Synth final

bit

An abbreviation for 'binary digit,' this is the most basic unit of information used in any digital system, including MIDI . Generally there are 8 bits to a byte although MIDI adds additional two bits: one to signify start, the second, stop.

solo

When pressed, the monitor outputs for all other channels will be muted, allowing the listener to monitor only the selected channel (or soloed channels) without affecting the multitrack or main stereo outputs during the recording or mixdown process.

Mod wheel

When the _____ _____ is used, a vibrato effect is introduced, often by introducing an low-frequency oscillator (LFO) effect. Although a fine modulation message can be used to give additional control, many units will often ignore the presence of this message. This parameter can be used on different channels to affect each part within a multi-timbral instrument.

omni mode

____ on/ off refers to how a MIDI instrument will respond to MIDI messages at its input. When ____ is turned on, the MIDI device will respond to all channel messages that are being received regardless of its MIDI channel assignment. When ____ is turned off, the device will respond only to a single MIDI channel or set of assigned channels (in the case of a multi-timbral instrument).

Defaults

all MIDI defaults are 64

MIDI Interface

Although computers and electronic instruments both communicate using the digital language of 1' s and 0' s, computers simply can't understand the language of MIDI without the use of a device that translates the serial messages into a data structure that computers can comprehend. What device translates the serial messages into a data structure that the computer can comprehend?

poly mode

Stated simply, an instrument that's set to respond to MIDI data in ____ mode will be able to play more than one note at a time.

daisy chain

a wiring scheme in which multiple devices are wired together in sequence or in a ring. It is normal for a device to have both a THRU port and an OUT port and often both can be used for chaining. The THRU port transmits the information through with minimal delay and no alteration, while the OUT port sends a completely regenerated signal and may add, remove, or change messages, at the cost of some delay in doing so. The difference can result in the signals arriving at different times; if the chain is long enough, it will be distorted so much that the system can become unreliable or non-functional.

Deleting/erasing

erasing the measure and its metric framework. It doesn't leave the rests.

MIDI interface

hardware that is necessary to hook up a keyboard and a computer.

DIN plug

has 5 pins arrange in a semi-circle. MIDI only actually uses two pins: 5 and 4. Pin 2 is a grounding/shield pin.

Overflow

if a keyboard only goes to 16 notes (for example), this feature allows you to pull in a few more channels to create, say, an 18-note chord.

Armed sampling

if you push a button to press record, there is time before you start playing which you will need to get rid of. With this feature, the recording doesn't start until a certain amplitude is fed into the recording device.

Slaves

in a daisy-chain, each module is referred to as this term.

Dynamic voice allocation

stealing an unused voice in one timbre to allow a person to play a chord in another timbre. The machine clicks off the VCA in the unused channel. If you try to play, for example, a 16-note chord in a piano timbre and, while the sound is still dying, you try to play another chord in a different timbre, sometimes you will be unable to play said chord. Attack and decay priority lets you prioritize which voice overrides other voices.

all notes off

A MIDI channel message that tells a MIDI sound-generating device to shut off all currently active notes. This is a life-saving device to cure 'hanging' MIDI notes.

continuous controllers

A MIDI message tailored to parameters that require a range of multiple values such as modulation depth or volume. The messages can be controlled in real time by knobs, sliders, wheels, etc. or can be input as a series of parameter values into a MIDI sequence. Use of these in performance and sequencing can be a major factor in adding life to MIDI music - but beware, over-use of these messages can result in MIDI log-jam, where the amount of data being sent is more than the bandwidth of MIDI can support.

bank

A collective storage location that houses multiple sounds, samples, patterns etc. In MIDI , an individual one of these can hold up to 127 items. MIDI also allows for many of these to be selected using '_____ Select' commands.

attack velocity

A data byte from 0 to 127 which indicates with how much force a note should be played.

arpeggiator

A device that generates a time-based series of control information - most commonly, pitch - so as to produce repeated phrases or motifs. Although the initial scope of these devices was to produce a series of standard patterns based upon conventional scales and chord shapes, in recent years arpeggio algorithms can now generate highly complex data to create articulations including guitar strumming styles, drum patterns and more. Algorithms may be preset or editable depending upon the device, and generally manipulate existing MIDI data in terms of pitch, duration, velocity, and timing.

merge

A device that merges MIDI data from two or more sources. These devices are more than just electrical combiners (or "Y" cables); they must carefully keep the MIDI bytes of data in tact, which means they somewhat intelligently look at the information passing to ensure they don't disrupt the continuity. Some of these devices enable the user to give priority to one port so timing critical data - such as MIDI clock data - can pass through with minimal delay.

