Computer Applications In Music Class 5-10

Frank Markovich

Fall 2005Revision A

August 27, 2005

Organization

• There are a few items that I should be noted:– Organization and process on the computer can help

and will often be required.– Really decide on how you will save your data and

where you will save it.– Hierarchical structure best for most people.– Do constant backups –

• To CD or DVD• To a hard drive• To tape• To a large storage site (Gmail is a good one to use 2Gig).

– Next assignment covers file management (refer to page 29-35 in text).

Operating Systems

• This corresponds to module 5 in your text. Please read by the next class.

• Currently there are 2 main operating systems in use by musicians – MS Windows and Mac.

• There are other operating systems such as Lynx and Unix that are used in other areas.

• Both of the main operating systems use GUI (Graphical User Interface).

• Apple actually was the first of the 2 to use that type.

Organization is important

• Best to store information in a Hierarchical file structure.

• Make names something that makes sense. Don’t code your file names!

• Back up often – I sent most of you a link to join GMAIL – Google mail. Now has 2.5 Gig of storage – Send yourself file updates often.

• Do revision control be it numerical or alpha such as xxx revA or xxx rev1.1 etc.

Computer S/W Maintenance

• Keep up to date virus, anti-spyware etc. Run regularly.– Microsoft has an anti-spyware that is fair – Also run Ad-aware and spybot. Both free and

downloadable.

• Run the operating system updates.• Run defrag programs regularly.• Spam filters help somewhat – I use rules in

Outlook.• Have a firewall – either S/W or H/W

Web

• Great and not so great – Mozilla is an alternative to MS Explorer. Less problems for many.

• Google has an anti-spyware and pop-up blocker built in.

• Be careful where you go.

• Don’t give out personal information!!

• Watch out for Phishing.

Web Positive

• Great source for research.• Lots of MIDI files on web that can be downloade.• Lots of music in both print etc.• Don’t always trust the information. Make sure

that you have another source.• We will not do a web page in this class. If you

want to work on one I can help in lab time but that is best left for a web development class.

• Embedding music though is very easy.

Many other uses

• Google is just one of many search engines. Try various ones for finding data.

• Forums and News – I don’t use much but do belong to 3 user groups:– Protools– Hard Disk Recording– Westside lumber (Hobby is model RR).

Basic Computer and Networking Concepts in book Chapter 6

• We already talked about the difference between digital and analog but as a review analog is more the real world – a continuous changing sound, waveform etc. While digital is 1’s and 0’s or yes and no’s grouped in bytes, etc. Modern computers are digital but many of the inputs are analog.

• Converting from Analog to Digital is required for modern computers to process the data.

• Then the data must be converted from Digital to Analog to be used again.

Internet Protocols

• So that all computers can talk to each other a protocol was set up.

• TCP/IP or Transmission Control Protocol/Internet Protocol. This is a data structure.

Internet Addressing

• Domain Name – fmarkovich.music.edu as an example

• IP address – physical address = 195.55.200.2 Most people never have to deal with it as a S/W program called Domain Name Server (DNS) handles the translation.

• Web internet address use a URL or Uniform Resource Locators. Such as https:// or ftp:// This is what browers will use.

Files

• Files have an extension that tells the computer what program to use to open the file.

• For example for finale files it is .mus – that will tell the computer that when a file is .mus to use finale to open it. Never delete the extensions. Mac’s are a bit different but the idea is the same.

Audio Files

• For windows the file format is .wav for Mac it is Aif. Most programs in music can read either one but you may have to do a file conversion.

• Protools as an example will import either file type but you have to specify.

• When saving a file make sure that you use the right format for the computer.

• MIDI files – these are very small but there is really no music data in them. Just data that tells a MIDI device what not to play, for how long, volume, bends etc. Most MIDI files are 2K or less.

Compression

• Compression is used to save space. For example a .wav file will use 5Meg of space per minute per stereo track. So a 3 minute piece will be about 30 Meg. While a similar MP3 will be about 5 to 6 Meg. Huge difference.

• MP3 is the main compression format for audio but others do exist. There is a big change taking place though in that ACC and WMA are replacing MP3 as more processing can take place and the ACC is what your I=Pod uses.

Video compression

• MPEG-1 is the main one used now for DVD format but there are issues particularly with sound. The sound is not synced with the video fully, but rather only at the start of each scene.

• MPEG-4 addresses this a little but doesn’t fully sync yet.

Future

• In the future there will be yet newer schemes for compression and distribution of both audio and video.

• Current compression means are not loss – less. Some data is lost and some artifacts do creep in.

• I have trouble at times listening to MP3’s but only when things are quiet.

• In your car with the engine running and driving you are going to not hear anything above about 5K Hz, while most music has frequencies up to about 20K Hz so for me MP3’s in cars are fine but not in my living room.

Short Quiz

• For next Tuesday read pages 25-73 in the textbook.

• Bring in any questions that you have next Tuesday.

A to D and D to A

• These will be critical for you to understand with digital audio.

• Will only cover the basics.

• The world in Analog not digital but we do mainly digital recording now.

• We take an analog signal and convert it to a digital signal. This is called A to D conversion.

The 2 important numbers

• Number of bits, early recordings were only 8 bits, then the industry went to 16, now 24 bits is standard and 96 is even getting to be common with other’s in between.

• Sampling rate – how many conversions per second. The higher the sampling rate the higher the accuracy of the conversion. Typically in music it is 44KHz, 48KHz, or 96KHz. Less than 44KHz (32KHz is reserved for mainly voice – lecture etc.). Nyquest says that the frequency must be at least 2 times the highest frequency of interest to capture the information. Since the human ear can hear up to 20KHz – well some can, that means that the sampling rate must be over that frequency.

• I will show on the board the idea of this.

D to A

• Going back the other way you must convert from digital back to analog.

• Same concepts apply and your D to A must match frequency and sample size in order to work properly.

Recording

• I just want to give you an introduction into digital recording. We will first review the A/D and D/A.

• I will do this with equipment in our lab to start but will bring in ProTools at a later date.

• To start we will use sound forge. We will start on Page 6 of the online manual.

Sound forge advantages

• Easy to get started.• With an external mixer can do quite a bit.• Good method to learn the basics, very little

equipment required etc.• I use this for simple things – lectures etc.• Very fast and easy to learn. Once you have

learned this other programs will fall into place.• Good for just scratchpad or for a small demo. If

you need something fast this works well.

Sound forge disadvantages

• Only 2 channels. For most recording this is just not enough. - I use at least 2 just per instrument.

• Not full featured in the version we are running. I really prefer to use ProTools for critical work.

• Some small bugs that are bothersome.• Not in a format that studios can mix down to

easily.• Lower dynamic range than external systems.• No automation in the version – new version may

offer it with an external Mackie Mixer.

Mackie Mixer

• Manual is loaded on your computer at school. Be sure to read it then play with the mixer.

• Also review the hook up manual.

• At this point will go to word document on basic mixing.

Software Mixers

• In order to really take advantage of these you must know the basics of mixing.

• The idea is just the same as a H/W mixer.

• Following is a 2 page on one S/W mixer.

• I like Vegas as a stand alone mixer but it may be overkill for you.

Acoustica MP3 Audio Mixer

Whether you're a DJ or just creating cool mix CDs, this tool is for you! Mix MP3s, WMAs, WAVs, record your own, set volume fades and pans via a simple graphical interface! I ts your soup. Mix it well! Exports to MP3, WMA, RealAudio™ and WAV files.

Customer Comments Really love the program, its so easy its ridiculous!" - J oe Levine (Yahoo!Broadcast - Music Content Production) more...

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Cut and paste sounds ( MP3s, WMAs, WAVs) quickly and easy! Mix, record or overdub as many simultaneous WAV and WMA &MP3 files as you want. Fade the volume, pan and playback rate of each sound. Lightning fast & intuitive interface Import playlists (.M3U & .PLS) to create instant mixes of your favorite mp3s! Export mix as a RealAudio G2, MP3 or a WMA file with a click for streaming on the

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MI XCRAFT - Acoustica's new easy way to mix sound! Features effects, a 32 bit sound engine,

support for up to 192 kHz samples/second, auto cross fading, track mixing, a loop editor and more! More on Mixcraft... Compare Mixcraft to MP3 Audio Mixer

How does it work?

Arrange music and sound clips visually! Each sound is a bar which you can manipulate! Set the volume, pan (speaker balance) for each sound clip. Make it fade out, lower the volume for a voice over or a over-zealous singer! : )

[Shows how easy it is to shape the volume of a sound!]

A real simple interface! You don't have to read the manual. The software was designed so that you don't have to read a manual. This is mixing and recording made basic! Great for DJ s, musicians or just anyone that needs to do more than just play a song!

Record your own sounds!

