By default, Pure Data has 1 MIDI input and 1 MIDI output.
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I want to receive MIDI data from my keyboard .. How do I do that?
Making Basic Connections
To connect to one of these ports, first plug in the MIDI device (or start your MIDI software). Next, start Pure Data and choose the device in the MIDI Settings dialog: Preferences->MIDI Settings..
You can test that MIDI I/O is working with the Test Audio and MIDI patch: Media->Test Audio and MIDI. Input and output channels are 1-16.
Note: You will have to restart PD in order to connect to new devices that were plugged in after it was last started.
Using Multiple Devices
If you want to connect multiple MIDI devices/streams to PD, you can enable the 'use multiple devices' option in the MIDI Settings dialog which enables 4 inputs and 2 outputs.
With multiple input and output ports, the extra channels are accessed beyond the usual MIDI 1-16 channel numbering:
MIDI Routing
Another more useful option is to use Operating System specific MIDI mixing/routing software. This allows you to route external MIDI streams into PD as opposed to selecting them manually through the MIDI Settings dialog and most routing software also allows you to save connection settings.
Mac OS X
Use the Audio-MIDI Setup.app in /Applications/Utilities to create virtual ports for Pure Data to use through the IAC Driver. Open the MIDI window and double click on the IAC Driver. Click on the little '+' icon below the Ports list and add two ports: 'Pure Data In' and 'Pure Data Out'. Next, open PD and select 'IAC Driver Pure Data In' for the input port and 'IAC Driver Pure Data Out' for the output port.
Now that Pure Data has 2 virtual ports, you can route MIDI data from devices and other software into and out of Pure Data. To make connections, try the following software: MidiPatchBay or, if you're already using Jack OSX, Patchage.
Linux
As Pure Data uses ALSA MIDI, by default, it creates 2 virtual ports: 1 input and 1 output. You can then use tools which allow you to make connections between ALSA MIDI streams: aconnect, aconnectgui, and qjackctl (if you are using Jack). aconnect is a simple commandline program that comes with ALSA, aconnectgui provides a simple gui around aconnect, and qjackctl includes a nice visual routing system for ALSA MIDI.
Windows
The Windows MIDI implementation does not include virtual midi ports and you will need an 'loopback' application that allows you to create them in order to route MIDI data between software. Currently, the options are MIDI-OX , LoopBe1 , Maple Virtual Midi Cable and loopMIDI.
by IOhannes — last modified 2012-12-26 03:12 AM
Hi,
You didn't include all of the information we need to give you a complete answer, but are some tips. You didn't describe exactly how you physically (or wirelessly) connect your products together. Also we aren't sure which songbook software you have , but thought it might be this one (https://itunes.apple.com/us/app/songbook-+/id447755419?mt=8). To get started try reading one of the Intro to MIDI guides on the site like this one.Intro to MIDI. You need to understand MSB/LSB Bank Select and Program Change and also MIDI channels. You will want the Songbook and the Tryos to receive MIDI information on two different channels so that the information doesn't conflict with each other. You probably have to decide which device will be the master and which two will be the slaves. If you use the Ketron as your usual way to select registrations , you can put a MSB/LSB Bank and Program Change command in the registration to select a specific song in Songbook +. This is from Page 37 of the SongBook Manual A typical use of this feature is that ProgramChange commands are sent from within a MIDI style, from within a played MIDI file, or from the keyboard when a registration was selected. SongBook+ then opens the corresponding song text. (A MIDI style can resend the same ProgramChange over and over again while looping; this will not lead to a problem.) SongBook+ opens a song text, if it received BankSelect commands and a ProgramChange command as configured in the „Edit song detail“ window. Please note that SongBook+ uses values from 0 to 127. If your keyboard uses numbers from 1 to 128 instead, you must subtract 1 to get the value to configure in SongBook+. The commands for which Voices are called up by specific Program Changes will be in the Data Book for the Tyros. Hope that helps!
