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original version by: Nikos Drakos, CBLU, University of Leeds
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* revised and updated by: Marcus Hennecke, Ross Moore, Herb Swan
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* with significant contributions from:
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Jens Lippmann, Marek Rouchal, Martin Wilck and others -->
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2009-05-17 22:34:44 +00:00
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<TITLE>Low Level MIDI Commands</TITLE>
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2009-05-17 22:34:44 +00:00
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<B> Next:</B> <A NAME="tex2html651"
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HREF="node21.html">Patch Management</A>
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<B> Up:</B> <A NAME="tex2html649"
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HREF="mma.html">Reference Manual</A>
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<B> Previous:</B> <A NAME="tex2html643"
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HREF="node19.html">Variables, Conditionals and Jumps</A>
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<BR>
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<BR></DIV>
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<!--End of Navigation Panel-->
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<!--Table of Child-Links-->
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<A NAME="CHILD_LINKS"><STRONG>Subsections</STRONG></A>
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<UL CLASS="ChildLinks">
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<LI><A NAME="tex2html652"
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HREF="node20.html#SECTION002010000000000000000">Channel</A>
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<LI><A NAME="tex2html653"
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HREF="node20.html#SECTION002020000000000000000">ChannelPref</A>
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<LI><A NAME="tex2html654"
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HREF="node20.html#SECTION002030000000000000000">ChShare</A>
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<LI><A NAME="tex2html655"
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HREF="node20.html#SECTION002040000000000000000">ForceOut</A>
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<LI><A NAME="tex2html656"
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HREF="node20.html#SECTION002050000000000000000">MIDI</A>
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<LI><A NAME="tex2html657"
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HREF="node20.html#SECTION002060000000000000000">MIDIClear</A>
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<LI><A NAME="tex2html658"
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HREF="node20.html#SECTION002070000000000000000">MIDIFile</A>
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<LI><A NAME="tex2html659"
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HREF="node20.html#SECTION002080000000000000000">MIDIGlis</A>
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<LI><A NAME="tex2html660"
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HREF="node20.html#SECTION002090000000000000000">MIDIInc</A>
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<LI><A NAME="tex2html661"
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HREF="node20.html#SECTION0020100000000000000000">MIDIMark</A>
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<LI><A NAME="tex2html662"
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HREF="node20.html#SECTION0020110000000000000000">MIDIPan</A>
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<LI><A NAME="tex2html663"
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HREF="node20.html#SECTION0020120000000000000000">MIDISeq</A>
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<UL>
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<LI><A NAME="tex2html664"
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HREF="node20.html#SECTION0020121000000000000000">MIDIDef</A>
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</UL>
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<BR>
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<LI><A NAME="tex2html665"
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HREF="node20.html#SECTION0020130000000000000000">MIDISplit</A>
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<LI><A NAME="tex2html666"
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HREF="node20.html#SECTION0020140000000000000000">MIDITname</A>
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<LI><A NAME="tex2html667"
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HREF="node20.html#SECTION0020150000000000000000">MIDIVoice</A>
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<LI><A NAME="tex2html668"
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HREF="node20.html#SECTION0020160000000000000000">MIDIVolume</A>
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</UL>
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<!--End of Table of Child-Links-->
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<HR>
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<H1><A NAME="SECTION002000000000000000000"></A>
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<A NAME="sec-mididirectives"></A>
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<BR>
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Low Level MIDI Commands
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</H1>
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<P>
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The commands discussed in this chapter directly effect your MIDI
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output devices.
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<P>
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Not all MIDI devices are equal. Many of the effects in this chapter
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may be ignored by your devices. Sorry, but that's just the way MIDI
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is.
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<P>
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<H1><A NAME="SECTION002010000000000000000"></A> <A NAME="set-channel"></A>
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<BR>
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Channel
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</H1>
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<P>
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As noted in <A HREF="node3.html#sec-tracks">Tracks and Channels</A>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> assigns MIDI channels
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dynamically as it creates tracks. In most cases this works fine;
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however, you can if you wish force the assignment of a specific MIDI
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channel to a track with the C<SMALL>HANNEL</SMALL> command.
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<P>
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You cannot assign a channel number to a track if it already defined
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(well, see the section C<SMALL>H</SMALL>S<SMALL>HARE</SMALL>, below, for the inevitable
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exception), nor can you change the channel assignments for any of the
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D<SMALL>RUM</SMALL> tracks.
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<P>
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Let us assume that you want the <SPAN CLASS="textit">Bass</SPAN> track assigned to MIDI
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channel 8. Simply use:
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<P>
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2007-04-29 06:47:40 +00:00
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Bass Channel 8 </B>
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2007-04-29 06:47:40 +00:00
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</td></tr>
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</Table>
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<P>
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Caution: If the selected channel is already in use an error will be
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generated. Due to the way
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> allocates tracks, if you really need
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to manually assign track it is recommended that you do this in a
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MMA<SMALL>RC</SMALL> file.
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<P>
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<A NAME="channel0"></A>
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<P>
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You can disable a channel at any time by using a channel number of 0:
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<P>
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2007-04-29 06:47:40 +00:00
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Arpeggio-1 Channel 0 </B>
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</td></tr>
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</Table>
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<P>
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will disable the Arpeggio-1 channel, freeing it for use by other
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tracks. A warning message is generated. Disabling a track without a
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valid channel is fine. When you set a channel to 0 the track is also
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disabled. You can restart the track with the O<SMALL>N</SMALL> command
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(<A HREF="node23.html#set-on">here</A>).
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<P>
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You don't need to have a valid MIDI channel assigned to a track to do
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things like: MIDIP<SMALL>AN</SMALL>, MIDIG<SMALL>LIS</SMALL>, MIDIV<SMALL>OLUME</SMALL> or
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even the assignment of any music to a track. MIDI data is created in
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tracks and then sent out to the MIDI buffers. Channel assignment is
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checked and allocated at this point, and an error will be generated if
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no channels are available.
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<P>
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It's quite acceptable to do channel reassignments in the middle of a
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song. Just assign channel 0 to the unneeded track first.
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<P>
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MIDI channel settings are <SPAN CLASS="textit">not</SPAN> saved in G<SMALL>ROOVE</SMALL>s.
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<P>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> inserts a MIDI ``track name'' meta event when the channel
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buffers are first assigned at a MIDI offset of 0. If the MIDI channel
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is reassigned, a new ``track name'' is inserted at the current song
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offset.
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<P>
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A more general method is to use C<SMALL>HANNEL</SMALL>P<SMALL>REF</SMALL> detailed below.
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<P>
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You can access the currently assigned channel with the
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$_TRACK_C<SMALL>HANNEL</SMALL> macro.
