MIDI systems. How to choose a music center? Micro, Mini, Midi? Which music center to choose

Currently, an acoustic system is present in almost every home, but the question of selecting a high-quality system is still relevant. There are several types of music centers, each of which has its own advantages and disadvantages.

What is a music center?

The configurations of the music center imply the direction of technology of narrow specialization. An acoustic system of a similar nature is equipped with equipment for reading and playing audio files, including a radio module that serves to capture broadcasts of radio stations.

The format of the music center combines a balanced and optimal sound, the achievement of which becomes possible through design features. It is precisely because of this that often a standard quality mini system has better sound characteristics with increased clarity than an unbalanced complex of Hi-Fi components assembled on a quick hand.

Microsystems

Among the advantages of a microsystem is the ability to fill a room with a small area with music without spending a lot of money and a lot of space on it. Buyers of this equipment require perfect sound quality, but not all models are capable of providing it.

A microsystem, in other words, a music center, is a complete set consisting of a compact head unit with a pair of small speakers.

Accessories include the following items:

• Remote Control;
• wires;
• user manual and other documentation.

At this point in time, the micro system has the ability to play a CD and receive a radio broadcast. Many of them have an audio file system (lossless), support for gadgets (there are such methods of information transfer as Bluetooth and USB cable), there is even a local network connection for playing Internet radio with digital audio content.

From the above, it can be summed up that users of micro systems get good quality music without much effort. It is only necessary to connect the speakers by plugging the connector into the socket, and the connected equipment is ready for use.

When using micro systems, there are no problems regarding the compatibility of electronic components with acoustics, since everything you need is in the box.

Microsystems are musical centers with a monoblock structure and small volumes. Among the main elements of the microsystem there is an optical drive with a radio tuner. Microsystems are a small number of functioning elements, and all of them with rather modest characteristics. They have little power.

The components include an amplifier with low power and small speakers. Usually this is a standard stereo pair. Even from a small price category, microsystems are capable of reproducing high-quality sound.

Such centers are lightweight and therefore suitable for transportation.

Minisystems

Represent a block and monoblock design. Their overall dimensions are slightly larger than microsystems.

With regards to the functional elements and characteristics of mini-systems, there are:

• conventional minisystems;
• mid-range minisystems;
• minisystems of the highest level.

Ordinary mini systems are the most popular among buyers, and this is not surprising, since they have all the characteristics and components required for a music center. Such music centers have an average level of power. They are equipped with a good amplifier with speakers that contribute to a good, high-quality sound signal. The affordable price is also a plus.

Mini-systems of the middle and higher levels have more power. Have the best, in comparison with microsystems, acoustic system. They have a number of advantages expressed as additional elements.

The cost of mid-range and high-end mini-systems is slightly higher than the price of standard mini-systems.

Suitable for home use. Simple listening to music at home, or, for example, for discos in small rooms.

midisystems

MIDI systems are a block design and have the largest dimensions compared to the already presented music centers. A large number of models of this type are produced as component systems. In more expensive midi systems, acoustics have cabinets made of wood, which, in combination with powerful amplifiers with a low frequency, guarantee high sound quality to the music center.

Quite often, midi systems are equipped with high-quality CD-transporters and multi-bit processors for processing high-resolution sound, as well as high-quality cassette decks that have a noise reduction system.

The main difference between these music centers is the function of supporting a huge number of formats. Most midi systems even have a karaoke function.

The price of a midi system is quite high.

Ideal for discos in rooms with a large area.

Having studied each of the presented options for music centers and understanding their differences, there should no longer be questions about which device you should pay attention to.

It is becoming more and more difficult for an ordinary person to keep up with progress in the field of technology, so as not to get lost in the labyrinths of special terms, not to lose sight of the characteristics of modern devices, without which we not only cannot do without, but also imagine our future life.

Music is an integral part of our life, it accompanies us on weekdays and holidays, sometimes being just a pleasant background, and sometimes evoking associations and memories. Therefore, the desire to have good equipment at home to play your favorite music is not a whim, but a necessity.

To choose music center should focus on leading manufacturers ( Sony, Philips, LG, BBK, Panasonic, JVC, Samsung). You can't go wrong by buying any of the well-known brands, because gradually, striving for perfection, manufacturers produce devices that are increasingly becoming equivalent in terms of technical characteristics.

Undoubtedly, the most important characteristics are the quality and power of sound, but they depend on other parameters as well. Let's get to know them. If all the components of the music center are connected in one case, then we are talking about its monoblock design. Separate blocks included in the music center make up the audio complex.

Monoblock has its advantages:

Compactness, allowing use even in a small room;
elimination of the need to use connecting cables that affect the sound;
the ability to use a common power supply for the entire system, as well as a single display and a common control system;
consistency of blocks in terms of electrical and sound parameters. Sometimes the sound can be even better than in non-optimally matched audio complexes.

