Vocal and Instrument Range Chart –
http://networkedblogs.com/p15035440
Frequency Spectrum, Instrument Ranges and EQ Tips - http://www.ka5cvh.com/sound/musicchart1.pdf
The Frequencies of Music –
http://www.psbspeakers.com/audio-topics/The-Frequencies-of-Music
Friday, December 4, 2009
Saturday, November 21, 2009
Monday, August 17, 2009
writing a book wirh word
info on this page will be concerned with turning a word document into a book
Template Basics in Microsoft Word
So You Want to Write a Book with MS Word
Book Design Wizard 2.0 Creates a Customized Book Layout in Microsoft® Word
Template Basics in Microsoft Word
So You Want to Write a Book with MS Word
Book Design Wizard 2.0 Creates a Customized Book Layout in Microsoft® Word
Friday, August 14, 2009
A little general harmonic advice for starting out:
from http://www.kvraudio.com/forum/viewtopic.php?t=164330
Roots of chords a fourth and a fifth apart generally sound good.
Roots of chords falling a third is good.
Roots of chords rising a third is good strong to weak, but bad weak to strong. (In 4/4, the strongest beat is the 1st, then the 3rd)
Don't sandwich chords (ie, have at least 2 different chords before having the same one again).
Try to use a mixture of root position and 1st inversion chords. (Avoid second inversions)
Avoid diminished or augmented chords (eg. chord VII, and chord II in a minor key)
Avoid chord III.
Avoid the progressions II to I, and V to IV.
Avoid the bass note of a chord on a strong beat the same as the bass note of the preceding weak beat.
The top line and the bass should not approach an octave or 5th in similar motion, except by step in the top part.
The bass is also very important.
It should generally move by step whenever possible, and should not leap around all over the place.
Contrary motion between the bass and the top line is good.
My posts on Voice Leading, and my Introduction to cadences might also be useful to you.
Roots of chords a fourth and a fifth apart generally sound good.
Roots of chords falling a third is good.
Roots of chords rising a third is good strong to weak, but bad weak to strong. (In 4/4, the strongest beat is the 1st, then the 3rd)
Don't sandwich chords (ie, have at least 2 different chords before having the same one again).
Try to use a mixture of root position and 1st inversion chords. (Avoid second inversions)
Avoid diminished or augmented chords (eg. chord VII, and chord II in a minor key)
Avoid chord III.
Avoid the progressions II to I, and V to IV.
Avoid the bass note of a chord on a strong beat the same as the bass note of the preceding weak beat.
The top line and the bass should not approach an octave or 5th in similar motion, except by step in the top part.
The bass is also very important.
It should generally move by step whenever possible, and should not leap around all over the place.
Contrary motion between the bass and the top line is good.
My posts on Voice Leading, and my Introduction to cadences might also be useful to you.
Monday, August 10, 2009
3dc first stepe
reviewed the elliptical trainer manual
reviewed ea sports active 30 day challenge requirements
researched chord progression info & posted in reference section
installed windows 7 on hp laptop plus music software needed to compose the required 4 songs
reviewed ea sports active 30 day challenge requirements
researched chord progression info & posted in reference section
installed windows 7 on hp laptop plus music software needed to compose the required 4 songs
30dayChallenge
i have been challenged to compose 4 new songs & loose at least 5lbs by sept 10th
how i go about this will be documeted within this category '30dayChallenge' listed on the left side of this page
dinner (probably healthy) & a movie is at steak, no pun intended
reference
how i go about this will be documeted within this category '30dayChallenge' listed on the left side of this page
dinner (probably healthy) & a movie is at steak, no pun intended
reference
music
tonespace faq
Chord progression
6 Great Foods for Men
EA Sports Active
lifefitness X9i user manual-pdf
Cross-Trainer Console Programs: X9i eliptical
Chord progression
- Chord Progression Page 1
- Guitar KnowledgeNet Chord Progression Generator
- How Music REALLY Works!, 2nd Edition, world's most useful book on music and lyrics.
weight loss
6 Great Foods for Men
EA Sports Active
lifefitness X9i user manual-pdf
Cross-Trainer Console Programs: X9i eliptical
Wednesday, July 8, 2009
Sunday, July 5, 2009
Best way to connect PC to PA
Best way to connect PC to PA
he earphone jack on the standard laptop is electrically equivalent to an unbalanced stereo line output. Use of adaptors to break the signal out to L and R channels and then into any set of Line Level inputs on your PA will yield a very good result. (TIP: When doing this, make sure that the software mixer of your laptop has the Master and Wav, Software MIDI synth, outputs turned all the way up! This will drive the line the hardest, which is what we need here, for lowest signal to noise ratio and fullest sound. Get your volume level at the PA with the hardware fader.)
If your laptop is fairly new, there really is not a good enough advantage to buying an aftermarket soundcard for playback of programs like BIAB. This is because today's laptops are shipping with very good D-A output converters in them due to the customer demands to watch (and hear) multimedia.
*ANy noise you experience is likely due to an AC GROUND LOOP. Use of a Radio Shack Ground Loop Isolator between laptop output and PA will safely eliminate that noise. Less than $20US
--Mac
he earphone jack on the standard laptop is electrically equivalent to an unbalanced stereo line output. Use of adaptors to break the signal out to L and R channels and then into any set of Line Level inputs on your PA will yield a very good result. (TIP: When doing this, make sure that the software mixer of your laptop has the Master and Wav, Software MIDI synth, outputs turned all the way up! This will drive the line the hardest, which is what we need here, for lowest signal to noise ratio and fullest sound. Get your volume level at the PA with the hardware fader.)
If your laptop is fairly new, there really is not a good enough advantage to buying an aftermarket soundcard for playback of programs like BIAB. This is because today's laptops are shipping with very good D-A output converters in them due to the customer demands to watch (and hear) multimedia.
*ANy noise you experience is likely due to an AC GROUND LOOP. Use of a Radio Shack Ground Loop Isolator between laptop output and PA will safely eliminate that noise. Less than $20US
--Mac
Thursday, July 2, 2009
bits
dildo maker & school show & tell
tip of iceberg after global warming
mr softy bad name
preachers on bikes one preach's bike stolen when i got 2 adulyry i rememberd wher my bike was
tip of iceberg after global warming
mr softy bad name
preachers on bikes one preach's bike stolen when i got 2 adulyry i rememberd wher my bike was
Saturday, June 27, 2009
Friday, June 26, 2009
Mapping Reaper to BIAB
zenmba,
Mapping Reaper to BIAB is doable. You will need to install a virtual midi driver (either midiyoke or maple midi should work which are both free) to accomplish this. Once you install the driver, you need to configure Reaper and BIAB.
in BIAB:
- Enable the virtual midi output. Go to "Opt/Midi Audio setup". In the "Midi Driver Setup" dialog box, set the "Midi Output Driver" to one of the virtual midi out ports (in my case, I use Maple midi so I have "Maple Midi Out: Port 1").
in Reaper:
- Enable the virtual midi input. Go to "Options/Preferences" menu and go to "Audio/Midi Devices". In the "Midi Inputs..." pane, enable the corresponding midi in for the midi out that you use in BIAB, in my case "Maple Midi In: Port 1". This is very important. You have to use the same in/out midi port number so the midi data will travel from BIAB to Reaper.
