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KEYBOARD ELEC PIANO PERC ORGAN DRAWBAR ORGAN PAD SYNTH STRING-SOUND STRING HIT MUTE GUITAR MUTE GUITARWF GTR-SLIDE BRASS+HORNS WIND+REEDS BASS-SOUND HORN HIT BARI SAX HIT UPRIGHT BASS BS HARMONICS FM BASS ANALOG BASS 1 ANALOG BASS 2 FRETLESS BASS MUTE BASS SLAP BASS DRUM-SOUND 2001 KICK 808 KICK AMBIENT KICK BAM KICK BANG KICK BBM KICK BOOM KICK COSMO KICK ELECTRO KICK MUFF KICK PZ KICK SNICK KICK THUMP KICK TITE KICK WILD KICK WOLF KICK WOO BOX KICK 808 SNARE 808 RIMSHOT 909 SNARE BANG SNARE BIG ROCK SNAR CHILL SNARE CLASSIC SNARE CLEAN SNARE COSMO SNARE GATED SNARE HOUSE SNR 1 HOUSE SNR 2 HOUSE SNR 3 PERCUSSION CYMBALS JAMM SNARE LIVE SNARE LUDWIG SNARE MUTT SNARE REAL SNARE RIMSHOT SLANG SNARE SPAK SNARE WOLF SNARE ZEE SNARE BRUSH SLAP SIDE STICK 1 SIDE STICK 2 STICKS STUDIO TOM ROCK TOM 909 TOM SYNTH DRUM 808 CLOSED HT 808 OPEN HAT 909 CLOSED HT 909 OPEN HAT HOUSE CL HAT PEDAL HAT PZ CL HAT R&B CL HAT SMACK CL HAT SNICK CL HAT STUDIO CL HAT STUDIO OPHAT1 STUDIO OPHAT2 TECHNO HAT TIGHT CL HAT TRANCE CL HAT CR78 OPENHAT COMPRESS OPHT CRASH CYMBAL CRASH LOOP RIDE CYMBAL RIDE BELL CHINA CRASH 808 CLAP 808 CLAVE 808 COWBELL AGOGO BONGO CABASA CLAVE CONGA HIGH TRANSWAVE INHARMONIC WAVEFORM SOUND-EFFECT TUNED-PERCUS CONGA LOW CONGA MUTE CONGA SLAP CUICA ETHNO COWBELL GUIRO MARACAS SHAKER SHEKERE DN SHEKERE UP SLAP CLAP TAMBOURINE DN TAMBOURINE UP TIMBALE HI TIMBALE LO TIMBALE RIM TRIANGLE HIT VIBRASLAP WHISTLE WOODBLOCK BIG BELL SMALL BELL GAMELAN BELL MARIMBA MARIMBA WF SCRATCH 1 SCRATCH 2 SCRATCH 3 SCRATCH 4 SCRATCH 5 SCRATCH 6 SCRATCH LOOP SAWTOOTH SQUARE WAVE TRIANGLE WAV SQR+SAW WF SINE WAVE ESQ BELL WF BELL WF DIGITAL WF E PIANO WF DIG VOCAL WF DEEP PAD WF HISS NOIZZZ TEXTURE BROKEN TWF
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EXP-SND DRM-SND ROM-SND RAM-SND ALL-SND BASS BASS-SYN BELL BRASSECT BRASSOLO DRUM-KIT DRMKITGM GUITAR-A GUITAR-E HITS KEYS LAYERS
LOOPGRUV MALLET ORCHSTRA ORGAN-A ORGAN-E ORGANLYR PERC-KIT PERCSOLO PIANO-A PNOLYR-A PIANO-E PNOLYR-E PLUCKED SAX-SOLO SOUND-FX SPLITS STRGSECT STRGSOLO SYN-COMP
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Solo woodwinds/reeds (e.g., flute, oboe, bassoon, clarinet, recorder, English horn, ocarina, bandoneon, shakuhachi, bagpipes, harmonica, accordion, melodica, didjeridoo). Utility resources (e.g., default template sounds used for programming and other special non-musical purposes). The category in which the sounds that play waves are stored. When you send waves to pads, the pad sounds that play the waves are stored in this category.
