary. This follows the same convention as normal SMPTE longitudinal time code, where bit 00 of the 80-bit message arrives at the precise time that the frame it represents is actually starting. The SMPTE time will be incremented by 2 frames for each 8-message sequence, since an 8-message sequence will take 2 frames to send. Another way to look at it is: When the last quarter frame message (F1 7X) arrives and the time can be fully assembled, the information is now actually 2 frames old. A receiver of this time must keep an internal offset of +2 frames for displaying. This may seem unusual, but it is the way normal SMPTE is received and also makes backing up (running time code backwards) less confusing - when receiving the 8 quarter frame messages backwards, the F1 0X message still falls on the boundary of the frame it represents. Each quarter frame message number (0->7) indicates which of the 8 quarter frames of the 2-frame sequence we are on. For example, message 0 (F1 0X) indicates quarter frame 0 of frame #1 in the sequence, and message 4 (F1 4X) indicates quarter frame 1 of frame #2 in the sequence. If a reader receives these message numbers in descending sequence, then it knows that time code is being sent in the reverse direction. Also, a reader can come on line at any time and know exactly where it is in relation to the 2-frame sequence, down to a quarter frame accuracy. It is the responsibility of the time code reader to insure that MTC is being properly interpreted. This requires waiting a sufficient amount of time in order to achieve time code lock, and maintaining that lock until synchronization is dropped. Although each passing quarter frame message could be interpreted as a relative quarter frame count, the time code reader should always verify the actual complete time code after every 8-message sequence (2 frames) in order to guarantee a proper lock. For example, let's assume the time is 01:37:52:16 (30 frames per second, non-drop). Since the time is sent from least to most significant digit, the first two Quarter Frame messages will contain the data 16 (frames), the second two will contain the data 52 (seconds), the third two will represent 37 (minutes), and the final two encode the 1 (hours and SMPTE Type). The Quarter Frame Messages description defines how the binary data for each time field is spread across two nibbles. This scheme (as opposed to simple BCD) leaves some extra bits for encoding the SMPTE type (and for future use). Now, let's convert our example time of 01:37:52:16 into Quarter Frame format, putting in the correct hexadecimal conversions: F1 00 F1 11 10H = 16 decimal F1 24 F1 33 34H = 52 decimal F1 45 F1 52 25H = 37 decimal F1 61 F1 76 01H = 01 decimal (SMPTE Type is 30 frames/non-drop) (note: the value transmitted is "6" because the SMPTE Type (11 binary) is encoded in bits 5 and 6) For SMPTE Types of 24, 30 drop frame, and 30 non-drop frame, the frame number will always be even. For SMPTE Type of 25, the frame number may be even or odd, depending on which frame number the 8-message sequence had started. In this case, you can see where the MIDI Time Code frame number would alternate between even and odd every second. MIDI Time Code will take a very small percentage of the MIDI bandwidth. The fastest SMPTE time rate is 30 frames per second. The specification is to send 4 messages per frame - in other words, a 2-byte message (640 microseconds) every 8.333 milliseconds. This takes 7.68 % of the MIDI bandwidth - a reasonably small amount. Also, in the typical MIDI Time Code systems we have imagined, it would be rare that normal MIDI and MIDI Time Code would share the same MIDI bus at the same time. Full Message Quarter Frame messages handle the basic running work of the system. But they are not suitable for use when equipment needs to be fast-forwarded or rewound, located or cued to a specific time, as sending them continuously at accelerated speeds would unnecessarily clog up or outrun the MIDI data lines. For these cases, Full Messages are used, which encode the complete time into a single message. After sending a Full Message, the time code generator can pause for any mechanical devices to shuttle (or "autolocate") to that point, and then resume running by sending quarter frame messages. Full Message - (10 bytes) F0 7F <chan> 