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Topic: MIDI timecode

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	MIDI
		MIDI is almost directly responsible for bringing an end to the "wall of synthesizers" phenomenon in 1970s-80s rock music concerts.
		Sychronisation of MIDI sequences is made possible by the use of MIDI timecode, an implementation of the SMPTE time code standard using MIDI messages, and MIDI timecode has become the standard for digital music synchronization.
		MIDI can also be used for applications other than music, ie: theatre lighting, special effects, etc. Any device built with a standard MIDI interface should (in theory) be able to control another, providing that basics such as note numbers and controller numbers have a meaning that is agreed upon by both manufacturers.
	www.ebroadcast.com.au /lookup/encyclopedia/mi/Midi.html (923 words)

	Midis For Days
		The MIDI standard was first proposed by Dave Smith in 1981 in a paper to the Audio Engineering Society and the MIDI Specification 1.0 was published in August 1983.
		MIDI is almost directly responsible for bringing an end to the "wall of synthesizers" phenomenon in 1970s-80s rock music concerts, when musical keyboard performers were sometimes hidden behind banks of various instruments.
		Synchronization of MIDI sequences is made possible by the use of MIDI timecode, an implementation of the SMPTE time code standard using MIDI messages, and MIDI timecode has become the standard for digital music synchronization.
	www.midisfordays.com (397 words)

	HINTON INSTRUMENTS: Professional MIDI Guide
		MIDI was economical and apt for its application, yet it immediately had its detractors claiming that it was too slow and heralding MIDI 2.0.
		The MIDI hardware circuitry was designed to be cheap to implement and foolproof to connect and although it achieved these goals it is also a limitation when used for professional applications.
		MIDI may be connected incorrectly without damage to itself due to the distribution of its current limiting resistors, but this also limits the maximum cable run to 15 metres which is easily exceeded inbetween two rooms in a studio or on even a medium sized stage.
	www.hinton-instruments.co.uk /reference/midi/promidi/index.htm (755 words)

	MIDI Standard Messages
		MIDI serial data flows at the rate of 31.25 kilobits per second and is organised into 10-bit words.
		So a MIDI message consists of a status byte followed by 0,1 or 2 data bytes.
		For the Midi Message tables bbbb is a four bit binary nibble representing the MIDI channel from 0000 (Channel 0) to 1111 (Channel 15).
	tomscarff.tripod.com /midi_analyser/midi_messages.htm (299 words)

	audioMIDI.com : Sync Basics
		Timecode is simply a way of recording a "time" along with either a visual or audio event.
		SMPTE timecode is often used in an audio-only setting is to sync-mix automation or sequenced keyboard parts to an analog multitrack deck.
		This means that timecode is recorded as an audio signal on one of the tracks on the tape.
	www.audiomidi.com /classroom/proaudio/sync_basics.cfm (1627 words)

	MIDI timecode
		MIDI time code embeds the same timing information as standard SMPTE time code as a series of small 'quarter-frame' MIDI messages.
		The quarter-frame messages are transmitted in a sequence of eight messages, thus a complete timecode value is specified every two frames.
		Unlike standard SMPTE timecode, the eight-message MIDI timecode sequence carries a two-bit flag value that identifies the rate of the timecode, specifiying it as either:
	www.ebroadcast.com.au /lookup/encyclopedia/mi/MIDI_timecode.html (100 words)

	Recording Techniques: MIDI & Multitrack Tape
		MIDI systems, incorporating a sequencer, are ideal as an aid to musical creativity because they allow you to start from the germ of an idea and build it up gradually into a finished piece of music, while all the time being available to play back the piece in its current state.
		MIDI sequencers and multitrack tape recorders of course need to be synchronized together if the music isn't going to be turned into the aural equivalent of scrambled eggs.
		Timecode has a habit of leaking into channels where it isn't wanted, so it's best not to put it into the mixer unless you really have to.
	www.recording-engineer.net /rt/rt4.html (3667 words)

