Audio MIDI, AC3 5.1, MP3 5.1 - MIDI at the example Bach Fuge 5 voices piano
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It becomes shows how one converts a MIDI file into desired 16MIDI canal and every MIDI canal his own stereo-position
receives. For the purpose of the simplification only 1 instrument is used: Piano.
The generated MIDI can be converted into AC3 5.1 or Fraunhofer MP3 5.1.
In addition there is ready example as MIDI files (with several instruments).
If the following abilities make music with MIDI coached very well:
Hearing property with regard to pitch and divergences, e.g., about 1 half a tone.
Hearing property with regard to nuances in the tempo.
Hearing property in the combination of instruments and the sound variations originating from it.
Education of the music taste also after contents of the music and not only after layout of the music.
Attention: a trained ear listens of course also exactly, if, e.g., a mass production to itself very well
sellable cheap music it is heard whose sound (music layout) is so big only because of that, around the skew
situation to cover up of the tones of song or instruments, because the normal listener because of his unskilled ear and
Of music taste buys more or less every scrap metal, the more recently the consumer is and his existence, e.g., from that
Knowledge "There is something in the water" konsumtiv it is stamped by consumer, so that the endless loop of the trash
from "There is something in the water" as a hit is sellable. - Drug music against all realities in the everyday life.
MIDI offers a way to escape the complacency in which one learns independent creativity and
so body and soul strengthens. However, this way costs certified consuming of music to work, they
only when result produces. Besides, also there originates the ability, itself about music other areas of culture
to open successfully, so the majority of the artistic variety. A small-time existence of the mind
and mind as well as the susceptibility before university staggering for the purpose of the foreign-certain utilisation
are lost.
Conditions
Computer
MIDI itself also runs on calculators of the generation Pentium III with 200 MHz of CPU.
The sound card in the computer needs only additional resources of the CPU, if one with VSTi or big soundfonts
works which must provide on a real-time basis data.
News (state in 2011) sequencer often contains a comprehensive audio-integration, the of course considerable ones then
CPU achievement asks, e.g., Pattern processing
A computer which already ran under Windows 9x reaches for a sequencer software which is specified on MIDI,
from. Since audio-integration in MIDI has nothing to do with MIDI in itself.
Sound card
The used sound card must support MIDI possibly soundfont.
Not satisfactory is, e.g., the support soundfonts by Java.
Sound cards of the creative of rennet who provide a soundfont (SF2) are satisfactory and recommendable
MIDI instruments so offers that a postprocessing of the Sound-Wave-Table-Datei is not worthwhile.
e.g., creative of rennet Audigy self-service 0090 (Audigy I) including 5.1 analogously audio-outputs.
In to a predecessor's model AWE 64 was integrated of the soundfont even by RAM module, so that they
Sound card self-sufficiently could work. The RAM modules have not asserted themselves in the amateur area.
soundfonts as USB modules are also not available.
MIDI sequencer
Basically every midi sequencer can be used. Indeed, virtually all midi sequencer are far under him
Level of a sensible Least MIDI processing.
midi sequencer expel from house from only one limited extent of the MIDI event processing, e.g.
Cakewalk per audio: The extent is so limited, that Cakewalk audio Per without additional software completely
it is worthless. E.G., one is able to do with standard Cakewalk no essential MIDI processing like the extinguishing from
to double events carry out. This disadvantage one can handle only in whom the musician, the Cakewalk uses to
Programmer becomes and learns the complicated script language by Cakewalk to write a Script to himself then, with
to him the MIDI events become processable. - The profession of Cakewalk founds itself also on
Of musician. Because Cakewalk is pointless without CAL-scripte, google one when required to Scripten (if they generally still
are available, because the last copyright year of Cakewalk audio Per was in 1999).
The used midi sequencer must show among other things the following abilities which are explained partly further below in detail.
The MIDI issue port of the sound card must be usable as a MIDI Synth port of the sound card.
Not satisfactory is, e.g., the synthfont soundfont interface or MIDI interface of Microsoft
(The Linux interface is more complicated considerably (deterrent), if Linux not him
synthport of the sound card directly supported).
The MIDI port of the sound card activates directly the soundfont wavetable of the sound card, so that only this
Hardware the audiosignal under use of the Wave scraps from the soundfont on a real-time basis
generates: Then the signal can become from Record software directly sampeled (e.g., Wave),
and by MIDI-Synth-Mixer-Regler which is (also indicated in the recording software,
Signal strength is adjustable to avoid distortion.
Abolition of treatment steps (undo) also after storage of the MIDI file.
There are programmes which extinguish with memories of the file the undo cache, what a huge discomfort
explains: The memories of MIDI data in versions (by changed file name) have nothing with
To act undo ache. The Undo-Cache may not be extinguished with memories of the data.