- Now, you will need to map the BIAB midi tracks to Reaper tracks. By default, BIAB uses the following channels for its midi tracks:
Bass - ch2
Piano - ch3
Drums - ch10
Guitar - ch6
Strings - ch7
Melody - ch4
Soloist - ch8
So in reaper, you need to create 7 tracks and set their midi channel input to the corresponding BIAB midi channel out (see above). In my case, I have the following tracks in reaper:
Trk 1: Name=BB Bass, midi in=Maple Midi In:Port 1, Channel 2
Trk 2: Name=BB Piano, midi in=Maple Midi In:Port 1, Channel 3
Trk 3: Name=BB Drums, midi in=Maple Midi In:Port 1, Channel 10
Trk 4: Name=BB Guitar, midi in=Maple Midi In:Port 1, Channel 6
... and so on and so forth, you get the idea
Then, assign the virtual instruments on each track in Reaper. Make sure that you turn on "Record Arm" and "Monitor input" on all the 7 Reaper tracks to hear the sound.
Hope this helps!
=KT
http://forum.cockos.com/showthread.php?t=24748&highlight="midi+drum+roll"
Mapping Reaper to BIAB is doable. You will need to install a virtual midi driver (either midiyoke or maple midi should work which are both free) to accomplish this. Once you install the driver, you need to configure Reaper and BIAB.
in BIAB:
- Enable the virtual midi output. Go to "Opt/Midi Audio setup". In the "Midi Driver Setup" dialog box, set the "Midi Output Driver" to one of the virtual midi out ports (in my case, I use Maple midi so I have "Maple Midi Out: Port 1").
in Reaper:
- Enable the virtual midi input. Go to "Options/Preferences" menu and go to "Audio/Midi Devices". In the "Midi Inputs..." pane, enable the corresponding midi in for the midi out that you use in BIAB, in my case "Maple Midi In: Port 1". This is very important. You have to use the same in/out midi port number so the midi data will travel from BIAB to Reaper.
- Now, you will need to map the BIAB midi tracks to Reaper tracks. By default, BIAB uses the following channels for its midi tracks:
Bass - ch2
Piano - ch3
Drums - ch10
Guitar - ch6
Strings - ch7
Melody - ch4
Soloist - ch8
So in reaper, you need to create 7 tracks and set their midi channel input to the corresponding BIAB midi channel out (see above). In my case, I have the following tracks in reaper:
Trk 1: Name=BB Bass, midi in=Maple Midi In:Port 1, Channel 2
Trk 2: Name=BB Piano, midi in=Maple Midi In:Port 1, Channel 3
Trk 3: Name=BB Drums, midi in=Maple Midi In:Port 1, Channel 10
Trk 4: Name=BB Guitar, midi in=Maple Midi In:Port 1, Channel 6
... and so on and so forth, you get the idea
Then, assign the virtual instruments on each track in Reaper. Make sure that you turn on "Record Arm" and "Monitor input" on all the 7 Reaper tracks to hear the sound.
Hope this helps!
=KT
http://forum.cockos.com/showthread.php?t=24748&highlight="midi+drum+roll"
Wednesday, June 24, 2009
songwriting links
The Muse's Muse
Pittsburgh Songwriters Network
Murphy's Laws of Songwriting
SongU.com provides multi-level song writing courses developed by award-winning songwriters, song feedback, mentoring, one-on-one song coaching, co-writing, unscreened pitching opportunities and more. You will find all the tools you need to succeed as a songwriter -- all online.
At SongU.com we’ll bring the music industry TO YOU.
AcoustiCafe http://www.myspace.com/acousticafeorg
Pittsburgh Songwriters Network
Murphy's Laws of Songwriting
SongU.com provides multi-level song writing courses developed by award-winning songwriters, song feedback, mentoring, one-on-one song coaching, co-writing, unscreened pitching opportunities and more. You will find all the tools you need to succeed as a songwriter -- all online.
At SongU.com we’ll bring the music industry TO YOU.
AcoustiCafe http://www.myspace.com/acousticafeorg
Saturday, June 13, 2009
Unable to use midi output driver
Unable to use midi output driver
tip: http://www.pgmusic.com/techfaq17.htm#80 and unchecked all sw synths and configured the Roland VSG DXI synth,
There seems to be at least two areas of potential problem-
1. Use of ASIO drivers chosen in more than one open program ( I have had many problems using ASIO drivers but none with MME except for the latency which does not affect my use)
2. The grabbing of drivers when two programs with the same are used in a session
We have had success by these actions -
3. Complete closedown - wait 20 seconds and boot
4. Select ASIO drivers for one program and MME for the other
5. When the message shows you can choose an alternative driver for that session
6. Also one problem cleared itself after a Diskclean - Defrag and Registry clean and compaction
This seems to be a conflict rather than a bug in BIAB
jazzman
tip: http://www.pgmusic.com/techfaq17.htm#80 and unchecked all sw synths and configured the Roland VSG DXI synth,
There seems to be at least two areas of potential problem-
1. Use of ASIO drivers chosen in more than one open program ( I have had many problems using ASIO drivers but none with MME except for the latency which does not affect my use)
2. The grabbing of drivers when two programs with the same are used in a session
We have had success by these actions -
3. Complete closedown - wait 20 seconds and boot
4. Select ASIO drivers for one program and MME for the other
5. When the message shows you can choose an alternative driver for that session
6. Also one problem cleared itself after a Diskclean - Defrag and Registry clean and compaction
This seems to be a conflict rather than a bug in BIAB
jazzman
Saturday, June 6, 2009
Sunday, May 31, 2009
Song Creation Strategy for BIAB
Song Creation Strategy for BIAB
This is the song generation strategy that works best for me.
1. Generate the song using BIAB
2. Mix or sequence them with Real Band or your fave such as Sonar or Audacity or Audition
Within BIAB
1. Create three templates Part 1, Part 2, Part 3
All to be generated ONE FILE per TRACK
2. Part 1 is for all the instruments except Melody and Solo. For example, the Bass, Piano, Guitar, Strings and Drums. These are your rhythm section. You dont need to change this often so it is better to put them as a group in Part 1.
3. Part 2 is a template based on Part 1 but this time, mute all other instruments except Melody. Why? Because this is where your need to experiment (no need to wait for that slow generating RealTracks. for example you use BIAB to generate a Melody.
(Note: if you want to add more tracks not accommodated in Part 1; you may also do that here. For example you want to add some Wind instruments or Strumming or Solo)
4. Part 3 is only the Soloist part. Why? same reason as melody.You want to experiment in Soloist till you best one without waiting for RealTracks that slows you down.
