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Music store sales people are buying and selling it. Musicians and students are talking about it. Professional writers are publishing articles about it. Entire magazines are devoted to it. Students at the Massachusetts Institute of Technology are receiving large grants to research it. Just what IS this MIDI thing anyway?

It is a powerful tool for composers and teachers alike. It allows musicians to be more creative on stage and in the studio. It allows composers to write music that no human could ever perform.

But it is NOT a tangible object, a thing to be had. MIDI is a communications protocol that allows electronic musical instruments to interact with each other. Fortunately, the average consumer is learning more about the concept of MIDI through articles such as this one. To have a complete understanding of how MIDI works, though, one should learn its history. At times, a musician could not get a new synthesizer home before it had been outdated by a new product.

One major factor in the increased popularity in synthesizers, and the increased push for research and design of these units, was the development of new sound generation methods. Musicians were creating new and different sounds worldwide. Eventually, the musical world began to recognize the synthesizer as a legitimate musical instrument. Popular and avant- garde performers alike desired to . Though this was possible to some extent in a multi- track recording studio, layering could not be realized on the road.

A few synthesizer design technicians from different manufacturers then got together to discuss an idea they shared. Surely, they said, there had to be a way to play one keyboard and have another one sound simultaneously. They jotted a few notes, considered a few options, and scuttled back to their design labs to create this communication method. The simple demonstration connected two synthesizers, not manufactured by the same company, with two cables. A representative from one company then played one of the synthesizers while an amazed audience heard both sound.

The process was then reversed to demonstrate the two- way nature of the communication. Other variations were illustrated, and the rest is music history. The information exchanged between two MIDI devices is musical in nature.

MIDI information tells a synthesizer, in its most basic mode, when to start and stop playing a specific note. Other information shared includes the volume and modulation of the note, if any.

MIDI information can also be more hardware specific. It can tell a synthesizer to change sounds, master volume, modulation devices, and even how to receive information. In more advanced uses, MIDI information can to indicate the starting and stopping points of a song or the metric position within a song. More recent applications include using the interface between computers and synthesizers to edit and store sound information for the synthesizer on the computer. Through a combination of bytes a vast amount of information can be transferred. Each MIDI command has a specific byte sequence. The first byte is the status byte, which tells the MIDI device what function to perform.

Encoded in the status byte is the MIDI channel. MIDI operates on 1.

MIDI units will accept or ignore a status byte depending on what channel the machine is set to receive. Only the status byte has the MIDI channel number encoded. All other bytes are assumed to be on the channel indicated by the status byte until another status byte is received.

Depending on the status byte, a number of different byte patterns will follow. The Note On status byte tells the MIDI device to begin sounding a note. Two additional bytes are required, a pitch byte, which tells the MIDI device which note to play, and a velocity byte, which tells the device how loud to play the note. Even though not all MIDI devices recognize the velocity byte, it is still required to complete the Note On transmission.

This command also requires two additional bytes with the same functions as the Note On byte. Most people are confused at first by this approach to Note On and Note Off, but after further thought they realize the necessity of the structure.

This requires only one additional byte: the number corresponding to the program number on the synthesizer. The patch number information is different for each synthesizer, and the standards have been set by the International MIDI Association (IMA). Channel selection is extremely helpful when sending Patch Change commands to a synthesizer. Briefly, the Sys. Ex byte requires at least three additional bytes. The first is a manufacturer's ID number or timing byte, the second is a data format or function byte, and the third is generally an .

There are a number of books that have been written on the topic of System Exclusive messages, so this article will not deal with it further. Labeled IN, OUT, and THRU, these ports control all of the information routing in a MIDI system. The IN port accepts MIDI data, data coming . This is the data that controls the sound generators of the synthesizer. The OUT port sends MIDI data . This data results from activity of the synthesizer, such as key presses, patch changes, and so on.

The THRU port also sends data out to the MIDI system, but not in the same manner as the OUT port. The data coming from the THRU port is an exact copy of the data received at the synthesizer's IN port.

There is no change made to the data from the time it arrives at the IN port to the time is leaves the THRU port (which is a very, VERY small amount of time). Curiously though, only three of the conductors are actually used. Data is carried through the cable on pins 1 and 3, and pin 2 is shielded and connected to common.

Pins 4 and 5 remain unused. Not just any cable will suffice for the exactness of the MIDI system, either. MIDI cable is specially grounded and shielded to ensure efficient data transmission. This means that MIDI cable is a little more expensive than standard 5- conductor cable, but reliable data transmission is absolutely necessary for MIDI.

IMA specifications suggest an absolute maximum cable length of 5. The entire length of a MIDI chain (discussed below) is unlimited, however, provided that none of the links are longer than 5.

The optimal maximum length for cable is about 2. The elemental chain is a single- link chain. The MIDI OUT port of one device is connected to the MIDI IN port of a second. In this configuration, a key pressed on the first unit will cause both units to sound. Pressing a key on the second unit, however, only causes the second unit to sound.

Many instruments may be chained together using a series of single links to connect the units. In this case, the OUT of the first unit is connected to the second, the THRU of the second is connected to the IN of a third, and so on. If all the units are set to receive on the same channel, pressing a key on the first one will cause all the units to sound. Pressing a key on any of the other units will only activate the sound of that unit. The single element loop is made of two interconnecting links. This was the configuration used in the debut of the MIDI system.

The OUT port of the first unit is connected to the IN port of the second, and the OUT port of the second is connected to the IN port of the first. In this case, as described earlier, a key pressed on either unit causes both units to sound, provided they are on the same channel. A MIDI feedback loop does NOT exist here, as the data going into the second unit from the first is not duplicated in the OUT port of the second going back into the first. Here, we have two one- way links connected, not a multi- link chain. As a brief example, imagine four synthesizers named A, B, C, and D for convenience. A's OUT is connected to B's IN and consequently to C's IN via B's THRU.

B's OUT connects to D's IN, whose THRU connects to A's IN. Download Do Filme 007 Um Novo Dia Para Morrer Dublado 1967.