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<P>
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<H1><A NAME="SECTION002020000000000000000">
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ChannelPref</A>
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</H1>
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<P>
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If you prefer to have certain tracks assigned to certain channels you
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can use the C<SMALL>HANNEL</SMALL>P<SMALL>REF</SMALL> command to create a custom set of
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preferences. By default,
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> assigns channels starting at 16 and
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working down to 1 (with the expectation of drum tracks which are all
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assigned channel 10). If, for example, you would like the <SPAN CLASS="textit">Bass</SPAN>
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track to be on channel 9, sustained bass on channel 3, and
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<SPAN CLASS="textit">Arpeggio</SPAN> on channel 5, you can have a command like:
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<P>
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2009-05-17 22:34:44 +00:00
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>ChannelPref Bass=9 Arpeggio=5 Bass-Sus=3 </B>
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</td></tr>
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</Table>
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<P>
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Most likely this will be in your <SMALL>MMARC</SMALL> file.
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<P>
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You can use multiple command lines, or have multiple assignments on a
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single line. Just make sure that each item consists of a trackname, an
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``='' and a channel number in the range 1 to 16.
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<P>
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<H1><A NAME="SECTION002030000000000000000"></A> <A NAME="set-chshare"></A>
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<BR>
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ChShare
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</H1>
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<P>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> is fairly conservative in its use of MIDI tracks. ``Out of the
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box'' it demands a separate MIDI channel for each of its tracks, but
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only as they are actually used. In most cases, this works just fine.
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<P>
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However, there are times when you might need more tracks than the
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available MIDI channels or you may want to free up some channels for
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other programs.
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<P>
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If you have different tracks with the same voicing, it's quite simple.
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For example, you might have an arpeggio and scale track:
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<P>
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2007-04-29 06:47:40 +00:00
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Arpeggio Sequence A16 z
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<BR>
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Arpeggio Voice Piano1
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<BR>
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Scale Sequence z S8
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<BR>
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Scale Voice Piano1 </B>
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2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
In this example,
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> will use different MIDI channels for the
|
|
|
|
|
<SPAN CLASS="textit">Arpeggio</SPAN> and the <SPAN CLASS="textit">Scale</SPAN>. Now, if you force channel
|
|
|
|
|
sharing:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>Scale ChShare Arpeggio </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
both tracks will use the same MIDI channel.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This is really foolproof in the above example, especially since the
|
|
|
|
|
same voice is being used for both. Now, what if you wanted to use a
|
|
|
|
|
different voice for the tracks?
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>Arpeggio Sequence A16 z
|
|
|
|
|
<BR>
|
|
|
|
|
Arpeggio Voice Piano1 Strings
|
|
|
|
|
<BR>
|
|
|
|
|
Scale Sequence z S8
|
|
|
|
|
<BR>
|
|
|
|
|
Scale ChShare Arpeggio </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
You might think that this would work, but it doesn't.
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> ignores
|
|
|
|
|
voice changes for bars which don't have a sequence, so it will set
|
|
|
|
|
``Piano1'' for the first bar, then ``Strings'' for the second (so far,
|
|
|
|
|
so good). But, when it does the third bar (an A<SMALL>RPEGGIO</SMALL>) it will
|
|
|
|
|
not know that the voice has been changed to ``Strings'' by the
|
|
|
|
|
<SPAN CLASS="textit">Scale</SPAN> track.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
So, the general rule for track channel sharing is to use only one
|
|
|
|
|
voice.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
One more example which doesn't work:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>Arpeggio Sequence A8
|
|
|
|
|
<BR>
|
|
|
|
|
Scale Sequence S4
|
|
|
|
|
<BR>
|
|
|
|
|
Arpeggio Voice Piano1
|
|
|
|
|
<BR>
|
|
|
|
|
Scale Voice Piano1
|
|
|
|
|
<BR>
|
|
|
|
|
Scale ChShare Arpeggio </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
This example has an active scale and arpeggio sequence in each
|
|
|
|
|
bar. Since both use the same voice, you may think that it will work
|
|
|
|
|
just fine ...but it may not. The problem here is that
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> will
|
|
|
|
|
generate MIDI on and off events which may overlap each other. One or
|
|
|
|
|
the other will be truncated. If you are using a different octave, it
|
|
|
|
|
will work much better. It may sound okay, but you should probably find
|
|
|
|
|
a better way to do this.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
When a C<SMALL>H</SMALL>S<SMALL>HARE</SMALL> directive is parsed the ``shared'' channel is
|
|
|
|
|
first checked to ensure that it has been assigned. If not currently
|
|
|
|
|
assigned, the assignment is first done. What this means is that you
|
|
|
|
|
are subverting
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> 's normal dynamic channel allocation scheme. This
|
|
|
|
|
may cause is a depletion of available channels.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Please note that that the use of the C<SMALL>H</SMALL>S<SMALL>HARE</SMALL> command is
|
|
|
|
|
probably never really needed, so it might have more problems than
|
|
|
|
|
outlined here. If you want to see how much a bother channel sharing
|
|
|
|
|
becomes, have a look at the standard library file
|
|
|
|
|
<TT><SPAN CLASS="textbf">frenchwaltz.mma</SPAN></TT>. All this so the accordion bass can use one
|
|
|
|
|
channel instead of 6. If I were to write it again I'd just let it suck
|
|
|
|
|
up the MIDI channels.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
For another, simpler, way of reassigning MIDI tracks and letting
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> do most of the work for you, refer to the
|
|
|
|
|
<A HREF="node23.html#sec-delete">D<SMALL>ELETE</SMALL> command</A>.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION002040000000000000000">
|
|
|
|
|
ForceOut</A>
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Under normal conditions
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> only generates the MIDI tracks it thinks
|
|
|
|
|
are valid or relevant. So, if you create a track but insert no note
|
|
|
|
|
data into that track it will not be generated. An easy way to verify
|
|
|
|
|
this is by creating file and running
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> with the -c command line
|
|
|
|
|
option. Lets start off by creating a file you might think will set the
|
|
|
|
|
keyboard channel on your synth to a TenorSax voice:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Begin Solo-Keyboard
|
|
|
|
|
<BR> Channel 1
|
|
|
|
|
<BR> Voice TenorSax
|
|
|
|
|
<BR> MIDIVolume 100
|
|
|
|
|
<BR>
|
|
|
|
|
End </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
If you compile this you should get:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>$ mma test -c
|
|
|
|
|
<BR>
|
|
|
|
|
<BR>
|
|
|
|
|
File 'test' parsed, but no MIDI file produced!
