Q. I have a Yamaha drum machine, Casio keyboard, and a Packard Bell computer. Can I
     hook this stuff together, even though they are different brands?

A. Yes. That’s one of the important features of MIDI--to be universal across different
     brands and models.
 
 

Q. I have three MIDI keyboards that are different from each other. It is ok to connect
     these together?

A. Yes. Again, MIDI is designed to be universal across different brands and models.
 
 

Q. Should I power everything down before connecting the components or changing
     connections?

A. I strongly advise it. Otherwise, there MAY be a chance that you could be playing
     Russian Roulette on your valuable equipment, particularly if you are in an environment
     loaded with static electricity. Changing connections when there is data transmission
     in progress is just asking for trouble, like blown chips ($$$). If you must change
     connections during a performance, a patch bay (a device that allows you to change
     MIDI paths) may be in order. Be sure to read the owner’s manual for the patch bay.
     At least SOME MIDI equipment is "opto-coupled", which uses a chip where light is
     used to complete the circuit.  If this is the case, then MIDI connections can be changed
     with the power on.  However, I feel that not all MIDI equipment has this, for I tried
     changing some MIDI connections with the power on, and I heard a pop when I did
     this, and this does not sound good at all.
 
 

Q. What all will MIDI allow me to do that otherwise I can’t do or would be extraordinarily
     difficult or would require specialized equipment?

A.  MIDI makes the following possible or easier:

     - One person creating ensembles

     - Transposing after recording

     - Editing out mistakes after recording

     - Record a song and generate sheet music from it

     - Record large numbers of tracks easily

     - Change instrument sounds after recording

     - Copy a song from one sequencer to another

     - Change the tempo after recording

     - Change the tempo and/or key without affecting the other or affecting sound
       quality

     - Allow a person that has only one hand or can use only one hand at a time to
       create masterpieces.

     - Record a very difficult track at a much slower tempo and then speed it up during
       playback.
 
 

Q. I have a nice MIDI setup. However, my friend swears by his $3000 multitrack
    tape recorder. Which is better?

A. That depends on your applications. If you need to use non-MIDI instruments, then the
    multitrack recorder is the answer. The same holds true with vocals. However, if you
    have MIDI equipment and you want to add vocals, then a regular tape deck and an
    audio mixer are in order--usually cheaper. You may need an audio mixer even if you
    don’t intend to have vocals, but have two or more MIDI devices that you wish to re-
    cord their audio outputs using a regular tape deck. If you tend to make mistakes
    during recording, need to transpose, and/or need to change the tempo after recording,
    then MIDI is by far the better choice. In certain professional settings, both may be
    necessary.
 
 

Q. I have two MIDI keyboards connected together in order to create an ensemble.
    However, I can’t get anything on the second keyboard. Why is this?

A. Well, a number of things can cause this. First of all, some keyboards will NOT go into
    MIDI "mode" upon power-up. You must make sure that MIDI is enabled on BOTH
    keyboards. After this, you must have both keyboards set on the same MIDI channel.
    However, channel 10 on General MIDI units, Roland MT-32-compatable units,
    Roland MIDI-GS units, and Yamaha MIDI-XG units will force them into percussion
    mode--They act as drum machines. Also, be sure that you have the MIDI OUT of
    your "master" keyboard going into the MIDI IN on the "slave" keyboard. Be sure
    that you have the volume turned up on both units, and have all amplifier equipment on
    if present. Test this by hitting a note or two on each keyboard. If the problem perists,
    try a new MIDI cable. If the problem still persists, even when checked by a more
    experience MIDI user, you may have one or more bad keyboards, which requires
    professional repair service.
 
 

Q. My brand new piece of MIDI equipment says that it is "General MIDI", "MIDI GS",
    or "MIDI XG" compatible. What does this mean?