(Note: if you want to add more tracks not accommodated in Part 1; you may also do that here. For example you want to add some Wind instruments or Strumming or Solo)
5. Rename each track so that you will not confused (so many "melody" or "piano" names can confuse you.
6. Open all of them in your favorite Real Band or Cool Edit or Sonar etc...then mix all of them or part of them etc.. you can create different versions of the song (without piano, without electric).. Note that the Part 1, Part 2, Part 3 can give you so many channels to for different instruments and all of these tracks can be opened by Sonar and you can create different versions of your song in your sequencer.
6. And there's your song. Once you have the basic tracks, you can experiment with Part 2 and Part 3 for the best melody and solo. (NO NEED TO change everything.)
Issues about PANNING
I think this is what happens"
Case 1: When you generate the tracks on a PER FILE PER TRACK basis as part of generation of the BIAB song, then the PANNING is maintained. That is, if you use Sequencer to open them separately, their sounds, volume and pan are already embedded in each, and when you play them together as if you come to the original rendered song.
Case 2: When you generate ONLY a single TRACk (not part of the process of generating the entire song) then you get DEAD CENTER pan of that TRACK you generated.
Now, it is up to you. I find it best to PAN them at BIAB so I dont have to experiment too much about their PANNING in sonar or in Audacity. However, it is up to you.
Sound Levels: Do your final mixdown to 3dB levels. Now, if you want to master them at a higher volume (3dB is not loud enough for your iPod),
- then you do a PEAK LIMIT effect (in Sonar or Real Ban) (the logic of PEAK LImit is somewhere in Google),
- and then after that you can increase the GAIN.
(the PEAK limit is an important step to prevent distortions when you apply the gain)
Im not saying im correct in all items but hope this will save you some repetitive work.
This is the song generation strategy that works best for me.
1. Generate the song using BIAB
2. Mix or sequence them with Real Band or your fave such as Sonar or Audacity or Audition
Within BIAB
1. Create three templates Part 1, Part 2, Part 3
All to be generated ONE FILE per TRACK
2. Part 1 is for all the instruments except Melody and Solo. For example, the Bass, Piano, Guitar, Strings and Drums. These are your rhythm section. You dont need to change this often so it is better to put them as a group in Part 1.
3. Part 2 is a template based on Part 1 but this time, mute all other instruments except Melody. Why? Because this is where your need to experiment (no need to wait for that slow generating RealTracks. for example you use BIAB to generate a Melody.
(Note: if you want to add more tracks not accommodated in Part 1; you may also do that here. For example you want to add some Wind instruments or Strumming or Solo)
4. Part 3 is only the Soloist part. Why? same reason as melody.You want to experiment in Soloist till you best one without waiting for RealTracks that slows you down.
(Note: if you want to add more tracks not accommodated in Part 1; you may also do that here. For example you want to add some Wind instruments or Strumming or Solo)
5. Rename each track so that you will not confused (so many "melody" or "piano" names can confuse you.
6. Open all of them in your favorite Real Band or Cool Edit or Sonar etc...then mix all of them or part of them etc.. you can create different versions of the song (without piano, without electric).. Note that the Part 1, Part 2, Part 3 can give you so many channels to for different instruments and all of these tracks can be opened by Sonar and you can create different versions of your song in your sequencer.
6. And there's your song. Once you have the basic tracks, you can experiment with Part 2 and Part 3 for the best melody and solo. (NO NEED TO change everything.)
Issues about PANNING
I think this is what happens"
Case 1: When you generate the tracks on a PER FILE PER TRACK basis as part of generation of the BIAB song, then the PANNING is maintained. That is, if you use Sequencer to open them separately, their sounds, volume and pan are already embedded in each, and when you play them together as if you come to the original rendered song.
Case 2: When you generate ONLY a single TRACk (not part of the process of generating the entire song) then you get DEAD CENTER pan of that TRACK you generated.
Now, it is up to you. I find it best to PAN them at BIAB so I dont have to experiment too much about their PANNING in sonar or in Audacity. However, it is up to you.
Sound Levels: Do your final mixdown to 3dB levels. Now, if you want to master them at a higher volume (3dB is not loud enough for your iPod),
- then you do a PEAK LIMIT effect (in Sonar or Real Ban) (the logic of PEAK LImit is somewhere in Google),
- and then after that you can increase the GAIN.
(the PEAK limit is an important step to prevent distortions when you apply the gain)
Im not saying im correct in all items but hope this will save you some repetitive work.
Monday, May 25, 2009
Saturday, May 23, 2009
onlene_colaboration
wired- Finally, the On-Demand, Online Garage Band Gets Real
Come on … isn't it time to disturb the universe and make some noise? Here's a selection of music collaboration sites to get you started -- no matter what your musical level.
For newbies, I'd recommend (Jamglue or Splicemusic for creating and recording; YourSpins for remixing popular songs.
eJamming: Live online music collaboration
Indaba: Online music making for pro and semi-pro musicians
JamGlue: Like YouTube for collaborative audio
LightSpeed JamNow: Online music creation with audience participation
Mix2r: Music collaboration for DJs and electronica makers
NINJAM: Near-real-time, glitch-free online music collaboration
Splice: Online music creation, remixing, and mashing
YourSpins: Your own remix in a matter of minutes
n Bb 2.0 is a collaborative music and spoken word project conceived byDarren Solomon from Science for Girls.The videos can be played simultaneously — the soundtracks will work together, and the mix can be adjusted with the individual volume sliders.
Thursday, May 21, 2009
across the fretboard
fretboard generator
Guitar Fretboard in Depth
So, what is the correlation between guitar tuning and the guitar fretboard?
This is actually a key point to consider, in order to understand how notes are arranged on the fretboard, as any change in tuning will produce a completely new array. Although there are potentially limitless ways of tuning the guitar, the most useful tuning to know (at least at an initial stage) is the standard one: six strings tuned at the interval of a perfect fourth from each other, except for the second and third strings, which are tuned a major third apart.
Examples: using shell voicings - pdf
Guitar Fretboard in Depth
So, what is the correlation between guitar tuning and the guitar fretboard?
This is actually a key point to consider, in order to understand how notes are arranged on the fretboard, as any change in tuning will produce a completely new array. Although there are potentially limitless ways of tuning the guitar, the most useful tuning to know (at least at an initial stage) is the standard one: six strings tuned at the interval of a perfect fourth from each other, except for the second and third strings, which are tuned a major third apart.