|
|
|
|
|
<BR>
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2009-05-17 22:34:44 +00:00
|
|
|
Tracks allocated:
|
|
|
|
|
<BR> SOLO-KEYBOARD
|
|
|
|
|
<BR>
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2009-05-17 22:34:44 +00:00
|
|
|
Channel assignments:
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2009-05-17 22:34:44 +00:00
|
|
|
1 SOLO-KEYBOARD
|
|
|
|
|
<BR> </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
So, a
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> track was created, but if you compile this file and
|
|
|
|
|
examine the resulting MIDI file you will find that the voice <SPAN CLASS="textit">has
|
|
|
|
|
not</SPAN> been set.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
To overcome this, insert the F<SMALL>ORCE</SMALL>O<SMALL>UT</SMALL> command at the end of the
|
|
|
|
|
track setup. For example, here is a more complete file which will set
|
|
|
|
|
the keyboard track to TenorSax with a volume of 100, play a bar of
|
|
|
|
|
accompaniment, set a Trumpet voice with a louder volume, play another
|
|
|
|
|
bar, and finally reset the keyboard to the default Piano voice.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Groove BossaNova
|
|
|
|
|
<BR>
|
|
|
|
|
<BR>
|
|
|
|
|
Begin Solo
|
|
|
|
|
<BR> Channel 1
|
|
|
|
|
<BR> Voice TenorSax
|
|
|
|
|
<BR> MIDIVolume 100
|
|
|
|
|
<BR> ForceOut
|
|
|
|
|
<BR>
|
|
|
|
|
End
|
|
|
|
|
<BR>
|
|
|
|
|
<BR>
|
|
|
|
|
1 C
|
|
|
|
|
<BR>
|
|
|
|
|
<BR>
|
|
|
|
|
Begin Solo
|
|
|
|
|
<BR> Voice Trumpet
|
|
|
|
|
<BR> MIDIVolume 120
|
|
|
|
|
<BR> ForceOut
|
|
|
|
|
<BR>
|
|
|
|
|
End
|
|
|
|
|
<BR>
|
|
|
|
|
<BR>
|
|
|
|
|
2 G
|
|
|
|
|
<BR>
|
|
|
|
|
<BR>
|
|
|
|
|
Begin Solo
|
|
|
|
|
<BR> Voice Piano1
|
|
|
|
|
<BR> MIDIVolume 127
|
|
|
|
|
<BR> ForceOut
|
|
|
|
|
<BR>
|
|
|
|
|
End
|
|
|
|
|
<BR> </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
Note: The same or similar results could be accomplished with the
|
|
|
|
|
MIDI command; however, it's a bit harder to use and the
|
|
|
|
|
commands would be in the Meta track.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2009-05-17 22:34:44 +00:00
|
|
|
<H1><A NAME="SECTION002050000000000000000"></A>
|
|
|
|
|
<A NAME="sec-midi"></A>
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2009-05-17 22:34:44 +00:00
|
|
|
MIDI
|
2006-11-10 08:07:56 +00:00
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
The complete set of MIDI commands is not limitless--but from this end
|
|
|
|
|
it seems that adding commands to suit every possible configuration is
|
|
|
|
|
never-ending. So, in an attempt to satisfy everyone, a command which
|
|
|
|
|
will place any arbitrary MIDI stream in your tracks has been
|
|
|
|
|
implemented. In most cases this will be a MIDI ``Sysex'' or ``Meta''
|
|
|
|
|
event.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
For example, you might want to start a song off with a MIDI reset:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>MIDI 0xF0 0x05 0x7e 0x7f 0x09 0x01 0xf7 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The values passed to the MIDI command are normal integers; however,
|
|
|
|
|
they must all be in the range of 0x00 to 0xff. In most cases it is
|
|
|
|
|
easiest to use hexadecimal numbers by using the ``0x'' prefix. But,
|
|
|
|
|
you can use plain decimal integers if you prefer.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
In the above example:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
<DL COMPACT>
|
|
|
|
|
<DT> 0xF0</DT>
|
|
|
|
|
<DD>Designates a SYSEX message
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</DD>
|
|
|
|
|
<DT> 0x05</DT>
|
|
|
|
|
<DD>The length of the message
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</DD>
|
|
|
|
|
<DT> 0x7e</DT>
|
|
|
|
|
<DD>...The actual message
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</DD>
|
|
|
|
|
</DL>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Another example places the key signature of F major (1 flat) in the
|
|
|
|
|
meta track:<A NAME="tex2html66"
|
|
|
|
|
HREF="#foot9027"><SUP><SPAN CLASS="arabic">20</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A>
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>MIDI 0xff 0x59 0x02 0xff 0x00 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Some <SPAN CLASS="textit">cautions:</SPAN>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<UL>
|
2009-05-17 22:34:44 +00:00
|
|
|
<LI>
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> makes no attempt to verify the validity of the data!
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>The ``Length'' field must be manually calculated.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>Malformed sequences can create non-playable MIDI files. In extreme
|
|
|
|
|
situations, these might even damage your synth. You are on your own
|
|
|
|
|
with this command ...be careful.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
</LI>
|
2009-05-17 22:34:44 +00:00
|
|
|
<LI>The M<SMALL>IDI</SMALL> directive always places data in the <SPAN CLASS="textit">Meta</SPAN>
|
|
|
|
|
track at the current time offset into the file. This should not be a
|
|
|
|
|
problem.
|
|
|
|
|
|
|
|
|
|
<P>
|
2007-04-29 06:47:40 +00:00
|
|
|
</LI>
|
|
|
|
|
</UL>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
Cautions aside, <TT><SPAN CLASS="textbf">includes/init.mma</SPAN></TT> has been included in this
|
|
|
|
|
distribution. I use this without apparent problems; to use it add the
|
|
|
|
|
command line:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>MMAstart init </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
in your <SMALL>MMARC</SMALL> file. The file is pretty well commented and it
|
|
|
|
|
sets a synth up to something reasonably sane.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
If you need a brief delay after a raw MIDI command, it is possible to
|
|
|
|
|
insert a silent beat with the <A HREF="node15.html#beatadjust">B<SMALL>EAT</SMALL>A<SMALL>DJUST</SMALL>
|
|
|
|
|
command</A>. See
|
|
|
|
|
the file <TT><SPAN CLASS="textbf">includes/reset.mma</SPAN></TT> for an example.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION002060000000000000000"></A> <A NAME="sec-midiclear"></A>
|
|
|
|
|
<BR>
|
|
|
|
|
MIDIClear
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
As noted earlier in this manual you should be very careful in
|
|
|
|
|
programming MIDI sequences into your song and/or library files. Doing
|
|
|
|
|
damage to a synthesizer is probably a remote possibility ...but
|
|
|
|
|
leaving it in a unexpected mode is likely. For this reason the
|
|
|
|
|
MIDIC<SMALL>LEAR</SMALL> command has been added as a companion to the
|
|
|
|
|
MIDIV<SMALL>OICE</SMALL> and MIDIS<SMALL>EQ</SMALL> commands.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Each time a MIDI track (not necessary the same as a
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> track) is
|
|
|
|
|
ended or a new G<SMALL>ROOVE</SMALL> is started, a check is done to see if any
|
|
|
|
|
MIDI data has been inserted in the track with a MIDIV<SMALL>OICE</SMALL> or
|
|
|
|
|
MIDIS<SMALL>EQ</SMALL> command. If it has, a further check is done to see if
|
|
|
|
|
there is an ``undo'' sequence defined via a MIDIC<SMALL>LEAR</SMALL> command.