Settlement of MIDI file around double tones and events, in the same position to the common instrument
appear (optionally all these tones in an area around the in each case common position).
f.e.: C3 1:00:00
C3 1:00:03
C3 1:00:00
The sequential order of the tones is analysed and used.
if position area 0, so is generated
C3 1:00:00
C3 1:00:03
if position area 2, so is generated
C3 1:00:00
Of course the removing of double tones and event must function trace-covering.
Graphic and numerical insertion of tempos (with zoom of the resolution).
The tempo of the reproduction is an elementary sign of artistic interpretation. The minimum tempo is
with MIDI very small, because MIDI works on a real-time basis. Various MIDI editors offer a musical note representation,
e.g. 1/64 musical notes in. With MIDI shorter musical note resolutions are regulated considerably, in the tempo window
of sequencer is used (and just not the musical note representation). The resolution values are so small, that one
Drawing of the tempo by line or curve becomes necessary (tempo curve), around bigger areas freehand with
To book tempo data. A midi sequencer which is not able to do this is completely worthless. See also:
Shift from musical notes and events around tact unities.
Shift from musical notes and events around tact unities or around kink to the left or on the right.
slide as a planing about the time strip is necessary, around e.g. tracks or sound areas in the common one
To let start time. Moreover, is valid: MIDI works with hardware on a real-time basis, so quite precisely
and about all musical notes and their lengths which do not vary. However, a pianist never is able to do everybody
musical notes precisely in the length hold as it is given according to sheet of music: The tempo sways with it indirectly
also. A skilled musician or listener gets in the most true sense of the word headaches, if them
MIDI hardware-exact reproduction hears: The absence of the pianist's inaccuracy interferes tremendously. So that is valid:
This Tempo in MIDI is one of the most important signs of the sequencers beside slide. Freehand tempo is that
to come close einzigste variation, the pianist's inaccuracy. The variation of the quantize of musical note lengths
on a certain value area also helps, however, is calculated by machine and is able to do with it them
Pianist's inaccuracy again lift.
Subdivision of a MIDI track in single musical notes and single events and musical notes of the same kind receive a common track.
The ability of the sequencer is elementary, because MIDI data, e.g., from an input device like piano with MIDI port
compelling after canals must not be separated and be taped distributed. Moreover, the segmenting is in
Tracks for the analysis of music very importantly (methodical and didactic approach lets itself by
MIDI very well move).
The used midi sequencer must not be able basically to be able to process audio-files.
On the contrary: Audio-software, the Wave scraps, so to patter process, are (considerable in the MIDI area
neglects.
MIDI deals generally nothing with Wave scraps and patter.
Modern pop-soft music is produced massively with combination by patters, so that the buyers of the music
no skilled or high taste must have. Rather patters become as a taste pattern
over and over again used and so massively similarly sound music produced, they a regular utilisation
the buyer of the music admits. The music consumer becomes uniformed and with it permanently usable.
Strictly speaking this is a form of the infiltration and with it foreign regulation. The whole one is typical
Area of the commercial hit music and folk music.
The used midi sequencer must not be able basically to integrate Saint instruments (VSTi) or VST effects.
These effects can become effective ONLY during the reproduction of the MIDI and never are a part
of the MIDI data.
It is much more importantly, beside professional (because specified) midi sequencer a specified one
To use Wave-processing programme, that just by sampling thru MIDI Synth port sampelt and VST afterwards and
comfortably into the wave render is able (including storage of the Wave as mono files). This kind one
In the meantime, of Wave-processing programme there is also as a freeware.
Tips: MIDI track and sequence track number
In midi sequencer the track number MIDI from 1 can occur.
In the MIDI data is valid the trace number MIDI from 0.
Tracks of sequencer often begin from 1.
A MIDI track can be distributed to several tracks of sequencer (all tracks have identical track number).
Operating mistake in the use of the sequencer:
An operating mistake is unavoidable.
Should the data of the last correct step not exist then any more, the huge remachining is able
mean (including the artistic inspirations and intentions).
Versions of the MIDI data are to be stored regularly as files.
There is with certainty no perfect midi sequencer.
GUI mistakes or illogical or complicated GUI representation are the norm. e.g., the last
Position is not stored, so that because of the tininess of the Play and stop badges one
faulty click is optimally favoured, because this badge directly beside the badges of the positioning
on piece beginning or ends lie. This proves only one: The software manufacturer has with his software
never enough tested never mind productively worked. The manufacturer knows the needs of her
Practise insufficiently. However, one can afford this only without competition.
0. Default
The presentation encloses all grasped MIDI data in a MIDI file.
All MIDI events and MIDI marks on canal 1 have been grasped.
The tempo is continuous 100.
The presentation was put in the tempo on 82.
The MIDI file lies in the type 1 before is mono.
The trace volume is maximum (127).
The track is concentric (pan).
The percussion MIDI canal 10 was not used.
All double tones in common position were removed.
MIDI events do not exist.
0
0.mid (right click for download)
0 (mouseover for play or stop)
1. Disassemble presentation: musical notes per more own track of sequencer
The MIDI presentation must be already settled around double musical notes, events etc.