4 (9 keys)
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GM Kit Map
MIDI Note # 35 36 ____ 38 ____ 40 41 ____ 43 ____ 45 ____ 47 48 ____ 50 ____ 52 53 ____ 55 ____ 57 ____ 59 60 ____ 62 ____ 64 65 ____ 67 ____ 69 ____ 71 72 ____ 74 ____ 76 77 ____ 79 ____ 81 ____ 83 84 ____ 86 ____ ____ 87 85 82 80 78 75 73 70 68 66 63 61 58 56 54 51 49 46 44 42 39 37 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 C#6 D6 D#6 E6 GM Kit AcoustcKick Bright Kick SideStick 1 Snare-GM HouseClap1 Rock Snare Dry Tom 1 4xCl Hat3 Dry Tom 1 Pedal Hat Dry Tom 1 OpenHat-GM Dry Tom 1 Dry Tom 1 Crash 1-GM Dry Tom 1 Ride 1-GM China 1-GM RideBell-GM Tambourine Splash1-GM Cowbell Crash 1-GM Vibraslap Ride 1-GM Bongo Bongo Conga Mute Conga High Conga Low Timbali Timbali Agogo Agogo Cabasa Maracas Whistle B Whistle A Guiro Short Guiro Long Clave Woodblock 1 Woodblock 1 Cuica 1 Cuica 5 Tri Mute-GM Tri Open-GM Shaker Sleighbell WindchimeGM Castanets 1 Mt Surdo-GM Op Surdo-GM Silence
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What Is MIDI?
Musical instrument and computer manufacturers have agreed upon a set of standards that allows their products to communicate with each other. Its called MIDI, an acronym for Musical Instrument Digital Interface. There are two basic aspects to the MIDI standards: the kind of wiring to be used for connecting MIDI devices, and the nature of messages that will be sent through those wires.
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Musicians can benefit from the communication possible between MIDI instruments and computers to program sounds for their instruments on their computers, taking advantage of the computers large graphic displays. Internal data from one MIDI device can be transmitted to another for storage. Recording engineers can control mixing consoles and effects devices with MIDI.
Understanding MIDI
MIDI Hardware
The architects of MIDI had to settle, first of all, on the MIDI hardware: the wires. All MIDI cables have the same kind of plug on either end. There are three MIDI sockets, or jacks, on the back of most MIDI instruments. The MIDI Thru jack is for MIDI data that passes through the instrument unchanged, on its way to some other MIDI device. The instrument sends out its own MIDI information through the MIDI Out jack. The MIDI In jack is for MIDI information coming into the instrument.
MIDI Thru MIDI Out MIDI In
k
The MIDI cable itself can carry 16 independent channels of MIDI information that travel together through the wire. This means that you can have 16 separate MIDI conversations going on at once among instruments and/or computers connected together with MIDI cables.
MIDI rigs can also combine both possibilities, with some instruments programmed to respond to one MIDI channel or another, and multi-timbral devices set up to receive up to 16 channels at once.
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MIDI messages travel up and down all these channels, and these constitute the second major component of the MIDI Spec.
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ASR-X Pro
Function... Basic Channel Mode Default Changed Default Messages Altered True voice
Version: 1.00
Remarks
Note Number
Note reception is filtered by Key Lo and Key High track parameters Note On velocity reception is filtered by VelocityRange Lo and VelocityRange Hi track parameters Transmitted Note Off velocity is always 64 Sounds and sequencer only supports held mode see MIDI Controllers Reception Behavior below select sounds from the currently selected bank see ASR-X Pro SysEx Specification recognizes MIDI Tuning Dump Standard and Single-Note Tuning Change messages
Note On Velocity Note Off After Touch Pitch Bend Control Change Program Change Key Channel
0 0 0 X 0-119
0 0 0 0 0-119
True#
0-127 0-127
0-127 0-127
System Exclusive
Song Position Song Select Tune Request Clock Commands Local On/Off All Notes Off Active Sensing System Reset
0 X X 0 X X 0 X X
0 X X 0 X X 0 X X
Notes
Response to received Controllers varies depending on the nature of the ASR-X Pro parameter affectedsee parameter descriptions for details. Mode 2: Omni On, Mono Mode 4: Omni Off, Mono O : Yes X: No
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Registered Parameters
Registered parameters 0, 1 and 2 are received multi-timbrally by the ASR-X Pro. When received on a track's MIDI channel, RPN 0 affects the track's pitch bend up and down simultaneously: Pitch bend up is raised and pitch bend down is lowered by the same RPN value. RPNs 1 and 2 edit Semitone Shift and Fine Tuning parameters, respectively, when received on the track's MIDI channel. Registered parameters must be transmitted to the ASR-X Pro as a continuous controller status byte followed by three consecutive continuous controller messages: The registered parameter MSB and LSB values select the track parameter to be edited, and a Data Entry value invokes the parameters setting.