A. Before the days of General MIDI, MIDI GS, and MIDI XG, manufacturers were free
    to use whatever instrument numbering scheme they wanted. For example. #10 on one
    unit would be a pipe organ, while the same number on another unit would be a
    trumpet, while still another unit, the same number would yield a flute. You didn’t
    know what to expect. Moreover, manufacturers could implement whatever functions
    and value curves they pleased, as long as the equipment was usable. First came
    General MIDI. This made the first 128 sound numbers standard. For example, #56 is
    ALWAYS a trumpet. Program #19 is ALWAYS a church organ, and so forth. In
    addition, a minimum set of functions and certain value curves must be implemented.
    MIDI GS and MIDI XG are both supersets of General MIDI. They each can do
    everything that General MIDI can do, plus a great deal more. They go past 128
    instruments through the use of bank switching. Each bank is capable of handling 128
    instruments. However, I don’t think that MIDI GS and MIDI XG are compatible with
    each other, except for the General MIDI portions of each. MIDI GS was implemented
    by Roland, while MIDI XG was implemented by Yamaha. MIDI XG is newer and
    appears to have a better implementation than MIDI GS.
 
 

Q. When I use MIDI, the output device is missing notes, having stuck notes, or is
    generating a bunch of sour notes out of the middle of nowhere! What is going on?

A. Well, a number of things can cause any of these symptoms. First, try a new set of
    MIDI cables. Are the cables too long? Cables over 25 feet or so can cause problems.
    If you are around other equipment that generates a lot of external interference (not
    very common), this could be adding "noise" to the MDI data. If it happens rarely, then
    it may be the fact that some MIDI devices are built better than others. This is due to
    the serial nature of MIDI itself. There is no way for a controller to know if its host(s)
    are receiving the data properly. If it happens a lot and your cables are good, then you
    most likely have either one or more faulty devices (needs repair) or a slow processor,
    or ill-designed software. Below is a list of known or potentially troublesome factors:

    - PC’s with processors slower than a 386 (likely)

    - PC's with too many icons on the desktop and/or too many shortcuts and/or fonts
       in Windows 95/98/NT/2000/Me (known)

    - Commodore computers other than Amiga’s (likely)

    - Very old MIDI equipment (built in the early 1980’s) (likely)

    - Old Atari computers, other than ST series systems (likely)

    - Sound Blaster full-edition AWE-32 cards (known)

    - Sound Oasis software for the Amiga (known)

    - Synthia, Synthia II, and Synthia Pro software for the Amiga (known)

    - Dr. T’s MRS software for the Amiga (known)

    - Kickstart 1.3 or earlier ROM’s for the Amiga (known)

    - Early Yamaha MIDI keyboards (known)

        Note that even if a host device misses just one byte. the results can be catastrophic--
    sudden unexpected silence or a bunch of sour notes out of the middle of "nowhere."
    Also be aware that some software does NOT like MIDI "clocks" or "active sense"
    from a controller. MIDI clocks are basically pulse bytes sent at a frequency equal to
    24 times the tempo setting. Active sense bytes are periodically sent to let the host
    know that it can expect MIDI from the controller. This may be used to disable power
    shutdown on units that shut down after so many minutes of inactivity. However, some
    software hates these, including some Amiga software, such as the Synthia series, and
    Sound Oasis. There are three basic solutions for these problems. Disable MIDI clocks
    and/or active sense on the controller (not possible on some controllers), use another
    controller, or use another computer in the series that would run a program that would
    filter these out.

        In the case of the Sound Blaster full-edition AWE-32 card in a PC, you MUST use
    another computer between the controller and the PC. This computer should either
    NOT be a PC (IBM or IBM compatible computer) or have some other MIDI hard-
    ware. This computer must run some sort of SOFT-THROUGH utility. DO NOT use a
    hardware through-connection--you’ll defeat the purpose. It appears that the full-
    edition AWE-32 acts up when MIDI bytes are packed too efficiently. This is
    particularly true with some Yamaha keyboards, such as the PSR-500M and probably
    the PSR-500, PSR-600M, PSR-400, and PSR-85.
 