Examples: using shell voicings - pdf
tetrachords
Tertachords and where they exist in almost every common scale
Tetrachordal Trickery
Four tetrachords relevant to our present Western music system and to Jazz are the :
Guitar Fingerings for the Major Scale and its Modes
using "The Brent Box Sets"
Tetrachordal Trickery
Four tetrachords relevant to our present Western music system and to Jazz are the :
Guitar Fingerings for the Major Scale and its Modes
using "The Brent Box Sets"
Monday, May 18, 2009
Ibanez IMG2010
http://www.joness.com/gr300/img2010.htm
http://www.joness.com/gr300/MC1.htm
http://reviews.harmony-central.com/reviews/Guitar/product/Ibanez/2010+midi+controller/guitar/10/1
mac on midi guitar
idea2 2 try
http://www.youtube.com/watch?v=CXSHs6f_5TU
http://www.dailymotion.com/video/x62u2f_rolandgr20lo_music
http://www.musicequipmentvideos.com/Roland-GR-20-Guitar-Synthesizer/p/G02G63QS
http://www.youtube.com/watch?v=dlnLudG57Y8
http://www.youtube.com/watch?v=JTjoy_CQn1g&feature=related
http://www.joness.com/gr300/MC1.htm
http://reviews.harmony-central.com/reviews/Guitar/product/Ibanez/2010+midi+controller/guitar/10/1
mac on midi guitar
idea2 2 try
http://www.youtube.com/watch?v=CXSHs6f_5TU
http://www.dailymotion.com/video/x62u2f_rolandgr20lo_music
http://www.musicequipmentvideos.com/Roland-GR-20-Guitar-Synthesizer/p/G02G63QS
http://www.youtube.com/watch?v=dlnLudG57Y8
http://www.youtube.com/watch?v=JTjoy_CQn1g&feature=related
export Yamaha style
export Yamaha style files to realband, or other sequencer, for processing and\or saving to midi
MidiPlayer 2
find style files here
http://www.1manband.nl/freestyles.htm
http://www.1manband.nl/links.htm
MidiPlayer 2
find style files here
http://www.1manband.nl/freestyles.htm
http://www.1manband.nl/links.htm
Sunday, May 17, 2009
Thursday, May 14, 2009
Monday, May 11, 2009
Sunday, May 10, 2009
twisted tunen
isting of our Twisted Tunes available in mp3, wav and Real Audio formats.
Please click on the format that you would like to listen to.
Please click on the format that you would like to listen to.
Thursday, April 30, 2009
asio setup
Hi,
I wasn't entirely certain - I might have missed it - if you want to have Band-in-a-Box play through your Ensoniq synth, or if you want to play Band-in-a-Box through an internal synth on your computer.
Let's assume that you simply want to use your keyboard for input to play into Band-in-a-Box, but you want to hear everything (including what you play on your keyboard) played by an internal synth. By internal synth, I mean something like a MIDI synth built into your sound card (which you don't have; M-audio cards generally just have a MIDI interface to allow you to connect external device, they don't have a built-in MIDI synth), the Microsoft GS Wavetable (included with Windows) or the Roland VSC-DXi (the General MIDI compatible DXi synth included with Band-in-a-Box).
On your system, your options for "internal" MIDI output are the GS Wavetable or the Roland VSC-DXi. The Roland VSC3 used to be popular with Band-in-a-Box, and it acts like a "regular" MIDI Output driver, however it has become less compatible with newer computers, and it is much better and easier to use the Roland VSC-DXi instead. So the VSC-DXi is installed with Band-in-a-Box, while the VSC3 isn't. It is available if you want to install it, in the \bb\vsc\VSC_installs folder. But most people wouldn't want to install it.
Your best option is the Roland VSC-DXi - so select the "Use DXi Synth" checkbox.
There is a piece of information that you may be missing, which might be useful for you...
When you play your external MIDI keyboard, you hear the sound played by (it is routed to) either the MIDI output driver or DXi synth. That is, even if you have a DXi synth selected, when you play your keyboard, it might be routed to your MIDI output driver depending on some settings and whether song playback is happening. Here are the settings:
--
--if you are using "MME" audio drivers:
-If you have the "Route MIDI thru to MIDI driver" box checked, then it (live playing) will be routed to the MIDI driver (e.g. GS Wavetable) all the time.
-If you have the "Route MIDI thru to MIDI driver" box UNCHECKED, then it will be routed to the DXi synth while the song is playing, and to the MIDI driver (e.g. GS Wavetable) while there is no song playing.
--if you are using "ASIO" audio drivers:
-If you have the "ASIO Always On" box checked (in the ASIO Audio Drivers dialog), it is routed to the DXi (or VSTi) synth all the time whether the song is stopped or playing.
-If you have the "ASIO Always On" box unchecked, it is routed to the DXi synth while the song is playing, and through the MIDI Output Driver when the song is stopped.
--
So if you had been using MME driver, playing your keyboard and trying to determine the effect of the route MIDI thru... checkbox, you would have always been hearing it play through the GS Wavetable unless you happened to have a song playing while you were testing.
There are reasons for the way it works... the "DXi synth" usually has much more latency than the "MIDI output driver", and with that much latency it doesn't make sense to use it as your output for live playing. In your case, the GS Wavetable has alot of latency and happens to be your only available internal "MID driver".. This is common with many newer computers, but wasn't always the case. The GS Wavetable had far less latency on Windows 98 than XP, and has far less latency on XP than it does on Vista. In addition, many people have soundcards like the SoundBlaster series which have built-in MIDI synths with no latency. Other people have external synths like you do, but they're using them for output in addition to input, and that has no latency.
The latency problem of soft synths is generally solved with the use of ASIO drivers, although it is often more difficult to get ASIO drivers set up on specific computers. "ASIO4ALL" is an excellent solution and works great on most people's computers. One problem is that on some systems it can conflict with the GS Wavetable. The solution is to make sure that the GS Wavetable isn't selected anywhere in your setup.
Note that it is possible to inadvertently "select" the GS Wavetable by choosing the "MIDI Mapper" or "No MIDI Output". In general, you should ignore the MIDI Mapper, which was useful on Windows 95/98/ME, but is no longer useful/functional on newer versions of Windows, as far as I know.
Here is what I think should work for you...
1. Install ASIO4ALL
2. Reboot your computer to make sure there are no problems.
3. Run Band-in-a-Box. Select the M-Audio device for input, and ALSO select the M-Audio device for your output. The purpose of this is to just make sure that something other than the GS Wavetable is selected for output.
Note: the synth/soundcard setting is mainly useful for non-GM compatible synths and specific purposes. But you can select the VSC from that list, or just select "General MIDI Instrument Misc."
4. Check the Use DXi/VSTi synth box. If already selected, click the DXi synth Settings button. Either way, this will open the DirectX/VST Window. You should have the VSC-DXi selected in the top slot (synth plugins). Don't worry about the bottom three slots, which are for audio plugins, although you may wish to select the PG Peak Limiter plugin in one of them if your volume is low. Close the DX window.