By means of MIDI sequencer the presentation is disassembled in musical notes areas.
Aim is to make easier the distribution all musical notes on MIDI canals (from 1 to 9, from 11 to 16).
MIDI canal 10 is booked for percussion and is not used.
Per musical notes area is generated own track of sequencer.
Example of the decomposition
All tones c3 after canal 1.
All tones e3 after canal 2.
....
40 tracks of sequencer are generated.
1a
1b
1.mid (right click for download)
2. condense disassembled presentation and add stereo-position
2.1. disassembled presentation condense: musical notes area per more own track of sequencer
Aim is to explain the distribution all musical notes on MIDI canals (from 1 to 9, from 11 to 16) gradually.
MIDI canal 10 is booked for percussion and is not used.
Step example:
Education musical notes area which should be condensed into common track of sequencer:
It are condensed only neighbouring sequencerspuren.
The aim track which takes up the compressed data is that track musical notes area,
already most musical notes data owns.
All the other tracks are source tracks and are copied in the aim track.
21
Aim track is a track 37
Source tracks are tracks from 38 to 40
Copy of the source data after aim track
It is copied trace-wise.
The contents of the track are musical notes, events and tempo etc. this become in the aim track to insert.
Because the presentation was already without double musical notes, copying none double musical notes can generate.
Double events nevertheless, can be generated. Hence, the presentation must be settled around double events.
Copying generates an empty source track which is to be extinguished.
The extinguishing can occur as a group of tracks.
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all the other steps
as in the step example described
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24
After some steps audio store and close, then open.
Then the so anew open file is new with all available MIDI data.
25
26
25.mid (right click for download)
Only 25 are booked track of sequencer, but there are only 15 MIDI canals (from 1 to 9, from 11 to 16 and
Canal 10 the not used drums enclosed).
After complete compression 15 remain track of sequencer occupied, they the MIDI canals
0 until 9, from 11 to 15 enclose (canal 10 are the not used drums).
27
27.mid (right click for download)
2.2. Compressed presentation: Stereopositions add
After complete compression 15 remain track of sequencer occupied which enclose the MIDI canals from 0 to 9, from 11 to 15 (canal 10 this
is not used drums).
28
28.mid (right click for download)
The presentation encloses a piano, is valid for good:
on the left the deepest tone of the keyboard
on the right the highest tone of the keyboard
As one sees in musical notes trace view, from above the tones are down
the situation of the tones on the keyboard assigned.
the uppermost track (sequencer lay a track 1) with the deepest tones
the lowest track (sequencer trace 15) with the highest tones.
The stereoposition in MIDI is pan.
0 completely on the left
127 completely on the right
64 precisely middles
otherwise all the others uprightly values
From 1 to 63 more on the left
From 65 to 126 more on the right.
Should the piano sound from the point of view of the pianist, then is valid
0 completely on the left, so the deepest tones, so lay a track 1
127 completely on the right, so the highest tones, so track 15
However, from the point of view of the listener the deep tones are on the right and the highest tones on the left.
In the following the view of the pianist is used.
28
28.mid (right click for download)
pan 0 and 127 was put.
29
29.mid (right click for download)
29 (mouseover for play or stop)
Everybody pan was put.
Track 8 is precisely a middle.
audio has 15 stereo-positions from the left to on the right.
3. Presentation with stereoposition: Tempos add
It is usual that audio begins with an empty area for which the tempo 100 is valid inclusively.
Then at the beginning of the real MIDI the tempo is adapted.
This adaptation is an artistic view as an interpretation of the music.
3a
3b
3a.mid (right click for download)
3a (mouseover for play or stop)
3b.mid (right click for download)
3b (mouseover for play or stop)
4. condense disassembled presentation: 5 musical notes areas per more own track of sequencer
compressed presentation: Stereoposition add
It is an aim, the distribution all musical notes on MIDI canals (from 1 to 5) and the original instrumentation is used.
The original instrumentation is a joint from 5 voices.
In the tradition from J. See Bach the compression is so generated, that quite clearly 5 voices with the own stereo-position
are audible.
This has the advantage to be able to enjoy the joint draught of Bach in connection with the figured bass clearly and clear ones.
4
4.mid (right click for download)
4 (mouseover for play or stop)
4_NewMix_6chan.ac3 (right click for download)
4_NewMix_6chan.mp3 (right click for download)
5. condense disassembled presentation: 5 musical notes areas per more own track of sequencer
compressed presentation: Sound generate
compressed presentation: Stereoposition add
It is an aim, the distribution all musical notes on MIDI canals (from 1 to 9) and the original instrumentation is used.
The original instrumentation is a joint from 5 voices.
In the tradition from J. See Bach the compression is so generated, that quite clearly 5 voices with the own stereo-position
are audible.
This has the advantage to be able to enjoy the joint draught of Bach in connection with the figured bass clearly and clear ones.