Audiocomplex with professionally arranged blocks will bring you more enjoyment because:

The selection will take into account the power, sound quality, type of music, room area, etc.;
you will listen to music, even if one of the units fails and will be given for repair;
you have the opportunity to constantly upgrade your music center by replacing and adding blocks.

The overall dimensions of musical centers, in turn, also influenced their classification, they distinguish micro-mini- and midi-systems.

Micro-systems - can be placed anywhere

Such systems, with miniature enclosures, have good sound quality and functionality, thanks to the desire of technology for miniaturization and perfection. They have a front panel width that slightly exceeds the size of a CD and a cassette, it is 17.5-18 cm. Micro systems include: a CD player for one disc, a deck for one cassette, a stereo receiver (radio). Everything goes to the fact that soon the cassette deck will be excluded and replaced by a deck for minidiscs.

Mini-systems - to your taste

Based on your taste and possibilities, you can choose music Center, the dimensions of which will correspond to the parameters of mini-systems, while they can be either monoblock or in the form of an audio complex. Their front panel has a size of 21.5 to 28 cm. Such music centers can be inexpensive, with one cassette deck, but it is more convenient to use two-cassette decks with auto-reverse, this makes it possible to transfer music yourself from one cassette to another.

With function auto reverse you can play the cassette in two directions without turning it over mechanically. Mini systems may differ in the number (from 1 to 5) loaded CDs per deck. In the newest music centers, an indispensable part is changer. This is a device that automatically replaces one CD with another in the deck.

Tuner

Most mini-systems include a stereo tuner with reception of programs in the AM (amplitude modulation, medium wave), FM and VHF (frequency modulation, ultrashort waves) bands. Most imported receivers catch the foreign FM band with a frequency of 88-107 MHz, but there are still those that receive the Russian one with a frequency of 66-88 MHz.

Not bad if the tuner is digital, it can store the caught station in memory. If the model supports RDS, then on the display of the music center you can see, for example, the name of the radio station, the time.

Popular Mini Systems

Stationary music centers of two price categories are in the greatest demand. Centers with an affordable price, approximately $ 250-350, have a fairly wide range of functions, high quality sound, and convenient controls. Often they are monoblock. Acoustic systems in them with three speakers (three-way).

They are equipped with a two-cassette deck with auto-reverse, Dolby B noise reduction system, as well as a bass amplifier. The output power is 35-50W. The changer in such mini-systems can be designed for 3, 5, 7 or even more discs. The kit also includes a two-channel low-frequency stereo amplifier and tuner.

Also popular, but for more demanding music lovers, mini-systems cost $350-550. They are equipped with built-in multi-band equalizers that automatically change the frequency response of the amplifier in a given mode (for example, "classic", "rock", jazz, etc.) or make it possible to change it yourself. Such equipment usually includes digital or analog processors to create sound effects of different rooms with good acoustics in the room ("church", "stadium", etc.) This is achieved by electronic sound delay. Powerful low-frequency amplifiers - 50-80 W per channel.

To achieve surround sound, the acoustic system of such a music center contains 3-5 loudspeakers deployed in different directions relative to their axis. Double cassette decks are auto-reversible on both cassettes, open electronically, and the noise reduction system can be either Dolby B or Dolby B/C.

midi systems

Such systems are an audio complex, most often intended for professional music connoisseurs, so there is less demand for them, they are expensive, $ 500-800 or more. Wooden speaker cabinets, powerful bass amplifiers, high-quality analog-to-digital converter, two-cassette deck with Dolby B / C noise reduction (in even more expensive ones - Dolby S, mini disc deck), high-quality CD players - all this makes it possible to hear music with exceptional sound quality.