5. Click on the Audio Settings button (or Opt.-Preferences-Audio) to open the Audio Settings window. Select ASIO, or if already selected press the Audio Drivers button. This will open the ASIO Audio Drivers window. Select ASIO4ALL. For the input and output ports, normally you can leave the top ones highlighted. This would normally be your computer's built-in audio device. If that one isn't working you may need to experiment, as it isn't necessarily obvious what all the different ports are for.
6. Check the ASIO Always On box.
Note: The ASIO Driver Control panel button will open the ASIO4ALL settings. The main purpose is normally to adjust the latency ("buffer size"). Leave this at default, or around 512, until you get it working. When you have sound etc. then you can try reducing the buffer size if you're finding that there is still some latency between when you hit a key on your keyboard and when you hear it play. How low you can set the latency depends on your computer (processor, etc.).
Note: While other dialogs in BB display latency, when you are using ASIO drivers the ASIO control panel is the only dialog that you can use to change the latency.
7. Ok to exit all the dialogs. Press Play once (if you haven't yet since you started BB), just to make sure ASIO is initialized. You can stop playback now if you wish, ASIO will remain on for the rest of your session.
Now try playing your keyboard and playing a song, and see if it works. If it does, you may want to close Band-in-a-Box, open your bb folder and make a backup of the file "intrface.bbw" Then you can restore your settings at a later date if you need to (BB2009 has an option to do this under the Opt. menu).
If that doesn't work for you, describe what happens and what doesn't work about it, and hopefully there is a solution...
--------------------
Andrew
PG Music Inc.
I wasn't entirely certain - I might have missed it - if you want to have Band-in-a-Box play through your Ensoniq synth, or if you want to play Band-in-a-Box through an internal synth on your computer.
Let's assume that you simply want to use your keyboard for input to play into Band-in-a-Box, but you want to hear everything (including what you play on your keyboard) played by an internal synth. By internal synth, I mean something like a MIDI synth built into your sound card (which you don't have; M-audio cards generally just have a MIDI interface to allow you to connect external device, they don't have a built-in MIDI synth), the Microsoft GS Wavetable (included with Windows) or the Roland VSC-DXi (the General MIDI compatible DXi synth included with Band-in-a-Box).
On your system, your options for "internal" MIDI output are the GS Wavetable or the Roland VSC-DXi. The Roland VSC3 used to be popular with Band-in-a-Box, and it acts like a "regular" MIDI Output driver, however it has become less compatible with newer computers, and it is much better and easier to use the Roland VSC-DXi instead. So the VSC-DXi is installed with Band-in-a-Box, while the VSC3 isn't. It is available if you want to install it, in the \bb\vsc\VSC_installs folder. But most people wouldn't want to install it.
Your best option is the Roland VSC-DXi - so select the "Use DXi Synth" checkbox.
There is a piece of information that you may be missing, which might be useful for you...
When you play your external MIDI keyboard, you hear the sound played by (it is routed to) either the MIDI output driver or DXi synth. That is, even if you have a DXi synth selected, when you play your keyboard, it might be routed to your MIDI output driver depending on some settings and whether song playback is happening. Here are the settings:
--
--if you are using "MME" audio drivers:
-If you have the "Route MIDI thru to MIDI driver" box checked, then it (live playing) will be routed to the MIDI driver (e.g. GS Wavetable) all the time.
-If you have the "Route MIDI thru to MIDI driver" box UNCHECKED, then it will be routed to the DXi synth while the song is playing, and to the MIDI driver (e.g. GS Wavetable) while there is no song playing.
--if you are using "ASIO" audio drivers:
-If you have the "ASIO Always On" box checked (in the ASIO Audio Drivers dialog), it is routed to the DXi (or VSTi) synth all the time whether the song is stopped or playing.
-If you have the "ASIO Always On" box unchecked, it is routed to the DXi synth while the song is playing, and through the MIDI Output Driver when the song is stopped.
--
So if you had been using MME driver, playing your keyboard and trying to determine the effect of the route MIDI thru... checkbox, you would have always been hearing it play through the GS Wavetable unless you happened to have a song playing while you were testing.
There are reasons for the way it works... the "DXi synth" usually has much more latency than the "MIDI output driver", and with that much latency it doesn't make sense to use it as your output for live playing. In your case, the GS Wavetable has alot of latency and happens to be your only available internal "MID driver".. This is common with many newer computers, but wasn't always the case. The GS Wavetable had far less latency on Windows 98 than XP, and has far less latency on XP than it does on Vista. In addition, many people have soundcards like the SoundBlaster series which have built-in MIDI synths with no latency. Other people have external synths like you do, but they're using them for output in addition to input, and that has no latency.
The latency problem of soft synths is generally solved with the use of ASIO drivers, although it is often more difficult to get ASIO drivers set up on specific computers. "ASIO4ALL" is an excellent solution and works great on most people's computers. One problem is that on some systems it can conflict with the GS Wavetable. The solution is to make sure that the GS Wavetable isn't selected anywhere in your setup.
Note that it is possible to inadvertently "select" the GS Wavetable by choosing the "MIDI Mapper" or "No MIDI Output". In general, you should ignore the MIDI Mapper, which was useful on Windows 95/98/ME, but is no longer useful/functional on newer versions of Windows, as far as I know.
Here is what I think should work for you...
1. Install ASIO4ALL
2. Reboot your computer to make sure there are no problems.
3. Run Band-in-a-Box. Select the M-Audio device for input, and ALSO select the M-Audio device for your output. The purpose of this is to just make sure that something other than the GS Wavetable is selected for output.
Note: the synth/soundcard setting is mainly useful for non-GM compatible synths and specific purposes. But you can select the VSC from that list, or just select "General MIDI Instrument Misc."
4. Check the Use DXi/VSTi synth box. If already selected, click the DXi synth Settings button. Either way, this will open the DirectX/VST Window. You should have the VSC-DXi selected in the top slot (synth plugins). Don't worry about the bottom three slots, which are for audio plugins, although you may wish to select the PG Peak Limiter plugin in one of them if your volume is low. Close the DX window.
5. Click on the Audio Settings button (or Opt.-Preferences-Audio) to open the Audio Settings window. Select ASIO, or if already selected press the Audio Drivers button. This will open the ASIO Audio Drivers window. Select ASIO4ALL. For the input and output ports, normally you can leave the top ones highlighted. This would normally be your computer's built-in audio device. If that one isn't working you may need to experiment, as it isn't necessarily obvious what all the different ports are for.
6. Check the ASIO Always On box.
Note: The ASIO Driver Control panel button will open the ASIO4ALL settings. The main purpose is normally to adjust the latency ("buffer size"). Leave this at default, or around 512, until you get it working. When you have sound etc. then you can try reducing the buffer size if you're finding that there is still some latency between when you hit a key on your keyboard and when you hear it play. How low you can set the latency depends on your computer (processor, etc.).
Note: While other dialogs in BB display latency, when you are using ASIO drivers the ASIO control panel is the only dialog that you can use to change the latency.