 

Q. My MIDI setup drags when I play back a large number of tracks on the sequencer.
    Why does this occur?

A. A number of factors can cause this. A slow processor cannot keep up with the load.
    286’s and 68000’s have this problem. If you have a storming-fast processor, then you
    may be very well outdoing MIDI itself. This is more of a problem with masterpieces
    done by decent musicians. High-level polyphony (greater than 30 or 40 notes at a
    time), pitch bends simultaneously on two or more channels, aftertouch (ESPECIALLY
    poly aftertouch) simultaneously on two or more channels, large number of tracks
    (more than 16) place a horrendous load on MIDI itself. While its baud rate is 31,250
    bits per second, that translates to a throughput of a little over 3K per second, which is
    very slow compared to today’s standards. Using MIDI clocks also adds to the
    problem. If you absolutely need everything and assuming that you have a fast
    processor, such as a 486, Pentium, 68030, 68040, 68060, PCC 600 series, or Alpha,
    then you need to look into SEPARATELY ADDRESSABLE MIDI OUT’s. Multiple
    MIDI OUT’s on the same bus will NOT yield any additional throughput. This also
    allows you to go beyond the normal 16 MIDI channels.
 
 

Q. I have several MIDI components daisy-chained (MIDI THRU’s going into MIDI
    IN’s) and I notice delays in the last components in the setup. Is there anything that I
    can do to alleviate this?

A. Yes, there is. You need to use either a "thru-box" (a hardware device that channels
    one output into several) or a patch bay (a hardware device that allows you manipulate
    MIDI paths--assuming that it can function also as a multiple-thru device).
 
 

Q. I am trying to create an ensemble. How do I keep the master keyboard from changing
    the instrument sounds on the host/slave devices?

A. Disable PROGRAM CHANGE on the MIDI controls on either the master keyboard
    and/or the host devices. Note that not all equipment will allow you to disable program
    changes. With program change, you can change the instrument setting without
    affecting the other equipment. This also disables program change commands coming
    into the MIDI IN of your critical device.
 
 

Q. I need local control off, but my keyboard does not have the local control function.
    What can I do?

A. You have two options: Turn the master volume off on the controller or turn off the
    the volume for the sound generator(s).
 
 

Q. I need to do bank switching on a Casio CT-670 keyboard or on older MIDI
    equipment via MIDI in order to get past the 128 instrument barrier. How do I do this?

A. Well, you may need to use a SYSTEM EXCLUSIVE command. This is applicable
    only via a sequencer or patch librarian. The command for the Casio CT-670 keyboard
    is the following:

    F0 44 03 00 C 51 X F7 -- where N is 70 for channel 1, 71 for channel 2, and so forth,
    and where X is 20 for bank 0, 21 for bank 1. Note that these are in hex. The decimal
    equivalent is the following:

    240 068 003 000 C 81 X 247 -- where C=111+channel number (1-4) and where
    X is 32 for bank 0, 33 for bank 1.

    Be aware that these commands MAY work with Casio CT-680 keyboard. WARN-
    ING: BE SURE TO ISSUE A PROGRAM CHANGE BETWEEN 0 TO 9 BEFORE
    ISSUING THIS SYSTEM EXCLUSIVE COMMAND, OR OTHERWISE
    STRANGE BEHAVIOR MAY RESULT. IN ADDITION, YOU SHOULD USE
    A NUMBER THAT IS EQUAL TO THE SECOND DIGIT OF THE DESIRED
    INSTRUMENT NUMBER. For example, if you want to use program #56 or #156,
    use the following command sequence:

    PG 5
    SE F0 44 03 00 70 51 21 F7 (replace ‘21’ with ‘20’ if you want program #56.)
    PG 66

    Please note that I do NOT know the system exclusive commands for other models of
    MIDI equipment. There IS a way that you can find out how to do bank switching on
    other equipment. Hook the MIDI OUT of the device in question to a sequencer and
    record yourself doing a bank change. Now go into the sequencer and examine the
    event list if it has one. Good sequencers have this.
 
 

Q. I have two sequencers and they cannot read each other’s files, but I want to copy a
    from one to the other. I really like the song. Is there hope?