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 a fairly high-quality sound. Well suited for small rooms in urban apartments.
Minisystems allow you to load multiple discs at once and are equipped with more powerful speakers. You can voice a rather big party or a mini-disco.
midisystems 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 assigned to it. On the one hand, the smaller the system, the less its dynamics, and hence the sound power. On the other hand, you can fill a small room with high-quality sound without too much power.
Compact micro systems are generally 20-30 cm deep and will easily fit even into a small room. Dimensions should not be misleading: both in terms of sound quality and feature set, these are worthy competitors to larger centers. Sound power for systems of this type varies from 5 to 40 watts per channel. By the way, miniature dimensions are often achieved by eliminating functions that are unnecessary for the user, for example, from a cassette deck. Optical and Embedded Drives
Mini-centers are quite predictably designed to load one disc, but in larger systems 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 music center for several discs, you can listen to your favorite music for a longer time 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 qualitatively evolved. 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 micro systems, 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 files in JPEG format, it becomes possible to view family photo archives recorded on discs on a TV. If the music center has an additional hard drive, all files can be saved for further playback directly to it. Some models support hard disk recording of DVDs or TV programs. The recording time is determined by both the disk capacity and the degree of video compression. For audio files, the hard disk capacity, which ranges from 40 to 160 GB, is not so critical.
Music center sound
The secret of high-quality sound of music centers is in 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 class systems reproduce the sound of the highest quality. At full power, music is, of course, rarely listened to, 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 sound for a couple of seconds at most. Divide by 12 to find the real number. Without distortion, the speaker maintains a small frequency range, so in high quality systems, the sound is divided into several bands, each of which is fed to a different speaker. The acoustic system has a certain completeness, corresponding to the sound scheme. In the characteristics of the format, the first digit indicates the number of speakers, the second - the number of subwoofers. Class 5.1 systems (five speakers plus a subwoofer) create a Surround effect (sound around). In centers with such a system, a diffuse effect is achieved due to the multidirectional dynamics of the speakers. The term Hi-Fi means the maximum approximation of the reproduced sound to the original. It is logical that the cost of equipment of this class is higher. A Hi-Fi label on a music system may indicate that it conforms to a certain sound reproducing equipment standard.
Radio in the music center The presence of a tuner in the music center means the ability to catch radio waves. If the radio is an important function for you, when choosing a center, pay attention to the combination of its ranges. If the tuner in the center is digital instead of analog, 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. Extended FM range (VHF) is interesting for 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. Three letters RDS mean the possibility of transmitting additional information in the spectrum of the FM radio signal: the name of the radio station, time, weather, etc.
Additional features The timer in the music center no longer surprises anyone: some options have actually moved to the level of standard functions, some, such as cassette decks, are gradually disappearing as unnecessary. The extended 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 earlier the cassette deck was an integral attribute of the music center, now it belongs rather to the category of additional functions, since not everyone is in demand. But, despite the fact that the sound is richer and cleaner on CDs, 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 decks, cassettes can be simultaneously listened to, rewound, and recorded compositions from one cassette to another. A useful feature 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 are talking about the possibility of adjusting the timbre of the sound with the addition or reduction of certain frequencies - high, medium or low. Most often, ready-made equalizer parameters are laid in the music center, indicated by the main musical directions - rock, pop, jazz, classic. You just have to choose the type of sounding music. There are centers with a manual or graphic equalizer, where pre-set parameters can be further adjusted to your liking.
Subwoofer The music center package may additionally include a subwoofer designed for low-frequency bass sounds and enhancing sound depth. A passive subwoofer without its own low-frequency amplifier costs significantly less than an active one. An active subwoofer, in turn, reduces the load on the overall amplifier.
Karaoke Music centers with support for the already well-known karaoke function are equipped with one or two microphone inputs - for duet lovers. Karaoke is a favorite way of having fun by many, performing popular songs to the soundtrack.
USB interface The USB interface can be used in one of two ways. The Type A USB port is used to connect a flash drive to the 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 the materials of the Internet

A MIDI keyboard greatly simplifies the process of writing music. Entering notes with the mouse is long and tedious. What is the difference between MIDI, how to connect them and which one to choose - read the article.

MIDI keyboards: how do they differ, how are they connected, which one to choose?

Quite often we are asked about the necessary minimum equipment for a home studio. Here's what you need to have first:

1. Professional sound card. Built-in and game cards are not suitable in this case. They can only be used out of desperation, and the result will be obviously bad.

2. Studio condenser microphone.

3. Studio headphones. Preferably closed so that you can record vocals.

4. Studio monitors. But not multimedia speakers SVEN, Genius and the like! The difference between studio monitors and multimedia speakers lies in the greater detail of the former, as well as in the linearity of the sound of musical material.

5. High-quality switching, as well as the necessary racks.

What should I buy next? After gaining some experience, musicians think about the following:

2. MIDI keyboards.

3. Instrumental sound amplification (guitar/bass combos).

4. Effect processors, sound processing.

5. Additional tools, including microphones.

Today we will talk about MIDI keyboards.

In the photo - MIDI keyboard

First, a little about MIDI

In the days when you could see The Beatles live, and synthesizers were analog, the keyboard was a set of contacts electrically connected to the sound generating part. When one contact was closed, the current passed through the corresponding variable resistor, tuned to a certain note, and a sound was produced. In fact, the synthesizer was a self-sufficient device, a "thing in itself." No "contact with another world" was supposed, other than connecting to an amplifier or mixing console.

As the number of synthesizer models on the market increased, various manufacturers began to try to provide "dialogue" between devices. At first it was an unsuccessful undertaking: there were no standards. However, in the early 80s, musical equipment manufacturers decided to put an end to “arbitrariness” and for the first time gathered “at the negotiating table”.

