|
In
my last DJ Times article (“The Nitty Gritty of MIDI,” September,
’01), I discussed the hardware in a MIDI setup and many
of the terms you will need to understand how it works. Now,
we’ll find out how to use MIDI software in putting together
a remix or writing a song.
First,
here are some CliffsNotes from the last article: MIDI is
a computer language that lets your gear (sound modules,
samplers, drum machines) communicate with each other. By
talking together they will allow you to make a song. MIDI
has nothing to do with audio files, but can work in conjunction
with them. So when you see a MIDI file it will be a (.mid)
file, whereas an audio file will be a (.wav).
So
let us begin. There are two types of MIDI sequencers: The
first is based on a piece of hardware, and the second is
based on computer software. For our purposes, we’ll use
the software. Because it is software, obviously you’ll need
a computer. It need not be a super computer, though, since
MIDI is not memory or processor intensive. However, if you
want to run effect plug-ins, a good Pentium 3 will do the
job.
There
are many types of sequencer programs on the market—Logic,
Cakewalk—but the one I use, and feel is the biggest bang
for your buck, is Cubase VST. I want to preface this with
the fact that I am a proud PC user. I’m sure there are some
cool things that a Mac can do, but you sure pay for it.
I’m sure that most of you want to get into sequencing without
having to hock all your belongings. If I’m right, then get
yourself a PC and go to town.
Why
choose Cubase? Partly because of the VST feature, which
allows me to control the audio characteristics of MIDI tracks.
This means that I can add effects to MIDI tracks without
the need of outboard gear. This, of course, saves me from
having to go out and buy outboard processors. But VST also
permits me to add software-based sound modules to my system.
So if you can’t find a Prophet on the street you can get
the next best thing in a VST instrument. VST code is free
to download, and there are plenty of VST plug-ins on the
web. But the main reason I use and recommend Cubase is because
of its learning curve. The interface is user-friendly and
can be learned very quickly.
Plugging
In
OK, we have a computer, a sound module or two, an interface
to connect the modules to the computer, and MIDI software.
One thing about setting up a MIDI system—you must plug the
MIDI cables into the correct ports. At the interface, be sure
to connect each MIDI device’s IN port to one of the interface’s
OUT ports. Then plug the OUT port to the IN port on the interface.
If you have problems with MIDI, this is the first place to
check.
There is
one more port on the back of a MIDI device. It is called the
THRU, used when you have more modules than ports. A THRU allows
you to daisy chain these modules. Always go from a THRU port
to an IN port. But remember, all of the devices on that port
share 16 MIDI channels. If you have a 2-port box, the best
way to set it up would be: (Port 1 = controller), if you have
a keyboard this is where it should go. (Port 2 = all other
devices). If you have many devices, you can daisy chain by
using the THRUs or buy a MIDI patch bay. My good friend Chris
“The Greek” makes the jams using a 2-port interface. I use
the MOTU 8 port MIDI patch bay. So it can be done either way.
Remember
that each port only has 16 MIDI channels. So a 2-port has
32 channels and an 8-port has 128. I will talk about channels
in a minute. Now follow all the information on how to set
up your interfaces and make sure you read the manual. Try
and buy a USB interface. If you can’t find one, then a printer
port interface will be fine.
Time
to Make Some Music
As I said, I am very happy with Cubase VST as my MIDI software.
And the new Version 5 takes production to the next level.
Let’s walk through some basics of MIDI/audio production. (In
a future article, look for a review of Cubase VST 5 and the
new Houston controller.)
When you
open VST, you will see the Arrangement window. This window
contains the entire Track/Channel information. From here on
I will refer to audio as tracks and MIDI as channels. This
list is to the left side of the window. To the right is the
Part display. This is where a graphical rendering of your
mix will be. It shows song and part position, and helps you
know where you are so that you can edit and record easily.
Across the top of the window sits the info about grouping,
snapping and quantizing. If you don’t know how to quantize—this
is a must to learn. (More on that later.) So read the manual.
Floating around the window is the transport bar. This is much
like the controls of a tape deck: Start, Stop and Record.
It also has the loop button and tempo information. I am not
going into detail because it is no use unless you have VST
open in front of you. This layout is standard among all MIDI
software.
Let’s use
an a cappella as our example. Starting with a dry vocal—one
that has no effects added to it—is very important. Set the
Master Tempo to that of the vocal. If you don’t know your
track’s Master Tempo, then import the .wav into the Arrangement
window and place it on Tracks 1 and 2. If it is a stereo track,
it will automatically take up 1 and 2. Next, on the Transport
bar, depress the Click button. This will play a sound on the
quarter notes (1234). Take your wave track and place it 32
beats into the Part display. Now hit the Play button and listen
to the vocal and to the metronome sound. Adjust the Master
Tempo to what you are hearing. This may take a while, but
don’t give up. Get as close as possible, you can fine tune
later.
Lay
Down Those Drums
For now, let’s forget about the vocal. Mouse over to the left
side of the window, then down the list until you are over
a channel that has a musical note on it—that means it is a
MIDI channel. Now select it. We want to first lay down some
drums. On most sound modules the drums come in a kit. That
means a number of drum sounds will only take up one channel,
remember the port/channel rule from above. So we choose Channel
1 and pick a kit from the sound module.
What I
like to do is to set my Start marker and End marker to 32
beats. Then depress the Loop button on the Transport bar.
This loops the 32 count and lets me start to build a song.
Hit the Record button and play the kick drum on your control
keyboard. Now when it loops you should hear what you just
played. If you don’t, then check your cables and settings.
OK, you
have a kick drum, now find the key that plays a snare. Hit
Record, but make sure the Record function is in the Overdub
mode and not a Replace mode. (Overdub will add the snare and
Replace will add the snare, but delete the kick.) After you
have played a few drum sounds you’ll notice that it sounds
off. Well, it is. This is where you need to quantize your
track. When you quantize, you take the notes you played and
automatically adjust them to the tempo, so it places them
right on. This feature works with all of the MIDI information.
So all of your sounds can be on beat even if you are not.
One thing not to do is quantize everything. You want the mix
to have some natural flow to it.
The drums
are done, at least 32 beats of them. What about the rest of
the song? Well, once we have the 32 beats of drums we are
going to copy that section. Then, just like a Word document,
we will paste and keep pasting until we have the desired length.
Having the drums out of the way, we now want to go back to
the vocals.
Vocals,
Take 1
Take the vocals and cut them into sections (chorus, verse,
bridge, background vocals). You can do this with any wave
editor; Wave Lab and Sound Forge are my favorites. Take these
sections and lay them out so they start to match the beats
you made. You’ll need to make some adjustments, but make them
more to the Master Tempo and less to the vocals. Remember
that your vocals are static and your MIDI is dynamic. Whatever
changes you make to the tempo, the MIDI follows right along.
After that is finished, it is time to add in the synths. Well,
you have to be able to play some keyboards. You’re going to
do the synths much like the drums. Go back to your 32-beat
loop and play in some basslines and some leads. Then copy
and paste. Then play in some arpeggios and some pads. Now
it is really starting to sound like a song. These are just
some of the basics involved in MIDI production. In my next
installment I will discuss more advanced uses of MIDI and
how to add effects and other types of processing to both MIDI
and audio tracks. I will also talk about mastering the final
product and getting it ready for distribution. Stay tuned.
|
