Music centers are divided into three basic groups, which differ significantly in their parameters. Microsystems with a total width of up to half a meter, they will fit even on a small shelf and have fairly high-quality sound. Well suited for small rooms in city apartments.
Minisystems allow you to load several discs at once and are equipped with more powerful speakers. You can sound a rather large party or mini-disco.
Midisystems They differ primarily in their considerable size and are purchased mainly by fans of maximum functions with the purest and most powerful sound. When choosing a music center, you should immediately decide on the place that will be allocated to it. On the one hand, than smaller system, the less its dynamics, and therefore the sound power. On the other hand, it is possible to fill a small room with high-quality sound without excess power.
Compact microsystems generally have a depth of 20-30 cm and will easily fit even into a small room. Dimensions should not be misleading: both in terms of sound quality and range of functions, these are worthy competitors to larger centers. The sound power for systems of this type varies from 5 to 40 W per channel. By the way, miniature sizes are often achieved by eliminating functions that are unnecessary for the user, for example, a cassette deck. Optical and embedded drives
Mini-centers are quite predictably designed to load one disk, but in systems larger size There are changers for 3-5 discs at once. Sometimes modern music centers can replace a DVD player and become the basis of home theaters, supporting all modern types of optical discs. In addition to playing files, there is a function for recording audio and video on the built-in hard drive.
With a multi-disc music center, you can listen to your favorite music longer or set a “disco” program for the whole evening at once, using all the discs loaded into the device.
In the new century, music centers have evolved qualitatively. In addition to 5.1 speaker systems, support has appeared not only for audio formats, but also for video on DVD media. The latest music centers, including microsystems, support any type of disc - CD, CD-R, CD-RW, DVD and DVD-R, additional audio formats MP3, WMA and MPEG4 video. With support for JPEG files, it becomes possible to view family photo archives recorded on discs on the TV. If your music center has an additional hard drive, all files can be saved for later playback directly onto it. Some models support recording DVDs or TV programs to the hard drive. The recording time is determined both by the disk capacity and the degree of video compression. For audio files, hard drive capacity, which ranges from 40 to 160 GB, is not so critical.
Music center sound
The secret of high-quality sound from music centers is in the speakers, which, unlike radio tape recorders, are made of MDF (less often wood). One of the main points when choosing a music center is its power. The sound quality directly depends on the number of speakers in the speakers and on the completeness of the speaker system (up to 5.1). Hi-Fi systems reproduce the highest quality sound. Music is, of course, rarely listened to at full power, but good potential means appropriate sound quality. By the way, sometimes in the specifications manufacturers selectively indicate the peak maximum power at which you can listen to the sound for a couple of seconds. To find out the real figure, simply divide it by 12. Without distortion, the speaker supports a small range of frequencies, so in high-quality systems the sound is divided into several bands, each of which is fed to its own speaker. The acoustic system has a certain completeness that corresponds to the sound scheme. In the format characteristics, the first number indicates the number of speakers, the second - the number of subwoofers. 5.1 class systems (five speakers plus a subwoofer) create a Surround effect (surround sound). In centers with such a system, the diffuse effect is achieved due to the multidirectionality of the speakers. The term Hi-Fi means the closest possible proximity of the reproduced sound to the original. It is logical that the cost of equipment of this class is higher. The Hi-Fi inscription on a music center may mean that it meets a certain standard of sound-reproducing equipment.
Radio in the music center The presence of a tuner in a music center means the ability to catch radio waves. If radio is an important function for you, when choosing a center, pay attention to the combination of its bands. If the tuner in the center is digital rather than analogue, your favorite radio stations can be stored in the music center's memory. The music center tuner range can include FM, AM, MW and LW frequencies. The extended FM band (VHF) is of interest to a large number of Russian radio stations. The highest quality and surround sound is typical for FM channels. For Russia, the FM range is 88-108 MHz. The three letters RDS mean the ability to transmit additional information in the FM radio signal spectrum: name of the radio station, time, weather, etc.
Additional features A timer in a music center will no longer surprise anyone: some options have actually moved to the level of standard functions, some, such as cassette decks, are gradually disappearing as unnecessary. The advanced capabilities of music centers can be divided into two categories: those directly related to sound reproduction (such as an equalizer, subwoofer, karaoke) and those based on support for new digital formats (built-in TV tuner, playback of files from USB drives).
Cassette decks If previously a cassette deck was an integral attribute of a music center, now it rather belongs to the category of additional functions, since it is not in demand by everyone. But, despite the fact that the sound on CDs is richer and cleaner, for those who do not want to part with their cassette collection, manufacturers still offer models with one and two decks. In centers with two cassette decks, you can simultaneously listen to, rewind, and record compositions from one cassette to another. A useful function is “Auto Reverse”, which automatically plays the second side of the cassette. With electronic control, the functions of the deck are controlled from the remote control.
Equalizer Here we're talking about about the possibility of adjusting the timbre of the sound by adding or cutting certain frequencies - high, medium or low. Most often, ready-made equalizer parameters are installed in the music center, designated by the main musical directions - rock, pop, jazz, classic. All you have to do is choose the type of music to play. There are centers with a manual or graphic equalizer, where preset parameters can be further adjusted to your liking.
Subwoofer The music center may additionally include a subwoofer designed for low-frequency bass sounds and enhancing the depth of sound. A passive subwoofer without its own low-frequency amplifier costs significantly less than an active one. Active subwoofer, in turn, reduces the load on the overall amplifier.