As a result, a single standard was adopted, called MIDI (Musical Instrument Digital Interface - digital interface of musical instruments). It was a real revolution. After that, it was possible to connect to each other, without fear of incompatibility or damage, any keyboards and sequencers. This served as an impetus for the development of separate sound modules (synthesizers without keys) and, later, programs that synthesize sounds. Agree, it is much more convenient to have 10 different synthesizers and one keyboard than 10 keyboards.

By the way, the keyboard is called a MIDI controller. The name emphasizes that it performs purely "managerial" functions. And by the way, a MIDI controller doesn't have to look like piano keys. There are controllers in the form of a guitar, button accordion or, for example, a flute. Therefore, it is more correct to use the term piano-type MIDI controller.

Which is better: a MIDI keyboard or a synthesizer?

After we figured out that a MIDI keyboard is essentially a "mindless synthesizer" that is not able to make any sounds, a reasonable question arises: is it worth buying it? Or can you get by with a home synthesizer, because connecting it to a computer is easy, and the built-in auto-accompaniment helps when composing music? What are the advantages and disadvantages of each side?

Reasons for MIDI keyboards

• Price. A midyushka (as a MIDI keyboard is often called) is cheaper than a synthesizer with a similar keyboard. A 4-octave keyboard with full-size active keys starts at $100 and can handle most studio tasks. You can't buy a synthesizer for that kind of money.
• Quality. Keys are practically the only significant part of a MIDI keyboard. Manufacturers, as a rule, focus on the keyboard mechanics. As a result, even cheap models can have better keys than quite expensive synthesizers.
• Versatility of application. Having a keyboard that suits you (in terms of key mechanics, knobs and knobs), you can use it with any kind of synthesizers and even with other studio equipment.
• Ease of connection. Connecting a MIDI keyboard to a computer is much easier than a synthesizer (it will have to be configured). Not every specialist will be able to help remotely in setting up.

Even with vast experience behind us, we often cannot answer some questions from buyers. And this does not mean that we are hopeless. You can answer provided that you have the same tool at hand that was used in similar conditions. And this is impossible.

• Durability and relevance. This does not mean the life of the keyboard - according to this indicator, the controller does not surpass the synthesizer. Sound fashion is changing rapidly. Only foreign superstars can afford to buy a new synthesizer for each song. Moreover, it is almost unrealistic to sell a keyboard synthesizer after operation. And you will get used to the keyboard, and there will be no desire to part with it.
• Compactness. If you do not own luxury housing, then the area of ​​\u200b\u200byour home studio is unlikely to exceed 10-12 square meters. meters. That is, there is simply nowhere to store keyboard synthesizers. The MIDI keyboard is compact and, in principle, better adapted to work with multiple devices.

Or is it a synthesizer?

The latter does not have many advantages:

• Auto-arranging. Many modern synthesizers have built-in auto accompaniment, which makes it possible to perform live music for an entire ensemble. Perhaps this argument is the most weighty of all.

You can record auto accompaniment into a sequencer and work with other sounds to quickly make a professional arrangement. Similar computer programs-arrangers have not received a decent development.

• Connection. You can only play the synthesizer without connecting it to a computer. This is not the case with MIDI.

In addition to the speed of "deployment", there is also reliability. Your computer or tablet may freeze. And the probability of failure in a physical synthesizer is much lower.

• Sound quality. If we are talking about professional models, then their sound quality is quite high. To get the same quality with real-time virtual synthesizers, you need to have a fairly serious computer and a high-quality, expensive sound card.

A bit of history

Historically, we connect a MIDI keyboard, and other MIDI controllers, using a 5 DIN connector (it would be more correct to write 5/180 DIN, and even more correct - DIN 41524).

Initially, this type of connector was standardized for analog sound, and many Soviet tape recorders were connected this way. This type of connection was also used in many computers (including the Apple II), game consoles, and scientific equipment. The DIN 41524 standard only describes the type and shape of the connector. Connectors may not be electrically compatible in different devices. MIDI, for example, can be inserted into PS / 2, only nothing will work.

Today, the five-pin connector is still used. In professional equipment, it is the standard. However, a large number of keyboards and controllers have acquired a USB connector that allows you to connect to almost any computer. On sale you can also find adapters / converters MIDI-USB. With their help, you can connect old synthesizers and MIDI keyboards to your PC.

In the photo - MIDI interface M-AUDIO MIDISPORT UNO USB

You need to understand that a MIDI keyboard/controller is just a keyboard, just like the one I'm typing this text on. She herself can’t do anything, she doesn’t give sound without connecting to a computer. It's just a bunch of buttons and knobs that communicate the act of being pressed to the computer. To recognize keystrokes, a special program must be installed on the computer to interpret the MIDI message.