01 <sub-ID 2> hr mn sc fr F7 F0 7F = Real Time Universal System Exclusive Header <chan> = 7F (message intended for entire system) 01 = <sub-ID 1>, 'MIDI Time Code' <sub-ID 2> = 01, Full Time Code Message hr = hours and type: 0 yy zzzzz yy = type: 00 = 24 Frames/Second 01 = 25 Frames/Second 10 = 30 Frames/Second (drop frame) 11 = 30 Frames/Second (non-drop frame) zzzzz = Hours (00->23) mn = Minutes (00->59) sc = Seconds (00->59) fr = Frames (00->29) F7 = EOX Time is considered to be "running" upon receipt of the first Quarter Frame message after a Full Message. User Bits "User Bits" are 32 bits provided by SMPTE for special functions which vary with the application, and which can be programmed only from equipment especially designed for this purpose. Up to four characters or eight digits can be written. Examples of use are adding a date code or reel number to the tape. The User Bits tend not to change throughout a run of time code. User Bits Message - (15 bytes) F0 7F <chan> 01 <sub-ID 2> u1 u2 u3 u4 u5 u6 u7 u8 u9 F7 F0 7F = Real Time Universal System Exclusive Header <chan> = 7F (message intended for entire system) 01 = <sub-ID 1>, MIDI TIme Code <sub-id 2> = 02, User Bits Message u1 = 0000aaaa u2 = 0000bbbb u3 = 0000cccc u4 = 0000dddd u5 = 0000eeee u6 = 0000ffff u7 = 0000gggg u8 = 0000hhhh u9 = 000000ii F7 = EOX These nibble fields decode in an 8-bit format: aaaabbbb ccccdddd eeeeffff gggghhhh ii. It forms 4 8-bit characters, and a 2 bit Format Code. u1 through u8 correspond to SMPTE Binary Groups 1 through 8. u9 are the two Binary Group Flag Bits, as defined by SMPTE. This message can be sent whenever the User Bits values must be transferred to any devices down the line. Note that the User Bits Message may be sent by the MIDI Time Code Converter at any time. It is not sensitive to any mode. MIDI Cueing uses Set-Up Messages to address individual units in a system. (A "unit" can be be a multitrack tape deck, a VTR, a special effects generator, MIDI sequencer, etc.) Of 128 possible event types, 19 are currently defined. Set-Up Messages (13 bytes plus any additional information): F0 7E <chan> 04 <sub-ID 2> hr mn sc fr ff sl sm <add. info> F7 F0 7E = Non-Real Time Universal System Exclusive Header <chan> = Channel number 04 = <sub-ID 1>, MIDI Time Code <sub-ID 2> = Set-Up Type 00 = Special 01 = Punch In points 02 = Punch Out points 03 = Delete Punch In point 04 = Delete Punch Out point 05 = Event Start points 06 = Event Stop points 07 = Event Start points with additional info. 08 = Event Stop points with additional info. 09 = Delete Event Start point 0A = Delete Event Stop point 0B = Cue points 0C = Cue points with additional info 0D = Delete Cue point 0E = Event Name in additional info hr = hours and type: 0 yy zzzzz yy = type: 00 = 24 Frames/Second 01 = 25 Frames/Second 10 = 30 Frames/Second drop frame 11 = 30 Frames/Second non-drop frame zzzzz = Hours (00-23) mn = Minutes (00-59) sc = Seconds (00-59) fr = Frames (00-29) ff = Fractional Frames (00-99) sl, sm = Event Number (LSB first) <add. info.> F7 = EOX Description of Set-Up Types: 00 Special refers to the set-up information that affects a unit globally (as opposed to individual tracks, sounds, programs, sequences, etc.). In this case, the Special Type takes the place of the Event Number. Five are defined. Note that types 01 00 through 04 00 ignore the event time field. 00 00 Time Code Offset refers to a relative Time Code offset for each unit. For example, a piece of video and a piece of music that are supposed to go together may be created at different times, and more than likely have different absolute time code positions - therefore, one must be offset from the other so that they will match up. Just like there is one master time code for an entire system, each unit only needs one offset value per unit. 01 00 Enable Event List means for a unit to enable execution of events in its list if the appropriate MTC or SMPTE time occurs. 02 00 Disable Event List means for a unit to disable execution of its event list but not to erase it. This facilitates an MTC Event Manager in muting particular devices in order to concentrate on others in a complex system where many events occur simultaneously. 