7. Ok to exit all the dialogs. Press Play once (if you haven't yet since you started BB), just to make sure ASIO is initialized. You can stop playback now if you wish, ASIO will remain on for the rest of your session.
Now try playing your keyboard and playing a song, and see if it works. If it does, you may want to close Band-in-a-Box, open your bb folder and make a backup of the file "intrface.bbw" Then you can restore your settings at a later date if you need to (BB2009 has an option to do this under the Opt. menu).
If that doesn't work for you, describe what happens and what doesn't work about it, and hopefully there is a solution...
--------------------
Andrew
PG Music Inc.
Monday, April 27, 2009
biab chord push
I'm trying to jump a chord location...shift it forward to have it strike on the upbeat (before the downbeat);
=======================
The precise location of the sounding of your "pushed" chord impacts how you might implement a "pushed" chord.
To sound a push on the 4th beat of a 4/4 measure, simply enter the chord you want to push and precede the letter with a "," comma.
To push a chord on the 2nd eighth note "and" pulse of the 4th quarter note, at the end of a measure,
right click in the next measure where the chord you want to push ahead of the 1st beat should be located,
select the chord settings sub menu and check on the left side mid area the extent of the push you want, with options for an eighth note beat as well as some other values.
So, depending on the groove, the pulse, it may be as easy as how you enter the chord, placing it into a quarter note slot using a ","
or if the push location for sounding is finer than that again depending on the groove and pulse and the effect you seek, use of the right click chord setting sub menu with some experimentation, auditioning how the push option checked off actually sounds with drum kit used and other instrument that may be impacted, using that more detailed option. Best of luck...
pgpost
=======================
The precise location of the sounding of your "pushed" chord impacts how you might implement a "pushed" chord.
To sound a push on the 4th beat of a 4/4 measure, simply enter the chord you want to push and precede the letter with a "," comma.
To push a chord on the 2nd eighth note "and" pulse of the 4th quarter note, at the end of a measure,
right click in the next measure where the chord you want to push ahead of the 1st beat should be located,
select the chord settings sub menu and check on the left side mid area the extent of the push you want, with options for an eighth note beat as well as some other values.
So, depending on the groove, the pulse, it may be as easy as how you enter the chord, placing it into a quarter note slot using a ","
or if the push location for sounding is finer than that again depending on the groove and pulse and the effect you seek, use of the right click chord setting sub menu with some experimentation, auditioning how the push option checked off actually sounds with drum kit used and other instrument that may be impacted, using that more detailed option. Best of luck...
pgpost
Sunday, April 26, 2009
click track
pgmucis_post, -Create one measure of drum click by using event list to insert C#2 channel 10 (sidestick) on the 1-1-0, 2-1-0, 3-1-0, and 4-1-0 of the first measure.
(I use the sidestick because it cuts thru in headphones) -
-use 127 for velocity when creating the notes
-hilight the whole bar and copy it.
-Paste it, using the 'repitions' checkbox to set the number of nars to match the song.
-Assign the VSC DXi to the track, right click the track and auto convert it to audio on a blank tarck.
-turn off the midi track and hilight the new audio track.
-go into DX FX area and put PGPeakLimit on the track so you can make it as loud as you need to by pushing one slider up.
You should have a click in perfect sync with RD and one thats loud enough to make the drummers ears bleed, which in my experience is the correct volume to get them to even notice it, let alone pay attention to it!
(I use the sidestick because it cuts thru in headphones) -
-use 127 for velocity when creating the notes
-hilight the whole bar and copy it.
-Paste it, using the 'repitions' checkbox to set the number of nars to match the song.
-Assign the VSC DXi to the track, right click the track and auto convert it to audio on a blank tarck.
-turn off the midi track and hilight the new audio track.
-go into DX FX area and put PGPeakLimit on the track so you can make it as loud as you need to by pushing one slider up.
You should have a click in perfect sync with RD and one thats loud enough to make the drummers ears bleed, which in my experience is the correct volume to get them to even notice it, let alone pay attention to it!
your own style list
1. Create a new file in your bb folder called MyStyles.LS3, and open this file with a text editor, like notepad. (the file can have any name you want as long as it has the .LS3 file extension).
2. On the first line of the text file, type the ~ symbol followed by your new category name. For example: ~ My Styles
3. Open the existing file BBW.LST in the bb folder, also with a text editor. (Disable word wrap).
4. Search for a style name (Ctrl+F). Highlight the entire line (shift+end) starting with the @ symbol, and copy it from bbw.lst to MyStyles.ls3. Repeat for each style you want to add.
5. Save the file, and press Rebuild in the StylePicker.
pgpost
2. On the first line of the text file, type the ~ symbol followed by your new category name. For example: ~ My Styles
3. Open the existing file BBW.LST in the bb folder, also with a text editor. (Disable word wrap).
4. Search for a style name (Ctrl+F). Highlight the entire line (shift+end) starting with the @ symbol, and copy it from bbw.lst to MyStyles.ls3. Repeat for each style you want to add.
5. Save the file, and press Rebuild in the StylePicker.
pgpost
Saturday, April 25, 2009
Thursday, April 23, 2009
approach to songwriting
I was asked for my approach to songwriting and wrote the following. Others might find it helpful...
Notating the Melody
If you are a singer then your dilemma re songwriting is the same as mine and probably for the same reason - we are primarily singers and think as such rather than instrumentalists and thinking as such. It is easy for us to write the lyrics and think of a good melody - arranging is our problem. To get around this, I use Melodyne. The programme does take some learning but you can also get a training video for it. This enables me to record a vocal melody and then use the programme to convert the melody into MIDI notation.
Remember to use a metronome or simple drum pattern to record the vocals against, this will help with the timing and placement of notes. Nothing fancy, just a 3 time or 4 time beat. Set it to start with at 120bpm as this is the median of the RI tempos. You can always speed it up or slow it down a little but stay, if possible, within the 100bpm to 140bpm range so that you will be able to make good use of the RIs. There is a reason why PG maps everything to 120bpm and the key of C - not only is it mid-range tempo it is also the easiest key.
Arranging
Once the notation is down, it is very easy to arrange. Import it into BIAB and this will tell you what key your notation is in. A good clue to the melody key though is usually the most common note in the series and / or the final note of the song. Next step, transpose it to the key of C (no incidentals to worry about) which makes it very easy to see the chords to arrange it to. You can cover all the notes using 3 chords (I, IV and V7) - in the key of C, these are C, F and G7. Every note in the scale is covered with these. Look for the 'key' notes, these are the longer ones or the ones that come on the beat and are most often the first and third beats in a 4/4 bar (in a 3/4 song it is even easier because you just need to look at the first note in each bar).
In C, the I will match against C, E and G, the IV will match against F, A and C, the V7 will match against G, B, D and F. The V7 will also resolve nicely back to the I. Now that gives us every note...