MIDI channel

A discrete portion of the complete MIDI signal that can include as many as 16 channels. Each channel carries independent messages; individual instruments tune in to these, just as a television tunes in to one of many channels. Just as a public speaker might single out and communicate a message to one individual in a crowd, MIDI messages can be directed to communicate information to a specific device or range of devices within a MIDI system. This is done by imbedding a channel-related nibble (4 bits) within the status/ channel number byte (Figure 2.6). This makes it possible for performance or control information to be communicated to a specific device— or a sound generator within a device— that's assigned to a particular channel. Huber, David Miles (2007-03-05). The MIDI Manual: A Practical Guide to MIDI in the Project Studio (Kindle Locations 461-464). Taylor & Francis. Kindle Edition. Huber, David Miles (2007-03-05). The MIDI Manual: A Practical Guide to MIDI in the Project Studio (Kindle Locations 460-461). Taylor & Francis. Kindle Edition.

crossfade loop

A sample-editing feature found in many samplers and most sample-editing software, in which some portion of the data at the beginning of a loop is mixed with some portion of the data at the end of the same loop, so as to produce a smoother transition between the end and the beginning when the loop plays.

.aif

A sound file format. This standard sound file format from Apple ® supports mono or stereo, 8-bit or 16-bit audio at a wide range of sample rates. Like broadcast wave files, AIFF files can contain embedded text strings.

Dynamic voice allocation

A system found on many multitimbral synthesizers and samplers that allows voice channels to be reassigned automatically to play different notes (often with different sounds) whenever required by the musical input from the keyboard or MIDI.

Punching in and out

Almost all sequencers are capable of _____ ____ ___ ____ of record while playing a sequence (Figure 5.7). This commonly used function lets you drop in and out of record on a selected track (or series of tracks) in real time, in a way that mimics the traditional multitrack overdubbing process. Although these points can often be manually performed on the fly, most sequencers can automatically perform a punch by graphically or numerically entering in the measure/ beat points that mark the in and out location points. Once done, the sequence can be rolled back to a point a few measures before the punch-in point and the artist can play along while the sequencer automatically performs the necessary switching functions.

song position pointer

As with MIDI time code, the ____ _____ ____ lets you synchronize a sequencer, tape recorder, or drum machine to an external source from any measure position within a song. The ___ ___ ___ message is used to reference a location point in a MIDI sequence (in measures) to a matching location within an external device. This message provides a timing reference that increments once for every six MIDI clock messages (with respect to the beginning of a composition). Unlike MTC (which provides the system with a universal address location point), __ ___ ___'s timing reference can change with tempo variations, often requiring that a special tempo map be calculated in order to maintain synchronization. Because of this fact, ___ ___ ___ is used far less often than MIDI time code. ___ ___ ___messages are generally transmitted while the MIDI sequence is stopped, allowing MIDI devices equipped with ___ ___ ___ to chase (in a fast-forward motion) through the song and lock to the external source once relative sync is achieved.

quantization

By far, most common timing errors begin with the performer. Fortunately, "to err is human," and standard performance timing errors often give a piece a live and natural feel. However, for those times when timing goes beyond the bounds of nature, an important sequencing feature known as ______ can help correct these timing errors. _______ allows timing inaccuracies to be adjusted to the nearest desired musical time division (such as a quarter, eighth, or sixteenth note). For example, when performing a passage where all involved notes must fall exactly on the quarter-note beat, it's often easy to make timing mistakes (even on a good day). Once the track has been recorded, the problematic passage can be highlighted and the sequencer can recalculate each note's start and stop times so they fall precisely on the boundary of the closest time division (Figure 5.17). Such _________ resolutions often range from full whole-note to sixty-fourth-note values and can also include triplet values.

bit size

CDs are 16-bit. If you lower or raise this number on a recording software, it changes the dynamic range. However, no sound system to date can handle large bit-sizes.

cut/paste

Digital Performer lets you move and copy music from one place to another, using the familiar "cut-and-paste" method. Since music unfolds in time, this process is a little more complex than in a purely graphic program. But still, it's a matter of selecting objects, copying or cutting them to the Clipboard (a temporary storage area), and then pasting them into some other place. The trick is getting them to go exactly where you want.

processing

Everything a computer does breaks down into math. Your computer's processor interprets any command you execute as a series of math problems. Faster processors can handle more calculations per second than slower ones, and they're also better at handling really tough calculations. Within your computer's CPU is an electronic clock. The clock's job is to create a series of electrical pulses at regular intervals. This allows the computer to synchronize all its components and it determines the speed at which the computer can pull data from its memory and perform calculations. Almost no processing power is required to play MIDI, making it the ideal medium for playing real-time music scores while you are actively browsing text, graphics, or other media over the Internet.