Introduction to MIDI and Computer Music: The MIDI Standard
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MIDI is an acronym that stands for Musical Instrument Digital Interface.It’s a way to connect devices that make and control sound — such assynthesizers, samplers, and computers — so that they can communicate witheach other, using MIDI messages. This lets one keyboard trigger sounds onanother synthesizer, and it makes it possible to record music in a form thatallows for easy note editing, flexible orchestration, and song arrangement.Virtual instruments — computer programs that simulate hardwaresynthesizers and samplers — also communicate with computer sequencingsoftware running on the same computer using MIDI messages.
This web page introduces you to the basics of MIDI. The interactiveapplication you can download from the syllabus helpsyou to understand some specifics of MIDI messages.
HistoryHow To Connect Midi Devices
MIDI evolved as a standard to enable communication between the more compact andaffordable synthesizers that were available in the early 1980s, after the eraof large, expensive modular analog synthesizers. MIDI was meant to allowsomeone to control multiple synthesizers from a single keyboard, so as togenerate, for example, the massive layered sounds popular in some ’80spop music. Formerly, such connections between instruments were notstandardized, so incompatibilities were common. The MIDI standard was completedin 1983 by a consortium of musical equipment manufacturers (including Korg,Oberheim, Roland, Sequential Circuits, and Yamaha). Products featuring thestandard, such as the popular Yamaha DX7, were on the market soon after.
Before long, sequencing software for personal computers could take advantageof the MIDI communications protocol to let users record, store, and editmusic, as well as manage large collections of synthesizer sounds.
Communication by Message
The most important thing to understand about MIDI is that it is based on theidea of message-passing between devices (pieces of equipment or software).Imagine a common situation: you have a keyboard synthesizer and would liketo record a sequence using the sounds that are in that synthesizer. Youconnect the computer and synthesizer so that they can communicate usingthe MIDI protocol, and start recording. What happens?
When you play notes on the synthesizer, all your physical actions (except thedance moves) are transmitted as MIDI messages to the computer sequencingsoftware, which records the messages. MIDI messages are brief numericdescriptions of an action. Keys you press, knobs you turn, the joystickyou wiggle — all these actions are encoded as MIDI messages. You hearthe sound you’re making, but that sound comes out of the synthesizer,directly to your speakers. The computer does not record the sound itself.
When you play your recorded sequence, the computer sends MIDI messages back tothe synthesizer, which interprets them and creates audio in response. Becausethe music handled by the computer is in the form of encoded messages, ratherthan acoustic waveforms, it’s possible to change the sound of a trackfrom a piano to a guitar after having recorded the track. That would not bepossible if you were recording the sound that the synthesizer makes.
MIDI Channels
The concept of channels is central to how most MIDI messages work. Achannel is an independent path over which messages travel to their destination.There are 16 channels per MIDI device. A track in your sequencer program playsone instrument over a single channel. The MIDI messages in the track findtheir way to the instrument over that channel.
MIDI channels are a bit like channels on your TV set: each channel isindependent of the others, and, on some models of TV, can even be watchedsimultaneously in separate boxes that appear on the screen. Just imagine thatinstead of a TV show, each channel features a single instrumental part —with notes, pitch bend, and other nuances acting independently of the parts onother channels that are playing at the same time.
Each channel (marked “Ch”) carries its own instrumental part,and has independent volume, panning, and other settings.
Basic MIDI Hardware Setup
Present day software is capable of performing the sound-making functionformerly available only in external hardware-based synthesizers. It’sjust as likely now to see, connected to a computer, a keyboard that can’tmake any sound at all. Its function is to trigger and control, via MIDImessages, sounds made by the computer. But the sound-making part of thecomputer software still communicates with the sequencing part using the MIDIprotocol.
There are still plenty of MIDI setups that work in the traditional way, withthe computer just recording and playing MIDI messages, and the sound created byan external synthesizer. These are especially useful in live setups, where thereliability and faster response of hardware synthesizers are distinctadvantages. In such a system, you use MIDI cables to connect thesynthesizer to a MIDI interface, which then connects to the computerwith the same sort of USB cable you use to connect a printer. MIDI cables areunidirectional — they transport messages in only one direction. So youneed two MIDI cables. USB is bidirectional. The sound made by the synthesizergoes to a mixer, which then feeds an amplifier and speakers (not shown below).