Karaoke Music centers supporting the already well-known karaoke function are equipped with one or two microphone inputs - for fans of duets. Karaoke is a favorite way for many to have fun, singing popular songs to a soundtrack.
USB interface The USB interface can be used in one of two ways. A Type A USB port is used to connect a flash drive to a music center and listen to the music on it. The Type B USB port is designed to connect the selected music center to a PC to listen to music from the computer's hard drives. based on materials from the Internet
You don’t need to be a true music lover to want to listen to music with clear, even, loud, in one word – good sound. The best music centers, of which there are simply a huge variety on the market today, help make this desire come true. Based on customer reviews, we have selected only those that are worthy of your attention. What exactly will please the TOP 5 of these systems will be shown by this rating. It is designed to help you in a rather difficult choice - to buy the most suitable model for your home, cafe, restaurant, etc.
This rating confirms that among dozens, if not hundreds of manufacturers of such equipment, only 3-5 are in great demand. On the list the best companies for the production of musical centers are the following:
- Sony- Many people associate this name with consoles, gamepads and, in fact, games. At the same time, this company has long won one of the leading places in the music playback equipment market thanks to the creation of technologically advanced players and full-format speaker systems.
- Pioneer– like Sony, this company specializes in creating multimedia systems for home and car, for professional use. Despite the “Russian name”, this is a Japanese manufacturer.
- LG– this company produces a wide range of household, TV and audio equipment, and mobile devices. She tries to combine in her systems all the best and necessary for a great party - karaoke, radio, etc.
From each company, except LG, 2 winners were selected who collected the largest number of positive reviews.
Rating of the best music centers
When choosing certain devices, the priority was sound quality at both low and high frequencies. In addition, we focused on the following parameters:
- Number of outputs and their types (microphone, headphones, subwoofer, etc.);
- DJ effects;
- Karaoke support;
- Availability of a disk drive or an input for a flash drive;
- Convenience of the remote control and control in general;
- Type of files being played;
- Speaker power;
- Number of memorized radio stations;
- Equalizer type (manual or automatic);
- Lighting effects. One of the reasons for including this or that music center in this rating was the functionality of the system - the presence of Wi-Fi and Bluetooth, support for AirPlay and iPod. Last but not least are the dimensions, weight and design of the equipment.
The best micro music centers
Sony CMT-SBT100
This is one of the budget models in our rating, reinforced with fairly powerful speaker systems. It is noteworthy that they are made of wood, not plastic, but for some reason they do not have the best sound and are most likely not suitable for music lovers, although in general it is clean. Here you can listen not only to music from CDs, but also to the radio, in both cases the sound is a solid B. A nice addition is the ability to adjust the bass and treble tones. There were also some “chips” in the form of white backlighting. Control is carried out using a convenient digital remote control.
Advantages:
- Sensitive FM tuner;
- Good Bluetooth signal;
- The display is small but contains all the necessary information;
- USB playback;
- Design.
Flaws:
- Sometimes the disc tray gets slightly stuck;
- Does not read file names in Cyrillic.
In reviews of the Sony CMT-SBT100 micro-center, which according to standards includes the player itself and two amplifiers directly in the speakers, users advise to “warm it up” well with dynamic music, after which the sound becomes much better.
Please note that it only works with MP3 files.
Pioneer X-HM51-W
This model has every reason to become one of the best in our rating in terms of functionality. First of all, what attracts attention is its support for iPod, which allows you to play music directly from it. By the way, the connector for it is conveniently located on the front panel.
This is an advantageous offer for radio lovers, because the equipment works with both AM and FM. Moreover, it can memorize up to 45 radio stations. And, finally, at least one manufacturer has equipped its creation with outputs for both subwoofer and subwoofer with good sound reproduction at low frequencies.
One of the best models of Pioneer music centers, the X-HM51-W, accepts CD, CD-R, CD-RW discs, which makes it even more versatile. And the presence of Bluetooth and support for both WMA and MP3 only emphasizes this advantage. There are also several useful features - a timer and a clock.
Advantages:
- High-quality playback of both calm and dynamic music;
- Good build;
- No unnecessary details;
- Easy to control.
- Compact size;
- Powerful HI-FI system;
- Quick setup.
Flaws:
- Front location of AUX input;
- No Wi-Fi input;
- The buttons on the remote control are small.
In reviews, users complain that when playing from USB, the Pioneer X-HM51-W does not remember the shutdown location, which is why they have to search for the desired track again each time. Overall, this micro system, finished in an eye-pleasing white color, is often used to complement sound.
The best mini music centers
Two models from fairly well-known manufacturers won in this category.
LG FH6
This model cannot be called special; it has a standard set of functions. Here, as expected in mini-system type music centers, there is no optical drive. Therefore, in order, for example, to sing in karaoke, which, by the way, is here, you will need to download music to a flash drive. At this point it will become clear that the functionality was thought out competently, since both WMA and MP3 files are read.
Naturally, the device has a radio, and the number of stations that can be stored in memory is quite decent - 50. It allows you not only to listen to music, but also to sing karaoke, and for two people at the same time thanks to the microphone inputs. This is an ideal choice for light music lovers, and this only confirms its popularity in 2017.
Advantages:
- Powerful FM radio receiver;
- Easy equalizer settings;
- Lighting effects;
- Control from a mobile phone;
- The acoustics have smooth bass;
- Availability of DJ management;
- No need for a lot of wires;
- Analog input.