03 00 Clear Event List means for a unit to erase its entire event list. 04 00 System Stop refers to a time when the unit may shut down. This serves as a protection against Event Starts without matching Event Stops, tape machines running past the end of the reel, and so on. 05 00 Event List Request is sent by a master to an MTC peripheral. If the device ID (Channel Number) matches that of the peripheral, the peripheral responds by transmitting its entire cue list as a sequence of Set Up Messages, starting from the SMPTE time indicated in the Event List Request message. 01/02 Punch In and Punch Out refer to the enabling and disabling of record mode on a unit. The Event Number refers to the track to be recorded. Multiple punch in/punch out points (and any of the other event types below) may be specified by sending multiple Set-Up messages with different times. 03/04 Delete Punch In or Out deletes the matching point (time and event number) from the Cue List. 05/06 Event Start and Stop refer to the running or playback of an event, and imply that a large sequence of events or a continuous event is to be started or stopped. The event number refers to which event on the targeted slave is to be played. A single event (ie. playback of a specific sample, a fader movement on an automated console, etc.) may occur several times throughout a given list of cues. These events will be represented by the same event number, with different Start and Stop times. 07/08 Event Start and Stop with Additional Information refer to an event (as above) with additional parameters transmitted in the Set Up message between the Time and EOX. The additional parameters may take the form of an effects unit's internal parameters, the volume level of a sound effect, etc. See below for a description of additional information. 09/0A Delete Event Start/Stop means to delete the matching (event number and time) event (with or without additional information) from the Cue List. 0B Cue Point refers to individual event occurences, such as marking "hit" points for sound effects, reference points for editing, and so on. Each Cue number may be assigned to a specific reaction, such as a specific one-shot sound event (as opposed to a continuous event, which is handled by Start/Stop). A single cue may occur several times throughout a given list of cues. These events will be represented by the same event number, with different Start and Stop times. 0C Cue Point with Additional Information is exactly like Event Start/Stop with Additional Information, except that the event represents a Cue Point rather than a Start/Stop Point. 0D Delete Cue Point means to Delete the matching (event number and time) Cue Event with or without additional information from the Cue List. 0E Event Name in Additional Information. This merely assigns a name to a given event number. It is for human logging purposes. See Additional Information description. Event Time This is the SMPTE/MIDI Time Code time at which the given event is supposed to occur. Actual time is in 1/100th frame resoultion, for those units capable of handling bits or some other form of sub-frame resolution, and should otherwise be self-explanatory. Event Number This is a fourteen-bit value, enabling 16,384 of each of the above types to be individually addressed. "sl" is the 7 LS bits, and "sm" is the 7 MS bits. Additional Information description Additional information consists of a nibblized MIDI data stream, LS nibble first. The exception is Set-Up Type OE, where the additional information is nibblized ASCII, LS nibble first. An ASCII newline is accomplished by sending CR and LF in the ASCII. CR alone functions solely as a carriage return, and LF alone functions solely as a Line-Feed. For example, a MIDI Note On message such as 91 46 7F would be nibblized and sent as 01 09 06 04 0F 07. In this way, any device can decode any message regardless of who it was intended for. Device-specific messages should be sent as nibblized MIDI System Exclusive messages. Potential Problems There is a possible problem with MIDI merger boxes improperly handling the F1 message, since they do not currently know how many bytes are following. However, in typical MIDI Time Code systems, we do not anticipate applications where the MIDI Time Code must be merged with other MIDI signals occuring at the same time. Please note that there is plenty of room for additional set-up types, etc., to cover unanticipated