|
|
|
|
|
That data is then sent; or, if data has not be defined for the track,
|
|
|
|
|
a warning message is displayed.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
The MIDIC<SMALL>LEAR</SMALL> command uses the same syntax as MIDIV<SMALL>OICE</SMALL>
|
|
|
|
|
and MIDIS<SMALL>EQ</SMALL>; however, you can not specify different sequence
|
|
|
|
|
for different bars in the sequence:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>Bass-Funky MIDIClear 1 Modulation 0; 1 ReleaseTime 0 </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
As in MIDIV<SMALL>OICE</SMALL> and MIDIS<SMALL>EQ</SMALL> you can include sequences
|
|
|
|
|
defined in a MIDID<SMALL>EF</SMALL>. The <beat>offsets
|
|
|
|
|
are required, but ignored.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2009-05-17 22:34:44 +00:00
|
|
|
<H1><A NAME="SECTION002070000000000000000"></A> <A NAME="midismf"></A>
|
2006-11-10 08:07:56 +00:00
|
|
|
<BR>
|
2009-05-17 22:34:44 +00:00
|
|
|
MIDIFile
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This option controls some fine points of the generated MIDI file. The
|
|
|
|
|
command is issued with a series of parameters in the form
|
|
|
|
|
``MODE=VALUE''. You can have multiple settings in a single
|
|
|
|
|
MIDIF<SMALL>ILE</SMALL> command.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> can generate two types of SMF (Standard MIDI Files):
|
|
|
|
|
<DL COMPACT>
|
|
|
|
|
<DT>0.</DT>
|
|
|
|
|
<DD>This file contains only one track into which the data for
|
|
|
|
|
all the different channel tracks has been merged. A number of synths
|
|
|
|
|
which accept SMF (Casio, Yamaha and others) only accept type 0
|
|
|
|
|
files.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
</DD>
|
|
|
|
|
<DT>1.</DT>
|
|
|
|
|
<DD>This file has the data for each MIDI channel in its own
|
|
|
|
|
track. This is the default file generated by
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> .
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</DD>
|
|
|
|
|
</DL>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
You can set the filetype in an RC file (or, for that matter, in any
|
|
|
|
|
file processed by
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> ) with the command:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>MidiFile SMF=0 </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
or
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2009-05-17 22:34:44 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>MidiFile SMF=1 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
You can also set it on the command line with the -M option. Using the
|
|
|
|
|
command line option will override the M<SMALL>IDI</SMALL>SMF command if it is
|
|
|
|
|
in a RC file.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
By default
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> uses ``running status'' when generating MIDI files.
|
|
|
|
|
This can be disabled with the command:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>MidiFile Running=0 </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
or enabled (but this is the default) with:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2009-05-17 22:34:44 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>MidiFile Running=1 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
Files generated without running status will be about 20 to 30% larger
|
|
|
|
|
than their compressed counterparts. They may be useful for use with
|
|
|
|
|
brain-dead sequencers and in debugging generated code. There is no
|
|
|
|
|
command line equivalent for this option.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION002080000000000000000">
|
|
|
|
|
MIDIGlis</A>
|
|
|
|
|
</H1>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
This sets the MIDI portamento<A NAME="tex2html67"
|
|
|
|
|
HREF="#foot8883"><SUP><SPAN CLASS="arabic">20</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A> (in case you're new to all this, portamento is like
|
|
|
|
|
glissando between notes--wonderful, if you like trombones! To enable
|
|
|
|
|
portamento:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Arpeggio MIDIGlis 30 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
The parameter can be any value between 1 and 127. To turn the sliding
|
|
|
|
|
off:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>Arpeggio MIDIGlis 0 </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
This command will work with any track (including drum tracks).
|
|
|
|
|
However, the results may be somewhat ``interesting'' or
|
|
|
|
|
``disappointing'', and many MIDI devices don't support portamento at
|
|
|
|
|
all. So, be cautious. The data generated is not sent into the MIDI
|
|
|
|
|
stream until musical data is created for the relevant MIDI channel.
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2009-05-17 22:34:44 +00:00
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION002090000000000000000">
|
|
|
|
|
MIDIInc</A>
|
2006-11-10 08:07:56 +00:00
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> has the ability to include a user supplied MIDI file at any
|
|
|
|
|
point of its generated files. These included files can be used to play
|
|
|
|
|
a melodic solo over a
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> pattern or to fill a section of a song
|
|
|
|
|
with something like a drum solo.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
When the MIDI<SMALL>INC</SMALL> command is encountered the current line is
|
|
|
|
|
parsed for options, the file is inserted into the stored MIDI stream,
|
|
|
|
|
and processing continues. The include has no effect on any song
|
|
|
|
|
pointers, etc.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
MIDI<SMALL>INC</SMALL> has a number of options, all set in the form
|
|
|
|
|
OPTION=VALUE. Following are the recognized options:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
<DL>
|
|
|
|
|
<DT><STRONG>FILENAME</STRONG></DT>
|
|
|
|
|
<DD>The filename of the file to be included. This must be
|
|
|
|
|
a complete filename. The filename will be expanded by the Python
|
|
|
|
|
os.path.expanduser() function for tilde expansion. No prefixes or
|
|
|
|
|
extensions are added by
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> . Examples:
|
|
|
|
|
F<SMALL>ILENAME</SMALL>=<TT><SPAN CLASS="textbf">/home/bob/midi/myfile.mid</SPAN></TT>. or
|
|
|
|
|
F<SMALL>ILENAME</SMALL>=<TT><SPAN CLASS="textbf"> /sounds/myfile.mid</SPAN></TT>.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</DD>
|
|
|
|
|
<DT><STRONG>VOLUME</STRONG></DT>
|
|
|
|
|
<DD>An adjustment for the volume of all the note on events
|
|
|
|
|
in the included MIDI file. The adjustment is specified as a
|
|
|
|
|
percentage with values under 100 decreasing the volume and over 100
|
|
|
|
|
increasing it. If the resultant volume (velocity) is less than 1 a
|
|
|
|
|
velocity of 1 will be used; if it is over 127, 127 will be
|
|
|
|
|
used. Example: V<SMALL>OLUME</SMALL>=80.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</DD>
|
|
|
|
|
<DT><STRONG>OCTAVE</STRONG></DT>
|
|
|
|
|
<DD>Octave adjustment for all notes in the file. Values in
|
|
|
|
|
the range -4 to 4 are permitted. Notes in drum tracks (channel 10)
|
|
|
|
|
will not be effected. Example: O<SMALL>CTAVE</SMALL>=2.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</DD>
|
|
|
|
|
<DT><STRONG>TRANSPOSE</STRONG></DT>
|
|
|
|
|
<DD>Transposition adjustment settings in the range -24 to
|
|
|
|
|
24 are permitted. If you do not set a value for this the global
|
|
|
|
|
transpose setting will be applied (expecting channel 10, drum,
|
|
|
|
|
notes). Example: T<SMALL>RANSPOSE</SMALL>=-2.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</DD>
|
|
|
|
|
<DT><STRONG>LYRIC</STRONG></DT>
|
|
|
|
|
<DD>This option will copy any <SPAN CLASS="textit">Lyric</SPAN> events to the
|
|
|
|
|
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> meta track. The valid settings are ``On'' or ``Off''. By
|
|
|
|
|
default this is set to ``Off''. Example L<SMALL>YRIC</SMALL>=On.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</DD>
|
|
|
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|
<DT><STRONG>TEXT</STRONG></DT>
|
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|
|
<DD>This option will copy any <SPAN CLASS="textit">Text</SPAN> events to the
|
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|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> meta track. The valid settings are ``On'' or ``Off''. By default
|
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|
|
|
this is set to ``Off''. Example T<SMALL>EXT</SMALL>=On.