Flaws:
- Too loud for an apartment, although this is rather a plus;
- It doesn't look like very durable plastic.
The LG FH6 music center is made in a mini-system format, as evidenced by its compactness. The speakers here are built inside the player, which makes it as convenient to use as possible.
Pioneer P2-K
Perhaps, in our rating this is one of the best models of premium music centers. This is indicated by both the high price and the wide functionality of the mini-system. Among the shortcomings, I would immediately like to note the large speakers, and the player itself is quite large. But all this will not be particularly important for music lovers, because additional features are offered here - Internet radio, RDS support, headphone outputs and a subwoofer.
With this model, you can stream videos and photos from your iPhone or iPad using AirPlay. Moreover, there is the long-awaited Wi-Fi, which is sometimes so lacking in other models from this TOP. Playing files in different formats – WMA, MP3, FLAC – is also of some interest. The sound here is just right, and this was made possible due to the good power of the front speakers (75 W each). Naturally, it would not be possible without a built-in FM tuner. I would especially like to focus on the deep bass.
Advantages:
- Thoughtful management;
- “Clean” work, without freezes;
- High-quality display;
- Number of supported formats;
- Availability of an alarm clock;
- Volume reserve;
- Good speed of information transfer via Wi-Fi;
- Access via the web with a minimum number of settings.
Flaws:
- Complete speakers that cannot be purchased separately;
- “Incomprehensible” remote control;
- There is no output to the second pair of speakers;
- All units of the center require a free outlet.
The main disadvantage of the Pioneer P2-K mini-acoustic system is its very high cost, even for equipment with many useful options.
Price – 72,990 rub.
The best midi music centers
According to reviews, the only favorite among numerous buyers in this category was the model Sony MHC-V11. She got the laurels because of the incredibly deep sound, right down to the “shivering” in the glass. On the one hand, this is good, but on the other, due to the lack of manual equalizer settings, if necessary, it will not be possible to quickly and accurately adjust the sound. This drawback is complemented by the fact that at first impressions the device lacks a little bass.
This option may not be the best for listening to rock, but it will definitely appeal to karaoke lovers. There is an output for a fairly convenient and high-quality microphone. This center, despite the fact that it belongs to the “midi” series, has only one disc tray.
Advantages:
- Convenient sound adjustment;
- Design;
- Bluetooth connection;
- Build quality;
- Equipment;
- Easy to control.
Flaws:
- No headphone input;
- Noisy operation of the CD drive;
- Lack of equalizer.
Reviews say that the Sony MHC-V11 is too powerful for the home, but for discos in large rooms this model will be just right.
Which music center is better to choose?
If you are planning to buy musical equipment for use in one room or a small apartment, then you can limit yourself to micro-systems. On average, they have a power ranging from 5 to 40 W. For those who, for example, like to organize parties at home, but do not pretend to be at a professional level, mini-systems will be quite enough. And, accordingly, for large corporate events, weddings and other celebrations, it is best to choose midi systems or multifunctional mini-centers.
Each of the centers described here is suitable for its own purposes:
- You can sing karaoke at home with the LG FH6, but in a cafe or at parties you will need more professional equipment, for example, the Sony MHC-V11.
- The Pioneer P2-K is ideal for organizing great parties.
- If you just need to listen to music, then it would be logical to choose an inexpensive model like the Pioneer X-HM51-W or Sony CMT-SBT100.
This video will help you when choosing a music center:
Dear guests of our site, today I would like to present to your attention the best Midi music systems in 2017-2018. They will allow you to enjoy excellent sound quality.
The good thing about our systems is that they can be purchased at an affordable price. So, here's our rating.
Midi LG OM6560
Let's start with this very interesting model. A short warranty period tells us that the quality of the product is not the highest. Of course, there are some unique and interesting options here. For example, you may be interested in the fact that recording from a disk can be done on a flash drive. You can also record radio on a USB device without any problems. Thanks to the karaoke function, you can spend time in a noisy company of friends or relatives without any problems.
Midi LG FH6
The model was created for those who are not looking for gray everyday life in life, but strive to paint it with bright colors. It has a unique design, namely black, yellow and red. This is a truly innovative model that appeared on the market relatively recently. The only drawback is that the device is manufactured in China. Of course, the standard option for playing audio from digital media is present here.
Midi LG CM9750
For big family Even in a noisy company, you will need more powerful equipment. This model can serve as an example. I would even say that this is modeling. There is also an option to play recordings from digital media. Don't forget about recording sound from CDs and radio. The disadvantage can be considered the fact that no more than 1 disk can be loaded into the equipment at a time. Although, for most this option is optimal.
Midi Sony MHC-V44D//C
For true music lovers, you should take a look at this equipment. It is reasonably priced and allows you to enjoy great sound. There is a huge amount of all kinds of opium here. An example is the function of reproducing information from digital media, as well as the karaoke function. The power of the front speakers is 600 W.
The best option for a large family. Good sound is achieved through the use of advanced materials and technologies. There is a karaoke function here without fail. Of course, there were also standard recordings. to digital media from CD and radio.
Conclusions
Let us draw some conclusions. We can safely say that the best Midi music systems in 2017-2018 are presented exclusively on our website. Be sure to pay attention to them when purchasing. I also advise you to read about the best cameras of our time and refer to information about the best built-in washing machines.
What is MIDI?