C - I / IV
D - V7
E - I
F - IV / V7
G - V7 / I
A - IV
B - V7
Ok. This is simply a 3 chord trick but you can spice it up by using substitution chords. In the key of C, D can be substituted with a iim and A with a vim (i.e. the IV chord can be substituted with either iim / vim). If you want fancier chords, you can always add the extensions (2, 9, 11, 13, etc) or flatten a note in the chord to cover something in the melody where the chord you really want to use (because of a progression such as I-vi-ii-V7-I) will clash, such as an augmented chord or a b5... These extra chords are just added for flavour. Remember, EVERY song can be boiled down to the simple I, IV and V7 chords. Most probably, though not always your song will start and end on the I. Remember the Beatles? They wrote an entire song using just one single chord, which was of course the same as the key (G, if I remember right). Once you have the melody, of course, you can always use the Re-Harmonist feature in BIAB to generate a chordal progression for you but if you follow my outline above, you won't go far wrong. I mainly use the Re-Harmonist if I want to find an alternative progression in a part of a song if I am trying to avoid using a certain chord (I can play every chord in the book but some of them are preferable to others for ease of playing and for sound properties). Once you have this, you can then use the Vocal Wizard to set it to the right key for your voice (and for our area, that is primarily either C, G, D, A or E). Believe me, the above may seem very simple but it really is! About 15 or so years ago, I analysed in depth note-for-note over 250 all-time hit songs from ABBA to ZZ Top to work out how they did it and created a Decision Support System that enabled me to spot the patterns and how they were arrived at. It took a couple of months and the above was the outcome. It works.
Selecting Instrumentation
Having done this, select the instruments you would like to have in your line-up and can imagine being played by real musicians in a band you put together and then use the RIs to reflect this. The rest is down to your ears and the mixing and mastering techniques as very simply outlined by Ray in his tutorial on RB. Don't go creating arrangements with different instruments each time - we may have the ability to do this with RB but would we in real life? We can't afford to tour a whole orchestra with us just because we want an alto sax solo or a bassoon for one single number in a repertoire of 20 songs or so! Use your ears and your brain / imagination!
Selecting a Style
As to Style selection, I start with something very simple and only one instrument (usually a strumming acoustic guitar), not even drums. I want people to be able to play this at home for themselves and therefore it is very important to KISS (Keep It Simple Stupid). I want to walk along a beach one day or take an underground train and see a teenager playing and singing my songs on a guitar! Once I have this, I will add a second instrument (this used to be a bass but now that my g/f wants to play with me, it is an acoustic piano). These are my two main instruments - bass, rhythm and fills can be achieved with these two instruments alone (think James Blunt).
For recording purposes, I will then add drums, bass (I have an e-bass, so that is what I go for as I know I have one) and possibly, though not always, a lead guitar / sax. I will use these instruments for the backing tracks and can always have them recorded for use in live performance (still only 2 real musicians, myself and my g/f). The choice of instruments can be varied - I have an acoustic guitar, a strat clone and a jazz guitar so I have a choice of 3 different guitar sounds, a jazz e-bass and keyboards so I know I have the instruments to be able to play this line up by myself if need be.
Recording & Performance
So now we have the music, add a good quality mic for recording and we can produce great songs. Add a good PA system and you are ready for gigs.
Additional Tips
Another tip is to spend as much time as possible hanging out around the forum - on all the boards. So much can be picked up there about all sorts of things from gigs to performance techniques to tricks with the software and stored away in memory for possible future use.
HTH
--------------------
http://www.pgmusic.com/ubbthreads/showflat.php?Cat=0&Number=196068&an=0&page=1#Post196068
Sam
Notating the Melody
If you are a singer then your dilemma re songwriting is the same as mine and probably for the same reason - we are primarily singers and think as such rather than instrumentalists and thinking as such. It is easy for us to write the lyrics and think of a good melody - arranging is our problem. To get around this, I use Melodyne. The programme does take some learning but you can also get a training video for it. This enables me to record a vocal melody and then use the programme to convert the melody into MIDI notation.
Remember to use a metronome or simple drum pattern to record the vocals against, this will help with the timing and placement of notes. Nothing fancy, just a 3 time or 4 time beat. Set it to start with at 120bpm as this is the median of the RI tempos. You can always speed it up or slow it down a little but stay, if possible, within the 100bpm to 140bpm range so that you will be able to make good use of the RIs. There is a reason why PG maps everything to 120bpm and the key of C - not only is it mid-range tempo it is also the easiest key.
Arranging
Once the notation is down, it is very easy to arrange. Import it into BIAB and this will tell you what key your notation is in. A good clue to the melody key though is usually the most common note in the series and / or the final note of the song. Next step, transpose it to the key of C (no incidentals to worry about) which makes it very easy to see the chords to arrange it to. You can cover all the notes using 3 chords (I, IV and V7) - in the key of C, these are C, F and G7. Every note in the scale is covered with these. Look for the 'key' notes, these are the longer ones or the ones that come on the beat and are most often the first and third beats in a 4/4 bar (in a 3/4 song it is even easier because you just need to look at the first note in each bar).
In C, the I will match against C, E and G, the IV will match against F, A and C, the V7 will match against G, B, D and F. The V7 will also resolve nicely back to the I. Now that gives us every note...
C - I / IV
D - V7
E - I
F - IV / V7
G - V7 / I
A - IV
B - V7
Ok. This is simply a 3 chord trick but you can spice it up by using substitution chords. In the key of C, D can be substituted with a iim and A with a vim (i.e. the IV chord can be substituted with either iim / vim). If you want fancier chords, you can always add the extensions (2, 9, 11, 13, etc) or flatten a note in the chord to cover something in the melody where the chord you really want to use (because of a progression such as I-vi-ii-V7-I) will clash, such as an augmented chord or a b5... These extra chords are just added for flavour. Remember, EVERY song can be boiled down to the simple I, IV and V7 chords. Most probably, though not always your song will start and end on the I. Remember the Beatles? They wrote an entire song using just one single chord, which was of course the same as the key (G, if I remember right). Once you have the melody, of course, you can always use the Re-Harmonist feature in BIAB to generate a chordal progression for you but if you follow my outline above, you won't go far wrong. I mainly use the Re-Harmonist if I want to find an alternative progression in a part of a song if I am trying to avoid using a certain chord (I can play every chord in the book but some of them are preferable to others for ease of playing and for sound properties). Once you have this, you can then use the Vocal Wizard to set it to the right key for your voice (and for our area, that is primarily either C, G, D, A or E). Believe me, the above may seem very simple but it really is! About 15 or so years ago, I analysed in depth note-for-note over 250 all-time hit songs from ABBA to ZZ Top to work out how they did it and created a Decision Support System that enabled me to spot the patterns and how they were arrived at. It took a couple of months and the above was the outcome. It works.