|
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|
|
<P>
|
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|
|
</DD>
|
|
|
|
|
<DT><STRONG>START</STRONG></DT>
|
|
|
|
|
<DD>Specifies the start point <SPAN CLASS="textit">of the file to be
|
|
|
|
|
included</SPAN> in beats. For example, ``Start=22'' would start the
|
|
|
|
|
include process 22 beats into the file. The data will be inserted at
|
|
|
|
|
the current song position in your MMA file. The value used must
|
|
|
|
|
greater or equal to 0 and may be a fractional beat value (18.456 if
|
|
|
|
|
fine).
|
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|
|
|
<P>
|
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|
|
</DD>
|
|
|
|
|
<DT><STRONG>END</STRONG></DT>
|
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|
|
|
<DD>Specifies the end point <SPAN CLASS="textit">of the file to be included</SPAN>
|
|
|
|
|
in beats. For example, ``End=100'' would discard all data after 100
|
|
|
|
|
beats in the file. The value used must be greater that the
|
|
|
|
|
<SPAN CLASS="textit">Start</SPAN> position and can be fractional.
|
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|
<P>
|
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|
|
</DD>
|
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|
|
<DT><STRONG><SPAN CLASS="textit">TRACK</SPAN></STRONG></DT>
|
|
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|
|
<DD>A trackname <SPAN CLASS="textit">must be set</SPAN> into which notes
|
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|
|
|
are inserted. You can set more than one track/channel if you
|
|
|
|
|
wish. For example, if you had the option <SPAN CLASS="textit">DRUM=10</SPAN> any notes in
|
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|
|
|
the MIDI file with a channel 10 setting would be inserted into the
|
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|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> <SPAN CLASS="textit">Drum</SPAN> track. Similarity, <SPAN CLASS="textit">Solo-Tenor=1</SPAN> will copy
|
|
|
|
|
notes from channel 1 into the <SPAN CLASS="textit">Solo-Tenor</SPAN> track. If the track
|
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|
|
|
doesn't exist, it will be created. Note: this means that the channel
|
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|
|
assignment in your included file and the new
|
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|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> generated file
|
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|
|
will most likely be different.
|
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|
|
<P>
|
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|
|
<SPAN CLASS="textit">At least one T<SMALL>RACK</SMALL> option is required to include a MIDI
|
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|
|
|
file. It is up to the user to examine existing MIDI files to
|
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|
|
|
determine the tracks being used and which to include into
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> 's
|
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|
|
output.</SPAN>
|
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|
<P>
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|
</DD>
|
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|
|
</DL>
|
2006-11-10 08:07:56 +00:00
|
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|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
A complete example of usage is shown in the files in the directory
|
|
|
|
|
<TT><SPAN CLASS="textbf">egs/frankie</SPAN></TT> in the distribution. A short example:
|
2006-11-10 08:07:56 +00:00
|
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|
|
|
|
|
<P>
|
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|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>MIDIinc File=test.mid Solo-Piano=1 Drum=10 Volume=70 </B>
|
2007-04-29 06:47:40 +00:00
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
will include the MIDI file ``test.mid'' at the current position and
|
|
|
|
|
assign all notes in channel 1 to the <SPAN CLASS="textit">Solo-Piano</SPAN> track and the
|
|
|
|
|
notes from channel 10 to the <SPAN CLASS="textit">Drum</SPAN> track. The volumes for all
|
|
|
|
|
the notes will be adjusted to 70% of that in the original.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
A few notes:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
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|
|
|
|
<UL>
|
|
|
|
|
<LI>MIDI files to be included do not have to have the same tempo.
|
|
|
|
|
M<SMALL>IDI</SMALL>I<SMALL>NC</SMALL> adjusts this automatically during the importation.
|
|
|
|
|
However, the internal setting for beat division should be the same.
|
|
|
|
|
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> assumes a beat division of 192 (this is set in bytes 12 and 13
|
|
|
|
|
of the MIDI file). If the included file differs a warning is printed
|
|
|
|
|
and
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> will attempt to adjust the timings.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>All files are parsed to find the offset of the first note-on
|
|
|
|
|
event; notes to be included are set with their offsets compensated
|
|
|
|
|
by that time. This means that any silence at the start of the
|
|
|
|
|
included file is skipped (this may surprise you if you have used the
|
|
|
|
|
optional <SPAN CLASS="textit">Start</SPAN> setting). If you want the included file to
|
|
|
|
|
start somewhere besides the start of the current bar you can use a
|
|
|
|
|
B<SMALL>EATADJUST</SMALL> before the M<SMALL>IDI</SMALL>I<SMALL>NC</SMALL>--use another to move
|
|
|
|
|
the pointer back right after the include to keep the song pointer
|
|
|
|
|
correct.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>Not all events in the included files are transferred: notably
|
|
|
|
|
all system and meta events (other than text and lyric, see above)
|
|
|
|
|
are ignored.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>If you want to apply different V<SMALL>OLUME</SMALL> or other options to
|
|
|
|
|
different tracks, just do multiple includes of the same file (with
|
|
|
|
|
each include using a different track and options).
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
</LI>
|
|
|
|
|
</UL>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0020100000000000000000">
|
|
|
|
|
MIDIMark</A>
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
You can insert a MIDI Marker event into the Meta track with this
|
|
|
|
|
command. The mark can be useful in debugging your MIDI output with a
|
|
|
|
|
sequencer or editor which supports Mark events (most do).
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>MidiMark Label </B>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
will insert the text ``Label'' at the current position. You can add an
|
|
|
|
|
optional negative or positive offset in beats:
|
2006-11-10 08:07:56 +00:00
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
2007-04-29 06:47:40 +00:00
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
2009-05-17 22:34:44 +00:00
|
|
|
<B>MidiMark 2 Label4 </B>
|
2007-04-29 06:47:40 +00:00
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
2006-11-10 08:07:56 +00:00
|
|
|
|
2009-05-17 22:34:44 +00:00
|
|
|
<P>
|
|
|
|
|
will insert ``Label4'' 2 beats into the next bar.
|
2007-04-29 06:47:40 +00:00
|
|
|
|
|
|
|
|
<P>
|
2009-05-17 22:34:44 +00:00
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0020110000000000000000">
|
|
|
|
|
MIDIPan</A>
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
In MIDI-speak ``pan'' is the same as ``balance'' on a stereo. By
|
|
|
|
|
adjusting the MIDIP<SMALL>AN</SMALL> for a track you can direct the output to
|
|
|
|
|
the left, right or both speakers. Example:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Bass MIDIPan 4 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This command is only available in track mode. The data generated is
|
|
|
|
|
not sent into the MIDI stream until musical data is created for the
|
|
|
|
|
relevant MIDI channel.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The value specified must be in the range 0 to 127, and must be an
|
|
|
|
|
integer.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
A variation for this command is to have the pan value change over a
|
|
|
|
|
range of beats:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Solo MidiPan 10 120 4 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
in this case you must give exactly 3 arguments:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<OL>
|
|
|
|
|
<LI>The initial pan value (0 to 127),
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>The final pan value (0 to 127),
|
|
|
|
|
</LI>
|
|
|
|
|
<LI>The number of beats to apply the pan over.