Musical Instrument Digital Interface - digital interface for musical instruments. Created in 1982 by leading manufacturers of electronic musical instruments - Yamaha, Roland, Korg, E-mu, etc. Initially, it was intended to replace the control of musical instruments using analog signals, which was accepted at that time, by control using information messages transmitted via a digital interface. Subsequently it became the de facto standard in the field of electronic musical instruments and computer synthesis modules.
MIDI is a so-called event-driven communication protocol between instruments. Whenever the performer makes any impact on the controls (pressing/releasing keys, pedals, changing the positions of the controls, etc., the instrument generates a corresponding MIDI message, which is sent at the same time via the interface. Other instruments receive the messages , work them out in the same way as when acting on their own controls. Thus, the stream of MIDI messages is like a cast of the performer’s actions, preserving his inherent performance style - dynamics, techniques, etc. Information storage devices MIDI messages are provided with time stamps, forming a unique way of representing the score. When played back, the original MIDI stream is completely and unambiguously restored.
The MIDI specification consists of a hardware specification for the interface itself and a data format specification - a description of the system of transmitted messages. Accordingly, the hardware MIDI interface and the MIDI data format (the so-called MIDI score) differ; the interface is used to physically connect the source and receiver of messages, the data format is used to create, store and transmit MIDI messages. Currently, these concepts have become independent and are usually used separately from each other - data of any other format can be transmitted via the MIDI interface, and the MIDI format can only be used for processing scores, without output to a synthesis device.
MIDI hardware specification
Interface - start-stop serial "current loop" (active transmitter, 5 mA, current sending - 0, current sending - 1), baud rate 31250 ±1% bps and 8-N-1 protocol (one start bit, 8 bits data, one stop bit, no parity). Transmitters and receivers must provide rise times of less than 2 µs.Each instrument has three connectors: In (input), Out (output) and Thru (a copy of the signal from In through a buffer). All connectors are female DIN-5 (SG-5) type, view from the outside (connection side):
Contacts 4 and 5 are signal, contact 2 is screen. The polarity of the signals is given relative to the current source: pin 4 is positive (current flows out of the pin), pin 5 is minus (current flows into the pin). Thus, for the Out and Thru connectors the purpose is the same, for the In connector it is the opposite. The connection uses a two-core shielded cable up to 50 feet (about 15 m) long. The screen is only needed to protect against radiated interference - the cable is practically insensitive to interference from outside. The connection of the connectors at the two ends of the cable is direct (2-2, 4-4, 5-5).
One MIDI transmitter allows the connection of up to four receivers.
The described scheme allows you to create a network of MIDI devices, connecting them in a chain and in several directions:
In this scheme, device 1 serves as the source of messages that are received by device 2 and, through its relay, device 3. Device 4 receives messages sent by device 2 (they may or may not include those received by device 2 itself) and relays them to the input of the device 5.
MIDI Data Format Specification
MIDI data represents messages, or events, each of which is a command for a musical instrument. The standard provides for 16 independent and equal logical channels, each of which has its own operating modes; This was originally intended for single-timbre instruments capable of producing the sound of only one timbre at a time - each instrument was assigned its own channel number, allowing for multi-timbre performance. With the advent of multi-timbral instruments, they began to support multiple channels (modern instruments support all 16 channels and may have more than one MIDI interface), so now each channel is usually assigned its own timbre, traditionally called an instrument, although a combination of several timbres is possible in one channel. Channel 10 is traditionally used for percussion instruments - different notes in it correspond to different percussion sounds of a fixed pitch; the remaining channels are used for melodic instruments, where different notes, as usual, correspond to different pitches of the same instrument.
Because MIDI messages are a real-time data stream, they are encoded to facilitate synchronization if the connection is lost. To do this, the first byte of each message, also called the status byte, contains a "1" in the most significant bit, and all other bytes contain a "0" in it and are called data bytes. If, after receiving all the data bytes of the last message, a byte that does not contain a “1” in the most significant bit is received at the receiver input, this is interpreted as a repetition of the information part of the message (the same first byte is assumed). This transmission method is called "Running Status" and is widely used to reduce the amount of data transmitted - for example, one byte of the "Controller Change" command is transmitted with the required number channel, and then a series of data bytes with the controller numbers and values for that channel.
MIDI messages are divided into channel messages - related to a specific channel, and system messages - related to the system as a whole. MIDI message encoding (hexadecimal, n in the first byte indicates the channel number):
Channel messages:
- 8n nn vv- Note Off (turn off the note)
- 9n nn vv- Note On (turn on the note)
- An nn pp- Key Pressure (Polyphonic Aftertouch, pressure on the key)
- Bn cc vv- Control Change (change of controller value)
- Cn pp- Program Change (change of program (timbre, instrument))
- Dnpp- Channel Pressure (Channel Aftertouch, channel pressure)
- En ll mm- Pitch Bend Change (change the Pitch Bend value)
System messages:
- F0- System Exclusive (SysEx, system exclusive message)
- F1- reserve
- F2 ll mm- Song Position Pointer (position indicator in the score)
- F3 ss- Song Select
- F4- reserve
- F5- reserve
- F6- Tune Request (tuning request)
- F7- EOX (End Of SysEx, end of system exceptional message)
- F8- Timing Clock (time synchronization)
- F9- reserve
- F.A.- Start (launch the game based on the score)
- FB- Continue (continuing the game according to the score)
- F.C.- Stop (stop the game according to the score)
- FD- reserve
- F.E.- Active Sensing (checks MIDI network connections)
- FF- System Reset (reset all network devices)
Based on MIDI, the GM (General MIDI - unified MIDI) standard was later developed, establishing the conditions for mandatory compatibility of instruments and the interpretation of program and controller numbers, and then other standards (GS, XG) expanding GM. However, the commonality of tools within each standard implies only the basic sound characteristics. “Identical” tones on different instruments almost always have different colors, dynamics, brightness, default volume and other features, and “synthetic” tones can be completely different from each other. In addition, different instruments differ in the dependence of the nature of the sound on the force of impact on the key, the dynamics of the operation of MIDI controllers, the default positions of the controllers and other “subtle” parameters. Therefore, a MIDI score prepared for a specific instrument often sounds completely different on other instruments (even within a standard), and this must be taken into account when transferring scores between instruments of different models.