The sound is generated artificially by multiplication of a track:
The multiple copies of a track receive own stereoposition:
Example: Original track on the left pan 17
Copy track 1 almost on the right pan 90
Copy track 1 on the right pan 127
The multiple copies of a track receive own volume
Example: Original track on the left Vol 119
Copy track 1 Vol almost on the right 60
Copy track 1 Vol on the right 50
The multiple copies of a track are easily shifted (slide)
Example: Original track on the left did not shift
Copy track 1 almost on the right about 2 kink to the right shift
Copy track 1 on the right about 4 kink to the right shift
To the production of the sound one can use in 4. condensed audio.
5
5.mid (right click for download)
5 (mouseover for play or stop)
6. condense disassembled presentation: 5 musical notes areas per own group from 3 track of sequencer
compressed presentation: Stereoposition add
It is an aim which is used distribution all musical notes on MIDI canals (from 1 to 9, from 11 to 16) and the original instrumentation.
The original instrumentation is a joint from 5 voices.
In the tradition from J. See Bach the compression is so generated, that quite clearly 5 voices with the own stereo-position
are audible.
This has the advantage to be able to enjoy the joint draught of Bach in connection with the figured bass clearly and clear ones.
To use all available MIDI canals, every voice is split in an area from 3 tracks.
5 voices have with it 5x3 tracks.
To the production one can use in 4. condensed audio.
Disassembling a voice in 3 musical notesspuren occurs like according to 1. and 2.1
Voice in all available single musical notes disassemble.
Then compression all musical notes on 3 tracks.
The stereoposition occurs like in 2.2.
6a
6b
6b.mid (right click for download)
6b (mouseover for play or stop)
6b_NewMix_6chan.ac3 (right click for download)
6b_NewMix_6chan.mp3 (right click for download)
7. Other artistic interpretations
The joints (Fugen) of Bach sound formal by the vocal division.
However, the demo audio comes from the "well tempered piano" which belongs to the standard package of a good pianist.
And compositions of Bach need, in any case, of an interpretation, because only thereby becomes, e.g., the figured bass draught of Bach
vividly.
The basic counterrun of the bass makes the bass among other things the rhythmical melody instrument and not possibly
to the rhythmical accompanying instrument (bass with the piano).
And precisely this requires interpretation.
The demo audio 6b.mid (from 6.) an interpretation has for the application of the respective voice, so that the joint sounds quite clearly.
The demo audio 7.mid also encloses a joint, this spot considerably more complicated, for it even more nicely.
This joint is based on a motive repetition from some few musical notes: The one and same motive as a joint!!!! This motive became
worked out in the interpretation, so that becomes really clear: - The joint is a diamond from the artistic work from
Bach.
7.mid is based on the technology of 5.
7a
7b
7.mid (right click for download)
7 (mouseover for play or stop)
The demo audio 7.mid encloses a combination of instruments.
8
8.mid (right click for download)
8 (mouseover for play or stop)
8_6chan.ac3 (right click for download)
8_6chan.mp3 (right click for download)
audio BWV147.mid a church piece which praises the catechism encloses actually.
However, the interpretation occurs from another view: Also a functional church piece is able with exact listening considerably
be more complicated (hence, also the low tempo).
The instrument is a guitar.
BWV147.mid is based on the enlarged technology of 5.
Per guitar voice 2 tracks.
Guitar is mixed acoustically with Orchestral Harp, so that a full sound is generated.
The dialectic of minor and major key is emphasised.
The intention as a dialectic of hope and recommending of God comes to the train. This dialectic is a principal item
from index of Bach's works 147 - also for every atheistic interpreter.
Also BW147 is a pearl.
BWV147.mid (right click for download)
BWV147_6chan.ac3 (right click for download)
BWV147_6chan.mp3 (right click for download)
BWV147_NewMix_6chan.ac3 (right click for download)
BWV147_NewMix_6chan.mp3 (right click for download)
8. Change MIDI to stereo audio or surround audio 5.1
MIDI can be converted after audio, e.g., wave:
directly by software Audio recorder, e.g., by software for the sound card too in stereo wave
Hardware of the sound card, e.g., to 5.1 surround wave
indirectly by sampler, e.g., synthfont http://www.synthfont.com/
The production from surround AC3 with freeware like EncwaveToAC3
http://code.google.com/p/wavtoac3encoder/
on the basis of mono files is possible.
One would be able by sampler, e.g., synthfont http://www.synthfont.com/
also all MIDI tracks as mono tracks generate.
Regularly it is used in stereo audio which one can generate, e.g., as a MP3 from in stereo wave.
However, basically these are many year-old MIDI formats still to the topical audiooffer ahead.
With MIDI 16 can be taped audio channels with own in stereo position or as 16 mono files.
surround 16.1 there is not in the Home area.
However, basically the MIDI format is not effekt able enough.
Effects like sound are quite worthless etc.