Most keyboards/controllers are connected via Plug and Play technology (standard drivers are installed in the system). You will only have to configure the controller in the settings of the program used. Some professional controllers need drivers, so read the instructions and don't forget to install them.

Almost all MIDI keyboards work with any software. You just need to connect the keyboard to the PC, launch the Host program (for example, Cubase), set up the connection, select the virtual synthesizer (VSTi) and you can start playing.

Keyboards connected to the sound card via a MIDI connector are usually automatically picked up by the program. But if you use USB, most often you need to specify the connection port manually. There are also controllers designed specifically for a specific program. For example, almost all controllers for Dj.

When connected via USB, only large professional keyboard controllers need additional power. And when using a MIDI connector, the keyboard will need a power supply.

We figured out a little with the connection. Now let's talk about what MIDI keyboards are, how they differ and how to choose the one that is right for you.

The first thing you pay attention to when choosing a controller is the size. For keyboards, it is determined by the number of octaves and the size of the keys. For combination controllers, the increase in size may be due to the presence of a display and additional controls.

The keys come in two basic sizes: full-sized, the same as a "wooden" piano, and reduced. Usually, smaller ones are installed on portable controllers that you can carry with you and compose melodies, for example, on a trip. Most often, such keyboards have 25–32 keys and a small number of additional controls. Full size keyboards have 25 to 88 keys. If the very first models in the line can still be carried with you, then the latter are more suitable for stationary use. Especially if the keys on them are hammer-type.

T: In the photo - a line of MIDI keyboards M-AUDIO Keystation

Types of keyboard mechanics

There are three main types: weighted, semi-weighted and unweighted (so-called synth). Typically, keyboards with synthesizer-type mechanics have keys slightly reduced in length (their width is standard). They are a plastic plate-lever, which is easy to press.

In contrast, weighted hammer action keyboards have full-sized, grand piano-like keys that are pressed with a certain amount of force and give the feeling of playing a real musical instrument. In some top-end MIDI keyboards, the keys are even made from wood. Typically, such keyboards allow you to adjust the weighting within certain limits. Semi-weighted mechanics, as the name implies, is a cross between the two previous ones.

An important parameter of a MIDI keyboard is sensitivity. She is responsible for whether the sound will change depending on the strength / speed of pressing. Small format keyboards usually do not have the so-called. active keyboard, and the dynamics (velocity) have to be drawn manually later. On more expensive models, there are several sensors on each key that transmit speed / force of pressing, release speed, pressing duration, and so on.

Aftertouch is responsible for the sensitivity of the keyboard after you have pressed the key. We can say that the presence of this parameter allows you to “press” the keys, which can be useful if you play using VST synthesizers that imitate wind instruments, organs, and some strings.

If you want to do more than just play, record a few “pads” and a simple solo, if you need to control synthesizers, change their parameters on the fly, keyboards with additional controls will be useful to you.

Controls on MIDI keyboards

The most common controls on MIDI keyboards are Pitch and Modulation, most often located to the left of the keyboard block. The Pitch control allows you to change the pitch of a note within a limited range. Modulation controls the modulation.

In the photo - control knobs: pitch (Pitch) and modulation (Modulation)

In addition to the standard ones, the keyboard may have additional programmable controls that can be used at your discretion. Usually they are signed simply by numbers. If the device has a large number of controls, they can be divided into groups (then they are signed with a number and a letter denoting the group, for example, A1, A2, C3, etc.).

Some keyboards have controls in the form of pads, to which the user can assign a specific sound, a short musical phrase, etc. Most often, pads are used to play / record rhythmic patterns.

In the photo - assignable pads MIDI controller Akai MPK261

MIDI keyboards allow you to control VST instruments, adjust their parameters on the fly, and improvise while performing. They give a sense of sound control, allow you to "touch" the music.

Another piece of equipment that can be connected to a keyboard is a breath controller. It allows you to play the parts of wind instruments. The sound is as close to the original as possible.

Many MIDI keyboards/controllers can be connected to mobile devices, tablets, smartphones. Unlike small format keyboards, professional keyboards may require additional power. This must be taken into account when choosing a device. Also, don't forget to get the necessary adapter, based on which mobile device you plan to use.

Overview of MIDI Keyboards

Consider specific models and try to understand which one is right for you.

Let's start with the smallest ones. These keyboards have smaller keys, a few additional controls and are suitable for those who like to compose music on the go. The most common representatives of this group are M-audio Axiom Air Mini 32, AKAI MPK-Mini MK2 USB, and ARTURIA MiniLab MKII.

In the photo - Arturia MiniLab

These instruments easily connect to a tablet or netbook and allow you to play your favorite tunes anywhere.

Continuing the theme - small-sized keyboards with full-size keys. They are suitable for those who find it inconvenient to play miniature keys. For example, models ALESIS V25, M-AUDIO Oxygen 25 IV.