Instruments that support the GM and GS standards almost always have additional synthesis and audio processing controls that extend the scope of the standard. At the same time, the control methods used are usually preserved within the same line of tools and within the tools of the same manufacturer.
Description of the controllers operation
Bank Select Controllers
Many devices can work with a large number of built-in and additional tones (instruments) and sound effects, which are combined into banks for convenience. Only one bank can be used in one channel at a time; controllers are used to switch banks:
- 0 - Bank Select MSB (bank selection, high byte)
- 32 - Bank Select LSB (bank selection, low byte)
Some devices require only one of these controllers to switch banks, others require both. The behavior of some devices in this regard may vary in different operating modes.
The default is bank zero. After changing the bank, it is necessary to send a Program Change message to select a timbre (instrument).
Processing the command to change bank and instrument by the device may take considerable time (tens of milliseconds or more). Some devices, when receiving commands to change banks and instruments, suppress the sounding notes in the channel.
Controller Modulation
Sets the depth of frequency modulation in the channel. The control is absolute. A value of 0 disables modulation, a value of 127 sets the maximum depth. The standard value is 0. Affects subsequent and already sounded notes.
Portamento Time Controller
Sets the time for a smooth glide from the frequency of the previous note to the frequency of the next note. Absolute control. The value 0 corresponds to the minimum time, 127 - the maximum. The default value is not defined.
Main Volume Controller
Sets the audio volume within the channel. The control is absolute. The standard value is usually 100. Affects subsequent and already sounded notes.
Pan Controller
Sets the stereo channel level ratio (stereo panorama point) for the channel. Absolute control. A value of 0 is the far left position, 64 is the middle position, 127 is the far right position. The standard value is 64. Affects subsequent and already sounded notes.
Expression Controller
Sets the degree of expressiveness of the sound. The control is absolute. On simple instruments it duplicates the Main Volume controller and affects both subsequent and already sounded notes. On instruments with advanced synthesis, it controls more subtle parameters of expression, and only affects subsequent notes. The standard value is usually 127.
Harmonic Content Controller
Sets the quality factor (resonance depth) of the channel filter, which allows you to emphasize the high-frequency harmonics of the timbre. Increasing the quality factor increases the slope of the filter response in the cutoff region, amplifying frequencies immediately below the cutoff frequency. Relative control (0..64..127). The standard value is 64.
Release Time Controller
Sets the end decay time of notes from the moment the Note Off is played (explicit or automatic) until the sound disappears completely. Relative control (0..64..127). The standard value is 64.
Attack Time Controller
Sets the time of the initial attack - the increase in the volume of the notes from the moment Note On is played to the maximum volume value. Relative control (0..64..127). The standard value is 64.
Brightness Controller
Sets the cutoff frequency of the channel filter, which controls the attenuation of high frequencies in the audio. Relative control (0..64..127). The standard value is 64.
Portamento Controller
Sets the note number from which Portamento fades, and allows you to set a reference pitch other than the last Note On message.
Reverb Level Controller
Sets the depth of the selected reverb type effect (based on a constant signal delay) - Room, Hall, Delay, Echo, etc. Control - absolute or relative depending on the instrument.
Chorus Level Controller
Sets the depth of a choral type effect (based on a variable signal delay) - Chorus, Flanger, Phaser, etc. Control - absolute or relative depending on the instrument.
Variation Level Controller
Sets the depth of the effect selected as Variation. Control - absolute or relative depending on the instrument.
Sustain Switch Controller
When turned on, causes the sound to be held for all keys released during the controller's action - by analogy with the right pedal of a piano. In other words, in Sustain mode, the channel delays the processing of the last Note Off message received for each note. At the moment of disconnection, all Note Offs delayed in this way are processed simultaneously; Keys that are explicitly held at this moment (for which the last received message is Note On) are not affected by turning off the mode.
Sostenuto switch controller
Acts similar to Sustain, but only sustains the sounds of the notes that were pressed when the controller was turned on. Subsequent presses and releases are processed as usual. In other words, the processing of Note Off is postponed only for those notes for which Note On was received before the mode was turned on.
Controller-switch Soft
Similar to the left pedal of a piano, it causes a softening of the sound for notes pressed while the mode is in effect. The method of implementation - a simple reduction in volume or more subtle control - is determined by the instrument.
Portamento Switch Controller
When the mode is off, each pressed note begins to sound at a frequency determined by the pitch of the note and the settings set to at the moment values of pitch control controllers (Pitch Bend Change and Coarse/Fine Tune, etc.). When the mode is on, the next note begins to sound at the frequency determined by the last Note On message or the Portamento Control controller, then its pitch smoothly changes to the desired one at a speed determined by the Portamento Time controller. Regardless of whether the slide is completed or aborted by note release, the last Note On message is always fixed as the reference pitch for subsequent notes. This means that if, for example, after the note C2, the note C7 was pressed, and then the note C4, then the pitch of the second note will smoothly increase from C2 to C7, and the pitch of the third at the same time will decrease from C7 to 50, and in note 50 will be taken as the starting note for subsequent notes. At the moment you press C7, this note will sound in unison with C2 and begin to slide towards C7, and at the moment you press C4, it will sound at the pitch of C7 and begin to slide towards C4. All slides are performed independently.
