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Emax II operation manual
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Suppose we have two synthesizers, Synth A and Synth B, and want Synth B to precisely
follow along with what is being played on Synth A to create a “doubling” effect. To do
this, our “language” would have to convey several things.
First, Synth A would have to tell Synth B whenever a key was hit and which key it was
(“hey Synth B, play F#!”). We’ll call this the NOTE ON word.
This turns on the keys just fine, but now we need a way for Synth A to tell Synth B when
a note is over so it can turn the key back off again. We can call this the NOTE OFF word.
Now we have the notes under control, but what happens if we do some pitch-bending
on Synth A? As it is, Synth B wouldn’t follow because it can only tell if a note has been
turned on or off—not if its pitch has been changed. So, we need a new word that indicates
a pitch bend CONTROL CHANGE.
Everything’s fine until we switch patches, at which point Synth A changes but Synth B
doesn’t. We clearly need another word to signal PROGRAM CHANGE, so that if you call
up a different patch on Synth A, Synth B will call up a different patch as well (which you
have hopefully programmed to sound compatible with Synth A).
And the list of words goes on...what happens if both synthesizers can respond to
dynamics? You’ll also want to transmit that data from one synth to another. We also need
some information about the system tempo, as set by a drum machine or sequencer...
MIDI’s vocabulary encompasses all these considerations, as well as many others. For a
more detailed description of the complete MIDI vocabulary, refer to the book “MIDI For
Musicians” (AMSCO Publications, a division of Music Sales).
TYPICAL MIDI APPLICATIONS
■
Slave two keyboards together so that one doubles the other for lush-sounding
string effects, choirs, and so on.
To do this with the Emax II and another MIDI
instrument, connect the MIDI IN from one machine to the MIDI OUT of the other
instrument. Select Omni mode and the same basic channel for both instruments—either
keyboard should be able to control the other instrument. If you program each instrument
to receive “program change information”, changing presets on the Emax II should
change programs on the other MIDI synthesizer, and vice-versa.
■
Slave two keyboards together to create a composite sound.
For example, you
might like the sound of Emax II violins fading in as the attack of a digital synth violin
patch fades out.
■
When composing, you can sequence parts via MIDI and experiment with
changing timbres.
How would that harmony line sound as a piano instead of a guitar?
Re-assign presets on an Emax II sequence and find out.
MIDI SUPPLEMENT
MIDI Applications
Summary of Contents for EMAX II
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