One should tape MIDI already so to insert effects.
In connection with widespread in stereo audio MIDI too in stereo wave should be taped, be provided with effects, around it afterwards
to convert about mono files, e.g., in surround AC3 5.1.
Tip:
The Abmischung of MIDI, e.g., bass can be difficult, because to itself the clan sheaves after change of the taped MIDI in e.g.
AC3 5.1 can make a distinction. It is impossible that the timbre remains unchanged. One had to do for the reproduction of the
AC3 5.1 one Equalizers use.
8.1. MIDI to stereo wave sampling
Should AC3 5.1 be generated, must be taped with 48 kHz. The format audio cd with 44.1 kHz is not compatibly too audio a DVD or
audio BluRay.
One should work basically with 48 kHz and there can be Flash problems with regard to Adobe: flv formatt does not have to do 48 kHz
support. Because flashplayer mp4 with 48 kHz can return, one should substitute flv format by mp4 from DivX.
OGA supports 48 kHz.
Fraunhofer MP3 surround 5.1 supports 48 kHz and can be returned very well also as Stereo.
It should be taped by software and the data must flow directly from the MIDI port of the sound card, around a MIDI with Soundfont of her
To be able to generate sound card as wave.
MIDI is played by MIDI sequencer which supplies the MIDI port, and the sample programme selects this port directly: The sound card
generates wave signal.
8.2. in stereo wave mix with effects anew
Recorded in stereo file is the preserved MIDI.
Now effects, the MIDI not controlled, can be inserted, e.g., sound etc...
The effects which are integrateable in the sample programme are, e.g., program stones by the draught of stone mountain: Virtual effects and
even instruments are integrateable above a standard interface.
VST effect
VST instrument.
VST interface is hardly available in the modern version as freeware. The older VST version 2 is often than freeware integrateable.
The sample programme must support VST.
Sound card manufacturers offer, perhaps, a component Own similar to VST in e.g. EAX of creative of rennet. Also here is valid: Modern EAX
is from Creative rennet not for other map manufacturers available.
In view of the variety of VST the restricted EAX effects are not necessarily worthwhile.
Integrating of effects is easy.
Opening wave file.
Integrate of the effect by GUI of the interface.
wave file pass the ball and listen to effect to begin with.
If effect insert okay, then the effect in wave file. The insertion occurs without sound issue.
wave file store.
The combination of effects is possible, however, needs more CPU resources.
to begin with listen: An audio software manufacturer who can integrate VST effects not as follows has become outdated with his product,
all the same how anew the product is.
The effect must be basically preaudible
in whole wave
in parts wave.
The effect must be basically insertable
in whole wave
in parts wave.
The effect must be combinable basically with other effects.
VST 2 must be at least supported - it is better from VST 3.
Should the manufacturer not point explicitly on it,
if the software is to be looked as outdated. Then trial
use and test.
Should limit trial the VST use, one had to do himself
after another software look around, because support VST
it is essential.
wave must be normalised:
There occurs the volume adaptation on a standard value 0 decibels.
Everybody wave which are standardised sounds with it at most immediately loudly and is never distorted.
Importantly: VST effects partially do not normalise, but change the volume also about the standard value: Then it is distorted.
One must try out VST effects and lower, perhaps, the level recorder of the volume before.
If a VST effect has a regulator which regulates the issue volume, then one must absolutely provide for the fact, that
by to begin with listen to ascertained volume identically is with switched on and switched off VST effect (unless,
Volume should be filtered just by VST effect). Constance of the lukewarm strength guarantees, that no distortion
occur through the effect.
Then after the use of all effects can be normalised finally.
8.3. merged disassemble in stereo wave in mono tracks
audio software must have the following qualities:
see 8.2 8.1.
store in stereo wave as a Mono-wave left channel and more surely channel.
audio software must not be able to generate 5.1-wave.
With it are freeware, o.g. Demands correspond, usable.
In the following it is assumed from the fact that an AC3 5.1 should be generated,
so front left
front right
back left
back right
center
sub
so 5 channels + 1 sub (5.1).
8.3.1. in stereo wave for front left and front right once more anew mix
The human ear is fixed particularly on the audio which comes from the front.
In stereo file can be stored as 2 mono files,
without once more must be merged.
fl.wav
fr.wav
wave must be normalised:
There occurs the volume adaptation on a standard value 0 decibels.
Everybody wave which are standardised sounds with it at most immediately loudly and is never distorted.
Importantly: VST effects partially do not normalise, but change the volume also about the standard value: Then it is distorted.
One must try out VST effects and lower, perhaps, the level recorder of the volume before.
Then after the use of all effects can be normalised finally.
8.3.2. in stereo wave for back left and back right once more anew mix
The human ear is not fixed particularly on the audio which comes from the front.
The signal from the back delivers data to the surroundings.
With it must be merged in stereo file anew:
By VST effect, e.g., the sound which distinguishes the stereo-signal considerably from the front signal is to be inserted.