In the photo - ALESIS V25 MIDI keyboard

The largest group among MIDI keyboards are instruments with 49 keys. It presents both budget solutions that have only a piano keyboard, for example, AXELVOX KEY49J, and more professional models, for example, M-AUDIO Oxygen 49 IV, NOVATION IMPULSE 49, ARTURIA KeyLab 49. Such keyboards will suit most musicians. Choosing the right one is easy. The main thing is to decide whether you need “just a keyboard” or “a keyboard with a bunch of twists”.

The final category is full-length controllers with 88 keys, most often with hammer action and a wide range of controls. The devices are most often used by professional musicians who perform complex, most often piano arrangements. Most of these are stationary studio devices. One inexpensive option is the M-Audio Oxygen 88 MIDI keyboard.

But for the most part, these are quite expensive devices. For example, ARTURIA KeyLab 88 or Studiologic SL88 Studio.

In the photo - ARTURIA KeyLab 88 MIDI keyboard

If you have any questions about MIDI keyboards or have any difficulties choosing a particular model, please contact our specialists. You can tell them about your requirements for the tool and its operating conditions. Based on this, employees will recommend the best models.

Currently, there are many different peripheral devices connected via a midi interface. And it is natural that many are beginning to be interested: what kind of midi interface is this and what to eat it with? Many encyclopedias give purely technical explanation, but this is often not enough for a general understanding of the essence of the process. Many do not fully understand what it is for, some guess, but not completely, and only a few who saw the birth of this format know what it is. So what kind of animal is this - MIDI?

MIDI is an abbreviation for Music Instrument Digital Interface (aka MIDI) - a digital protocol for transferring data between electric musical instruments (EMI). EMP is an instrument that sounds as a result of electronic synthesis (popularly - a synthesizer).
It was first implemented on an instrument with a piano keyboard. Later, button instruments (electro button accordions) and some wind instruments (flute, saxophone) appeared on this basis.

The essence of the format.

Not everyone knows that the MIDI format was not created at all for sound in games or as a way to transfer music between computers. It was originally invented so that electric musical instruments (synthesizers) from different manufacturers could control each other's sounds. And synthesizers are the same computers: there is a keyboard, there are a bunch of buttons, there is a processor, there is a sound generator and there are result output devices (on the screen and on the audio output). And inside this computer, certain information is constantly transmitted from the keyboard and control buttons to the processor and then transferred to the generator for further processing. Not all information is transmitted to the generator: there is information from the keyboard and controls, and there is some information only for visual graphic display on the display.

The task of the keyboard is to convey all the nuances of the game on the keyboard as honestly and efficiently as possible. Those. what key was pressed, how long it was pressed, with what character (nuance) it was pressed and how exactly it was released, what instrument it was all played ... etc. etc.
The task of the generator is to quickly receive all this information and output it in a quality manner.

Format history.

MIDI as a separate protocol (not yet a standard) was conceived by Roland and Sequential Circuits for their synthesizers.

Prior to the creation of the MIDI standard, each manufacturer of synthesizers had its own storage system for all this data (sequencers). Then floppy disks were in vogue (and right now they still exist). Their volume of 1.5 MB (and HDD = 2 MB) was more than enough to save all the parameters of the controls and buttons, as well as to fully store information about entire compositions played on this synthesizer. In general, up to 30 separate full-scale compositions could be placed on one floppy disk.

But the whole problem turned out to be that this information was read only on the synthesizer on which it was created. Even within the same company, its synthesizers had different, incompatible with each other, data storage systems. there was no definite system as a standard yet, and each manufacturer came up with his own chips and features. And therefore, when a synthesizer broke down, or it was necessary to urgently change it to another one (for example, at a concert), the information from the old one was not read in the new one.

In the 80s, this problem grew quite strongly: many musicians were forced to buy synthesizers from different companies just because of a couple of chips on their synthesizer, it became unprofitable to carry all this economy, each synthesizer (and then they were still analog) were each the size of refrigerator, and the connections before the concerts looked more like front-line battles with the survivors and the defeated ...

Then leading manufacturers Roland, Sequential Circuits, Yamaha and Oberheim got together and agreed on some standards in terms of data storage format. This is how the first generation General MIDI (GM1) was born. A generic generator and a generic data transfer protocol for this generator have been created. And now a synthesizer with the abbreviation GM could already more or less play what was done on another GM-compatible synthesizer. Due to the then limited bandwidth of IBM PC computers, this standard included a description of 2 banks of sounds in 8 categories of 8 instruments each (128 standard sounds in total), and 127 controllers for each instrument (volume, pan, effect, etc.) with on a scale from 0 to 127. But in fact, these controllers turned out to be no more than 20: the remaining cells remained unoccupied (that is, nothing happened when a certain signal was transmitted to these cells).