Software synth

In short, modular ______ _______ works by linking various signal processing modules in a chain or parallel fashion to generate or modify a sound. These modules consist of such traditional synthesis building blocks as oscillators, voltage-controlled amplifiers, and voltage-controlled filters. These can then be mixed and processed to alter the signal's overall content and harmonic structure into almost any texture or synthesized sound that could possibly be imagined. Because the system exists in software, a newly created sound patch can be saved to disk for later recall. As you might expect, the depth and capabilities of a software synth depend on the quality of the program and its generation techniques, wavetable signal quality, sample rate, and overall processing techniques. These can range from a simple General MIDI software synthesizer to professional-level software synthesizers that let you import, edit, and combine wavetable sounds with an amazing degree of ease and control.

SCSI

It should be noted that a number of computer-based digital audio systems and professional samplers are also capable of transmitting and receiving sampled audio via ______ (a bidirectional communications line that's commonly used by personal computers to exchange digital data at high speeds). This protocol could be used to provide a direct parallel data link for transferring sound files at a rate of 16 MB/ sec or higher to and from older sampler devices (literally hundreds of times faster than MIDI but still slow by most modern standards). Although the data format will change from one device to the next (meaning that data can only be transmitted between like devices or via specific device/ computer system combinations), _______ still wins out as a fast and straightforward way to transfer data to and from an editing program, hard disk, or CD-ROM sample library.

Merging

Just as a track can be split into two or more tracks, multiple tracks can be combined into a single track. On most sequencers, this can be done easily by highlighting the entire track or segment that you want to combine and copying it into memory. Once done, you can select the destination track and measure into which the copied data is to be combined with and then invoke the sequencer's ___ command. When combining MIDI data, you should keep in mind that it might be difficult to uncombine data that has been combined into a single track. For this reason, it's generally wise to keep the tracks separate and then simply assign them to the same MIDI channel and port or to save the original uncombined tracks as an archived backup.

Local control

Local Control On or Off is used if your controller keyboard(s) contain sound generators. Choosing Local Control On and playing the MIDI controller device (usually a keyboard) audibly triggers the device's internal voices and sends the corresponding data out the MIDI Out port. Choosing Local Control Off and playing the keyboard of the MIDI controller device does not audibly trigger the internal voices but does send the keyboard data out the MIDI Out port. Choose Local Control Off when you want to play modules from the master keyboard but don't want to trigger its internal sounds. This can sometimes eliminate a problematic flanging or doubling effect.

Notation software

Many sequencing packages allow notes to be entered and edited into a sequence using standard musical notation (Figure 5.14). This window works in much the same way as the piano roll editor, except that pitch, duration, and other values are displayed and edited directly into measures as musical notes on any clef. One really nice by-product of this feature is that most programs also let us print a track's musical part in standard notation. This can be really useful for creating basic lead sheets (lyrics can even be entered into some sequences) for a particular instrument or part.

mute

Mute— This function is basically the opposite of the solo button, in that when it is pressed the selected channel is cut or muted from the main and/ or monitor outputs.

MIDI out

One of three common connectors found on MIDI equipment. The Out jack carries MIDI MESSAGES generated by the instrument.

MIDI thru

One of three common connectors found on MIDI equipment. This jack passes on an exact duplicate of the messages received by a device at its MIDI IN connector, allowing other instruments or SOUND MODULES to respond to the MIDI data.

MIDI In

One of three common connectors found on MIDI equipment. This jack receives MIDI MESSAGES from outside equipment.

Bank select

Some MIDI devices have more than 128 Programs (ie, Patches, Instruments, Preset, etc). A MIDI Program Change message supports switching between only 128 programs. So, Bank Select Controller (sometimes called Bank Switch) is sometimes used to allow switching between groups of 128 programs. For example, let's say that a device has 512 Programs. It may divide these into 4 banks of 128 programs apiece. So, if you want program #129, that would actually be the first program within the second bank. You would send a Bank Select Controller to switch to the second bank, and then follow with a Program Change to select the first Program in this bank. If a MultiTimbral device, then each Part usually can be set to its own Bank/Program.