Part 1 - Digital Audio - Part 1

What is sound?

Sounds are pressure waves of air. I f there wasn't any air, we wouldn't be able to hear sounds. There's no sound in space.

We hear sounds because our ears are sensitive to these pressure waves. Perhaps the easiest type of sound wave to understand is a short, sudden event like a clap. When you clap your hands, the air that was between your hands is pushed aside. This increases the air pressure in the space near your hands, because more air molecules are temporarily compressed into less space. The high pressure pushes the air molecules outwards in all directions at the speed of sound, which is about 340 meters per second. When the pressure wave reaches your ear, it pushes on your eardrum slightly, causing you to hear the clap.

A hand clap is a short event that causes a single pressure wave that quickly dies out. The image above shows the waveform for a typical hand clap. In the waveform, the horizontal axis represents time, and the vertical axis is for pressure. The initial high pressure is followed by low pressure, but the oscillation quickly dies out.

The other common type of sound wave is a periodic wave. When you ring a bell, after the initial strike (which is a little like a hand clap), the sound comes from the vibration of the bell. While the bell is still ringing, it vibrates at a particular frequency, depending on the size and shape of the bell, and this causes the nearby air to vibrate with the same frequency. This causes pressure waves of air to travel outwards from the bell, again at the speed of sound. Pressure waves from continuous vibration look more like this:

How is sound recorded?

A microphone consists of a small membrane that is free to vibrate, along with a mechanism that translates movements of the membrane into electrical signals. (The exact electrical mechanism varies depending on the type of microphone.) So acoustical waves are translated into electrical waves by the microphone. Typically, higher pressure corresponds to higher voltage, and vice versa.

A tape recorder translates the waveform yet again - this time from an electrical signal on a wire, to a magnetic signal on a tape. When you play a tape, the process gets performed in reverse, with the magnetic signal transforming into an electrical signal, and the electrical signal causing a speaker to vibrate, usually using an electromagnet.

How is sound recorded digitally ?

Recording onto a tape is an example of analog recording. Audacity deals with digital recordings - recordings that have been sampled so that they can be used by a digital computer, like the one you're using now. Digital recording has a lot of benefits over analog recording. Digital files can be copied as many times as you want, with no loss in quality, and they can be burned to an audio CD or shared via the Internet. Digital audio files can also be edited much more easily than analog tapes.

The main device used in digital recording is a Analog-to-Digital Converter (ADC). The ADC captures a snapshot of the electric voltage on an audio line and represents it as a digital number that can be sent to a computer. By capturing the voltage thousands of times per second, you can get a very good approximation to the original audio signal:

Each dot in the figure above represents one audio sample. There are two factors that determine the quality of a digital recording:

Sample rate: The rate at which the samples are captured or played back, measured in Hertz (Hz), or samples per second. An audio CD has a sample rate of 44,100 Hz, often written as 44 KHz for short. This is also the default sample rate that Audacity uses, because audio CDs are so prevalent.

Sample format or sample size: Essentially this is the number of digits in the digital representation of each sample. Think of the sample rate as the horizontal precision of the digital waveform, and the sample format as the vertical precision. An audio CD has a precision of 16 bits, which corresponds to about 5 decimal digits.

Higher sampling rates allow a digital recording to accurately record higher frequencies of sound. The sampling rate should be at least twice the highest frequency you want to represent. Humans can't hear frequencies above about 20,000 Hz, so 44,100 Hz was chosen as the rate for audio CDs to just include all human frequencies. Sample rates of 96 and 192 KHz are starting to become more common, particularly in DVD-Audio, but many people honestly can't hear the difference.

Higher sample sizes allow for more dynamic range - louder louds and softer softs. I f you are familiar with the decibel (dB) scale, the dynamic range on an audio CD is theoretically about 90 dB, but realistically signals that are -24 dB or more in volume are greatly reduced in quality. Audacity supports two additional sample sizes: 24-bit, which is commonly used in digital recording, and 32-bit float, which has almost infinite dynamic range, and only takes up twice as much storage as 16-bit samples.

Playback of digital audio uses a Digital-to-Analog Converter (DAC). This takes the sample and sets a certain voltage on the analog outputs to recreate the signal, that the Analog-to-Digital Converter originally took to create the sample. The DAC does this as faithfully as possible and the first CD players did only that, which didn't sound good at all. Nowadays DACs use Oversampling to smooth out the audio signal. The quality of the filters in the DAC also contribute to the quality of the recreated analog audio signal. The filter is part of a multitude of stages that make up a DAC.

How does audio get digitized on your computer?

Your computer has a soundcard - it could be a separate card, like a SoundBlaster, or it could be built-in to your computer. Either way, your soundcard comes with an Analog-to-Digital Converter (ADC) for recording, and a Digital-to-Analog Converter (DAC) for playing audio. Your operating system (Windows, Mac OS X, Linux, etc.) talks to the sound card to actually handle the recording and playback, and Audacity talks to your operating system so that you can capture sounds to a file, edit them, and mix multiple tracks while playing.

Standard file formats for PCM audio

There are two main types of audio files on a computer:

PCM stands for Pulse Code Modulation. This is just a fancy name for the technique described above, where each number in the digital audio file represents exactly one sample in the waveform. Common examples of PCM files are WAV files, AIFF files, and Sound Designer I I files. Audacity supports WAV, AIFF, and many other PCM files.

The other type is compressed files. Earlier formats used logarithmic encodings to squeeze more dynamic range out of fewer bits for each sample, like the u-law or a-law encoding in the Sun AU format. Modern compressed audio files use sophisticated psychoacoustics algorithms to represent the essential frequencies of the audio signal in far less space. Examples include MP3 (MPEG I , layer 3), Ogg Vorbis, and WMA (Windows Media Audio). Audacity supports MP3 and Ogg Vorbis, but not the proprietary WMA format.

For details on the audio formats Audacity can import from and export to, please check out the Fileformats page of this documentation. Please remember that MP3 does not store uncompressed PCM audio data. When you create an MP3 file, you are deliberately losing some quality in order to use less disk space.

I f you'd like to get straight playing an imported file or recording something, you can skip this section and come back later.

Whenever you work with Audacity, there are some rules you should remember:

1. One clip per track

A clip is simply a piece of audio material. Imported, recorded, split or duplicated from another track, one track can only carry one piece of audio at a time. You can extend it by pasting material or inserting silence in to it, or cut a piece away, but it will always be one continuous piece of audio.

2. Audacity always records to a new track

This new track is opened at the bottom. You'll have to zoom out and then resize the track view of the bottom most track to see what is recorded. You can actually use the window sliders at the bottom and right to do this after starting to record, but this way no performance will be lost to the windowing system. I suggest hitting CTRL+F to get an overview of the entire project as well. This only affects the horizontal zoom by the way(left-right zoom). There is no way to zoom out vertically without using the mouse yet.

3. Edit/Duplicate will not create a new audio file

This may not seem a big deal, but it is if you're editing a large live recording.

What Audacity does is reference the original audio material until you actually perform some kind of edit on it, such as cutting a piece away, or using any effect on it. One thing to remember is the UNDO function. You can undo/redo stuff as many times as you like, and yes, even after you have saved your project.

You may ask what happens if you do, for example, cut away a piece or mark off a 30 minute piece and split it to a new track. I t only writes changed data to disk. Since Audacity works with chunk of audio data of around one megabyte in size, this happens quite fast. Rest assured that the only big waiting period might be the importing of large audio files.

To further explain how Audacity works, flip to the next page ...

1. Create a new project

This is very important!

Audacity writes all the changed and recorded audio to a directory called Projectname_ data, which is located right where you saved the project file itself.

Thus, select and choose a location and filename for your project.

Please note that when you startup Audacity fresh, only the "Save As..." menu option is available.

To save your project later on, you can also use the keyboard shortcut : CTRL+S

2. Check the Preferences

Again, this is very important!

Press CTRL+P or go to ...

...then check if the right output is selected :

...set the sample rate of your choice... (44.1 kHz

is the default)

...and here's a crucial screen :

The File Formats settings need discussing at this point.

When importing uncompressed audio, there are two ways to do it. "Make a copy of the original before editing" means, that Audacity actually copies the entire audio file that you imported in to its project data directory and in the process sets up the little overview graphics, whose descriptions get stored in the project data directory too.

The second way is to use the original imported audio. You may think we're actually editing this file, but no we aren't. In fact, Audacity will now read the imported file once and simply create the graphics overviews for them in to the data directory, and subsequently write to disk all the audio data that you change. The original file is only used for playback. All audio that remains unchanged will be played from the original file.

The advantage of choosing to make a copy of the original is that you avoid trouble, should anything in the original file change.

For example, should you accidentally delete the original file, you're lost.