The first sound card for a PC computer was developed by Roland and was called the MPU-401 (MPU - Music Processing Unit). This interface has become the standard for this kind of devices for many years and remains so to this day. Any modern sound card supports the MPU-401 emulation mode. If you have Windows, then in "System Information" in the section "Sound, Video and Game Controllers" you will surely find MPU-401 emulation for your sound card.

In 1988, at the suggestion of Opcode, the Standard MIDI File (SMF) format was adopted for full compatibility of synthesizers with computers. This file with extensions .mid or .smf is the one standard MIDI file. Its modified version is used to convey letters and words (that is, it contains both music and text to it), and has the .kar extension, since such files are widely used in karaoke.

To maintain the standard and further expand it, an independent organization, the MIDI Manufacturer's Association (MMA), was established. Later, with the development of computer technology, in 1998 the General MIDI standard was finalized to the 2nd generation. The new standard expanded the polyphony and palette of available instruments to 256, added a number of new controllers. Since then, for the compatibility of synthesizers and computers that appeared, banks of sounds of the GM1 and GM2 standard began to be installed in the sound cards of the latter. So it became possible without the synthesizer itself to listen to what was composed on the synthesizer on the computer. The sound quality of the GM standard was naturally far (and is already very far) from the real sound, but then it was better than nothing at all.

The capabilities of this standard still did not quite satisfy the needs of many manufacturers: many had their own chips and marketing moves for their customers. So Yamaha got XG (Xtended General, essentially a number of proprietary Yamaha sounds added to GM and their improved processing) and the same branded GS (General Synth) from Roland. Thus, the GM format was formally respected: Roland floppy disks were played in many Yamaha synthesizers. And vice versa.
But with the native XG (GS) format, the sound was better. So firms tied their customers to the products only of their firm.

Technologies.

In the 90s, some manufacturers realized that MIDI technology was applicable to more than just EMP:
firstly, the keyboard can be not only similar to a musical instrument, but also any other (including a computer one). So there were numerous controllers, pads (both manual and foot), electronic drum kits, samplers, sequencers ...
secondly, it turned out that via MIDI it is possible to transfer not only information from the keyboard to the generator, but also any other technical information for completely different devices. So, in addition to the IN and OUT connectors, a “transit” THRU connector was added, through which it was possible to transfer information from the first synthesizer to the third synthesizer through the second in transit. Those. it was possible to connect a third to two synthesizers, which reacted only to commands intended specifically for it. The first two synthesizers did not respond to them.

Technically, MIDI is a 32.25 kilobaud serial data interface. Uses 5-pin DIN connectors and shielded cable with two conductors. Most modern synthesizers have three MIDI ports - IN, OUT and THRU.

The purpose of the first two is clear from the name (input and output), the THRU port (from English through, through) is fed unchanged to the information coming to the input (IN) of the device. This allows you to cascade fixtures one after the other.

One physical MIDI connection transmits 16 "virtual" MIDI channels. On the synthesizer for each of the MIDI channels, the desired timbre is set and the instrument can play simultaneously different musical parts (each on a separate channel) with several sounds.

In order for a certain note to sound on a specific MIDI channel, the synthesizer must receive a “Note On” message. It consists of three bytes - the first one encodes the type of message (Note On) and the channel number (0-15), the second one encodes the height of the note (128 steps in semitones), and the third one encodes the volume of the note taken (also 128 steps). Almost the same message (only with the Note Off type) is needed for the instrument to stop playing a given note. Such a simple organization allows quite efficient use of not very high MIDI bandwidth, while having up to 16 channels in one serial interface. Because of the "sequence" in MIDI, it's impossible to make two notes sound absolutely simultaneously. However, the delays between simultaneously taken notes in a chord are minimal (a few milliseconds) and become noticeable only in very rich works.

In addition to the "Note On" and "Note Off" commands, MIDI provides many other messages. First of all, these are controllers, with their help you can change the sound of a timbre in real time (if the latter supports it). For example, you can smoothly change the pitch of a played note, create a vibrato effect, and do many other things. In general, the survivability of MIDI (almost 30 years) is explained by the fact that the developers have included in the standard the possibility of expansion. In MIDI, there are many non-standardized commands that each manufacturer can use at their discretion (at the same time, a device that does not understand these commands will simply ignore them or pass them on to a third party via THRU), and in addition, it is still possible to expand the format by standardizing new commands on a proposal manufacturers (this is what MMA is currently doing). Now the MIDI format is used not only for its intended purpose (playing synthesizers), but also in many related areas, such as synchronizing audio / video devices and even controlling lighting effects (DMX technology).