|
|
|
|
|
</LI>
|
|
|
|
|
</OL>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Using a beat count you can create interesting effects with different
|
|
|
|
|
instruments moving between the left and right channels.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
MIDIP<SMALL>AN</SMALL> is not saved or restored by G<SMALL>ROOVE</SMALL> commands, nor
|
|
|
|
|
is it effected by S<SMALL>EQ</SMALL>C<SMALL>LEAR</SMALL>. A MIDIP<SMALL>AN</SMALL> is inserted
|
|
|
|
|
directly into the MIDI track at the point at which it is encountered
|
|
|
|
|
in the music file. This means that the effect of MIDIP<SMALL>AN</SMALL> will
|
|
|
|
|
be in use until another MIDIP<SMALL>AN</SMALL> is encountered.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
MIDIP<SMALL>AN</SMALL> can be used in MIDI compositions to emulate the sound
|
|
|
|
|
of an orchestra. By assigning different values to different groups of
|
|
|
|
|
instruments, you can get the feeling of strings, horns, etc. all
|
|
|
|
|
placed in the ``correct'' position on the stage.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
MIDIP<SMALL>AN</SMALL> can be used for much cruder purposes. When creating
|
|
|
|
|
accompaniment tracks for a mythical jazz group, you might set all the
|
|
|
|
|
bass tracks (Bass, Walk, Bass-1, etc) set to aMIDIP<SMALL>AN</SMALL> 0. Now,
|
|
|
|
|
when practicing at home you have a ``full band''; and the bass player
|
|
|
|
|
can practice without the generated bass lines simply by turning off
|
|
|
|
|
the left speaker.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Because most MIDI keyboard do not reset between tunes, there should be
|
|
|
|
|
a MIDIP<SMALL>AN</SMALL> to undo the effects at the end of the
|
|
|
|
|
file. Example:<A NAME="tex2html68"
|
|
|
|
|
HREF="#foot9031"><SUP><SPAN CLASS="arabic">20</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A>
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Include swing
|
|
|
|
|
<BR>
|
|
|
|
|
Groove Swing
|
|
|
|
|
<BR>
|
|
|
|
|
Bass MIDIPan 0
|
|
|
|
|
<BR>
|
|
|
|
|
Walk MIDIPan 0
|
|
|
|
|
<BR>
|
|
|
|
|
1 C
|
|
|
|
|
<BR>
|
|
|
|
|
2 C
|
|
|
|
|
<BR> ...
|
|
|
|
|
<BR>
|
|
|
|
|
123 C
|
|
|
|
|
<BR>
|
|
|
|
|
Bass MIDIPan 64
|
|
|
|
|
<BR>
|
|
|
|
|
Walk MIDIPan 64 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0020120000000000000000">
|
|
|
|
|
MIDISeq</A>
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
It is possible to associate a set of MIDI controller messages with
|
|
|
|
|
certain beats in a sequence. For example, you might want to have the
|
|
|
|
|
Modulation Wheel set for the first beats in a bar, but not for the
|
|
|
|
|
third. The following example shows how:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Seqsize 4
|
|
|
|
|
<BR>
|
|
|
|
|
Begin Bass-2
|
|
|
|
|
<BR>
|
|
|
|
|
Voice NylonGuitar
|
|
|
|
|
<BR>
|
|
|
|
|
Octave 4
|
|
|
|
|
<BR>
|
|
|
|
|
Sequence { 1 4 1 90; 2 4 3 90; 3 4 5 90; 4 4 1+ 90}
|
|
|
|
|
<BR>
|
|
|
|
|
MIDIDef WheelStuff 1 1 0x7f ; 2 1 0x50; 3 1 0
|
|
|
|
|
<BR>
|
|
|
|
|
MidiSeq WheelStuff
|
|
|
|
|
<BR>
|
|
|
|
|
Articulate 90
|
|
|
|
|
<BR>
|
|
|
|
|
End
|
|
|
|
|
<BR>
|
|
|
|
|
<BR>
|
|
|
|
|
C <SPAN CLASS="MATH"><IMG
|
|
|
|
|
WIDTH="14" HEIGHT="19" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img10.png"
|
|
|
|
|
ALT="$*$"></SPAN> 4 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The M<SMALL>IDI</SMALL>S<SMALL>EQ</SMALL> command is specific to a track and is saved as part
|
|
|
|
|
of the G<SMALL>ROOVE</SMALL> definition. This lets style file writers use
|
|
|
|
|
enhanced MIDI features to dress up their sounds.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The command has the following syntax:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>TrackName MidiSeq <Beat> <Controller> <Datum> [ ; ...] </B>
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</td></tr>
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</Table>
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<P>
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where:
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<DL>
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<DT><STRONG>Beat</STRONG></DT>
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<DD>is the Beat in the bar. This can be an integer (1,2, etc.)
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or a floating point value (1.2, 2.25, etc.). It must be 1 or greater
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and less than the end of bar (in <SPAN CLASS="textbf">4/4</SPAN> it must be less than
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5).
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<P>
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</DD>
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<DT><STRONG>Controller</STRONG></DT>
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<DD>A valid MIDI controller. This can be a value in the
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range 0x00 to 0x7f or a symbolic name. See the appendix
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<A HREF="node29.html#sec-controllers">, here,</A> for a list of
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defined names.
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<P>
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</DD>
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<DT><STRONG>Datum</STRONG></DT>
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<DD>All controller messages use a single byte ``parameter''
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in the range 0x00 to 0x7f.
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<P>
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</DD>
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</DL>
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<P>
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You can enter the values in either standard decimal notation or in
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hexadecimal with the prefixed ``0x''. In most cases, your code will be
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clearer if you use values like ``0x7f'' rather than the equivalent
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``127''.
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<P>
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The MIDI sequences specified can take several forms:
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<P>
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<OL>
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<LI>A simple series like:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>MIDISeq 1 ReleaseTime 50; 3 ReleaseTime 0 </B>
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</td></tr>
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</Table>
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<P>
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in this case the commands are applied to beats 1 and 3 in each bar
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of the sequence.