You have to make up your mind before you start a project. Choose to make a copy of all imported files, and you'll use more space on your harddisk(s), but it will be easier to back up the project too, because all files that have anything to do with your project will be in the project data directory.

The Uncompressed Export Format can be set to WAV or AIFF for now. Please check the fileformats page for further information on export formats.

We'll ignore the Spectrogram settings for now. The Directories setting can be ignored as well for now, because all it sets is the directory to use for recordings, undo data and other stuff, if you haven't yet saved your project. Since we already saved our project, this setting is of no importance to us, though you may want to set it properly later on.

3. Import an audio file

There are three ways to do this:

1. Simply drag and drop the audio file in to the Audacity window. (I f you're using Mac OS 9 or X, drag the audio file to the Audacity icon instead...)

2. Select Import Audio ... in the Project menu.

3. Use the keyboard shortcut : CTRL+I

Audacity can import WAV, AIFF, AU, IRCAM, MP3 and OGG files. Please refer to the fileformats page for further reference on these audio formats.

4. Playback

The imported file should now be displayed in an audio track. The track will look a little like this, depending on what you imported :

Trackpanel and Waveform Overview of the imported Track

I f you're not sure where to find audio material, simply rip some off a CD, or in Windows, check the Media folder in the directory of your Windows installation.

Now click on the green Play button at the top and you should hear the file you have just imported.

1. Create a new project

Save an empty project. Or simply use the one from the previous part. Remember, that if you don't save your project before you start recording or importing, that all recordings, edit and other files will be written to directory set in the Directories preferences.

2. Check the preferences

Make sure your playback and recording device are set. I f you're going to record a stereo signal, check the "Record in stereo" checkbox in the Audio I /O preferences.

When picking a device to record from, make sure you've set up all the connections properly, such as plugging a microphone in to the Mic I nput, and any other device in to the Line I n of your sound card. Then check that the gain level knob(the amount by how much the input should be amplified) of the mixer of your soundcard is set right.

Since most soundcards can mix the inputs back in to the outputs, the easiest way to test your microphone is to speak in to it while playing with your soundcard mixer. The soundcard mixer is a software either provided by the soundcard maker, or by the operating system you're using. The Windows mixer is pretty straight forward, though some soundcards bring their own along. The Mac's mixer is controlled via the Sound Control Panel, and the Linux users probably have heaploads of mixer applications at their disposal. J ust make sure they work before yelling at your screen that nothing works.

3. Hit Record

Click on the red Record button

to begin recording.

Click on the blue Pause button

to pause the recording. Press it again to continue.

Click on the yellow Stop button

to cease recording. The cursor will return to its previous position, before the recording was started.

That's it. You can now play around with your recording and explore the editing capabilities of Audacity. Remember that you can use the Undo function almost without limits.

Sound Editing in the "real world"

Sound editors clean up dialogue tracks, cut layers of special effects, place sounds at certain times, create ambiance tracks by cutting out unwanted stuff and mixing in interesting or necessary sounds. Music production engineers may cut pieces of vocals away or shift them to a another spot in a song.

Editing is about cutting, placing, fading, cross-fading, shifting, duplicating and adjusting the volume (also referred to as level) of audio material. Mixing is a form of editing too of course.

Here is an example of what is done in sound editing during the production of a television show or film. In the next part we will run you through a few of those techniques in Audacity.

The Path of Sound in Film and TV Postproduction

Film and TV crews have at least two people present that take care of recording sound during principal photography of a show. Principal photography is usually shooting the scenes with actual live actors or real backgrounds by the way.

Sound in Principal Photography

The first person is the boom pole operator. The boom pole is an extendible stick with a microphone attached to it. This is used to capture dialogue either during filming or not. When not filming, it might be capturing off-scene dialogue or retakes of lines that the actors flunked during actual film takes. The more expensive the show is and the more time there is to do the work, the more people will resort to looping those takes, which is recording those lines in a sound studio environment instead of a film studio or location.

The second person is the sound mixer, who usually sits in a place farther off from the shooting and records the sound captures by the boom pole operator, either via cable or wireless devices to tape,optical disks or hard drive.

This is the raw sound material of a show. I t is called production sound and the only desirable parts it usually contains are dialogue and body sounds. In post production, depending on the complexity, budget size and time, almost everything you hear except for the dialogue and some body sounds, are added later during ...

Post Production

This is where most of the stuff we'll be describing for Audacity will happen. You've got the recording. Now what ?

After the visual part of the show is cut, the first of which usually isn't the final one, it is handed to the sound editor. In TV shows, you'll usually have one or two people for this, for major film productions a whole bunch more, for which tasks will be subdivided on a finer level.

Raw sound - Cleanup time

No shows do without film edits and many have plenty of them.

Scenes may be shot with with one or more cameras and mics. Actors might have flunked their lines and picking up shooting prior to the mistake might be chosen or the entire sequence reshot. The film editor may have chosen parts from different takes for the cut of the scene. The action might be moving along at the wrong pace and the film editor shortened or stretched parts of a scene.

The sound editor makes sure transitions between cuts are smooth. He or she removes undesired sounds, such as breathers of the same person that overlap from one film edit to the next.

Material is cut away that contains unwanted sounds, such as creaking chair legs and sharp impacts of objects on tables and floors. Some of these may require looping of dialogue in the studio, because the noise may have been intolerable. Also, material may sometimes be denoised. The most sophisticated methods remove the whirring of the camera motors from takes. I t is used as sparingly as possible though.

I t's always desirable to get the best possible sound from the start, which is the recording stage.

Adding stuff - the really big deal

After this cleanup is complete, sounds are added.

The first is ambiance. J ust close your eyes and listen the sound around you. That's ambiance. Sophistication of ambiances rises with budgets. From premixed to over a dozen tracks, you'll find it all in TV shows and feature films. In any indoor scene with a lot of people in the background, nobody except for the actors being filmed will actually talk. That flurry of conversation is added later on.

Next comes foley. These are clothes rustling(body sounds), foot steps and objects being handled. People that have the ultimate edition of Terminator 2 will know that all of Arnold Schwarzenegger's footsteps and rustle of his leather clothing were created by a five foot woman. These people are usually called foley walkers or foley artists.

The foley editor then cleans those sound, chooses the most fitting takes and makes sure they all sync to the picture properly. The foley mixer then does his/her thing.

Next come effects. Foley are effects too, but they are a special category and can best be described as live created studio effects. Effects are usually more heavily edited and recorded from all kinds of places. A lot of effects are created by layering sounds on top of each other, changing their pitch and loudness, editing bits out and adding others.

Many effects you'll hear are phone and door bells ringing, mobile phone beeps, doors of houses and cars opening and closing, weapon shots, slaps, car skids, machines of any kind, space ships flying around, explosions, to name a few.

For example, a friend of mine and I created the sound of a small wooden rowing boat hitting a larger wooden sailing ship and scraping along its side by pitching down a knock on a large wooden door for the impact of the rowing boat and ship, and pitching down the sound of a skateboard rolling and scraping along a halfpipe.

The techniques required to properly handle sounds like these are used in all kinds of productions. Audio books, music production, sound effects creation ... you name it.

For more on this subject, read the Audio Post FAQ at www.filmsound.org.

So let's jump in to the fray and look at how you can handle your sounds in Audacity.

From here on you may encounter funny letter combinations in boxes like this.

These are keyboard shortcuts to the functions presented to you in the text. These can be either single keys (e.g. SPACE) or combinations that need to be held down at the same time(e.g.CTRL+C). You can usually create your own. Check out the this page for more details.

The most basic editing step is cut and paste. I t's what people did with tape and it's easy with data in computers, so take a look at these basic operations, referred to as Cut, Copy and Paste. The next page will handle Silence, Duplicate and Split. You may also want to check out the reference section, so you'll know where to find all the tools and how to resize tracks for example.

I t is assumed that you have a project open and that at least one track of audio material is present.

The View

The Audacity Window

As you can see by the graphics above, the time shift tool is selected. I t is used to move the entire audio clip around inside its track.

The cursor (little blinking line across a track and the timeline) will remain at its position, so effectively you'll be sliding your audio material underneath the cursor.

Let's say we want to cut out that bit in the middle then. First we've got to select it.

Making a selection

To select the part you wish to cut, copy or paste to, use the selection tool . I f it's not activated, do so now by clicking on it in the toolbar.

Now press and hold the left mouse button while you drag the mouse to mark an area.

This area is darker than the surrounding area of the clip. Note, that even though you can mark an area larger than or extending beyond the actual audio clip in the track, the operations will only work on the actual clip. Playback however will work outside the clip.

Press the space bar to listen to the audio in the marked area.

To extend or contract your selection, hold down the SHIFT button and click on the area you wish your selection to extend or contract to.

I f you click at a spot that is on the right hand side from the middle of the current selection, you will set the right hand boundary of your new selection.