	MOTU.com - MIDI Timecode (MTC) vs MIDI Beat Clocks
		MIDI Timecode (MTC) and MIDI Beat Clocks are two different ways to sync MIDI devices.
		MTC is channelized, meaning that it is sent and received using one MIDI port; MIDI Beat Clocks are a system common message, which means that it is sent to all ports of a MIDI device.
		This can happen if you have a MIDI device that is connected to your interface via a Thru port - this will echo the beat clock messages back into the system and there will now be two clock sources.
	www.motu.com /techsupport/technotes/document.2004-07-09.6053528299 (230 words)

	Music Technology: More about MIDI
		MIDI information is transmitted and received one bit at a time.
		The channel number in the header byte allows a MIDI message to be directed to a particular instrument or to a particular voice.
		Timecode (SMPTE or EBU) read from an audio tape is changed into MIDI message format which can be transmitted around a MIDI system with other MIDI messages.
	www.users.globalnet.co.uk /~bunce/midi_2.htm (2701 words)

	Timecode
		MIDI time code is part of the standard MIDI protocol, which is carried over a serial link that is also called MIDI.
		When a deck reports its current position (its current timecode) to its controller or responds to a command to edit-in or edit-out at a certain position (timecode), it needs a reliable way to determine just where that tape position is. Decks use on-tape timecode signals for this.
		This on-tape timecode signal often mimics an over-the-wire timecode signal, as is the case for LTC.
	www.lurkertech.com /lg/timecode.html (1731 words)

	audioMIDI.com : Classroom - Pro Audio - Syncing in the Digital Studio
		For a complete explanation of what timecode is and what it is used for, you can look at our previous article, "Synchronization and Timecode Basics".
		MMC is the starters gun of timecode protocols, the simplest and least useful.
		An example may be that you are using an analog tape deck as the timecode master (it would have to be), but you want to use the controls in your software sequencer.
	www.audiomidi.com /classroom/proaudio/sync_wordclock.cfm (1752 words)

	Synchronization - WikiRecording (Site not responding. Last check: 2007-09-17)
		Timecode is displayed in the format HH:MM:SS:Frames, where Frames is the frame rate format.
		MIDI Clock is used to synchronize multiple MIDI devices.
		Unlike timecode which is based on absolute time values, MIDI Clock is based on the tempo of the song, and sends exactly 24 clocks per quarter note.
	www.wikirecording.org /SPDIF (553 words)

	Why is MIDI cheesy?
		MIDI, however, is not the reason that those files people put on their personal homepages are so corny and it's not the reason that low end Casio keyboards and Sound Blasters have such bad sounds.
		The two reasons why people so often think that MIDI is cheesy are quantization/step sequencing and the usually poor implementation of the General MIDI specification, or a combination of the two.
		Quantization, when talking about MIDI sequencing, is the locking of notes in a sequence or track of a sequence to a particular time grid such as eighth or sixteenth notes.
	www.dysgenicrecords.com /feature.php?id=42 (985 words)

	Planet of Tunes > Timecode & synchronisation
		Timecode and synchronisation technologies exist to help the transfer and synchronisation of sound and moving pictures located on different recording, playback and editing technologies.
		All through the editing process the timecode is used as a reference by the software to identify where edits, effects and transitions are made.
		In a situation where one device is controlling another via timecode, the controlling device is said to be the master and the other the slave.
	www.planetoftunes.com /dv/timecode.html (2465 words)

	Musical Instrument Digital Interface - Wikipedia, the free encyclopedia
		MIDI (Musical Instrument Digital Interface) is an industry-standard electronic communications protocol that enables electronic musical instruments, computers and other equipment to communicate, control and synchronize with each other in real time.
		MIDI does not transmit audio—it simply transmits digital data such as the pitch and intensity of musical notes to play, control signals for parameters such as volume, vibrato and panning, and clock signals to set the tempo.
		The proposal received widespread enthusiasm within the industry, and the MIDI Specification 1.0 was published in August 1983.
	en.wikipedia.org /wiki/MIDI (4577 words)