Precisely this anew mix, however, corresponds to the style of an artist, so that kind of mixing is not let out.
Then after him anew mix as mono files store
bl.wav
br.wav
wave must be normalised:
There occurs the volume adaptation on a standard value 0 decibels.
Everybody wave which are standardised sounds with it at most immediately loudly and is never distorted.
Importantly: VST effects partially do not normalise, but change the volume also about the standard value: Then it is distorted.
One must try out VST effects and lower, perhaps, the level recorder of the volume before.
Then after the use of all effects can be normalised finally.
8.3.3. in stereo wave for center once more anew mix
The human ear is fixed particularly on the audio which comes from the front. Only surely if it comes from the middle.
Because, however, front already delivers the signals of the middle, centre must be merged once more.
In stereo wave is to be stored first as a mono file, because only the mono file is anew merged.
Precisely this anew mix, however, corresponds to the style of an artist, so that kind of mixing is not let out.
Centre should be quite quiet and one should remove bass areas completely.
After him anew the mono files mix then store
c.wav
wave should not be normalised, but remain quietly.
8.3.4. in stereo wave for sub once more anew mix
The human ear is not fixed particularly on the audio which contains only bass. Bass is never perceived regularly directly. Hence, is able
the subwoofer also stand somewhere in the space.
Because only bass tones and some tones from the middle area may be available, is in stereo wave than mono file is to be stored first,
since only the mono file is anew merged.
Attention: Never use the mono file of centre as a data spring.
Precisely this anew mix, however, corresponds to the style of an artist, so that kind of mixing is not let out.
s.wav
wave must be normalised:
There occurs the volume adaptation on a standard value 0 decibels.
Everybody wave which are standardised sounds with it at most immediately loudly and is never distorted.
Importantly: VST effects partially do not normalise, but change the volume also about the standard value: Then it is distorted.
One must try out VST effects and lower, perhaps, the level recorder of the volume before.
Then after the use of all effects can be normalised finally.
8.5. surround from mono files generate
The production from surround AC3 with freeware like EncwaveToAC3
http://code.google.com/p/wavtoac3encoder/
on the basis of mono files is possible.
EncwaveToAC3 has several settings.
41
42
43
The easiest way is, with the help of the assistant the mono files channels assign and then encode (as 5.1 ac3).
8.6. surround play and cut
chanTest_6chan.ac3 contains the announcement channels with reproduction on channel.
It can be tested with whether a reproduction is successful by AC3 5.1.
chanTest_6chan.mp3 contains the announcement channels with reproduction on channel.
It can be tested with whether a reproduction is successful by Fraunhof MP3 5.1.
Play It gives freeware, it can pass the ball AC3 5.1 correctly, e.g.
Video Lan player http://www.videolan.org/vlc/
A player which is enclosed of the sound card could pass the ball, perhaps, also AC3 5.1.
Fraunhofer MP3 surround is supported by Fraunhofer or, perhaps, video Lan player.
The quality of the reproduction the player can considerably differ. Some player
need a plugin.
There is player, they work together with the mixer of the operating system or of the sound card badly. That player the
regulators these barmen without being asked anew place and do not put back at the end of the player, is possible.
Or a player destroys that channel subdivision in the driver of the sound card, as soon as one changes the mixer in the
regulators, they the player from himself anew has placed and at the player end puts back: After the play , e.g., channel
test file directly before player ending if the drivers of the mixer book in the canal subdivision, perhaps, again.
The mixing of MIDI, e.g., bass can be difficult, because to itself the clan sheaves after change of the taped MIDI in e.g. AC3 5.1
can make a distinction. It is impossible that the timbre remains unchanged. One had to go for the reproduction of her
AC3 5.1 use an equalizer.
44
45
Cut cut AC3 5.1 with MPEG2Schnitt http://mpeg2schnitt.mdienert.de/
cut MP3 and mp3 5.1 with mp3DirectCut http://www.mpesch3.de
9. Other
9.1. Special versions of digital audio
Certain digital audio-variations gives only in the usable context, e.g., DTS.
The context is often called as professional and is regularly more than upscale.
It is also enough free AC3 5.1. Particularly as MIDI has more resources with regard to surround considerably than digital audio will
one day be able.
Fraunhofer MP3 5.1
Beside surround AC3 5.1 there is the format MP3 5.1 of Fraunhofer which is partly freeware (the player). Fraunhofer MP3 5.1
is able without problems as a Stereo-mp3 are played.
http://www.iis.fraunhofer.de
The Fraunhofer mp3sEncoder expects the mono files as
infile_LS.wav for back left
infile_RS.wav for back right
infile_C.wav for centre
infile_L.wav for front left
infile_R.wav for front right
infile_LFE.wav for Sub
It is called of the Encoder by
mp3sEncoder.exe -if infile_L.wav -of 320_mp3_6chan.mp3 -br 320000 -monofiles
320_mp3_6chan.mp3 is the free file name of the generated MP3 5.1
-br 320000 for 320 kBits/sec
-monofiles for input from o.g. mono files.
