midi

Sometimes Steve creates demonstrations for blind or visually impaired individuals. This episode features Steve describing how a blind user can use Pro Tools to record midi drums. Steve goes over creating an instrument track, loading a virtual instrument, recording a simple rock drum beat, editing & navigating midi notes, selecting & splitting midi notes and finally quantization. Visit Baskis.com and fill out the contact form to get in touch with Steve Baskis if you have further questions.  

Welcome to the episode 27 of "Women In The Music Industry", a podcast that shines a spotlight on the remarkable women who are breaking barriers and making their mark in an industry that has long been dominated by men.

My guest on this episode is none other than my good friend, and music industry legend, Charmain Dennison. 

With over 22 years of dedicated service at Yamaha Canada, Charmain's journey from a traditional conservatory piano student, to becoming Yamaha Canada’s Digital Musical Instrument product specialist, and eventually assuming the role of Yamaha Canada's Keyboard Marketing Manager, is a testament to her incredible resilience and unmatched passion.

As a music industry trailblazer, and one of the few women in her role, Charmain emphasizes the importance of breaking down barriers in the music industry.  

She is currently managing the largest grossing category in the business for Yamaha Canada, which is Keyboards, Digital Pianos and Synthesizers.

If you are enjoying this video series, please rate/review/subscribe/tell everyone about it.

Every little bit helps.

• Kiichi Kobayashi: https://www.instagram.com/p/CnDQ6Chh2tt/?igshid=MDJmNzVkMjY%3D .

• Joe Farnsworth: https://www.instagram.com/joefarnsworthdrums/?igshid=YmMyMTA2M2Y%3D .

• Ian Chang: https://www.instagram.com/ianyhchang/?igshid=YmMyMTA2M2Y%3D .

• Nanu Villalba: https://www.instagram.com/nanu_villalba/ .

• Gavin Harrison: https://www.instagram.com/gavinharrison/ .

• Chuchi Crespo: https://www.instagram.com/chuchicrespo/ .

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Benedikt's voice on this episode has been recorded with the Antelope Axino Synergy Core
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If you want to make your life easier when mixing, give yourself more quickly available options in the mix without headaches and tedious setup work, or make sure that your mixing engineer can get the most out of the tracks you deliver, then you need to prepare and export your MIDI tracks correctly.

Unfortunately some DAWs make it pretty difficult to export MIDI properly and it’s also different for every DAW. Plus, exporting and importing MIDI is often not as straight forward as doing the same with audio tracks, which can lead to all kinds of errors in the process. 

As a result of that, mixers like us often get MIDI files delivered that we can’t easily use. Sometimes they’re not usable at all and other times we spend a lot of time to get them to work, only to figure out that there’s still some mix-up somewhere in the files.

It’s very hard to tell you how to exactly export and prepare things in your DAW, because they’re all different, but we can tell you what to watch out for and what mixing engineers typically expect you to deliver. It's gonna be pretty easy for you then to figure out the specifics of your DAW, once you have that info.

This will also be super helpful if you’re mixing yourself, because there are a few concepts and techniques around using MIDI that will drastically improve your own mixing workflow and give you more creative options quickly, such as triggering phase accurate drum samples off of MIDI, opening gates, creating key spikes, etc.

Some of the things we cover in this episode:

• Understand that MIDI is not audio
• Include a MIDI map, or at least understand the concept of mapping MIDI notes and tell collaborators which map and sampler/instrument you used.
• Make sure the start and end points are correct, as well as the tempo and time signature (these things will often get exported and then re-imported with MIDI)
• Label everything correctly
• Double check that everything lines up correctly
• Understand that a mixer might not be running your MIDI in real time. They might print the samples at some point. So be intentional and commit to your production. 
• Understand that different samplers and instruments will react differently to your MIDI. This is important when you decide to switch to a different instrument. You might have to adjust things before you can use the MIDI in the mix.
• Adjusting MIDI and printing samples/instruments is production work, not mixing. It can serve as a safety net in the mix and adding drum samples, for example, is definitely common when mixing, but adjusting the performances, choosing and committing instruments, etc. has to be done before mixing or added on top of the mixing package you booked, which should be discussed before you start the project.

For full show notes go to: https://theselfrecordingband.com/126

If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com

Jeff Rona has fascinated me ever since he first appeared in Keyboard Magazine with his “The Reel World” column. It was a time when music-for-film was becoming interesting for tech-savvy musicians, and his writing fueled a lot of people’s interest in that work. With a background that includes working with Mark Isham and Hans Zimmer, Jeff has been in the mix for some of the greatest soundtracks in the last quarter century.

In our discussion, we review his background in school (with The Dartmouth System!), programming time with Roland, playing with Jon Hassell, working with some amazing producers and then moving into film music. We also get into some of his techniques, how he likes to use particular kinds of hardware, and how he puts together the palette for a film score.

We also talk about his solo work (as well as an upcoming release), and learn a bit about what he is doing in games and TV. We are also very excited about a third edition of The Reel World (the book) which he is wrapping up for upcoming release. You can learn about all of this, and more, at his website: https://jeffrona.com

You can also see all of the soundtracks that he’s been credited for on his IMDB page: https://www.imdb.com/name/nm0006258/. Sheesh, what a list!

Enjoy!

Transcription available at http://www.darwingrosse.com/AMT/transcript-0363.html

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Listen in this bonus episode on the story how the song "Punk Rawk" by Glowing Ice was written and recorded.