Controllers Number 101 100 6 Registered Parameters Number 00 01 02 Name Pitch Bend Range Fine Tuning Coarse Tuning ASR-X Pro Parameter Range 0-12 (displayed as Pitch Bend Up =0-12 up; raises pitch; Pitch Bend Down=0-12 down 0-127 (displayed as -50 cents to +49 cents) 0-127 (displayed as -64st to +63st) Name Registered Parameter Select MSB (Most Significant Byte) Registered Parameter Select LSB (Least Significant Byte) Data Entry MSB Value always 0 00, 01 or 02 (see below) 0-127, desired track parameter setting
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Non-Registered Parameters
Non-registered parameters are received multi-timbrally by the ASR-X Pro, affecting track parameters when received on the tracks MIDI channel. Non-registered parameters must be transmitted to the ASR-X Pro as a continuous controller status byte followed by three consecutive continuous controller messages. The non-registered parameter MSB and LSB select the track parameter, and a data entry value invokes the track parameters desired setting.
Controllers Number 99 98 Name Non-Registered Parameter Select MSB (Most Significant Byte) Non-Registered Parameter Select LSB (Least Significant Byte) Data Entry MSB Value always 0 see track parameter descriptions in Chapter 2 for each parameters Non-Registered parameter LSB value 0-127, desired track parameter setting
Glide Time Delay Offset (positive-only) SyncLFO&Noise (system tempo time division) Normal LFO Rates LFO Depth LFO Delay Time Amplitude Envelope Attack time Amplitude Envelope Decay time Amplitude Envelope Release time Filter Cutoff (lo-pass & hi-pass) Filter Resonance Filter Envelope Attack time Filter Envelope Decay time Filter Envelope Release time Amp & Filter Envelope Velocity sensitivity Key Range Low limit Key Range High limit Velocity Range Low limit Velocity Range High limit VelocityMode Pressure Mode Mute button
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Arabic-2
Similar to Arabic 1, except that here the octave is divided into 24 intervals. This makes one pitch octave cover two keyboard octaves, meaning that the fingering will be the same in any octave. This scale rises from the base pitch of C4 in a series of four repeating intervals (in cents) of 24, 66, 24, 90 and so on. This is a 12-tone scale using quarter tones (notes tuned sharp or flat by 50 cents from their equal-tempered equivalents) on the C#, E, G# and B keys. Another octave-based scale with an Arabic flavor. In this case the quarter tones are not perfectly equal, imparting a distinctive character to the notes. One of the two main scales of the gamelan orchestras of Java and Bali is the seven-tone scale called Pelog. The notes C, D, F , G, and A (which are reproduced on the black keys) are considered primary, with E and B used for grace notes. The octaves are stretched (tuned a little sharp) due to the harmonic content of the instruments in the gamelan. (There are many variations of these tunings, almost as many as there are gamelan ensembles. These tunings are to be considered typical, not definitive.) Another version of the seven-tone Pelog scale used in gamelan music. The notes C, D, F , G, and A (which are reproduced on the black keys) are considered primary, with E and B used for grace notes. The octaves are stretched (tuned a little sharp) due to the harmonic content of the instruments in the gamelan. A third version of the seven-tone Pelog scale used in gamelan music. The notes C, D, F , G, and A (which are reproduced on the black keys) are considered primary, with E and B used for grace notes. A 15-tone equal tempered tuning from Java. Playing every third note (as in a diminished chord) yields a typical 5-tone scale of the gamelan. Other notes can be used as passing tones. This is actually two pitch tables in one. The white keys play the seven-tone Pelog scale, same as the table JAVA-PELOG1. The black keys play a five-tone scale called Slendro, which is close to a five-tone equi-tempered scale. Both tunings have their octaves stretched (tuned a little sharp) due to the harmonic content of the instruments in the gamelan. Indian scale used to play ragas, based on 22 pure intervals called Srutis. This pitch table uses two keyboard octaves to play one octave in pitch. The 22 Srutis are mapped to keys in this two-octave range omitting the A#s, which play the same pitch as the adjacent A. This tuning is based on a pentatonic scale from Tibet. Notice