9.2. audio software
One should look FIRST at freeware - particularly with VST effects and wave-sample programmes, e.g., WavoSaur or Kristal.
Should no topical software be available which admits the MIDI processing like above, then is valid the rule: The older the software,
around in such a way rather MIDI is processable.
Example: MIDI sequencer from Cakewalk (cakewalk.com)
Cakewalk is as an audio-software manufacturer famously like a sore thumb.
However, Cakewalk has committed in the range of products after 1999 a cardinal error.
The only professional MIDI sequencer in the market was put without substitute and with shed draught in
pattern-oriented audiosoftware built-in which is completely overloaded for MIDI processing and is worthless with it.
Cakewalk per audio comes in the copyright of 1999 and has completely disappeared in the market.
With it the authoritative software has also disappeared for a distinct MIDI sequencer.
This is the cardinal error: Cakewalk is badly copied by the competition in the MIDI area regularly and
Cakewalk renounces profit from a more or less unrivaled MIDI sequencer, the self-others
To Cakewalk products considerable competition makes.
Though Cakewalk audio Per has among other things GUI mistake and illogical divisions of the GUI, however, is not
overloaded: So ideally for the MIDI musician.
The einzigste source of supply of Cakewalk audio per worldwide open network like Torrent.
It is to be recommended to try out this sequencer in spite of expired copyright and finished availability. It repays
itself. Who has understood then the draught of a MIDI sequencers, is able to do itself, e.g., of the sonar-product
row of Cakewalk dedicate which deals, however, basically NOTHING with the simplicity of Cakewalk audio Per.
Software suites, e.g., from Adobe, Pinnacle, Corel, Ahead, Roxio ect.
The audiointegration in suites is standardised after the purpose of the suite.
One should use single products rather and test
e.g., stone mountain wavelab
Audacity
Perhaps, is already also sufficient trial.
9.3. Virtual instruments (VSTi)
In the course of the VST concept virtual instruments can be integrated into MIDI:
Instead of the Soundfont system of the sound card big wave scrap data banks are used partly gigantically, the instrument on a
real-time basis generate (no Pattern concept) and, besides, terrifically CPU resources can use. Such a generated virtual
instrument is regularly none freeware and in price as a rule anything but suitable.
e.g., free organ VSTi http://mainstreamaudio.ma.funpic.de/products/chorgan2/index.php
Various manufacturers have own concepts in the market, the VST can support, however, cut themselves off otherwise from the competition
with pleasure.
e.g., Native of instrument
Garritan
Sibelius
Finale
Cakewalk
Stone mountain
Main work
The rules are valid it:
The construction of the wave scraps which are tied together on a real-time basis to the instrument clay is very luxurious.
The results with string players is regularly bad to averagely and only with gigantic data extent and price suitable. Moreover,
become String player after sound packages sells, e.g., string player for jazz. The solo violin for high-quality reproduction
in the quality records or there cannot be CD as a VSTi.
Though MIDI admits a subtle interpretation, but the combination of MIDI with solo violin VSTi fails because of the lacking
ones to overtones of the VSTi. The violin lives on the existence of the overtones which the musician combines or influences
in the production (to overtones also prove the timbre of the instrument).
All the same as virtual instruments are recommended:
The soundfont of the sound card manufacturer should be a graduation - at least the soundfonts of Creative Labs.
Virtual instruments must be tested extensively, anyhow one shops.
Should this test not be possible, the manufacturer wants to cash up.
Alternatives like hardware Soundfont devices are possible, but anything but inexpensive.
There are completely few free virtual instruments which one must search, but more or less are suitable.
9.4. audio BluRay with AC3 5.1 generate
BluRay is basically a commercial product and royalties results almost everywhere.
And only that's why there is BluRay generally.
As an alternative the HD DVD can serve in the extent and on a BluRay.
The HD DVD format became only for economic reasons BluRay is basically a commercial product and royalties results almost everywhere.
And only that's why there is BluRay generally.
As an alternative the HD DVD can serve in the extent and on a BluRay.
The HD DVD format was pushed only for economic reasons by the market.
For HD DVD there is freeware. HD DVD as an AVCHD can be generated on a BluRay ruffian (AC3 with maximum 5.1).
The HD DVD would have been an essential competitor who is supported from freeware.
The soft goods which provide audio DVD and audio HD DVD and audio BluRay are regularly none freeware (e.g., audio DVD Creator) and are not
able always AC3 5.1 on the ruffian burn.
The supplier Mediatwins
http://www.mediatwins.com/en/products/
deal among other things with video and audio.
The BluRay format for audio is a partial section and is used exclusively for commercial purposes. The situation is comparable
with the introduction of AC3 5.1 (nevertheless, DTS, because this is not still commercial).
