Paul881
Look Mom, I can play!
I know a few of you on this forum have the Aardvaak or Delta 1010 card with 8 midi I/O. Forgive me asking but I am curious to know why you need so many. Can you paint me a "picture" please (words will do!) Thanks.
F
Flash
New member
There's 8 audio ins\outs only 1 midi in\out.
W
wigworld
New member
People have more than one MIDI I/O because they have more than one MIDI device. For example, I have a sampler, a keyboard synth, and a Johnson J-station, all of which are MIDI controlled. It is possible to daisy chain several midi devices from one MIDI I/O, but then it gets complicated, with MIDI devices responding to messages intended for another MIDI device.
As Flash rightly points out, the audio cards you mentioned have eight audio I/O's, not MIDI. Multiple audio I/O's are useful for interfacing your computer rig with external hardware, such as mixers and multiple sound sources, for simultaneous recording onto multiple tracks.
Good Luck.
As Flash rightly points out, the audio cards you mentioned have eight audio I/O's, not MIDI. Multiple audio I/O's are useful for interfacing your computer rig with external hardware, such as mixers and multiple sound sources, for simultaneous recording onto multiple tracks.
Good Luck.
Paul881
Look Mom, I can play!
Okay, thanks for your replies. I undestand the multiple audio I/O put apart from a keyboard and drum machine, I was struggling to think of anything else for midi inputs.
Paul881
Look Mom, I can play!
Please forgive my ignorance of Midi, but according to the blurb, the 1010 has 16 channels of midi. So what are the 16 channels for?
AlChuck
Well-known member
The "channels" are really virtual ones, the data is all serial and sent down a single cable....
Each channel carries MIDI messages identified with one of the channel numbers. This allows groups of notes to be segregated into separate parts, so that one MIDI interface can transfer up to 16 different parts. A multi-timbral synth or a group of synths can be rigged up so that they respond to various channels with various patches. Hence you can get a layered sequence with 16 distinct parts playing 16 different instruments. Let's take the example of a multi-timbral synth. You would set Channel 1 to be, say, a piano part. Then the synth will respond to all MIDI messages that come across identified as being on Channel 1 by playing them with the selected piano patch. Likewise, you can set it to respond to messages on Channel 2 with a bass sound, etc.
On the Cakewalk end, you likewise configure each track (which has the note messages for one part) and assign it to be sent out the MIDI interface on one of the sixteen channels ans select which patch to play. (This process is very easy if you have an instrument definition for the synth you are working with -- the patches are identified by name in the pulldown list). The correctly-configured synth will listen to these messages and respond accordingly. So with one MIDI interface and enough stuff to respond to them at the other end, you have up to sixteen separate MIDI parts assigned to up to sixteen different instrument sounds. Add a second MIDI interface and you have sixteen more...
Each channel carries MIDI messages identified with one of the channel numbers. This allows groups of notes to be segregated into separate parts, so that one MIDI interface can transfer up to 16 different parts. A multi-timbral synth or a group of synths can be rigged up so that they respond to various channels with various patches. Hence you can get a layered sequence with 16 distinct parts playing 16 different instruments. Let's take the example of a multi-timbral synth. You would set Channel 1 to be, say, a piano part. Then the synth will respond to all MIDI messages that come across identified as being on Channel 1 by playing them with the selected piano patch. Likewise, you can set it to respond to messages on Channel 2 with a bass sound, etc.
On the Cakewalk end, you likewise configure each track (which has the note messages for one part) and assign it to be sent out the MIDI interface on one of the sixteen channels ans select which patch to play. (This process is very easy if you have an instrument definition for the synth you are working with -- the patches are identified by name in the pulldown list). The correctly-configured synth will listen to these messages and respond accordingly. So with one MIDI interface and enough stuff to respond to them at the other end, you have up to sixteen separate MIDI parts assigned to up to sixteen different instrument sounds. Add a second MIDI interface and you have sixteen more...
Paul881
Look Mom, I can play!
Gotcha. Thanks for a great reply post AlChuck.
One othere thing. When you play a midi note, lets say its some slow strings. When you depress your key, the sound grows in stature and then dwells as long as your finger is hard down on the key. Does it also back of the loudness if you slowly begin to take your finger off the key (is this making any sense?). Or does it just decay fast past a certain point. Can you configure this decay time?
One othere thing. When you play a midi note, lets say its some slow strings. When you depress your key, the sound grows in stature and then dwells as long as your finger is hard down on the key. Does it also back of the loudness if you slowly begin to take your finger off the key (is this making any sense?). Or does it just decay fast past a certain point. Can you configure this decay time?
AlChuck
Well-known member
The back-off thing could be controlled by aftertouch. Some keyboards support this-- it sends messages that vary from 1-128 depending on how hard you press down after starting the note. I don't think any message is sent by releasing other than Note Off -- there's no degrees of "offness" there.
Depending on what's editable in your synth, the attack, sustain, delay, and release parameters are often adjustable.
Depending on what's editable in your synth, the attack, sustain, delay, and release parameters are often adjustable.
DavidK
New member
Paul881 said:
Yup, what AlChuck said. Note off is note off. Aftertouch is a great feature if your patches are set up right. But slowly removing the finger will not matter one bit.
Paul881
Look Mom, I can play!
Okay understood. So if I was using just an ordinary soundfont, and a midi controler, where "Off" is off, what practical steps could I take (if any) to enable a slower release?
DavidK
New member
Paul, I dont use soundfonts much, but:
You will have to edit any soundfonts, samples, synths, etc. to have a slower release. I dont know how to edit a soundfont, I am not even sure if one can, so if not find one similiar with a slower release. In a synth, it is fairly easy to adjust the release.
I used to try what I think you are talking about too: acting as if the midi keyboard works like a piano, where there are many ways to release a key. Doesnt work on midi keys, drats!
One fake solution is to use a sustain pedal. I am assuming you want the notes to "ring" a little bit after your note off? This might work. Again, I hardly ever use sound fonts, but it works on synths.
You will have to edit any soundfonts, samples, synths, etc. to have a slower release. I dont know how to edit a soundfont, I am not even sure if one can, so if not find one similiar with a slower release. In a synth, it is fairly easy to adjust the release.
I used to try what I think you are talking about too: acting as if the midi keyboard works like a piano, where there are many ways to release a key. Doesnt work on midi keys, drats!
One fake solution is to use a sustain pedal. I am assuming you want the notes to "ring" a little bit after your note off? This might work. Again, I hardly ever use sound fonts, but it works on synths.
Paul881
Look Mom, I can play!
Thanks for the reply. I particularly wanted to back off slow strings as an orchestra would. Maybe I was expecting too much!
DavidK
New member
Paul881 said:
Sustain Pedal is the way to go. I am a pro violinist, this is the way I do it. Hold it for a bit after you let the finger go, you might get the sound you are after. Of course, finding the right samples is the best way, but some of this string libraries are expensive.
F
Flash
New member
Just a thought here, but if your a good keyboard player, and your keyboard has responce keys, then why not just record it as an audio track?
Paul881
Look Mom, I can play!
Thats part of the problem. I am NOT a keyboard player, I am using the keys of my borrowed cheesy casio keyboard as a midi controler to get my slow strings into my song.
And it doesn't have a sustain pedal either.
Oh well, thanks for the suggestions guys. At least I now know what I'm dealing with.
And it doesn't have a sustain pedal either.
Oh well, thanks for the suggestions guys. At least I now know what I'm dealing with.