	Akai DPS12 Frequently Asked Questions - MIDI And The DPS12
		If set to MIDI clock, the slave device's tempo settings are irrelevant, as the tempo is derived from the incoming clock signal.
		Use this space to setup default mixer settings, program change all your synths and effects units etc. Don't put any MIDI data right on the first beat at the start, as this might be missed and not replayed before the sequencer locks to external sync.
		MIDI Machine Control is a protocol supported by the DPS12, which allows many of its transport functions to be controlled from a remote device.
	www.seriously-productions.freeserve.co.uk /dps12faq/f_midi.htm (1175 words)

	MIDI Time Code
		MIDI Time Code (MTC) is a sub-protocol within MIDI, and is used to keep 2 devices that control some sort of timed performance (ie, maybe a sequencer and a video deck) in sync.
		On the other hand, MIDI Clocks and Song Position Pointer are based upon musical beats from the start of a song, played at a specific Tempo.
		Like with MIDI File Format's Time Signature MetaEvent, the Denominator is expressed as a power of 2.
	www.borg.com /~jglatt/tech/mtc.htm (2921 words)

	DropTheScience.com - Crossroads of Digital Technology and Media
		System Exclusive - A MIDI message that is used to transmit data between MIDI devices that is exclusive to those devices.
		Timecode - Timecode is a signal that contains a chronological record of the absolute time in a recording.
		Timecode was initially invented for the motion picture business, as a method of synchronizing the pictures recorded in the frames of a camera to the sound recorded on tape recorder.
	www.dropthescience.com /reference_digitalaudio.html (5558 words)

	Silent Way's DTRS Guide: Chapter 6- Timecode Submenu
		There are also two internal dip switches that need to be on for MIDI Timecode to be output when in stop mode (S2 #6) and ff/rew (S2 #7).
		Timecode is sent out in time with respect to the analog audio output.
		MTC (MIDI Timecode) translated from SMPTE/EBU code read from the DA-88 tape or generated from the SY-88 is sent out the MIDI OUT jack.
	www.silentway.com /88/tcmenu.html (1103 words)

	Synchronisation in Cubase
		The fundamental difference between these types is that MTC is time-based, so the timecode is based on the SMPTE hours:minutes:seconds;frames format, while MIDI Clock is based on bars and beats, consisting of 24 pulses for every quarter note — a 4/4 bar would therefore consist of 96 (4 x 24) synchronisation pulses.
		MIDI Timecode: MIDI Timecode is basically timecode sent via MIDI cables, based on SMPTE frame-based times, as described earlier.
		If you're slaving Cubase to timecode sourced from an analogue tape machine, which I'm told some people still do, the signal might not be quite as reliable as if it was coming from a synth or another device generating the timecode internally.
	www.soundonsound.com /sos/jun04/articles/cubasenotes.htm (1604 words)

	OASYS PCI and MIDI Tempo
		If MIDI tempo delays, LFOs, sequencers, and so on don't work at all, then make sure that the master sequencer is actually sending MIDI clocks to the OASYS PCI.
		Assign it to the same MIDI channel as the Effect or Program that you'll be controlling.
		Enter a single MIDI event in the sequencer at the start of measure 2, using the mod source assigned to Phase Reset (from now on, we'll call this the "phase reset trigger").
	www.korg.com /oasys_pci_faq_html/oasys_pci_and_midi_tempo.htm (734 words)