Cutting the selection

Cut the selection by selecting "Cut" from the Edit menu ... or press CTRL+X.

Before the cut After the cut

To undo this operation, select Undo in the Edit menu or press CTRL+Z

Copy will copy the selection to the clipboard.

You can then paste that data back in to any track by clicking where you want this audio to be inserted and select Paste in the Edit menu,

or press CTRL+V.

Thus pasting is the opposite of cutting. You can also copy material, make another selection with the mouse and then paste. This will replace the selected material with the contents of the clipboard, no matter how short or long either of them are.

During all operations of this kind, the bottom row of the screen will display two things, namely the start time and the end time of your selection. The display to the left if that called "Project rate:" and its value, defaulting to 44100, can be changed by clicking on that number and selecting another from the drop-down menu.

All files, no matter which will be played at that rate. Should the sample rate of a track be different from the Project Rate, these tracks will stutter at track sample rates set lower than the Project Rate. Audacity will warn you , if an audio file is of a sample rate different from the current Project Rate. Audacity will not change the sample rate of any imported audio though.

Silencing unwanted sources

This operation flattens the selection. I t essentially is a cut operation without deleting the selection completely. After all, if you cut a second away, nothing remains. Using the Silence operation will still leave you with a flatlined area.

When silencing parts between vocal lines, please keep in mind that a sudden drop in background ambiance can have an bad effect, so at the very least fade the area around the silenced part, to minimize that effect. Rules to start with are, fade in quickly and fade out slowly.

Alternately, use the envelope tool to lower the volume in that area. That way, you can comfortably change it later.

Keyboard Shortcut : CTRL+L

Duplicate

The selected area gets copied, a new track is created and the copied material is pasted in to that new track at the same point in the timeline.

To illustrate, here's the image from the menu reference:

The benefits of a duplicate are many. One of these is experimentation with effects.

Some of you may say "I can do that with the original track too". But you can't change the volume of your effect and original audio separately. I f you put some Reverb on to your audio, you can only lower that processed audio in volume later on. I f you duplicate the audio first and use the reverb on that(with 100% reverb and 0% original signal), you can freely change the volume for both the original and reverb signal.

Also, you can do weird and wonderful things to your duplicates to create special effects. You'll have two pieces of the same audio to work with. Silence parts, reverb another, phase a third, filter another and see how that sounds. I t is so easy to duplicate a piece of audio and do weird things to it, so try it. Combining sounds produces magic.

A special note on performance : The new piece of audio isn't actually copied on the hard disk. Audacity will still play from the original audio file(s) until you change a piece of it.

Split

This performs the same as Duplicate, but it also silences the selected material, after copying it to a new track. Again, here's the illustration from the menu reference:

There are plenty of good uses for this function, but I 'm not going to tell you about them here. You'll have to go to the next part for the meat of this tutorial.

Keyboard Shortcut : CTRL+Y

Moving bits of an Audio track

In all projects you'll be pushing your audio around at some point. Otherwise, what are you doing here ?

There are techniques, easily achievable with Audacity, to cover almost any kind shifting you'd want to do. In our example, we have a small sentence of speech, where the speaker made a pause after the first word. We'd like to eliminate that pause.

The part after the pause is selected

Select

Then the split function is used to pop the selected audio to a new track

The Time Shift Tool is selected and the audio on the lower track is moved left.

Move Audio and select for fading

Now, it's a good idea to listen to the two tracks individually for breathing sounds for example.

Use the solo button of the tracks for this. Then listen them both in the mix. Again, you can use the solo buttons for this.

I f you have a lot of other tracks playing at the same time, press the solo buttons on both tracks. There should be no over lapping or cut-off breathing sounds.

When you're satisfied, fade out the last two thirds of the overlapping upper part of the track, and fade in the first two thirds of the lower overlapping audio.

Two thirds, and not the whole overlapping audio, are chosen to keep the level of audio constant. I f the whole overlapping parts were faded, you would get a level drop of 3dB in the middle of those fades.

You can check this out by taking a piece of music, duplicating it, and then fading the tracks, one fading out, the second fading in. In the middle of those fades, the level of the mix will drop audibly. Do a fade over last two thirds for the fade out and first two thirds for the fade in, and you probably won't notice any change in level.

Two thirds is a guideline, but not the law, so you may have to experiment a little.

Mixing it back together again

!!!Remember!!!

The final mix is done with the Export as WAV function in the File Menu. Here we'll be looking at creating submixes with the Quick Mix function.

You've done a lot of edits and now have dozens of little tracks with little bits and pieces here and there. It might look like this:

Bits and Pieces spread all over the screen First four tracks selected for quick mixing

We can use the Quick Mix function in the Project menu to bring down the number of tracks. However, you don't need to mix everything in to one new track.

Select the tracks you want to mix together by SHIFT+click 'ing on the track panels. In the graphics above, the first four tracks are selected.

Then select Quick Mix. In this example I have quick mixed everything down to two tracks :

Bits and Pieces, quick mixed down to two tracks

And thus, two submixes were created. Remember though, that we did this for convenience of not having to organize a large number or tracks.

I f you still want to shift bits around later on, you should make sure that the parts being mixed to a track do not overlap, so you can split it away and edit it again later.

Assignment 5: Music Tech Lab: MIDI: This project gives you experience understanding the use of MIDI. 1. Study the handout MIDI and Music Synthesizers (pages 311-

314). You can use either the hardcopy versions distributed to you or the onscreen versions accessed by clicking Start – Programs. (this is now removed so I will have to give it to you) – it is following in this presentation.

Use Netscape to load the website, Exploring MID http://music.northwestern.edu/links/projects/midi/expmidiindex.html Study as much of the website as you wish (some of this gets quite technical). Minimally, be sure you study the following five pages, but preferable all of them. For Fall 04 all are expected:

a. What is MIDI? b. MIDI Controllers. c. General MIDI. d. Standard MIDI Files. e. Applications that use MIDI.

Do a write-up of each section – at least a couple of sentences summing up the section. Add in any questions that you may have on this.

This is what you will see

This Web site is an introduction to MIDI for those who would like to learn more about basic concepts in MIDI and its application in the world of music. Listed below is a selection of topics pertaining to MIDI.

What is MIDI? MIDI Connections Java Enabled

MIDI Connections Non-Java Page

Understanding Decimal

Binary & Hexadecimal

The MIDI Language

Types of Data Transmitted

through MIDI

MIDI Channels and Modes

MIDI Controllers General MIDI

Standard MIDI Files

Using MIDI on a Web Site

Applications that use MIDI

Audio vs. MIDI Files

MIDI Timing Concepts

Author Information and

Comments

MIDI

MIDI, which means:

Musical Instrument Digital Interface,

is a digital communications protocol. In August of 1983, music manufacturers agreed on a document that is called "MIDI 1.0 Specification". Any device that has MIDI capabilities must adhere to this specific data structure to ensure that all MIDI devices are capable of working together. This protocol is a language that allows interworking between instruments from different manufacturers by providing a link that is capable of transmitting and receiving digital data. It is important to remember that MIDI transmits commands, but it does not transmit an audio signal.

The MIDI specification includes a common language that provides information about events, such as note on and off, preset changes, sustain pedal, pitch bend, and timing information. The specification has been updated more recently with specific data structures for handling sample dumps, MIDI time code, general MIDI and standard MIDI files. To see a complete listing of all MIDI data, go to:

                                                                                                       

                

There are four main categories of MIDI data. The following charts represent information on the current hexadecimal numbers that are used in MIDI transmission. Each MIDI message includes a Status Byte. If they are required, Data Bytes will follow each Status Byte. Some of the example below have links that may be clicked for more detail about the MIDI event.

•Channel Messages

• System Common

• System Exclusive

• System Real-Time

MIDI, which means:

Musical Instrument Digital Interface,

is a digital communications protocol. In August of 1983, music manufacturers agreed on a document that is called "MIDI 1.0 Specification". Any device that has MIDI capabilities must adhere to this specific data structure to ensure that all MIDI devices are capable of working together. This protocol is a language that allows interworking between instruments from different manufacturers by providing a link that is capable of transmitting and receiving digital data. It is important to remember that MIDI transmits commands, but it does not transmit an audio signal. The MIDI specification includes a common language that provides information about events, such as note on and off, preset changes, sustain pedal, pitch bend, and timing information. The specification has been updated more recently with specific data structures for handling sample dumps, MIDI time code, general MIDI and standard MIDI files. To see a complete listing of all MIDI data, go to: Types of Data Transmitted through MIDI

MIDI information is transmitted through a MIDI cable that has DIN-type male plug connectors with five pins. Two of the pins are used to transfer digital binary information (MIDI Code). One of the pins issues a steady stream of five volts, while the other pin alternates between 5 volts and 0 volts to represent binary information (on and off). The third pin is a ground and the remaining two pins are currently not in use.