Episode includes the song "Punk Rawk" and the brand new Glowing Ice single "Ass"

Enjoy :)

Industrial Industries World Radio Songs and Skits of Seasons 1 & 2 now available everywhere you download and stream music!
Check it out today!

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You've probably heard us talk about MIDI before. We use it all the time for many different things. Even in songs and genres that have zero virtual instruments. It's commonly used in writing, recording, editing and mixing music, as well as live music performances and lots of other applications. 

Have you used MIDI before? Probably. Did you know you used it? Not necessarily. MIDI is working under the hood of many audio tools without us even noticing. And then there's the obvious stuff like drum programming or using other virtual instruments, where we write, edit and see the actual MIDI events directly. 

It's a relatively simple, but super powerful tool that has been used since the early 80s and that is not going anywhere anytime soon. 

If you feel like you're not 100% sure what you're doing when you're dealing with MIDI, this episode is for you. If you want to know what the various values and parameters actually do, this is for you. If you just want to get a better understanding of the concept, routing, MIDI maps, keyswitches, articulations, etc., this episode is also for you. 

Let's jump in!

For full show notes go to: theselfrecordingband.com/60


If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com

If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com

Our MacVoices Live! conversation with featured guest Bob “Dr. Mac” LeVitus and panel members Dave Ginsburg, Brittany Smith, Frank Petrie, and Warren Sklar continues with more about Bob’s new book, GarageBand For Dummies, Second Edition. That part of the discussion includes comparisons of GarageBand and Logic Pro, who each is for, and learning curves. Then, the panel just couldn’t stay away from the Apple/Epic Games battle, but this time we approached it through the copycat version of Apple’s “1984” commercial and director Ridley Scott’s comments about it. (Part 2 of 2)

This edition of MacVoices is sponsored by Smile, the makers of PDFpen and PDFpenPro, PDFpen for iPad, PDFpen for iPhone, PDFpen Scan+, as well as TextExpander for Mac and TextExpander for iPhone and iPad, as well as the new TextExpander for Windows. Great software to help you get more done.

Show Notes: 

Guests:

Bob LeVitus, often referred to as "Dr. Mac," has been considered one of the world's leading authorities on the Macintosh and Mac OS for nearly twenty years. A prolific author, Bob has sold millions of books worldwide in a dozen languages. His recent titles include: iPad 2 For Dummies, Incredible iPad Apps For Dummies, iPhone 4S For Dummies, and Mac OS X Lion For Dummies. He's been a tech columnist for the Houston Chronicle since 1996 and writes regularly for The Mac Observer web site. His hobbies include playing guitar with the infamous Macworld All-Star Band, engineering audio recordings (mostly of classic rock songs), and budget video-making. Bob also has a Macintosh computing consultancy that offers expert technical help, training, and pre-purchase advice to Mac users via phone, e-mail, and/or Internet-enabled remote control software. You can find him on Twitter and see his latest project at WorkingSmarterForMacUsers.com.

David Ginsburg is the President of the Suburban Chicago Apple Users Group, and is an IT professional supporting Mac, iOS and Windows users. Find and follow him on Twitter as @daveg65. You can also hear him share his knowledge on his podcast, In Touch With iOS.

Brittany Smith is a cognitive neuroscientist who provides a variety of consulting services through her business, Devise and Conquer that includes ADD/ADHD coaching, technology coaching, productivity consulting, and more. She is a self-designated “well-rounded geek”, and holds a M.S. degree in Cognitive Neuroscience. She can be found on Twitter as @addliberator. 

Frank Petrie is an author and contributor to ScreenCastsOnline Magazine. Follow him on Twitter and check out his web site, ympnow.com.

Warren Sklar helps host the Mac to The Future Group on Facebook, and is the co-host of In Touch With iOS with David Ginsburg.

Links:

Bonus Content for GarageBand For Dummies, including House of the Rising Sun files

Director of Apple’s classic 1984 ad is unimpressed with Epic Games’ parody on Cult of Mac

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Hello everyone! Savez-vous la différence entre 12am et 12pm ? Lequel d'après vous veut midi et lequel veut dire minuit ? Eh bien, c'est exactement ce que Ben va nous expliquer dans cette nouvelle leçon. Il nous parlera aussi de plusieurs d'autres mots et expressions pour lire l'heure en anglais.

Pour voir le texte de la leçon cliquez ici:

https://www.anglaiscours.fr/12am-ou-12pm-quelle-est-la-difference.html

Accédez à une formation en 5 parties selon votre niveau offerte ici:

https://www.anglaiscours.fr/podcast

I'm always curious about the direction a guitarist is going to take instrument building - especially when extensive electronics will be involved. Sometimes it is an attempt to lock into existing gear (MIDI Guitar), while other times it is seeks to meld comfortable technique with new technology. The Smomid, created by Nick Demopoulos, it all about that.

By combining technology he ran into at Eric Singer's LEMURplex, with code from local NY contacts and a bunch of self-learning, Nick has wrapped his arms around the idea of extending his musical reach, incorporating microtonal scales, hands-on sample manipulation and bespoke sequencing tools into his device. While the Smomid is his guitar-shaped controller system, he's also been working on a desktop (and increasingly standalone) device called the Pyramidi; the combination works as both his studio and live performance rig.

You should check out the gear at http://www.smomid.com, where you can not only see the devices themselves, but also hear the results in a musical context. And as you'll hear in the interview, we talk extensively about music - Nick is a serious jazz player, so he brings significant chops to the music-making game. Combining that with his instrument building exploits is a perfect genre-bending game.

Enjoy!