RPN, NRPN and Data Entry controllers
Additionally, for advanced synthesis control, registered (Registered Parameter Number - RPN) and non-registered (Non-Registered Parameter Number - NRPN) parameter numbers transmitted using controllers have been introduced:
- 98 - NRPN LSB (NRPN low byte)
- 99 - NRPN MSB (NRPN high byte)
- 100 - RPN LSB (RPN low byte)
- 101 - RPN MSB (RPN high byte)
The device remembers the RPN or NRPN once transmitted to it, after which the values of the selected parameter can be transmitted using controllers:
- 6 - Data Entry MSB (data entry, high byte)
- 38 - Data Entry LSB (data entry, low byte)
- 96 - RPN Increment (RPN increase by 1, value ignored)
- 97 - RPN Decrement (RPN decreases by 1, value is ignored)
The mechanism is thus a "controller within a controller". The General MIDI standard defines the interpretation of only three RPNs, the values of which are specified by the high bytes of the Data Entry parameters:
- RPN 0- Pitch Bend Sensitivity
- RPN 1- Fine Tuning (fine tuning)
- RPN 2- Coarse Tuning (rough tuning)
Pitch Bend Sensitivity determines the number of semitones by which the pitch of a tone is shifted when receiving a Pitch Bend Change message with a maximum high or low parameter value. The default range is two semitones in either direction.
RPN tuning allows you to shift the pitch of an instrument in a channel by a specified number of semitones for coarse tuning, or cents (hundredths of a semitone) for fine tuning. The value 64 is taken as relative zero.
The interpretation of the remaining parameters by the GM standard is not defined. A number of instruments also use two additional RPNs to separately adjust individual instruments in different banks:
- RPN 3- Tuning Program Select
- RPN 4- Tuning Bank Select
The GS standard introduced a set of NRPNs to control envelope generators and resonant filters (NRPN numbers are given as the values of the high and low bytes):
- NRPN 1/8- Vibrato Rate (vibrato frequency)
- NRPN 1/9- Vibrato Depth (vibrato depth)
- NRPN 1/10- Vibrato Delay (delay before turning on vibrato)
- NRPN 1/32- Filter Cutoff Frequency (filter cutoff frequency)
- NRPN 1/33- Filter Resonance (filter resonance depth)
- NRPN 1/99- Attack Time (attack duration)
- NRPN 1/100- Decay Time (duration of the primary decline)
- NRPN 1/102- Release Time (duration of end attenuation)
and also - for separate adjustment of parameters of percussion instruments (nn - instrument note number):
- NRPN 24/nn- Drum Pitch Coarse Tune
- NRPN 26/nn- Drum TVA Level (volume level)
- NRPN 28/nn- Drum Pan (panoramic position)
- NRPN 29/nn- Drum Reverb Send Level (reverb effect depth)
- NRPN 30/nn- Drum Chorus Send Level (chorus effect depth)
- NRPN 31/nn- Drum Delay Send Level (delay effect depth)
Parameter values are specified by the high bytes of the Data Entry.
The XG standard introduces additional NRPNs for drums:
- NRPN 20/nn - Drum Filter Cutoff (filter cutoff frequency)
- NRPN 21/nn - Drum Filter Resonance (filter resonance depth)
- NRPN 22/nn - Drum Attack Time
- NRPN 23/nn - Drum Decay Time (primary decay time)
- NRPN 25/nn - Drum Pitch Fine Tune
Special channel messages
They are set by controllers 120..127 and control the processing of messages in channels:
- 120 - All Sounds Off
- 121 - Reset All Controllers
- 122vv- Local Control
- 123 - All Notes Off
- 124 -Omni Off
- 125 - Omni On
- 126nn-Mono
- 127 -Poly
Only controllers 121 and 123 are defined as mandatory for implementation in General MIDI; the implementation of the remaining listed controllers is determined by the manufacturer. In addition, many devices require unused controller values to be zero.
The All Notes Off message simulates all turned-on notes being turned off and is exactly the same as sending a Note Off message for each note that is played; Whether the note will stop sounding depends on the state of the Sustain and Sostenuto modes. The All Sounds Off message has the same effect, but is independent of the Sustain/Sostenuto modes; In addition, it immediately stops all notes that are in the Release stage. These messages do not affect the state of the Sustain/Sostenuto modes themselves.
The Reset All Controllers message sets all controllers to their default values, and is used to initialize the device before playing the score.
The Local Control message is used to prohibit/allow control of the device from the local panel. A parameter value of zero disables control from the panel (the device is controlled only via MIDI), a value of 127 allows it.
Omni On/Off messages are used to turn on/off the Omni mode - the device’s response to channel messages. When Omni mode is enabled, the device processes messages for all channels; when disabled, only messages for the selected channel (Basic Channel). This allows devices to be shared between channels. A channel is assigned to a device either from its control panel or through SysEx messages. Omni mode makes sense mainly for older instruments that have a single MIDI channel and do not support split timbres.