The MIDI data is sent down the cable one bit at a time as a stream of information, which is called a serial interface. A parallel interface allows the information to be sent down separate wires so that the message reaches the device at the same time, making it faster than a serial interface. Computer chips communicate via a parallel interface.

The serial interface was chosen by MIDI manufacturers because it is less expensive and more efficient than a parallel interface. The speed of a MIDI serial interface is 31,250 bits per second. There are 10 bits needed for every MIDI digital word or 3125 messages per second. Snap your finger and think about how many many events could be transmitted during that time. Consequently, the serial interface speed is more than adequate for most music applications.

In order to really understand the concept of digital information, we must be familiar with the decimal, binary and hexadecimal counting systems. Understanding Decimal, Binary,& Hexadecimal, will help us to learn about the three counting systems and how they are applied to MIDI communication.

MIDI at NDNU

                        COLLEGE OF NOTRE DAME                     MUSIC TECHNOLOGY LABORATORY                      MIDI AND MUSIC SYNTHESIZERS  This handout presents instructions for using General MIDI specificationswith each of the three music keyboard synthesizers in the Music Tech Lab. If you need more details than are in this handout, consult the publishedmanuals at the computer stations.

GENERAL MIDI SPECIFICATIONS: MIDI (Musical Instrument Digital Interface) is a digital communications language that allows interworking between instruments from different manufacturers by providing a link that is capable of transmitting and receiving digital data. MIDI transmits commands, but it does not transmit an audio signal. MIDI channel messages are commands broadcast to a MIDI device on any one of the sixteen available channels. Depending on the manufacturer, a channel may also be called a part or a track. MIDI program changes are channel voice messages broadcast on a specific MIDI channel, setting the instrument sound to be used on devices tuned into the channel. Depending on the manufacturer, a program may also be called a voice, a tone, a patch, a timbre, or an instrument. General MIDI is a standard that assigns specific instrument sounds or patch sets to 128 numbers. It also assigns specific drum sounds or drum note maps to 47 pitches designated on channel 10. If you want standard piano, select 001 Acoustic Grand Piano. If you want sustained sounds, select 061 French Horn or another wind sound. For a complete list of assigned numbers and pitches for instrument sounds, see handout GENERAL MIDI SPECIFICATIONS. If you want to hear one single-timbral sound, you need to assign the General MIDI specification number for the sound. If you want to hear two to sixteen simultaneous multi-timbral sounds, you need to assign the General MIDI specification numbers for the sounds and also assign each sound to a specific channel.

HOW TO USE THE STATION 1 YAMAHA PSR-530: 1. To turn on the Yamaha PSR-530, press the red power button, which is on the front panel at the far left, next to the master volume dial. 2. To use single-timbral sounds on the Yamaha: a. To assign one Yamaha voice automatically, enter the General MIDI specification number in your software program. NOTE: Because Yamaha assigns General MIDI numbers from 000 to 127 rather than from 001 to 128, each voice number which is displayed on the Yamaha control panel will be one number lower than its corresponding General MIDI specification number. b. To assign one Yamaha voice manually, enter the Yamaha voice number on the Yamaha control panel (see published manual at Station 1 for a complete list of Yamaha voice numbers). 3. To use simultaneous multi-timbral sounds on the Yamaha: a. To assign several Yamaha voices and channels automatically, enter the General MIDI specification numbers and channel numbers in your software program. NOTE: Because Yamaha assigns General MIDI numbers from 000 to 127 rather than from 001 to 128, a voice number which is displayed on the Yamaha control panel will be one number lower than its Corresponding General MIDI specification number. b. There is no known way to see and hear the voices assigned to each channel. c. To hear standard drum kit sounds, enter Yamaha voice number 201 on the Yamaha control panel, so that "201: Std. Kit. 1" appears. This sets the Yamaha voice number to a drum kit on the Yamaha channel number 10, with middle C = pitch C3. 4. To play demo songs on the Yamaha: a. Press SONG key on the control panel. b. Press a number to select a song. c. Press the START/STOP key to start or stop the song.

HOW TO USE THE STATION 2 ROLAND XP-10: 5. To turn on the Roland XP-10, press the black power button, which is on the rear panel at the far left, next to the power cord. 6. To use single-timbral sounds on the Roland: a. To set the Roland to transmit one General MIDI tone on one part, press USER/PRESET on the Roland control panel so that "Preset" appears. b. To assign one Roland tone automatically, enter the General MIDI specification number in your software program. c. To assign one Roland tone manually, enter the General MIDI specification number on the Roland control panel. 7. To use simultaneous multi-timbral sounds on the Roland: a. To set the Roland to transmit multiple General MIDI tones simultaneously on several different parts, complete the following steps: (1) Press the UTILITY key on the control panel so that it is lighted. (2) Press the VALUE+ key four times so that "Initialize" appears. (3) Press the ENTER key so that "Perform: GS Reset" appears. (4) Press the ENTER key a second time. b. To assign several Roland tones and parts automatically, Enter the General MIDI specification numbers and channel numbers in your software program. c. To see and hear the tones assigned to each part, press the PART key. d. To hear standard drum kit sounds, press PART UPPER on the Roland control panel nine times so that "P10 Standard D1 Preset: 01" appears. This sets the Roland tone number to a drum kit on the Roland part number 10, with middle C = pitch C4. 8. To play demo songs on the Roland: a. Simultaneously press both VALUE+ and USER/PRESET keys on the control panel. b. Press VALUE+ or VALUE- to select a song. c. Press the ENTER key to start the song.

HOW TO USE THE STATION 3 KORG TRINITY: 9. To turn on the Korg Trinity, press the black power button, which is on the rear panel at the far right, next to the power cord. 10. To use single-timbral sounds on the Korg: a. To set the Korg to transmit one General MIDI program on one track, press the PROG key on the control panel so that it is lighted. If "001: GM BRITE PIANO" does not appear below BANK A on the LCD screen, complete the following additional steps: (1) Insert the Korg Trinity General MIDI Disk into the Korg disk drive. (2) Press the DISK key on the control panel so that it is lighted. (3) Press "General.PCG" so that it is highlighted. (4) Press the down arrow in the upper right corner of the LCD screen so that a menu drops down. (5) Press "Load Selected" so that it is highlighted. (6) Press OK so that a new NOW LOADING screen appears. (7) When files are loaded, remove disk from the disk drive. b. To assign one Korg program automatically, enter the General MIDI specification number in your software program. NOTE: Because Korg assigns General MIDI numbers from 000 to 127 rather than from 001 to 128, each program number which is displayed on the Korg control panel will be one number lower than its corresponding General MIDI specification number. c. To assign one Korg program manually, enter a number one number lower than its corresponding General MIDI specification number on the Korg control panel. 11. To use simultaneous multi-timbral sounds on the Korg: a. To set the Korg to transmit multiple General MIDI programs simultaneously on several different tracks, press the SEQ key on the control panel so that it is lighted. If you need drum sounds, complete the following additional steps: (1) Press "Trk 9-16" to get to page two sequencer specifications. (2) Press "|>A" in the second column from the left to change banks.

1. Also read over the next week the articles at each of the following sites as an overview.

a. http://www.harmony-central.com/MIDI/Doc/intro.html

b. http://www.harmony-central.com/MIDI/Doc/tutorial.html Following is what you will see:

Tutorial on MIDI and Music Synthesis Written by Jim Heckroth, Crystal Semiconductor Corp. Used with Permission.

Published by: The MIDI Manufacturers Association POB 3173 La Habra CA 90632-3173

Windows is a trademark of Microsoft Corporation. MPU-401, MT-32, LAPC-1 and Sound Canvas are trademarks of Roland Corporation. Sound Blaster is a trademark of Creative Labs, Inc. All other brand or product names mentioned are trademarks or registered trademarks of their respective holders.

Copyright 1995 MIDI Manufacturers Association. All rights reserved. No part of this document may be reproduced or copied without written permission of the publisher.

Printed 1995 HTML coding by Scott Lehman

Table of Contents

Introduction MIDI vs. Digitized Audio MIDI Basics MIDI Messages MIDI Sequencers and Standard MIDI Files Synthesizer Basics The General MIDI (GM) System Synthesis Technology: FM and Wavetable The PC to MIDI Connection Multimedia PC (MPC) Systems Microsoft Windows Configuration

Send an email message to the entire class by noon, Monday, September 30, in which you discuss the five pages you have studied in #2 and any comments from #3. For each page or article in #2, answer these questions:

a. What is the purpose of this page or article? b. What are some interesting things you learned from

reading this page or article? c. How could you use this information in your life? d. An overall list of questions or areas that weren’t

clear to you once you read the articles?