A. Yes, there is. Connect the two sequencers via MIDI with the source sequencer’s
    MIDI OUT going into the destination sequencer’s MIDI IN and power up both
    sequencers. Use the following procedure to copy the song:

    1. Set the source sequencer to where it will send MIDI clocks.

    2. Set the destination sequencer to where it will synchronize to external MIDI
        MIDI clocks.

    3. If there are no tempo changes in the song, set the source sequencer to a
        slow tempo in order to reduce the likelihood of problems during the transfer.

    4. Set the destination sequencer into record mode. Note that it should not be
        necessary to start this sequencer running. In fact, the transport will NOT run
        since it is now dependent on the external MIDI clocks from the source
        sequencer.

    5. Enable multiple inputs channels on the destination sequencer.

    6. Start the source sequencer into PLAY mode. The destination sequencer’s
        transport should now be running.

    7. Wait until the song finishes.

    8. If you want to test the song on the destination sequencer, set the synchronization
        mode to internal, or it won’t play without the source sequencer playing.

    9. If the tempo was slowed down, set the destination sequencer to a desired
        setting.

    10. Save the song on the destination sequencer onto a disk.
 
 

Q. I copied a MIDI file from one sequencer to another by playing it through MIDI.
    However, the timing is off on the copy. What is causing this?

A. MIDI itself is the culprit! MIDI uses a standard which dictates 24 steps per quarter
    note. If you were to somehow change this to a higher value, you would run the danger
    of overloading MIDI and causing sickening slowdowns and delays. The best way to
    copy MIDI files if possible is by copying it from one disk to another. However, this
    method will not work with many hardware sequencers, for they often use unusual
    disk formats, which are not readable on other equipment, such as PC’s. The last hope
    here is hardware and/or software that would be designed to read many disk formats--
    AND must be able to interpret the MIDI file, for the file itself may be non-standard.
 
 

Q. When I hit PLAY or RECORD on the sequencer, the transport fails to go anywhere.
    Why is this?

A. There is a good chance that the sequencer is set for external synchronization, but is not
    getting any from another component. Be sure to get the other component to send
    MIDI clocks or set the sequencer to internal synchronization.
 
 

Q. I noticed that on my midi connectors, the "notch" is not at the top. Why is this?

A. You have a good point here. It seems to be a matter of preference by a manufact-
    urer. Unfortunately, it does make things a bit harder to connect components by "feel,"
    and you often must get to the back of the device and check the orientation of the
    connectors.  Luckily, I have never seen a MIDI connector that was not oriented in
    a 90 degree interval.  For example, the notch may be at the top, bottom, right, or
    left, but never at a weird angle.  This may aid you in doing "blind" connections.
 
 

Q. I have a masterpiece that I recorded into a sequencer, but when I tried to have it
    transcribed into sheet music, the timing is off in many places. I paid $600 for the
    sequencer and the transcription software. Is there hope for me?

A. Most likely there is hope. First and for-most, be SURE that the timing resolution (steps
    per quarter note or PPQ), which stands for Pulses Per Quarter note) is the same for
    both the sequencer and the transcription program if they are different products.
    Combination packages, which include a sequencer and a transcription part should be
    automatically taking both sections into account if you change the timing resolution.
    The other problem is MUCH HARDER to control: When you record your music into
    the sequencer, you have to be VERY PARTICULAR about your timing!!! I can’t
    emphasize it enough! Even with the quantization function, problems still usually slip
    through, PARTICULARLY WITH DURATION. If you let up on the keys even 1/10
    of a second too soon, you may get a half-note tied with a quarter note tied with an
    eighth-note tied with a sixteenth note tied with a thirty-second-note instead of a whole
    note that you may have intended. However, in better transcription packages, you
    have parameters that help out with this, such as the ability to ignore rests and/or to
    extend note lengths to either the next beat or to the next note. In addition, use lower
    quantization values when you are able to. For example, use a quarter note resolution
    when that is enough, for it is MUCH more forgiving than a thirty-second note
    resolution. If you must use a thirty-second note or sixty-forth note resolution, then you
    have to be EXTREMELY CAREFUL WITH YOUR TIMING!!! Again, I can’t
    emphasize it enough!
 
