MIDI SUPPLEMENT
© 1985, 1986, 1987 E-mu Systems, Inc. Page 210
First, Synth A would have to tell Synth B whenever a key was hit (“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 CHANCE.
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 two articles in the August 1983
issue of Polyphony, “What MIDI Means to Musicians” by Jim Wright and “MIDI Hardware
Fundamentals” by Stanley Junglieb.
TYPICAL MIDI APPLICATIONS
1. Slave two keyboards together so that one doubles the other for lush-sounding string
effects, choirs, and so on. To do this with the Emulator II and another MIDI instrument,
connect the MIDI IN from each 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 the other instrument to receive
“program change information”, changing Presets on the Emulator II should change
programs on the other MIDI synthesizer, and vice- versa.
2. Slave two keyboards together to create a composite sound. For example, you might like
the sound of the Emulator II violins fading in as the attack of a digital synth violin patch
fades out.
3. 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 Emulator II Sequence and find out.
4. The dynamic control of drum machines. If you have a Drumulator with MIDI retrofit, you
can program it dynamically from the Emulator II keyboard via MIDI. Run a MIDI cable
from the Emulator II’s MIDI out to the Drumulators MIDI connector, then consult your
Drumulator addendum sheet for information on which Emulator II keys control which
drums.
Содержание EII+
Страница 11: ...INTRODUCTION 1985 1986 1987 E mu Systems Inc Page 11 INTRODUCTION ...
Страница 20: ...INTRODUCTION 1985 1986 1987 E mu Systems Inc Page 20 ...
Страница 26: ...THE GUIDED TOURS 1985 1986 1987 E mu Systems Inc Page 26 THE GUIDED TOURS ...
Страница 84: ...VOICE DEFINITION MODULE 1985 1986 1987 E mu Systems Inc Page 84 Fig VDEF 8 Fig VDEF 9 ...
Страница 118: ...PRESET DEFINITION MODULE 1985 1986 1987 E mu Systems Inc Page 118 ...
Страница 168: ...ENTER MODULE 1985 1986 1987 E mu Systems Inc Page 168 ENTER MODULE ...
Страница 170: ...SEQUENCER MODULE 1985 1986 1987 E mu Systems Inc Page 170 SEQUENCER MODULE BACKGROUND EXT CLOCK SETUP EDIT ...
Страница 214: ...SMPTE SUPPLEMENT 1985 1986 1987 E mu Systems Inc Page 214 SMPTE SUPPLEMENT OVERVIEW PROTOCOL ...