!!! CRUCIAL REMINDERS !!!

(1) Whenever you start a new file, choose File/Save As, then save the file into your personal folder on drive C!

(2) As you work, always save your work every ten minutes,

renaming it if you want to safeguard your previous versions!

(3) When you are done working, copy your file to your disk in drive A!

Assignment 6: Finale: Theme and Modal Variation: Becoming familier with Finale: Go through the entire Finale Tutorial; Do a write-up on how you would use this program.

Start up Finale

In the Help choose “How to use the manual”

After reading how to use the manual go to help and read Chapters 1-3 in the manual.

Do a paper for assignment 6 on how you will use Finale or a notation program in your music development.

Answer the following questions:

1. Why use the computer to notate? 2. What advantages does the computer have in doing notation?3. What could be future uses for the computer in notation?4. How will you use the computer and notation?5. What roadblocks do you see to learning how to notate on the

computer?

This should be turned in by Oct 11, 2004

2) Which website that have lots of MIDI files to download? How to put a MIDI on my web page?

What is the difference between MIDI and MP3?

Let’s start by answering these questions:

MP3 files are audio files that have been compressed. The compression takes the audio files and makes them smaller with some minor loss of information. Digital data (16 bits) is in the original Wave file. This is at 44KHz with 16 bits. That data would normally be run through a DAC (Digital to Analog Converter) and converted into an analog signal to drive the speakers. With MP3 the data is compressed and on playback it uncompressed but is still handled in a similar matter. A 3 minute MP3 would have about 4Meg of information.

MIDI files are computer files that are MIDI data. No music until it goes through a MIDI instrument and the digital data is then read to control the instrument and make the music. A 3 minute MIDI file would have about 1K of data. Much smaller and easier to handle.

First Finale Assignment

• Watch the Finale Tutorial.

• Take notes on entry up to the Hyperscribe section.

• Make sure that you ask instructor questions about areas that you don’t understand.

• Enter Happy Birthday as on the next page.

• Send me the file by Oct 18, 2004.

At this point class will watch part of the tutorial.

• You can do this with Finale or with Notepad.

• You have one week and 3 days to complete this assignment.

Let’s discuss this.

MIDI Folder

Hands On Midi Library - H MIDI Files on the Net - Self Sequenced Music Under 75 Years Old Midi Music Page Music Software GUITAR (Shareware Music Machine) Music Software NOTATION (Shareware Music Machine) SyntheSysResearch The Finale Forum - For users of Coda Music's Finale The Midi Express - Hundreds of TV and movie midi themes WAVPLANET.COM- Television

MP3's

AudioSearching.com - 8,800 New Full Albums & Latest MP3 Songs - 100% FREE AudioSeek.net - Over 500,000 Free Mp3 Downloads MP3Seeking.com - Free Latest Songs Download MP3Shape.com - Best MP3 Download & Free Full Albums MP3Sky.com - Free New Full Albums & MP3 Songs

!Slow down and transcribe with Roni Music software - slow down the speed of music without chang Acoustic Fingerstyle Guitar Page American Music Conference Artsongmusic bert jansch official website Blackcatters World of TV theme song lyrics Bongiorno Discussion Forums Doyle Dykes Forum - powered by vBulletin drugstore.com - Conair Elegant Nails Rechargeable Nail Care System Freddie's Chet Atkins Page Funky Junk Guitar CD's, Tab Books, Videos, DVD's Guitar and Bass Lessons by Mark Stefani Guitar Books & Guitar Videos from JK Lutherie Co. Guitar Sites Guitar.com - Reeves Gabrels Scary Monsters and Other Nasty Noises Guitar.com - Your guitar guide! GuitarOne Magazine - MP3 Library Guitars, Banjos, Mandolins, Dobros, Harps, Ukuleles, and Fiddles from Gryphon Stringed Instrume GuitarSite.com - Home of Guitar News Weekly & the 2000 Guitars Database GuitarTabs.com - Your number one source for guitar tablature Homespun Tapes http--www.jazzbeat.com-html-woodshed.html Introduction to the Flamenco Guitar Jazz Guitar Central Jazz Guitar Connection Ultimate Jazz Resource jimcampilongo.com MTFG-Music Theory for Guitar Music Software - Shareware Music Machine Music Theory Musica Viva The Free Sheet Music Directory Guitar Musician's Friend CD Duplication with DiskFaktory Norah Jones - Music Norah Jones Music Appreciation Outline for Music 471_01 Pacifica Arts & Heritage Council Pearl Jam Guitar Tabs - guitartabs.com Rancho Nicasio Bar & Restaurant [HOME] Richard Smith The Finger Picking Virtuoso - www.RichardSmithMusic.com TEACHGUITAR.com HOME PAGE - Could YOU earn a living from your ability to play guitar The Chet Atkins Appreciation Society The Fake Book Index - Seventh String Software Welcome to Acoustic Music Resource - AMR Welcome to John Jorgenson's website... Welcome to the Telecaster Discussion Page Reissue What's New from John Standefer's Praise Guitar Workshop -

Pacifica Arts & Heritage Council Pearl Jam Guitar Tabs - guitartabs.com Rancho Nicasio Bar & Restaurant [HOME] Richard Smith The Finger Picking Virtuoso - www.RichardSmithMusic.com TEACHGUITAR.com HOME PAGE - Could YOU earn a living from your ability to play guitar The Chet Atkins Appreciation Society The Fake Book Index - Seventh String Software Welcome to Acoustic Music Resource - AMR Welcome to John Jorgenson's website... Welcome to the Telecaster Discussion Page Reissue What's New from John Standefer's Praise Guitar Workshop -

Powertab stuffMike's Guitar Site - Guitar Tabs , Power Tab Scores , exclusive masterclass lessons, scales, ch Soft Power Tabs Welcome to RealTab.com the Ultimate PowerTab Archive About.com http--powertab.guitarnetwork.org- ActiveGuitar.com guitar tab guitar lessons mp3 music chords scales and more Aerie Free Guitar Tablature Christian Music Web - Song archives, chords, guitar and bass tablature ChristianTabs.com - Guitar Tabs, Christian Music, MP3, Guitar Music Classical Guitar Tablature Country - Bluegrass Guitar Sheet Music and Tab Books and Videos at Chord Melody Guitar Music COWPIE Bunkhouse FREE TABLATURES Alphabetical D-H Get Lyrics .com - Song Lyrics, Music Discography, Pictures, Search, Radio, Karaoke, Links, Shop Guitar Noise - Free guitar and music lessons for everyone! Guitar Tab at Guitar Tricks Guitar Tab Universe - Welcome to guitartabs.cc! Guitar Tablature Archive - free tab rock, metal, indie, alternative Guitar Tabs Dot Net - Your #1 source for guitar tabs! Guitar Tabs Search Engine - Tab Robot covers 350,000 guitar tabs plus OLGA GuitareTAB - #1 Guitar Tab Resource Jazz Solo Transcriptions Lyrics Planet - The Best Lyrics on the Planet Power Tab Site Listing Risa Song Lyrics Archive SimplytheBest music shareware sound freeware music utilities song lyrics search engine Tucows Downloads - Download the best software, shareware, freeware, demos, themes, games and mo

Use a search engine

• Use a search engine to explore the web.

• Find at least 4 new sites with MIDI files. Look particularly for styles that you are interested in.

• We will work on importing into Finale.

• Isn’t as easy as you might think it is.

2nd Notation Assignment• This assignment will be using Hyperscribe. • Pick a piece that you have music for or better yet compose your own piece. If you compose your

own piece you can earn an A+ on this assignment. If you pick a piece then your top grade you can earn is A-. I really want you to write a piece. If you are not a music major there is only a bonus for doing your own piece. If you compose your own piece you will not be required to have lyrics, otherwise you will need to put lyrics in the piece or have an piece with at least 4 instruments.

• Enter the following:– Notes– Title– Composer– Lyrics– Chords (in symbol form)– Articulation.– Time and key signatures– Correct clef’s– Space music so no more than 4 measures per line

• Must be at least 24 measures long. • Due a week from next Monday (Nov 1). • You may have to start it in Notepad and then move it to Finale in order to complete it and have it

look close to the original!

Finale Tutorial • For this assignment you must finish watching the entire video tutorial on Finale. • Answer the following questions:

– Explain the steps setting up your score. – How do you create pickup measures?– How many tools in the main tool palette? – How do you add new staves?– What is the difference between page view and scroll view? Why would you choose one

over the other (give examples).– Explain how to change the key, time or clef. Give at least 2 examples of the clef.– Explain in simple entry tool how to enter notes using the number keys.– Explain exactly how to use your computer keyboard and speedy entry to inter notes.– Explain in Speedy Entry how to enter notes. For an example use a C major scale and then

the C major chord all quarter notes.– Explain steps to entering music using Hyperscribe and a MIDI keyboard. – Why is setting up the Hyperscribe correctly key to a correct entry of your piece?– Explain Quantization.– Can you enter music with a non MIDI instrument? Explain how if you can do that.– Explain the steps in copying a section of music and pasting it somewhere else in the score.– Explain at least 5 things that the mass edit tool can do, how to do them and why it is

important.