	Chapter Three: How MIDI works 10
		Shortly after the adoption of the MIDI 1.0 spec, a new class of code called MIDI Time Code was proposed to act as a bridge between MIDI and SMPTE.
		MIDI Machine Control (MMC) and its cousin MIDI Show Control (MSC) are specific SysEx codes for controlling the transport functions of connected tape decks.
		The fact that users could share Standard MIDI files did not guarantee that those files would be played back with the same sort of timbres they were made with, either by instruments or computers reading web pages.
	www.indiana.edu /~emusic/etext/MIDI/chapter3_MIDI10.shtml (1104 words)

	Alcorn McBride SMPTE Machine Features
		The SMPTE Machine is a linear timecode (LTC) reader and generator for both small and large applications.
		Then, whenever it read or generates that timecode, it sends a message to the show controller's programming port, commanding the appropriate sequence to start.
		In addition to its other tricks, The SMPTE Machine translates MIDI timecode to SMPTE or EBU and vice versa, at all frame rates.
	www.alcorn.com /products/smptemachine/index.html (316 words)

	JUCE
		Changes the midi note number of a note-on or note-off message.
		Returns the sequence number of a quarter-frame midi timecode message.
		in a sequence of midi messages, the initial byte can be dropped from a message if it's the same as the first byte of the previous message, so this lets you supply the byte to use if the first byte of the message has in fact been dropped.
	www.rawmaterialsoftware.com /juce/api/classMidiMessage.html (2002 words)

	mp3 DJ Mix software AtomixMP3
		I've noticed that sync to midi is a question dropped in other forums but no one ever answered the poster.
		The timecode idea is based on this (it is simillar) so its not so new technology...
		no, full midi support would mean, amongst many other things, the ability to control any midi equipment from vdj, or for vdj to include synth capabilities to play midi sound when receiving certain midi signals.
	www.atomixmp3.com /forum/display.html?topic=12995 (837 words)

	MIDI Timecode Display
		It can be connected directly to any source of MIDI timecode data - sequencer, recorder, DAW, etc. All SMPTE time code formats - 24, 25, 30 and 30 dropframe - are automatically recognised.
		Standard MIDI connectors - DIN 5 - are used for connection.
		The ARTech MIDI Time Code Displays are equipped with MIDI In and MIDI Thru connectors.
	www.noise.cz /artech/mtcd/mtcdmain.html (575 words)

	MIDI & SYNTH TECH ZONE - MIDI & synthesizer technical resources
		Building Blocks is a multifunctional MIDI application that you can use to build your custom controller remapping, LFO's, arpeggiators, autochords, drum and note sequences, echoes,..., and many more.
		Midi Technical Fanatic's Brainwashing Center provides lots of good information and resources for those wanting to have more than a basic working understanding of midi.
		NoSuch MIDI is a set of Java classes and native methods for doing MIDI on win32 systems.
	www.synthzone.com /miditech.htm (1271 words)

	Timecode A User's Guide (3rd Edition) - MIDI Classics
		Comprehensive technical coverage of timecode provides a complete overview of the technology Have the most up to date information on working practices at your fingertips Benefit from the expertise and inside knowledge of the author
		Recent radical changes in timecode technology, location shooting and post-production working practices have been brought about by the fragmentation of the television programme making industry and by a dramatic increase in affordable digital transmission and editing equipment and systems.
		Timecode: A User's Guide is an indispensable reference for anyone needing to get to grips with the many aspects of timecode, whether in-house or on location.
	www.midi-classics.com /b/b3026.htm (302 words)

	Midi Timecode Processor - Wholehog III - Controllers - Products - High End Systems
		The Wholehog 3 MIDI / Timecode Processor provides the flexibility to interface a Wholehog 3 system to external MIDI, LTC and VITC sources for synchronised show playback.
		A serial port allows for transport control of timecode sources such as tape decks.
		As with every other Wholehog 3 system component, multiple MIDI / Timecode Processors can be connected to a single Wholehog 3 system simultaneously, allowing for different playbacks in the same system to be triggered from different timecode sources.
	www.highend.com /products/controllers/miditimecodeprocessor.asp (318 words)

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