The boom of such connection of synthesizers with each other fell on the peak of Jean Michel Jarre's creativity: it was he who, for the first time in the world, was able to connect (and program) more than 10 synthesizers into one MIDI chain, where each of the synthesizers had its own clearly written program for turning on / off the given parameters in the given time (that is, he could change the sound on the synthesizer at a given time without interference from the performer: the latter could calmly continue to play the instrument, only with a different sound and with different parameters.
Then many realized that midi technology had a great future: after all, only this technology on the then emerging light and sound shows could accurately, second by second, change the sound on the synthesizer and detonate a volley of fireworks and much more to do at that second. Which is almost impossible to do live, by a live operator.

Perspectives.

Currently, the midi device market is seeing a deeper and deeper division into classes:
1. separate midi keyboards appeared (both piano-type and bayan-type), these are the same synthesizers, only without a built-in generator, with a different number of various adjustments and mechanics, from ordinary to as close to reality as possible (hammer-action keyboard and other chips),
2. Separate MIDI interfaces have appeared, designed to ensure compatibility of USB-to-MIDI formats and the transfer of information from one device to another (computer) and vice versa,
3. sound modules appeared (the same synthesizer, only without a keyboard) with huge libraries of sounds and with the ability to place the module in a studio rack,
4. numerous midi controllers appeared (the same synthesizer, only without a keyboard and a generator), designed to make life easier for the operator and having the ability to hardware adjust almost any parameter of the sound module (No. 3) or a computer sound editor (DAW),
5. drum machines appeared (a kind of the same synthesizer, only with a keyboard in the form of pads (pad) and a set of samples),
6. there were samplers (former sequencers) that allow you to program any sound actually recorded from the original (sounds of nature, people, cars, real musical instruments) to any key,
7. electronic drum kits appeared (a combination of pads and a midi controller with a generator)
8. mobile midi recorders (the same sequencers) appeared - devices for working together with keyboards (No. 1), controllers (No. 4) and modules (No. 3), recording in their memory in real time the entire history of manipulations from the keyboard and regulators , for the purpose of saving/editing and reusing/reproducing, but without the artist and without the participation of a computer…

The present.

Today, MIDI technology is most widely used in live concerts, in the form of separate samplers. For example, the Linkin Park group actively uses samplers. With a sampler, many drummers can now play any sound that can be pre-loaded into the sampler. The essence is simple: a midi-trigger is attached to the head of each drum, which, when hitting the head, transmits a signal to the sampler. The result is two sounds - the sound of the plastic itself and the sound from the sampler. A mixture of these sounds can give fantastic color and drive, which many drummers use everywhere (and also hide the true nature of the sound of drums in a concert). The same can be said about guitarists: midi-triggers on the guitar are no longer a rarity. And the pedal does not need to be pressed so often to switch the sound: if the change of this sound is programmed in advance in the timecode of the sounding composition, then the sampler can switch the desired sound at the right time in the right place. It is thanks to MIDI technology that amazing and grandiose light and sound shows of many performers have now become possible ...

Now, when devices are directly connected to a computer, the presence of MIDI connectors is absolutely not necessary: ​​these MIDI signals can easily be transmitted via a regular USB bus, which is even more convenient. Moreover, now there are quite a lot of similar midi-devices with USB. Although when connecting two independent compatible devices, the presence of native midi connectors is still required.

Mistakes.

The most common mistake many users make is trying to connect audio equipment to each other via midi connectors, not realizing that sound (streaming audio) cannot be transmitted over the midi channel in any way. ONLY INFORMATION about the pressed (turned) controller is transmitted via midi. Midi is not a digitized sound, it is a set of standardized commands for the generator.

Similarly, it's nonsensical to talk about "good or bad midi sound". A MIDI file is not music, it is a set of commands for controlling electronic musical instruments and nothing more. Recall the classic wind organ. Here, the performer, through the most complex mechanics, controls the air supply in a combination of sounding pipes. MIDI is an electronic analogue of such mechanics. It is simply a tool with which the performer realizes his plans. Therefore, it is completely meaningless to talk about the quality of MIDI in terms of music, there is only a talk about the control possibilities provided by this digital interface.

Now, to realize all the possibilities of midi technology in a home studio, 4 things are enough:
1) a computer with an installed editor (DAW) and VST plugins,
2) midi interface, which can be in a sound card (PCI, USB, FireWire), or implemented on the USB bus (separate cable),
3) a midi controller for controlling DAW (so that numerous controls are not turned with the mouse) also happens on the USB bus,
4) a midi keyboard, usually of the piano type, for playing melodies (drawing a melody with a mouse is not very convenient).

Additionally, you can connect electronic drums, or a drum machine, or a separate sound module and control them via midi.
The functionality and price range of modern midi devices is amazing: from an ordinary cable to a monster ...

Practical examples and settings will be in

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