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<P>
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</LI>
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</OL>
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<H2><A NAME="SECTION0020121000000000000000">.</A>
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</H2>
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<P>
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As a set of names predefined in an MIDID<SMALL>EF</SMALL> command:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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|
<B>MIDIdef Rel1 1 ReleaseTime 50; 3 ReleaseTime 0
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<BR>
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|
MIDIdef Rel2 2 ReleaseTime 50; 4 ReleaseTime 0
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<BR>
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|
MIDISeq Rel1 Rel2 </B>
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</td></tr>
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</Table>
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<P>
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Here, the commands defined in ``Rel1'' are applied to the first bar
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|
in the sequence, ``Rel2'' to the second. And, if there are more bars
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|
in the sequence than definitions in the line, the series will be
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|
repeated for each bar.
|
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|
<P>
|
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|
A set of series enclosed in { } braces. Each braced series is
|
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|
|
applied to a different bar in the sequence. The example above could
|
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|
have been does as:
|
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|
<P>
|
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|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
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|
<tr><td>
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|
<B>MIDISeq { 1 ReleaseTime 50; 3 ReleaseTime 0 } \
|
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|
<BR> { 2 ReleaseTime 50; 4 ReleaseTime 0 } </B>
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</td></tr>
|
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|
</Table>
|
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<P>
|
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|
|
Finally, you can combine the above into different combinations.
|
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|
For example:
|
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|
<P>
|
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|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
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|
|
<tr><td>
|
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|
|
<B>MIDIDef Rel1 1 ReleaseTime 50
|
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|
|
<BR>
|
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|
|
MIDIDef Rel2 2 ReleaseTime 50
|
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|
|
<BR>
|
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|
|
MIDISeq { Rel1; 3 ReleaseTime 0 } { Rel2; 4 ReleaseTime 0 } </B>
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|
</td></tr>
|
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|
</Table>
|
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|
|
<P>
|
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|
|
<P>
|
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|
|
You can have specify different messages for different beats (or
|
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|
|
different messages/controllers for the same beat) by listing them on
|
|
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|
|
the same M<SMALL>IDI</SMALL>S<SMALL>EQ</SMALL> line separated by ``;''s.
|
|
|
|
|
|
|
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|
|
<P>
|
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|
|
If you need to repeat a sequence for a measure in a sequence you can
|
|
|
|
|
use the special notation ``/'' to force the use of the previous line.
|
|
|
|
|
The special symbol ``z'' or ''-'' can be used to disable a bar (or
|
|
|
|
|
number of bars). For example:
|
|
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|
|
|
|
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|
|
<P>
|
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|
|
|
|
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|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
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|
|
<B>Bass-Dumb MIDISeq 1 ReleaseTime 20 z / FOOBAR </B>
|
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|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
would set the ``ReleaseTime'' sequence for the first bar of the
|
|
|
|
|
sequence, no MIDISeq events for the second and third, and the contents
|
|
|
|
|
of ``FOOBAR'' for the fourth.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
To disable the sending of messages just use a single ``-'':
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Bass-2 MidiSeq - // disable controllers </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0020130000000000000000">
|
|
|
|
|
MIDISplit</A>
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
For certain post-processing effects it is convenient to have each
|
|
|
|
|
different drum tone in a separate MIDI track. This makes it easier to
|
|
|
|
|
apply an effect to, for example, the snare drum. Just to make this a
|
|
|
|
|
bit more fun you can split any track created by
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> .
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
To use this feature:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>MIDISplit <list of channels> </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
So, to split out just the drum channel<A NAME="tex2html69"
|
|
|
|
|
HREF="#foot8981"><SUP><SPAN CLASS="arabic">20</SPAN>.<SPAN CLASS="arabic">4</SPAN></SUP></A> you would have the command:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>MIDISplit 10 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
somewhere in your song file.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
When processing
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> creates an internal list of MIDI note-on events
|
|
|
|
|
for each tone or pitch in the track. It then creates a separate MIDI
|
|
|
|
|
track for each list. Any other events are written to another track.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0020140000000000000000">
|
|
|
|
|
MIDITname</A>
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
When creating a MIDI track,
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> inserts a MIDI Track Name event at
|
|
|
|
|
the start of the track. By default, this name is the same as the
|
|
|
|
|
associated
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> track name. You can change this by issuing the
|
|
|
|
|
MIDI<SMALL>T</SMALL>N<SMALL>AME</SMALL> command. For example, to change the C<SMALL>HORD</SMALL>
|
|
|
|
|
track name you might do something like:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Chord MidiTname Piano </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Please note that this <SPAN CLASS="textit">only</SPAN> effects the tracks in the generated
|
|
|
|
|
MIDI file. You still refer to the track in your file as C<SMALL>HORD</SMALL>.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<H1><A NAME="SECTION0020150000000000000000">
|
|
|
|
|
MIDIVoice</A>
|
|
|
|
|
</H1>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Similar to the MIDIS<SMALL>EQ</SMALL> command discussed in the previous
|
|
|
|
|
section, the MIDIV<SMALL>OICE</SMALL> command is used to insert MIDI
|
|
|
|
|
controller messages into your files. Instead of sending the data for
|
|
|
|
|
each bar as MIDIS<SMALL>EQ</SMALL> does, this command just sends the listed
|
|
|
|
|
control events at the start of a track and then, if needed, at the
|
|
|
|
|
start of each bar.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
Again, a short example. Let us assume that you want to use the
|
|
|
|
|
``Release Time'' controller to sustain notes in a bass line:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Seqsize 4
|
|
|
|
|
<BR>
|
|
|
|
|
Begin Bass-2
|
|
|
|
|
<BR>
|
|
|
|
|
Voice NylonGuitar
|
|
|
|
|
<BR>
|
|
|
|
|
MidiVoice 1 ReleaseTime 50
|
|
|
|
|
<BR>
|
|
|
|
|
Octave 4
|
|
|
|
|
<BR>
|
|
|
|
|
Sequence { 1 4 1 90; 2 4 3 90; 3 4 5 90; 4 4 1+ 90}
|
|
|
|
|
<BR>
|
|
|
|
|
Articulate 60
|
|
|
|
|
<BR>
|
|
|
|
|
End
|
|
|
|
|
<BR>
|
|
|
|
|
<BR>
|
|
|
|
|
C <SPAN CLASS="MATH"><IMG
|
|
|
|
|
WIDTH="14" HEIGHT="19" ALIGN="BOTTOM" BORDER="0"
|
|
|
|
|
SRC="img10.png"
|
|
|
|
|
ALT="$*$"></SPAN> 4 </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
should give an interesting effect.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
The syntax for the command is:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Track MIDIVoice <beat> <controller> <Datum> [; ...] </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
This syntax is identical to that discussed in the section for
|
|
|
|
|
MIDIS<SMALL>EQ</SMALL>, above. The <beat>value is
|
|
|
|
|
required for the command--it determines if the data is sent before or
|
|
|
|
|
after the V<SMALL>OICE</SMALL> command is sent. Some controllers are reset by
|
|
|
|
|
a voice, others not. My experiments show that B<SMALL>ANK</SMALL> should be
|
|
|
|
|
sent before, most others after. Using a ``beat'' of ``0'' forces the
|
|
|
|
|
MidiVoice data to be sent before the Voice control; any other ``beat''
|
|
|
|
|
value causes the data to be sent after the Voice control. In this
|
|
|
|
|
silly example:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
|
|
|
|
|
<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
|
|
|
|
|
<tr><td>
|
|
|
|
|
<B>Voice Piano1
|
|
|
|
|
<BR>
|
|
|
|
|
MidiVoice {0 Bank 5; 1 ReleaseTime 100} </B>
|
|
|
|
|
|
|
|
|
|
</td></tr>
|
|
|
|
|
</Table>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
the MIDI data is created in an order like:
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
<P>
|
|
|
|
|
<BLOCKQUOTE>0 Param Ch=xx Con=00 val=05
|
|
|
|
|
<BR>
|
|
|
|
|
0 ProgCh Ch=xx Prog=00
|
|
|
|
|
<BR>
|
|
|
|
|
0 Param Ch=xx Con=72 val=80
|
|
|
|
|
|
|
|
|
|
</BLOCKQUOTE>
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
All the MIDI events occur at the same offset, but the order is (may
|
|
|
|
|
be) important.
|
|
|
|
|
|
|
|
|
|
<P>
|
|
|
|
|
By default
|
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> assumes that the MIDIVoice data is to be used only
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for the first bar in the sequence. But, it's possible to have a
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different sequence for each bar in the sequence (just like you can
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have a different V<SMALL>OICE</SMALL> for each bar). In this case, group the
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different data groups with {} brackets:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Bass-1 MIDIVoice {1 ReleaseTime 50} {1 ReleaseTime 20} </B>
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</td></tr>
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</Table>
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<P>
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This list is stored with other G<SMALL>ROOVE</SMALL> data, so is ideal for
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inclusion in a style file.