Mono/Poly messages are used to switch between single-voice and multi-voice (polyphonic) modes. In single-voice mode, only one note can sound at a time; turning on a new note forces the previous one to turn off. In polyphonic mode, turning on each new note starts the next free generator, and when the generators are exhausted, new notes are either ignored or lead to the forced switching off of the “oldest” notes.
The nn value in the Mono message is interpreted by some devices as the number of MIDI channels over which, starting with the Basic Channel, notes are distributed in single-voice mode when Omni mode is turned off. The meaning of this group of channels is different for transmitting and receiving devices. The sending device sends the first note to the Basic Channel, the next note to Basic Channel + 1, and so on, then the next note is sent to the Basic Channel again, and the cycle repeats. The receiving device perceives channel messages only within a given group of channels, each of which operates in single-voice mode. This technique allows you to implement multi-voice performance on synthesizers that have a rigid binding of voices (oscillators) to MIDI channels.
The Omni, Mono and Poly controllers also trigger the All Sounds Off controller.
From various combinations of Omni, Poly and Mono modes there are four main modes of operation of MIDI devices:
- 1 - Omni On, Poly
- 2 - Omni On, Mono
- 3 - Omni Off, Poly
- 4 - Omni Off, Mono
Most modern devices operate in mode 3 - polyphonic mode with independent operation of channels.
Program Change (pp - timbre or instrument number)
Serves to change tools in the channel. The parameter specifies the instrument number (0–127) in the currently selected bank. The General MIDI standard defines 128 basic melodic and 47 percussion instruments, collected in bank zero; devices with an extended set of tools have additional banks, and may also have a partially modified main set.
The standard General MIDI melodic instruments are divided into 16 groups with 8 instruments in each group:
Piano Chrome Percussion 0 Acoustic Grand Piano 8 Celesta 1 Bright Acoustic Piano 9 Glockenspiel 2 Electric Grand Piano 10 Music Box 3 Honky-tonk Piano 11 Vibraphone 4 Electric Piano 1 12 Marimba 5 Electric Piano 2 13 Xylophone 6 Harpsichord 14 Tubular Bells 7 Clavinet 15 Dulcimer Organ Guitar 16 Drawbar Organ 24 Acoustic Guitar (nylon) 17 Percussive Organ 25 Acoustic Guitar (steel) 18 Rock Organ 26 Electric Guitar (jazz) 19 Church Organ 27 Electric Guitar (clean) 20 Reed Organ 28 Electric Guitar (muted) 21 Accordion 29 Overdriven Guitar 22 Harmonica 30 Distortion Guitar 23 Tango Accordion 31 Guitar Harmonics Bass Strings 32 Acoustic Bass 40 Violin 33 Electric Bass (finger) 41 Viola 34 Electric Bass (pick) 42 Hello 35 Fretless Bass 43 Contrabass 36 Slap Bass 1 44 Tremolo Strings 37 Slap Bass 2 45 Pizzicato Strings 38 Synth Bass 1 46 Orchestral Harp 39 Synth Bass 2 47 Timpani Ensemble Brass 48 String Ensemble 1 56 Trumpet 49 String Ensemble 2 57 Trombone 50 Synth Strings 1 58 Tuba 51 Synth Strings 2 59 Muted Trumpet 52 Choir Aahs 60 French Horn 53 Voice Oohs 61 Brass Section 54 Synth Voice 62 Synth Brass 1 55 Orchestra Hit 63 Synth Brass 2 Reed Pipe 64 Soprano Sax 72 Piccolo 65 Alto Sax 73 Flute 66 Tenor Sax 74 Recorder 67 Baritone Sax 75 Pan Flute 68 Oboe 76 Bottle Blow 69 English Horn 77 Shakuhachi 70 Bassoon 78 Whistle 71 Clarinet 79 Ocarina Synth Lead Synth Pad 80 Lead 1 (square) 88 Pad 1 (new age) 81 Lead 2 (sawtooth) 89 Pad 2 (warm) 82 Lead 3 (calliope) 90 Pad 3 (polysynth) 83 Lead 4 (chiff) 91 Pad 4 (choir) 84 Lead 5 (charang) 92 Pad 5 (bowed) 85 Lead 6 (voice) 93 Pad 6 (metallic) 86 Lead 7 (fifths) 94 Pad 7 (halo) 87 Lead 8 (bass + lead) 95 Pad 8 (sweep) Synth Effects Ethnic 96 FX 1 (rain) 104 Sitar 97 FX 2 (soundtrack) 105 Banjo 98 FX 3 (crystal) 106 Shamisen 99 FX 4 (atmosphere) 107 Koto 100 FX 5 (brightness) 108 Kalimba 101 FX 6 (goblins) 109 Bagpipe 102 FX 7 (echoes) 110 Fiddle 103 FX 8 (sci-fi) 111 Shanai Percussive Sound Effects 112 Tinkle Bell 120 Guitar Fret Noise 113 Agogo 121 Breath Noise 114 Steel Drums 122 Seashore 115 Woodblock 123 Bird Tweet 116 Taiko Drum 124 Telephone Ring 117 Melodic Tom 125 Helicopter 118 Synth Drum 126 Applause 119 Reverse Cymbal 127 Gunshot General MIDI standard drum instruments are available on channel 10:
35 Acoustic Bass Drum 59 Ride Cymbal 2 36 Bass Drum 1 60 High Bongo 37 Side Kick 61 Low Bongo 38 Acoustic Snare 62 Mute High Conga 39 Hand Clap 63 Open High Conga 40 Electric Snare 64 Low Conga 41 Low Floor Volume 65 High Timbale 42 Closed High-Hat 66 Low Timbale 43 High Floor Volume 67 High Agogo 44 Pedal High Hat 68 Low Agogo 45 Low Tom 69 Cabasa 46 Open High Hat 70 Maracas 47 Low-Mid Tom 71 Short Whistle 48 High-Mid Tom 72 Long Whistle 49 Crash Cymbal 1 73 Short Guiro 50 High Volume 74 Long Guiro 51 Ride Cymbal 1 75 Claves 52 Chinese Cymbal 76 High Wood Block 53 Ride Bell 77 Low Wood Block 54 Tambourine 78 Mute Cuica 55 Splash Cymbal 79 Open Cuica 56 Cowbell 80 Mute Triangle 57 Crash Cymbal 2 81 Open Triangle 58 Vibraslap
Pitch Bend Change (ll - low byte, mm - high byte of the value)
Sets the pitch offset for all notes in the channel - both sounding and following. The value formed by two 7-bit values varies in the range 0–16383; the average value - 8192 - is taken as relative zero, which gives a conditional range of change -8192–8191. Pitch Bend sensitivity can be changed using RPN 0; By default, the maximum shift is two semitones in any direction.