MIDI ports on the interface and synthesizer are labeled IN andOUT. You connect the MIDI OUT jack of the synthesizer to the MIDI INjack of the interface, and vice versa.
Connecting Multiple MIDI Devices
What if you have more than one external synthesizer? Your MIDI interfacemight have more than one set of IN and OUT ports. Then you can connectyour two synthesizers separately. But if you have a single-port interface, you must make use of the THRU port found on many synthesizers tocreate a “daisy-chain” (series) connection of devices.
When the computer plays a sequence, the MIDI messages go first to the keyboardsynthesizer, which makes sound in response. The keyboard sends a copy of theincoming messages out its THRU port, and these enter the drum machine on its INport. Jimmy lafave when the thought of you catches up with me lyrics. The same thing happens again between the drum machine and the rack-mount(i.e., no keyboard) synthesizer, which is the end of the chain.
This is a handy way to connect devices, but it has one big problem: all thedevices must share the same 16 MIDI channels. That might not be enough channelsto construct a full arrangement of a song with many different sounds. Themain problem, though, is that you would have to make the various devicesignore the channels you don’t want them to respond to, which requiresa lot of configuration that you probably don’t want to bother with inthe heat of creation.
The solution to this problem is to get a multi-port MIDI interface, suchas the one below. It has 8 independent sets of IN/OUT ports, each of which cancarry 16 channels, for a total of 128 channels.
Best of all, when you hook devices up to this interface, any device can controlany other. For example, the keyboard controller could play sounds on the drummachine or the rack-mount synthesizer. The MIDI guitar controller could makesounds on all the other devices. The routing would usually be configured inyour sequencer software.
Current Trends
For simpler setups, it’s more common today to find keyboards with a USBport that allows for direct connection to a computer, bypassing the MIDIinterface. The keyboard in the picture below has both USB (circled) andtraditional MIDI ports (to the right).
As mentioned above, a lot of the action formerly taking place in external boxesis now happening in the computer, obviating the need for complex hardwaresetups. For many situations, all you need is an inexpensive MIDI controllerkeyboard (without internal sounds), with a USB connection to the computer.
General MIDI
Synthesizers and samplers have large numbers of sounds (which we callpatches or programs). The patches appear in banks of 128 orfewer, and your computer software selects the patches by number, even if youchoose the patches from a list of names and never notice the patch numbers.Types of sounds — pianos, guitars, violins — are assigned tonumbers in a way that is not compatible between different synthesizers. Thatmeans that a sequence recorded using one type of synthesizer will not soundremotely the same when played using a different type of synthesizer.
To address this problem, the MIDI standard includes the General MIDI (orGM) specification. The most important part of this is a standardassignment of instrument types to patch numbers. For example, in a General MIDIcompatible sequence, a violin sound will always be patch number 41. The violinson two different keyboards will not sound exactly the same, but at least theywill sound like violins.
A similar problem affects drum kit patches: the assignment of individual drumsounds to keys on the keyboard is not guaranteed to be compatible betweendifferent synthesizers. General MIDI specifies a map of typical drum sounds tokeys. It also declares that channel 10 is the drum channel, so that a sequencecan depend on finding drum sounds there.
For the names of patches and drum sounds, and their assignments to patchnumbers and keys, see the General MIDI Instrument PatchMap and Percussion Key Map.
Standard MIDI Files
To enhance compatibility between different MIDI sequencing and music notationprograms, even those running on different operating systems, the MIDI standard defines a specification for the Standard MIDI File. Thistype of file (usually having the file extension “.mid”) representsmulti-track sequences, complete with patch selections, notes, pitch bend, andother controls. A wide variety of programs can read and write SMF files. Theformat is especially useful in conjunction with the GM patch set, to enhanceportability between different systems.
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