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<P>
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If you want to disable this command after it has been issued you can
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use the form:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Track MIDIVoice - // disable </B>
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</td></tr>
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</Table>
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<P>
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Some technical notes:
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<P>
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<UL>
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<LI>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> tracks the events sent for each bar and will not duplicate
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sequences.
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<P>
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</LI>
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<LI>Be cautious in using this command to switch voice banks. If you
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don't switch the voice bank back to a sane value you'll be playing
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the wrong instruments!
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<P>
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</LI>
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<LI>Do use the MIDIC<SMALL>LEAR</SMALL> command
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(<A HREF="#sec-midiclear">(details)</A>) to
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``undo'' anything you've done via a MIDIV<SMALL>OICE</SMALL> command.
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<P>
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</LI>
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</UL>
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<P>
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<H1><A NAME="SECTION0020160000000000000000"></A> <A NAME="channelvol"></A>
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<BR>
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MIDIVolume
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</H1>
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<P>
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MIDI devices equipped with mixer settings can make use of the
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``Channel'' or ``Master'' volume settings.<A NAME="tex2html70"
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HREF="#foot9019"><SUP><SPAN CLASS="arabic">20</SPAN>.<SPAN CLASS="arabic">5</SPAN></SUP></A>
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<P>
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> doesn't set any channel volumes without your knowledge. If you
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want to use a set of reasonable defaults, look at the file
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<TT><SPAN CLASS="textbf">includes/init.mma</SPAN></TT> which sets all channels other than ``1'' to
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``100''. Channel ``1'' is assumed to be a solo/keyboard track and is
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set to the maximum volume of ``127''.
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<P>
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You can set selected MIDIV<SMALL>OLUME</SMALL>s:
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<P>
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<Table Hspace="40%" CellSpacing=0 CellPadding=10 BGColor="OldLace" Border=3>
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<tr><td>
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<B>Chord MIDIVolume 55 </B>
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</td></tr>
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</Table>
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<P>
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will set the Chord track channel. For most users, the use of this
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command is <SPAN CLASS="textit">not</SPAN> recommended since it will upset the balance of
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the library grooves. If you need a track softer or louder you should
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use the volume setting for the track.
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<P>
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The data generated is not sent into the MIDI stream until musical data
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is created for the relevant MIDI channel.
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<P>
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Caution: If you use the command with A<SMALL>LL</SMALL>T<SMALL>RACKS</SMALL> you should note
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that only existing
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<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> tracks will be effected.
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<P>
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<BR><HR><H4>Footnotes</H4>
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<DL>
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|
<DT><A NAME="foot9027">... track:</A><A
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|
HREF="node20.html#tex2html66"><SUP><SPAN CLASS="arabic">20</SPAN>.<SPAN CLASS="arabic">1</SPAN></SUP></A></DT>
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|
<DD>This is much easier to do with the KeySig
|
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|
command, <A HREF="node10.html#keysig">here</A>
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|
</DD>
|
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|
<DT><A NAME="foot8883">... portamento</A><A
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|
|
HREF="node20.html#tex2html67"><SUP><SPAN CLASS="arabic">20</SPAN>.<SPAN CLASS="arabic">2</SPAN></SUP></A></DT>
|
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|
|
|
<DD>The name ``Glis'' is used
|
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|
|
|
because ``MIDIPortamento'' gets to be a bit long to type and
|
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|
|
``MIDIPort'' might be interpreted as something to do with
|
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|
|
``ports''.
|
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|
|
</DD>
|
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|
|
|
<DT><A NAME="foot9031">... Example:</A><A
|
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|
|
HREF="node20.html#tex2html68"><SUP><SPAN CLASS="arabic">20</SPAN>.<SPAN CLASS="arabic">3</SPAN></SUP></A></DT>
|
|
|
|
|
<DD>This is much easier to do with the MMAStart
|
|
|
|
|
and MMAEnd options <A HREF="node26.html#sec-paths">(details)</A>.
|
|
|
|
|
|
|
|
|
|
</DD>
|
|
|
|
|
<DT><A NAME="foot8981">... channel</A><A
|
|
|
|
|
HREF="node20.html#tex2html69"><SUP><SPAN CLASS="arabic">20</SPAN>.<SPAN CLASS="arabic">4</SPAN></SUP></A></DT>
|
|
|
|
|
<DD>In
|
|
|
|
|
<FONT Face="Serif" Color="Navy"><I>MMA</I></FONT> this will
|
|
|
|
|
always be channel 10.
|
|
|
|
|
|
|
|
|
|
</DD>
|
|
|
|
|
<DT><A NAME="foot9019">... settings.</A><A
|
|
|
|
|
HREF="node20.html#tex2html70"><SUP><SPAN CLASS="arabic">20</SPAN>.<SPAN CLASS="arabic">5</SPAN></SUP></A></DT>
|
|
|
|
|
<DD>I discovered this
|
|
|
|
|
on my keyboard after many frustrating hours attempting to balance
|
|
|
|
|
the volumes in the library. Other programs would change the keyboard
|
|
|
|
|
settings, and not being aware of the changes, I'd end up scratching
|
|
|
|
|
my head.
|
|
|
|
|
|
|
|
|
|
</DD>
|
|
|
|
|
</DL>
|
|
|
|
|
<DIV CLASS="navigation"><HR>
|
2006-11-10 08:07:56 +00:00
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<!--Navigation Panel-->
|
2009-05-17 22:34:44 +00:00
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<A NAME="tex2html650"
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2006-11-10 08:07:56 +00:00
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HREF="node21.html">
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<IMG WIDTH="37" HEIGHT="24" ALIGN="BOTTOM" BORDER="0" ALT="next" SRC="next.png"></A>
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<A NAME="tex2html648"
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HREF="mma.html">
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HREF="node19.html">
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<BR>
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2009-05-17 22:34:44 +00:00
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<B> Next:</B> <A NAME="tex2html651"
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HREF="node21.html">Patch Management</A>
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<B> Up:</B> <A NAME="tex2html649"
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2006-11-10 08:07:56 +00:00
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HREF="mma.html">Reference Manual</A>
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HREF="node19.html">Variables, Conditionals and Jumps</A></DIV>
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<ADDRESS>
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2007-04-29 06:47:40 +00:00
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bob
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2009-05-17 22:34:44 +00:00
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2008-09-28
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2006-11-10 08:07:56 +00:00
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