 

Q. I see a boat-load of MIDI interfaces available for my computer. Which should I get?

A. That depends heavily on your computer. If you have a PC, the Roland MPU-401 or
    that which is built into the Sound Blaster series cards (EXCEPT THE FULL-
    EDITION AWE-32) are good choices. The full-edition AWE-32 has a bad habit
    of missing MIDI data here and there. Any other Windows compatible MIDI interface
    should be ok. For the Macintosh, a MIDI interface that plugs into the parallel port
    seems to be ok. For the Amiga, any MIDI interface that plugs into the serial port
    seems to be fine. For the Atari, the one built in would have the best software support.
    For the Commodore 64/128, the ones built by Passport have the best software
    support. Two MIDI interfaces that I DO NOT recommend include that built into the
    Sound Blaster full-edition AWE-32 card and the Datel MIDI interface for the
    Commodore 64/128, whose software support is EXTREMELY RARE.
    Another factor is how extensively you plan on building up your "MIDI orchestra."
    If you are a serious musician, you should look into MIDI merging and separately
    addressable outputs. If you are also into film productions and/or heavy multimedia,
    then one that works with SMPTE time coding is in order. These units, however, are
    much more expensive. The cheapest units usually have one MIDI IN, one MIDI
    OUT, and possibly one MIDI THRU. Slightly better units have 2-3 MIDI OUT’s, but
    NOT SEPARATELY ADDRESSABLE, and/or two or three MIDI THRU’s.
 
 

Q. When I assign program changes in my sequencer, the numbers on the display are one
    more than I specified! It always happens! Why is this?

A. Some manufacturers prefer to use numbers 1-128 on their control panels, while others use
    0-127. Internally, they ALL think in terms of 0-127. On units that work with 1-128,
    one is added before going to the control panel and one is subtracted when going from
    the control panel out to MIDI. For example, program #57 on such a control panel will
    be processed as #56 via MIDI.
 
 

Q. I have a song that I created, and it uses quintuplets (1/5 beat). However, neither my
    $300 sequencer nor my $300 transcription program will handle these right. Is there
    ANY hope for me to be able to avoid going back to pen and paper?

A. You have a good question here! The problem starts with MIDI itself. The usual
    24 clock pulses per quarter note nor the usual 192 steps per quarter note as dictated by
    most sequencers will not allow you to handle quintuplets properly.
    As for sequencers, you need to use a sequencer that allows you to dictate your own
    timing resolution and allow you to quantize by any integer value you want if it is within
    reason. You need to seriously look at resolutions such as 240, 480, or even 960 steps
    per quarter note. A resolution of 240 is evenly divisible for quintuplets, sixty-fourth
    notes and sixty-fourth note triplets. Indeed, this resolution may be a good choice for
    you.

        As for the transcribing end, you need a transcriber that will first of all, handle
    quintuplets. About 80-90 percent (or more) of all transcribers will NOT handle them.
    Some of them, including Dr. T’s Copyist, series will handle them, but you must finish
    them by editing each of them one by one. While I am not up too much yet on stuff for
    the PC or Macintosh, the only Amiga product that I remember seeing that will handle
    quintuplets is DMCS (Deluxe Music Construction Set), but this program will NOT
    transcribe MIDI files.
 
 

Q. I tried to save a system dump from my keyboard onto the sequencer, but things go
    screwy everytime. Why is this?

A. The reason is simple. You are using the sequencer in a manner in which is it not
    designed. Sequencers allow the use the system-exclusive commands in order to
    facilitate bank switching on older equipment and to allow other specialized operations.
    They are NOT designed to handle system dumps. You need a computer and a patch
    librarian program to handle this. Be sure to have at least 100-200 kilobytes or more
    free, for these can be quite large. Also, be ready to wait at least 1-2 full minutes for
    the transfer, for it goes at a meager rate of only about 3.1 kilobytes per second. In
    fact, better keyboards and organs may even have a SCSI interface to facilitate large
    data transfers.