MIDI filters

The MIDI protocol can contain a broad range of MIDI messages, beyond note-on and note-off messages. These include controller information such as pitch bend, modulation, and aftertouch (pressure) commands. There may be situations where you don't want to record all information being sent by your MIDI controllers. In this case, you can use several of these devices that allow you to define what event types will be accepted or rejected at the sequencer input. Can be used to re-assign one MIDI channel to another (or suppress a MIDI channel), suppress all events except those on a particular MIDI channel, and remap one MIDI controller to another

CPU

The brain of a computer device; the silicon chip that performs the devices major calculations. Inherently, MIDI does not put any significant load onto this device, though highly graphic audio-processing destinations such as plug-ins that MIDI is now asked to control certainly do.

MIDI clog (choke)

The condition that occurs when a MIDI sender, such as a sequencer, tries to send data at a rate exceeding what the cable is capable of transmitting. Although the data rate on a conventional MIDI cable is not fast by today's standards, it is still capable of sending about 1000 note on or note off messages per second or more if running status is used, so MIDI choke conditions usually are caused by other things: excessively dense Continuous controller data, or particulary System exclusive data. Most sequencers have a facility to "thin" controller data so that less data is sent without effecting the audible result, and often system exclusive transmissions can be rearranged and sent at different times to avoid the choke. When setting up a song in a sequencer, it is good practice to reserve one or two bars of silence ahead of the first note, and use this period to send long sysex sequences, such as those that transmit patch data to a synth, so that these sysex strings don't conflict with note data while the song is playing.

Rack synth

The modules that are normally put into a keyboard are placed into a rack - this saves space and also money because if the person already has a keyboard that they enjoy playing, the only have to buy new modules/synthesizers, not an entire new keyboard.

note number

The transmitted _____ ______ indicates the range of MIDI ______ _______ that are transmitted by a device. The maximum possible range spans from 0 to 127, while 21 to 108 corresponds to the 88 keys of an extended keyboard controller. Should the ____ ____ be greater than the actual number of keys on a keyboard device, a key transposition feature is indicated. The recognized ____ _____ indicates the range of MIDI ____ _____ that can be recognized by a device. MIDI notes that are out of this range are ignored by this device. A second note number range, known as true voice, indicates the number of notes the device can actually play. Recognized notes that are out of the actual voice range are transposed up or down in octaves until they fall within this range.

base channel

There 16 MIDI channels that the device will respond to, which is specified by the user. The base channel is the lowest channel.

note on

This indicates if the device is capable of transmitting and responding to variable-velocity (attack) messages. Not all dynamically controllable devices respond to the full velocity range (1- 127). Some devices, such as drum machines, respond to a finite number of velocity steps.

Digital-to-analog converter

This is required to play the sound of a digital recording.

Auto channelize

This means it will remap a MIDI message to the correct MIDI channel when a track is record-enabled.

Liquid Display Monitor

This type of monitor is a flat panel display, electronic visual display, or video display that uses the light modulating properties of liquid crystals. Liquid crystals do not emit light directly.

Cathode Ray Tube Monitor

This type of monitor is an older monitor used to view images. It is a vacuum tube which contains an electron gun an a fluorescent screen used to view images.

humanize/swing

Use this function to make computer sequenced or generated MIDI songs with exact timing more like played by human, with little inexactness in timing and key pressure. Try different levels to find a middle between too exact and too inexact.

Master controller

Using a master control device such as a keyboard, one can play or trigger sounds from other electronic devices remotely. This eliminates the need for the keyboardist to perform with nine or ten keyboards around him. He can play all the keyboards from one keyboard simply by connecting them through MIDI.

Sample rate

Within a digital audio system, the _____ _____ is defined as the number of measurements (samples) that are taken of an analog signal over the course of a second.

Program change

____ ______ messages are used to change the active program or preset number of a MIDI instrument or device. A preset is a user- or factory-defined number that actively selects a specific sound patch or system setup. Using this extremely handy message, up to 128 presets can be remotely selected from another device or controller; for example: A _____ _____ message can be transmitted from a remote keyboard or controller to an instrument, allowing sound patches to be remotely switched. _____ _____ messages could be programmed at the beginning of a sequence to instruct the various instruments or voice generators to set to the correct sound patch before playing. A _____ ______ message could be used to alter patches on an effects device, either in the studio or on stage.

song select

_____ messages are used to request a specific song from a drum machine or sequencer (as identified by its song ID number). Once selected, the song will thereafter respond to MIDI Start, Stop, and Continue messages.