Cont.• Explain 2 different ways to add lyrics to your score.• How do you add chord symbols? How do you show fretboard diagrams?• How do you add staccato to a note? To a group of notes?• Explain 3 different shortcut keys for adding articulation.• How do you pick a note duration range to apply articulation (like 1/8 th to ¼ notes)• How do you apply performance markings to a rhythmic section. (explained in articulation video).• Explain use of resize tool.• How do you you change the size of just 1 staff?• How do you join measures from one line to the next? Very important for some of the pieces you

already did.• How do you freeze the number of measures per line in your piece?• How do you just listen to one note or chord in the playback menu?• Explain how to use smart playback.• How do you print individual parts of a score?• Explain how to create a worksheet for a class in finale.• Explain the steps to scanning a piece of printed music.• Explain how to use at least 3 plug ins and why you would use them in your music.• How do you create slashed symbols for rhythmic notation?

2nd Notation Assignment• This assignment will be using Hyperscribe. • Pick a piece that you have music for or better yet compose your own piece. If you compose your

own piece you can earn an A+ on this assignment. If you pick a piece then your top grade you can earn is A-. I really want you to write a piece. If you are not a music major there is only a bonus for doing your own piece. If you compose your own piece you will not be required to have lyrics, otherwise you will need to put lyrics in the piece or have an piece with at least 4 instruments.

• Enter the following:– Notes– Title– Composer– Lyrics– Chords (in symbol form)– Articulation.– Time and key signatures– Correct clef’s– Space music so no more than 4 measures per line

• Must be at least 24 measures long. • Due a week from next Monday (Nov 8, 2004). You are being allowed extra time so that you can

compose something. Last term one of the best pieces was composed by a non-music major. The student didn’t have any bias towards what to do and came up with a very modern sounding piece.

• You may have to start it in Notepad and then move it to Finale in order to complete it and have it look close to the original!

This takes the class to the ½ way point.

• Instructor will post rest of class before this part is complete.

Assignment 2: Windows Explorer and MS Word: File Management: This project gives you experience organizing your personal folders and files using Windows Explorer and MS Word. 1. For step 1, do the following at all three stations in the

lab: a. Open Windows Explorer. b. Create (if not already created) a folder on drive

c:\2004fall. c. Within the folder c:\2004fall, create your c:\

personal folder: c:\2004fall\[yourname]. d. Within the folder e:\2004fall, create your e:\

personal folder: e:\2004fall\[yourname]. Beginning with step 2, do the following at one station in the lab: Within your data disk a:\, create a new folder, a:\2003fall, and a new subfolder: a:\2004fall\[yourname]. (Be sure you put your name on your disk and bring the disk to every class meeting.)

e. Open word and type in a brief letter to yourself on what you want out of this class.

Open MS Word and start a new file. Type a list of the musical works you are currently studying in your private lessons (or some other relevant list). Save as "currentworks.doc" (or some other relevant title) in your c:\ personal folder, c:\2004fall\[yourname]. Copy "currentworks.doc" from your c:\ personal folder to your e:\ personal folder and also to your a:\ personal folder. Practice the above steps until you understand the whys and wherefores. Be ready to demonstrate your skills to F Markovich, who will give you other files and folders to create and copy. If you already know this (and hopefully most of you do know it then you will need to just demonstrate it to the instructor. No matter what you need to do regular backups and have a file system that makes sense to you and others!! Last year a couple of students lost time and work by not taking care in this area!!

Send an email message to to fmarkovi@pacbell.net, by noon, Monday, September 26, in which you:

a. Say that you have successfully completed this assignment and are ready to demonstrate the skills in class.

b. Attach a copy of the MSWord file you created, “currentworks.doc” (or some other relevant title).

c. Indicate which station in the lab you used for steps 2-8. While you may use any lab station it would be best to use the same station for all of your work this term.

Assignment 3: Music Tech Lab: MIDI: This project gives you experience understanding the use of MIDI. 1. Study the handout MIDI and Music Synthesizers (pages 311-

314). You can use either the hardcopy versions distributed to you or the onscreen versions accessed by clicking Start – Programs. (this is now removed so I will have to give it to you) – it is following in this presentation.

Use Netscape to load the website, Exploring MID http://music.northwestern.edu/links/projects/midi/expmidiindex.html Study as much of the website as you wish (some of this gets quite technical). Minimally, be sure you study the following five pages:

a. What is MIDI? b. MIDI Controllers. c. General MIDI. d. Standard MIDI Files. e. Applications that use MIDI.

Go to: http://music.northwestern.edu/links/projects/midi/expmidiindex.html

This is what you will see

This Web site is an introduction to MIDI for those who would like to learn more about basic concepts in MIDI and its application in the world of music. Listed below is a selection of topics pertaining to MIDI.

What is MIDI? MIDI Connections

Java Enabled MIDI Connections

Non-Java Page

Understanding Decimal

Binary & Hexadecimal

The MIDI Language

Types of Data Transmitted

through MIDI

MIDI Channels and Modes

MIDI Controllers General MIDI

Standard MIDI Files

Using MIDI on a Web Site

Applications that use MIDI

Audio vs. MIDI Files

MIDI Timing Concepts

Author Information and

Comments

1. Also read over the next week the articles at each of the following sites as an overview.

a. http://www.harmony-central.com/MIDI/Doc/intro.html

b. http://www.harmony-central.com/MIDI/Doc/tutorial.html Following is what you will see:

Tutorial on MIDI and Music Synthesis Written by Jim Heckroth, Crystal Semiconductor Corp. Used with Permission.

Published by: The MIDI Manufacturers Association POB 3173 La Habra CA 90632-3173

Windows is a trademark of Microsoft Corporation. MPU-401, MT-32, LAPC-1 and Sound Canvas are trademarks of Roland Corporation. Sound Blaster is a trademark of Creative Labs, Inc. All other brand or product names mentioned are trademarks or registered trademarks of their respective holders.

Copyright 1995 MIDI Manufacturers Association. All rights reserved. No part of this document may be reproduced or copied without written permission of the publisher.

Printed 1995 HTML coding by Scott Lehman

Table of Contents

Introduction MIDI vs. Digitized Audio MIDI Basics MIDI Messages MIDI Sequencers and Standard MIDI Files Synthesizer Basics The General MIDI (GM) System Synthesis Technology: FM and Wavetable The PC to MIDI Connection Multimedia PC (MPC) Systems Microsoft Windows Configuration

Send an email message to the entire class by noon, Monday, )ctober 3, in which you discuss the five pages you have studied in #2 and any comments from #3. For each page or article in #2, answer these questions:

a. What is the purpose of this page or article? b. What are some interesting things you learned from

reading this page or article? c. How could you use this information in your life? d. An overall list of questions or areas that weren’t

clear to you once you read the articles?

!!! CRUCIAL REMINDERS !!!

(1) Whenever you start a new file, choose File/Save As, then save the file into your personal folder on drive C!

(2) As you work, always save your work every ten minutes,

renaming it if you want to safeguard your previous versions!

(3) When you are done working, copy your file to your disk in drive A!

Assignment 4: Finale: Theme and Modal Variation: Becoming familier with Finale: Go through the entire Finale Tutorial; Do a write-up on how you would use this program.

Start up Finale

In the Help choose “How to use the manual”

After reading how to use the manual go to help and read Chapters 1-3 in the manual.

Do a paper for assignment 6 on how you will use Finale or a notation program in your music development.

Answer the following questions:

1. Why use the computer to notate? 2. What advantages does the computer have in doing notation?3. What could be future uses for the computer in notation?4. How will you use the computer and notation?5. What roadblocks do you see to learning how to notate on the

computer?

This should be turned in by Oct 17, 2004

2) Which website that have lots of MIDI files to download? How to put a MIDI on my web page?

What is the difference between MIDI and MP3?

Let’s start by answering these questions:

MP3 files are audio files that have been compressed. The compression takes the audio files and makes them smaller with some minor loss of information. Digital data (16 bits) is in the original Wave file. This is at 44KHz with 16 bits. That data would normally be run through a DAC (Digital to Analog Converter) and converted into an analog signal to drive the speakers. With MP3 the data is compressed and on playback it uncompressed but is still handled in a similar matter. A 3 minute MP3 would have about 4Meg of information.

MIDI files are computer files that are MIDI data. No music until it goes through a MIDI instrument and the digital data is then read to control the instrument and make the music. A 3 minute MIDI file would have about 1K of data. Much smaller and easier to handle.