that playing the black keys yield a scale similar to the 5-tone Slendro tuning from Indonesia. This is a seven-tone scale used widely in China. It is meant to be played on the white keys. A seven-tone scale based on an ancient Chinese lute tuning. It is meant to be played on the white keys. This is a seven-tone equi-tempered scale from Thailand. It is meant to be played on the white keys. Centered on C4, this scale has an even quarter tone (50 cents) between each keyboard note, and each pitch octave covers 2 keyboard octaves. This tuning has been used by many contemporary composers and can be used in some Middle Eastern music. Centered on C4, this scale divides the octave into 19 equal steps. From C4 to G5 forms an octave. This scale yields very pure thirds and sixths, but not fifths. Like the 24-tone scale, this has been used by some modern composers. Centered on C4, this scale divides the octave into 31 equal steps. From C4 to G6 forms an octave. Similar to 19-tone in the purity of its intervals. This scale divides the octave into 53 equal steps. From C2 to F6 forms an octave. It yields very pure thirds, fourths and fifths. This is a mathematically generated scale based on the relationships of the partials in the harmonics of the fifth octave of the linear harmonic spectrum. It is interesting mostly from a theoretical standpoint. Derived mathematically by Wendy Carlos in the search for scales with the maximum purity of primary intervals, This is based on the division of the octave into 15.385 equal steps (78 cents per key). One pitch octave covers 16 keys, though because the Carlos scales are asymmetric (not based on whole number divisions of the octave) they do not yield pure octaves. Wendy Carlos Beta scale is based on the division of the octave into 18.809 equal steps 63.8 cents per key. One pitch octave covers 19 keys; though, being asymmetric, it yields no pure octaves. Wendy Carlos Gamma scale is based on the division of the octave into 34.188 equal steps (35.1 cents per key). This scale has essentially perfect major thirds, fourths and fifths. One pitch octave covers 35 keys, though, again, being asymmetric it yields no pure octaves. Harry Partch was a pioneer of micro-tonality in the early 20th century. He developed this 43-tone-per-octave scale of pure intervals, and even designed an entire orchestra of instruments using this scale. The tonal center is found on key D2 (the low D on the 76-note keyboard). This pitch table has been transposed up an octave to bring the notes into a more usable range. This pitch table simply reverses the pitch-tracking of the keyboard, putting the highest notes at the bottom of the keyboard and the highest notes at the top. Hours of fun. This is the tuning of a traditional Scottish bagpipe. One tuning of the African Mbira, similar to the Kalimba or thumb-piano. Each Mbira player uses his own tuning which is his signature. Another Mbira tuning. This is a Just Intonation scale created by Wendy Carlos. 88CET is a scale with a constant interval of 88 cents. It features three different thirds and close approximations to many just intervals. This keyboard mapping omits the G#/Ab key from the system. An octave-repeating stretched scale invented by John Pierce which is derived from a pure twelfth divided into thirteen steps. The WS scales are for single samples which span the entire keyboard. WS1 maintains 12 tones per octave for two octaves centered on middle C, then continues to high and low ends of the keyboard with 1/4 of a semitone or 48 tones per octave. WS2 maintains 12 tones per octave for three octaves centered on middle C from G to G. WS2 maintains 12 tones per octave for four octaves centered on middle C. A stretch tuning, in which the middle C is at unity, C1 is detuned flat 40 cents and C8 is detuned sharp 40 cents. The stretch is a linear ramp between these two offsets. Each note has been tweaked by + or - up to 10 cents, giving chords a chorused effect which is different for each note. Selects pitch tables that can be downloaded via MIDI. See earlier for more information about RAM pitch tables.
Java-Pelog2
Indian-Raga
Tibetan Chinese-1 Chinese-2 Thailand 24-Tone-Equ 19-Tone-Equ 31-Tone-Equ 53-Tone-Equ Harmonic CarlosAlpha
Carlos-Beta CarlosGamma
Partch-43
Reverse Bagpipe ShonaMbira1 ShonaMbira2 SuperJust 88CET Pierce-Bohl WS1 WS2 WS3 Stretch RandomDetun RAM
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