Hard drive

a block-based data storage device used for storing and retrieving digital information using non-volatile memory (retaining its data even when powered off) in a random-access manner (individual blocks of data can be stored or retrieved in any order rather than just sequentially). It consists of one or more rigid rapidly rotating discs (platters) coated with magnetic material, with magnetic heads arranged on a moving actuator arm to read and write data to the surfaces.

operating system software

a collection of software that manages computer hardware resources and provides common services for computer programs. The operating system is a vital component of the system software in a computer system. Application programs usually require this to function

Flash drive

a data storage device that includes flash memory with an integrated Universal Serial Bus (USB) interface.These drives are typically removable and rewritable, and physically much smaller than a floppy disk. As of September 2011, drives of up to 256 gigabytes (GB) are available.

Optical drive

a disk drive that uses laser light or electromagnetic waves within or near the visible light spectrum as part of the process of reading or writing data to or from optical discs. Some drives can only read from discs, but recent drives are commonly both readers and recorders, also called burners or writers. This is the generic name; drives are usually described as "CD" "DVD", or "Blu-ray", followed by "drive", "writer", etc.

Floppy drive

a disk storage medium composed of a disk of thin and flexible magnetic storage medium, sealed in a rectangular plastic carrier lined with fabric that removes dust particles. A ubiquitous form of data storage and exchange from the mid-1970s well into the first decade of the 21st century.

Multi-timbral

a keyboard capable of playing multiple sounds simultaneously. The keyboard is often broken up into zones.

Zip drive

a medium-capacity removable disk storage system that was introduced by Iomega in late 1994. Originally, these drives launched with capacities of 100 MB, but later versions increased this to first 250 MB and then 750 MB. The format became the most popular of the super-floppy type products which filled a niche in the late 1990s portable storage market.

buffer

a memory region where incoming MIDI data is automatically stored by the operating system. Once placed in this region, the data is available to your program. This region is limited in size (default is 128 bytes) and can be overrun if too much MIDI data comes in before your program reads it out.

click track

a metronome designed to give the artists recording a reference for tempo. can be inserted via plug-ins in most audio programs, or can be done externally via MIDI or a metronome. Having every musician in on the same tempo reference -- especially the drummer -- will make overdubs much easier!

Splicing

a pasting function which makes everything move over to accommodate for the meter.

CD-ROM

a pre-pressed compact disc that contains data accessible to, but not writable by, a computer for data storage and music playback. The 1985 "Yellow Book" standard developed by Sony and Philips adapted the format to hold any form of binary data.

Expansion slot

a printed circuit board that can be inserted into an electrical connector, or expansion slot on a computer motherboard, backplane or riser card to add functionality to a computer system via the expansion bus. One edge of the expansion card holds the contacts (the edge connector or pin header) that fit exactly into the slot. They establish the electrical contact between the electronics (mostly integrated circuits) on the card and on the motherboard.

MIDI loop

a special configuration of a MIDI chain. The single element loop is made of two interconnecting links. This was the configuration used in the debut of the MIDI system. The OUT port of the first unit is connected to the IN port of the second, and the OUT port of the second is connected to the IN port of the first. In this case, as described earlier, a key pressed on either unit causes both units to sound, provided they are on the same channel. A MIDI feedback loop does NOT exist here, as the data going into the second unit from the first is not duplicated in the OUT port of the second going back into the first. Here, we have two one-way links connected, not a multi-link chain. MIDI loops connecting several devices using all three ports can become complex very quickly. As a brief example, imagine four synthesizers named A, B, C, and D for convenience. A's OUT is connected to B's IN and consequently to C's IN via B's THRU. B's OUT connects to D's IN, whose THRU connects to A's IN. A key pressed on A sounds A, B and C. A key pressed on C sounds C and C alone. A key pressed on B sounds B, D, and A, while a key pressed on D sounds D only. C does not sound when B is pressed because there is no direct connection between B and C, and B's note, which does route through D, does not route through A into C because A's THRU is not connected to C, or anything else for that matter. A note played on A does not sound on D for the same reason. You get the idea.

Moving Picture Experts Group (MP3)

a standardized format for encoding digital audio and video into a compressed format for the storage and transmission of various media over the Web. This has advanced the public awareness and acceptance of compressing and distributing digital audio by creating a codec that can compress audio by a substantial factor while still maintaining quality levels that approach those of a CD (depending on which compression levels are used).