First Finale Assignment

• Watch the Finale Tutorial.

• Read in text 331-356.

• Will enter in step first.

• Make sure that you ask instructor questions about areas that you don’t understand.

• Enter Happy Birthday as on the next page.

• Send me the file by Oct 18, 2004.

Let’s discuss this.

We will watch the Video training

• We will watch the first part of the video training in class.

• Best if we watch and then try what we see on the tutorial.

MIDI Folder

Hands On Midi Library - H MIDI Files on the Net - Self Sequenced Music Under 75 Years Old Midi Music Page Music Software GUITAR (Shareware Music Machine) Music Software NOTATION (Shareware Music Machine) SyntheSysResearch The Finale Forum - For users of Coda Music's Finale The Midi Express - Hundreds of TV and movie midi themes WAVPLANET.COM- Television

MP3's

AudioSearching.com - 8,800 New Full Albums & Latest MP3 Songs - 100% FREE AudioSeek.net - Over 500,000 Free Mp3 Downloads MP3Seeking.com - Free Latest Songs Download MP3Shape.com - Best MP3 Download & Free Full Albums MP3Sky.com - Free New Full Albums & MP3 Songs

!Slow down and transcribe with Roni Music software - slow down the speed of music without chang Acoustic Fingerstyle Guitar Page American Music Conference Artsongmusic bert jansch official website Blackcatters World of TV theme song lyrics Bongiorno Discussion Forums Doyle Dykes Forum - powered by vBulletin drugstore.com - Conair Elegant Nails Rechargeable Nail Care System Freddie's Chet Atkins Page Funky Junk Guitar CD's, Tab Books, Videos, DVD's Guitar and Bass Lessons by Mark Stefani Guitar Books & Guitar Videos from JK Lutherie Co. Guitar Sites Guitar.com - Reeves Gabrels Scary Monsters and Other Nasty Noises Guitar.com - Your guitar guide! GuitarOne Magazine - MP3 Library Guitars, Banjos, Mandolins, Dobros, Harps, Ukuleles, and Fiddles from Gryphon Stringed Instrume GuitarSite.com - Home of Guitar News Weekly & the 2000 Guitars Database GuitarTabs.com - Your number one source for guitar tablature Homespun Tapes http--www.jazzbeat.com-html-woodshed.html Introduction to the Flamenco Guitar Jazz Guitar Central Jazz Guitar Connection Ultimate Jazz Resource jimcampilongo.com MTFG-Music Theory for Guitar Music Software - Shareware Music Machine Music Theory Musica Viva The Free Sheet Music Directory Guitar Musician's Friend CD Duplication with DiskFaktory Norah Jones - Music Norah Jones Music Appreciation Outline for Music 471_01 Pacifica Arts & Heritage Council Pearl Jam Guitar Tabs - guitartabs.com Rancho Nicasio Bar & Restaurant [HOME] Richard Smith The Finger Picking Virtuoso - www.RichardSmithMusic.com TEACHGUITAR.com HOME PAGE - Could YOU earn a living from your ability to play guitar The Chet Atkins Appreciation Society The Fake Book Index - Seventh String Software Welcome to Acoustic Music Resource - AMR Welcome to John Jorgenson's website... Welcome to the Telecaster Discussion Page Reissue What's New from John Standefer's Praise Guitar Workshop -

Pacifica Arts & Heritage Council Pearl Jam Guitar Tabs - guitartabs.com Rancho Nicasio Bar & Restaurant [HOME] Richard Smith The Finger Picking Virtuoso - www.RichardSmithMusic.com TEACHGUITAR.com HOME PAGE - Could YOU earn a living from your ability to play guitar The Chet Atkins Appreciation Society The Fake Book Index - Seventh String Software Welcome to Acoustic Music Resource - AMR Welcome to John Jorgenson's website... Welcome to the Telecaster Discussion Page Reissue What's New from John Standefer's Praise Guitar Workshop -

Powertab stuffMike's Guitar Site - Guitar Tabs , Power Tab Scores , exclusive masterclass lessons, scales, ch Soft Power Tabs Welcome to RealTab.com the Ultimate PowerTab Archive About.com http--powertab.guitarnetwork.org- ActiveGuitar.com guitar tab guitar lessons mp3 music chords scales and more Aerie Free Guitar Tablature Christian Music Web - Song archives, chords, guitar and bass tablature ChristianTabs.com - Guitar Tabs, Christian Music, MP3, Guitar Music Classical Guitar Tablature Country - Bluegrass Guitar Sheet Music and Tab Books and Videos at Chord Melody Guitar Music COWPIE Bunkhouse FREE TABLATURES Alphabetical D-H Get Lyrics .com - Song Lyrics, Music Discography, Pictures, Search, Radio, Karaoke, Links, Shop Guitar Noise - Free guitar and music lessons for everyone! Guitar Tab at Guitar Tricks Guitar Tab Universe - Welcome to guitartabs.cc! Guitar Tablature Archive - free tab rock, metal, indie, alternative Guitar Tabs Dot Net - Your #1 source for guitar tabs! Guitar Tabs Search Engine - Tab Robot covers 350,000 guitar tabs plus OLGA GuitareTAB - #1 Guitar Tab Resource Jazz Solo Transcriptions Lyrics Planet - The Best Lyrics on the Planet Power Tab Site Listing Risa Song Lyrics Archive SimplytheBest music shareware sound freeware music utilities song lyrics search engine Tucows Downloads - Download the best software, shareware, freeware, demos, themes, games and mo

Use a search engine

• Use a search engine to explore the web.

• Find at least 4 new sites with MIDI files. Look particularly for styles that you are interested in.

• We will work on importing into Finale.

• Isn’t as easy as you might think it is.

Finale Tutorial • For this assignment you must finish watching the entire video tutorial on Finale. • Answer the following questions:

– Explain the steps setting up your score. – How do you create pickup measures?– How many tools in the main tool palette? – How do you add new staves?– What is the difference between page view and scroll view? Why would you choose one

over the other (give examples).– Explain how to change the key, time or clef. Give at least 2 examples of the clef.– Explain in simple entry tool how to enter notes using the number keys.– Explain exactly how to use your computer keyboard and speedy entry to inter notes.– Explain in Speedy Entry how to enter notes. For an example use a C major scale and then

the C major chord all quarter notes.– Explain steps to entering music using Hyperscribe and a MIDI keyboard. – Why is setting up the Hyperscribe correctly key to a correct entry of your piece?– Explain Quantization.– Can you enter music with a non MIDI instrument? Explain how if you can do that.– Explain the steps in copying a section of music and pasting it somewhere else in the score.– Explain at least 5 things that the mass edit tool can do, how to do them and why it is

important.

Cont.• Explain 2 different ways to add lyrics to your score.• How do you add chord symbols? How do you show fretboard diagrams?• How do you add staccato to a note? To a group of notes?• Explain 3 different shortcut keys for adding articulation.• How do you pick a note duration range to apply articulation (like 1/8 th to ¼ notes)• How do you apply performance markings to a rhythmic section. (explained in articulation video).• Explain use of resize tool.• How do you you change the size of just 1 staff?• How do you join measures from one line to the next? Very important for some of the pieces you

already did.• How do you freeze the number of measures per line in your piece?• How do you just listen to one note or chord in the playback menu?• Explain how to use smart playback.• How do you print individual parts of a score?• Explain how to create a worksheet for a class in finale.• Explain the steps to scanning a piece of printed music.• Explain how to use at least 3 plug ins and why you would use them in your music.• How do you create slashed symbols for rhythmic notation?

2nd Notation Assignment• This assignment will be using Hyperscribe. • Pick a piece that you have music for or better yet compose your own piece. If you compose your

own piece you can earn an A+ on this assignment. If you pick a piece then your top grade you can earn is A-. I really want you to write a piece. If you are not a music major there is only a bonus for doing your own piece. If you compose your own piece you will not be required to have lyrics, otherwise you will need to put lyrics in the piece or have an piece with at least 4 instruments.

• Enter the following:– Notes– Title– Composer– Lyrics– Chords (in symbol form)– Articulation.– Time and key signatures– Correct clef’s– Space music so no more than 4 measures per line

• Must be at least 24 measures long. • Due a week from next Monday (Nov 8, 2004). You are being allowed extra time so that you can

compose something. Last term one of the best pieces was composed by a non-music major. The student didn’t have any bias towards what to do and came up with a very modern sounding piece.

• You may have to start it in Notepad and then move it to Finale in order to complete it and have it look close to the original!

For Tuesday

• Review slides

• Student information – fill it out and email it to me!!!

• Pick up the textbook.

• Bring 6 blank CD’s to class. (have cases or sleeves for each CD.