Selecting Instrumentation
Having done this, select the instruments you would like to have in your line-up and can imagine being played by real musicians in a band you put together and then use the RIs to reflect this. The rest is down to your ears and the mixing and mastering techniques as very simply outlined by Ray in his tutorial on RB. Don't go creating arrangements with different instruments each time - we may have the ability to do this with RB but would we in real life? We can't afford to tour a whole orchestra with us just because we want an alto sax solo or a bassoon for one single number in a repertoire of 20 songs or so! Use your ears and your brain / imagination!
Selecting a Style
As to Style selection, I start with something very simple and only one instrument (usually a strumming acoustic guitar), not even drums. I want people to be able to play this at home for themselves and therefore it is very important to KISS (Keep It Simple Stupid). I want to walk along a beach one day or take an underground train and see a teenager playing and singing my songs on a guitar! Once I have this, I will add a second instrument (this used to be a bass but now that my g/f wants to play with me, it is an acoustic piano). These are my two main instruments - bass, rhythm and fills can be achieved with these two instruments alone (think James Blunt).
For recording purposes, I will then add drums, bass (I have an e-bass, so that is what I go for as I know I have one) and possibly, though not always, a lead guitar / sax. I will use these instruments for the backing tracks and can always have them recorded for use in live performance (still only 2 real musicians, myself and my g/f). The choice of instruments can be varied - I have an acoustic guitar, a strat clone and a jazz guitar so I have a choice of 3 different guitar sounds, a jazz e-bass and keyboards so I know I have the instruments to be able to play this line up by myself if need be.
Recording & Performance
So now we have the music, add a good quality mic for recording and we can produce great songs. Add a good PA system and you are ready for gigs.
Additional Tips
Another tip is to spend as much time as possible hanging out around the forum - on all the boards. So much can be picked up there about all sorts of things from gigs to performance techniques to tricks with the software and stored away in memory for possible future use.
HTH
--------------------
http://www.pgmusic.com/ubbthreads/showflat.php?Cat=0&Number=196068&an=0&page=1#Post196068
Sam
Wednesday, April 22, 2009
midi drum kit
the Standard Drum Kit. Click here a list of the drum sounds that correspond to each MIDI note in the Standard Drum Kit. The Brush Kit is usually the same as the Standard Drum Kit with the following three exceptions:
- Note #38 is a Brush Tap instead of a Snare Drum.
- Note #39 is a Brush Slap instead of a Hand Clap.
- Note #40 is a Brush Swirl instead of a Snare Drum.
Some Yamaha synths use a somewhat different map for the brush sounds. On these synths:
- Note #25 is a Brush tap.
- Note #27 is a Brush Slap.
- Note #26 is a Brush swirl.
midi drum kit note names
BRUSH DRUM KIT “STIR” TUTORIAL
create click track
youtube-using Audacity to generate a Click Track
axiom25 links
Enigma - Getting Started pdf
This is what I've sussed from the Engima help-file.
1) Open Enigma and select the Axiom 25 Default Bank.
2) File>New User Preset Bank (or CTRL-N)will create a writable user bank based on the Axiom 25 defaults.
3)Click the downward-pointing arrow in the top-left (with the device connected) to download your current settings from the keyboard to the computer. You will see a list of banks on the bottom-left; select the one you use while performing (just choose number 1 if you're not sure).
4) View>Control Editor (or CTRL-I) brings up the Control Editor. Click the Zone Data tab at the top.
5) See the keyboard image at the bottom of the main display. There should be three zones already drawn in, spanning the whole keyboard and greyed-out (they are switched off). Click number 1.
6) (picture 1) The details for zone number 1 will come up on the Control Editor which you opened in step 4. Edit the start and end notes so it occupies the first octave only. Edit the channel to number 2 (easiest not to use 0 or 1) and switch it on.
7) (picture 2) Repeat the process for zone 2 - set it to occupy the second octave and transmit on Channel 3.
8) Click the two sideways arrows in the top-left to transmit the changes to your device, and close Enigma. NB: I don't recommend changing any other settings in Enigma, since it can all be done (octave shifting, controller-assignment, etc) in software with things like MIDI learn and MFX.
9) In Reaper (http://www.reaper.fm/) (unlimited $40 shareware) create two tracks. Record-arm them both (the R on the bottom left of its entry in Track view). Activate input monitoring (the little speaker symbol) and deactivate recording (the little red arrow, choose disabled).
10) To choose the input port and channel, click the meter next to the monitor and record mode buttons. Choose MIDI input, and find the Axiom's input on the list. Choose channels 2 and 3 respectively.
11) Open the Track FX window on track 1. The button looks like several concentric circles, and is the third button in from the left, at the top-right of the track's entry in Track View. Choose VSTi on the left, and put Massive on track 1. Do the same on track 2, with FM8.
12) Now you should have the left hand playing Massive and the right playing FM8. I suggest you save the Reaper project for future use. You can use the same principles to set up a third zone for use when you download Absynth.
I suggest you try that out when you get home and holler if you run into any problems.
1) Open Enigma and select the Axiom 25 Default Bank.
2) File>New User Preset Bank (or CTRL-N)will create a writable user bank based on the Axiom 25 defaults.
3)Click the downward-pointing arrow in the top-left (with the device connected) to download your current settings from the keyboard to the computer. You will see a list of banks on the bottom-left; select the one you use while performing (just choose number 1 if you're not sure).
4) View>Control Editor (or CTRL-I) brings up the Control Editor. Click the Zone Data tab at the top.
5) See the keyboard image at the bottom of the main display. There should be three zones already drawn in, spanning the whole keyboard and greyed-out (they are switched off). Click number 1.
6) (picture 1) The details for zone number 1 will come up on the Control Editor which you opened in step 4. Edit the start and end notes so it occupies the first octave only. Edit the channel to number 2 (easiest not to use 0 or 1) and switch it on.
7) (picture 2) Repeat the process for zone 2 - set it to occupy the second octave and transmit on Channel 3.
8) Click the two sideways arrows in the top-left to transmit the changes to your device, and close Enigma. NB: I don't recommend changing any other settings in Enigma, since it can all be done (octave shifting, controller-assignment, etc) in software with things like MIDI learn and MFX.
9) In Reaper (http://www.reaper.fm/) (unlimited $40 shareware) create two tracks. Record-arm them both (the R on the bottom left of its entry in Track view). Activate input monitoring (the little speaker symbol) and deactivate recording (the little red arrow, choose disabled).
10) To choose the input port and channel, click the meter next to the monitor and record mode buttons. Choose MIDI input, and find the Axiom's input on the list. Choose channels 2 and 3 respectively.
11) Open the Track FX window on track 1. The button looks like several concentric circles, and is the third button in from the left, at the top-right of the track's entry in Track View. Choose VSTi on the left, and put Massive on track 1. Do the same on track 2, with FM8.
12) Now you should have the left hand playing Massive and the right playing FM8. I suggest you save the Reaper project for future use. You can use the same principles to set up a third zone for use when you download Absynth.
I suggest you try that out when you get home and holler if you run into any problems.
Audiodude
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