General Midi (GM)

a standardized specification for music synthesizers that respond to MIDI messages. These synthesizers are required to be able to: Allow 24 voices to be active simultaneously (including at least 16 melodic and 8 percussive voices) Respond to note velocity Support all 16 channels simultaneously (with channel 10 reserved for percussion) Support polyphony (multiple simultaneous notes) on each channel

Digital Audio Workstation (DAWs)

an electronic system designed solely or primarily for recording, editing and playing back digital audio.They were originally tape-less, microprocessor-based systems such as the Synclavier. Modern ones are software running on computers with audio interface hardware.

mono mode

an instrument that's set to respond to MIDI data ___phonically will only be able to play a single note at any one time. In which mode will the instrument only be able to play a single note at a time?

Latency

best recognized as the time it takes an instruction from your keyboard hammering to be processed, and sent out to your ears. vary between systems and sound cards and is usually in large part down to the midi drivers. as long as an instruction has to be processed in any way, there's always going to be a lag. It's just a question of what point does it become physically noticeable to alter our playing behavior.

conductor track

contains tempo events, which define how fast your beats flow, as well as time signatures, which describe how many beats are in a measure. Contains no notes (or MIDI events of any kind).

Fire Wire

developed in the late 1980s and early 1990s by Apple. a serial bus interface standard for high-speed communications and real-time data transfer. The interface is comparable with USB and often those two technologies are considered together, though USB has more market share.

Nondestructive editing (undo)

editing— This process allows audio segments (often called regions) to be placed back in any context or order within a program without changing or affecting the originally recorded sound file in any way. Once edited, these tracks and segments can be reproduced to create a single, cohesive program.

plug-in

effects and virtual instruments

real-time recording

entering in notes on a notational software by playing on a keyboard controller.

step-time recording

entering in one note at a time in a notational software; might be used if the sequence is too fast to be entered with real-time entry.

cut/paste

not exactly the same function as experience in a word processor. This replaces a section of the music. This can lead to problems because music is written in a meter, so this function can ruin the meter.

note off

off— This indicates whether the device is capable of transmitting and responding to variable release velocity messages. Many devices use a message (note-on velocity = 0) to indicate this condition.

realtime recording

recording directly into software with a microphone with a click track

bounce

refers to the practice of taking a few related audio tracks, or tracks that are done being mixed, and recording them (or on computers and digital workstations, copying them) to a new track. This serves to free up tracks on limited workstations (for example eight tracks) and to ease the draw on a computer's CPU if you're using software to record. It's an older technique that was once used by necessity; if you could only record onto four tracks but you had five instruments to record, you'd need to bounce down two tracks before continuing your recording session. The Beatles used _____ extensively on albums like Sgt. Pepper's, which, despite its sometimes lush orchestration, was recorded onto a simple eight track.

default

resetting all controllers to their default state or in other words "all-off"

controller #10

responsible for panning.

controller #7

responsible for the main volume/channel volume.

System exclusive

tells the computer what brand of synthesizer is being used - each brand has a number - so the computer can record the MIDI information.

Analog-to-digital converter

the first circuit that you go through in a digital recording after the mic and pre-amp.

ROM

the memory of a computer that you do not have access to (such as instructions to boot).

RAM

the memory of the computer that you have access to

Sampling rate

the rate of the analog to digital converter; the number of numbers that will be taken per cycle. The sampling rate of a CD is 44.1 khz (44,000). They sample this high because it is just over twice the frequency that we can hear, and during the finalizing process, that number gets cut in half to around 22,000.

Software

three most common types of software: 1. notational 2. sequencing 3. recording

Truncate

trimming off unwanted areas of a recording

Local control off

turning off the ability for a person to play the keyboard controller, so the controller only receives information from the computer.

active sensing

when a computer detects what it is hooked up to. Active Sense is a type of MIDI message (ie, that travels over your MIDI cables just like note data or controller data). It's used to implement a "safety feature". It can provide an automatic "MIDI panic" control that will cause stuck notes and other undesirable effects to be resolved whenever the MIDI connection inbetween modules is broken or impeded in some way. http://www.planetoftunes.com/sequence/activesense.html

Buffer

when editing, the computer sets aside a part of memory to handle the part you are editing.

PPQ (parts per quarter note)

when sequencing, what is the shortest note you can use? It depends on the tempo. The limit is 480 parts - so if you type in 240, that's an 8th note. 120 is a 16th note.

Aftertouch

when you press a key, and then press it harder after it is already sounding, an effect is triggered. So for example, the action could trigger vibrato. This feature is an output. Polyphonic aftertouch means you can set different keys to trigger different voltage and therefore produce different effects.