System messages
System Exclusive (SysEx)
Serve to transmit special information to specific devices. A SysEx message can carry any number of bytes. The end of the message is indicated by byte F7. The first three bytes of SysEx typically contain the device manufacturer ID (assigned by the MIDI Manufacturers Association - MMA), the device network number (set from the remote control) and the device model code (assigned by the manufacturer). The rest of the message format is determined by the manufacturer - these can be commands, parameters, digitized instruments, scores, etc.
Hexadecimal identifiers of the most famous manufacturers:
Sequential Circuits 01 Big Briar 02 Octave/Plateau 03 Moog 04 Passport Designs 05 Lexicon 06 PAIA 11 Simmons 12 Gentle Electric 13 Fairlight 14 Bon Tempi 20 S.I.E.L. 21 SyntheAxe 23 Kawai 40 Roland 41 Korg 42 Yamaha 43 SysEx "General MIDI On" (switches to GM mode for devices that support additional standards): F0 7E 7F 09 01 F7.
SysEx "General Synth On" (switches to Roland GS mode for devices that support this standard): F0 41 10 42 12 40 00 7F 00 41 F7.
SysEx "XG System On" (switching to Yamaha XG mode for devices that support this standard): F0 43 1n 4C 00 00 7E 00 F7, where n is the device number on the network (set differently for different devices, default 0) .
A number of devices require that GS and XG modes be enabled from GM mode. Switching between modes usually takes several tens of milliseconds and also causes a complete reset of the device's MIDI system.
Tune Request
Instructs devices that need it to perform automatic adjustments. This usually applies to analog synthesizers, the tuning of which can shift due to instability of the control elements.
Song Position Pointer (ll - low byte, mm - high byte)
Serves to set the position in the score for devices that have a built-in sequencer, auto accompaniment, or rhythm block. Specified by the number of the quarter note from the beginning of the score.
Song Select (ss - conditional score number)
Determines which existing score will be played when a Start message is received.
Start
Starts playing or recording the selected score from the beginning.
Stop
Stops playing or recording the score.
Continue
Starts playback or recording of the score from the interrupted point, or from the position set using the Song Position Pointer.
Timing Clock
Serves to synchronize devices and is transmitted at a frequency of 6 messages per quarter note. Generation of this message is optional for the sending device.
Active Sensing
Used to check for communication within a MIDI network. Message generation is not mandatory for transmitting devices. If this message is received, each receiving device goes into MIDI stream monitoring mode, and if there are no messages within 300 ms, it automatically processes the All Notes Off, All Sounds Off and Reset All Controllers. This allows you to stop working if there is a network connection failure. However, until this message first passes through the network, devices do not monitor the length of pauses between messages.
Applications of MIDI
The main application of MIDI is the storage and transmission of musical information. This can be control of electronic musical instruments in real time, recording of a MIDI stream generated when a performer plays on a data carrier with subsequent editing and playback (the so-called MIDI sequencer), synchronization of various equipment (synthesizers, rhythm machines, tape recorders, blocks sound processing, lighting equipment, smoke generators, etc.).
Devices designed only to create sound using MIDI commands and not having their own performing organs are called tone generators. Many tone generators have a control and display panel for setting and monitoring basic operating modes, but sound creation is controlled by incoming MIDI commands.
Devices designed only for generating MIDI messages, without containing sound synthesis means, are called MIDI controllers. This can be a keyboard, a pedal, a handle with several degrees of freedom, a drum set with sensors for the method and force of impact, as well as a string or wind instrument with sensors and analyzers for methods of influence and playing techniques. A tone generator with sufficient control capabilities can very accurately reproduce the tones of an instrument's sound from the MIDI stream generated by the controller.
To store MIDI scores on storage media, three types of SMF (Standard MIDI File) formats have been developed:
- 0 - directly the MIDI stream in the form in which it is transmitted over the interface.
- 1 - a set of parallel “tracks”, each of which usually represents a separate part of the work, performed on one MIDI channel.
- 2 - a collection of several works, each of which consists of several tracks.
Format 1 is mainly used, allowing one work to be stored in a file.
In addition to MIDI events, the file also contains “fictitious events” (Meta Events), used only for file design and not transmitted over the interface - information about metrics and tempo, description of the work, names of parts, lyrics, etc.