situations and configurations. It is recommended that each MTC peripheral power up with its MIDI Manufacturer's System Exclusive ID number as its default channel/device ID. Obviously, it would be preferable to allow the user to change this number from the device's front panel, so that several peripherals from the same manufacturer may have unique IDs within the same MTC system. Signal Path Summary Data sent between the Master Time Code Source (which may be, for example, a Multitrack Tape Deck with a SMPTE Synchronizer) and the MIDI Time Code Converter is always SMPTE Time Code. Data sent from the MIDI Time Code Converter to the Master Control/Cue Sheet (note that this may be a MTC-equipped tape deck or mixing console as well as a cue-sheet) is always MIDI Time Code. The specific MIDI Time Code messages which are used depend on the current operating mode, as explained below: Play Mode: The Master Time Code Source (tape deck) is in normal PLAY MODE at normal or vari-speed rates. The MIDI Time Code Converter is transmitting Quarter Frame ("F1") messages to the Master Control/Cue Sheet. The frame messages are in ASCENDING order, starting with "F1 0X" and ending with "F1 7X". If the tape machine is capable of play mode in REVERSE, then the frame messages will be transmitted in REVERSE sequence, starting with "F1 7X" and ending with "F1 0X". Cue Mode: The Master Time Code Source is being "rocked", or "cued" by hand. The tape is still contacting the playback head so that the listener can cue, or preview the contents of the tape slowly. The MIDI Time Code Converter is transmitting FRAME ("F1") messages to the Master Control/Cue Sheet. If the tape is being played in the FORWARD direction, the frame messages are sent in ASCENDING order, starting with "F1 0X" and ending with "F1 7X". If the tape machine is played in the REVERSE direction, then the frame messages will be transmitted in REVERSE sequence, starting with "F1 7X" and ending with "F1 0X". Because the tape is being moved by hand in Cue Mode, the tape direction can change quickly and often. The order of the Frame Message sequence must change along with the tape direction. Fast-Forward/Rewind Mode: In this mode, the tape is in a high-speed wind or rewind, and is not touching the playback head. No "cueing" of the taped material is going on. Since this is a "search" mode, synchronization of the Master Control/Cue Sheet is not as important as in the Play or Cue Mode. Thus, in this mode, the MIDI Time Code Converter only needs to send a "Full Message" every so often to the Cue Sheet. This acts as a rough indicator of the Master's position. The SMPTE time indicated by the "Full Message" actually takes effect upon the reception of the next "F1" quarter frame message (when "Play Mode" has resumed). Shuttle Mode: This is just another expression for "Fast-Forward/Rewind Mode". References and Credits SMPTE 12M (ANSI V98.12M-1981). MIDI Time Code specification created by Chris Meyer and Evan Brooks of Digidesign. Thanks to Stanley Jungleib of Sequential for additional text. Also many thanks to all of the MMA and JMSC members for their suggestions and contributions to the spec. *********** Addition: MIDI bar numbers ******************** F0 7F <dev-id> ni 01 aa aa F7 FO 7F Universal real-time sys-ex header <dev-id> ID of target device (default=7f=all) ni sub ID #1 = Notation information (03) 01 sub ID #2 = Bar Marker Message aa aa bar number; LSB first [00 40] = not running [01 40] .. [00 00] = count in [01 00] .. [7E 3F] = bar number in song F7 End of sys-ex A maximum neg number indicates not running A maximum positive value indicates running (but no idea about bar number) F0 7F <dev-id> ni ts ln nn dd cc bb [nn dd ...] F7 F0 7F Universal real-time sys-ex header <dev-id> ID of target machine (see above) ni SUB ID #1 = Notation info (03) ts SUB ID #2 = Time signature message 02=change now; 42=change next bar ln Number of data bytes following nn Numerator of time signature dd Denumiroator (neg. power of 2) cc Number of notated 32 notes in a MIDI quarter note [nn cc..] Additional pairs of num/denom (to define a compound time signature within the same bar) F7 End of sys-ex Gruss, Carsten * Origin: MAUS Koeln-Porz: 02203-962008 (2:2452/101.6) *******************************************************************************