To agree AC3 5.1 on BluRay:
by HD DVD as an AVCHD (m2ts with AC3 5.1) on BluRay
The supplier multiAVCHD
http://multiavchd.deanbg.com
http://multiforum.deanbg.com
deals in the video-area with the HD DVD on BluRay.
9.5. Audio-hardware to anew mix from in stereo wave
Basically should be merged only with active stereo-mode of the sound card (2.1 or 2.0).
However, ideally it is to connect a mediocre stereo to the stereo source sport of the sound card, heights and depths to the level
from widespread CD playern or MP3 playern corresponds: One must test this.
It may not be merged, e.g.
in the active multi channel modus like 5.1.
on more active 5.1-surroundanlage
with earphone - all the same as more high grade the earphone is.
on stereos with tube technology, because these timbres change with the reproduction.
on varying stereo: The arrangement with their sound must be preserved.
on varying sound card: Considerable divergences can appear.
on varying operating system: Considerable divergences can appear.
9.6. audio hardware MIDI
A sound card, the MIDI by soundfont supported, is bringable quite easily to the technical loading capacity.
e.g., the creative of rennet Audigy I, any string player's combination on all 16 MIDI channels is not able always perfectly
to play.
MIDI claims are regularly high, because works near to hardware MIDI and really with real time - problems with older CPU.
MIDI under Linux and Java is considerably more problematic than under Windows.
Windows or an Intel's system is to be advised by Apple.
soundfonts of the sound card manufacturer are so specific partly that merged audio on other sound card can sound completely different.
As very problematic this is new mix from bass (all forms of the bass instruments).
The sound phone manufacturer gets not necessarily to generate a homogeneous timbre.
The resonance of the bass in the deep tones can have passed away according to the stereo with the help of which one considerably
merges, so that they Volume musical notes which generate more resonance must be lowered.
This costs a lot of practise and instinct. And, besides, the MIDI sequencer must go easily from the hand.
One to wave file taped MIDI is preserved: wave file is identical on all issue media in principle and is not susceptible. - How
on top shown, the MIDI is not basically.
MIDI pieces of music must be protected also as taped waves or AC3 etc.
All taped data kinds need always extremely more data place than MIDI, also
if one, e.g., wave with FLAC
http://flac.sourceforge.net/download.html
compresses.
MIDI is processed on a real-time basis by sound card, so that in MIDI only the tax information lies like musical notes, events,
tempos; the sound card records on a real-time basis and inserts thus the instrument timbre which did not describe with it
in audio and not deposits must be.
9.7. Problems with (Windows) audio mixer
Audio mixer as a part of the software of the sound card manufacturer can work, perhaps, with the Windows-audiomixer synchronically.
It could be possible that drivers of the sound card are not serveable in the area AC3 5.1 or MP3 5.1 correctly by barmen: If becomes the
master volume by mixer changes, the surround effect can go forfeit. Then one must use the hardware volume regulator.
Player software changes, perhaps, the Windows-mixer's settings without protecting them from the change and restoring at the player end.
An Audio play correspondent to the audio-arrangement must not be basically. An equalizer in the player makes sense regularly to adjust
sound anew.
10. demo audio files
Demo audio as mp3 and ac3 were recorded with the creative Audigy I and 8 MByte SF2 soundfont by creative of rennet, were merged by
freeware-VST and by Fraunhofer MP3 5.1 and EncwaveToAC3 generates (both free). Data base this demo audio is exclusively MIDI.
Wave scrap like pattern were not used, because one cannot reach with this one dynamism like from MIDI basically.
4_NewMix_6chan.ac3 contains the data from 4.mid taped and with VST effects equipped and when AC3 5.1 generates.
4_NewMix_6chan.ac3 (right click for download)
4_NewMix_6chan.mp3 contains the data from 4.mid taped and with VST effects equipped
when Fraunhofer MP3 was generated 5.1 (can be also played in the Stereo MP3 player).
4_NewMix_6chan.mp3 (right click for download)
6b_NewMix_6chan.ac3 contains the data from 6b.mid taped and with VST effects equipped and when AC3 5.1 generates.
6b_NewMix_6chan.ac3 (right click for download)
6b_NewMix_6chan.mp3 contains the data from 6b.mid taped and with VST effects equipped
when Fraunhofer MP3 was generated 5.1 (can be also played in the Stereo MP3 player).
6b_NewMix_6chan.mp3 (right click for download)
7_6chan.ac3 contains the data from 7.mid taped and with VST effects equipped and when AC3 5.1 generates.
7_6chan.ac3 (right click for download)
8_6chan.ac3 contains the data from 8.mid taped and with VST effects equipped and when AC3 5.1 generates.
8_6chan.ac3 (right click for download)
8_6chan.mp3 contains the data from 8.mid taped and with VST effects equipped
when Fraunhofer MP3 was generated 5.1 (can be also played in the Stereo MP3 player).
8_6chan.mp3 (right click for download)
BWV147_6chan.ac3 contains the data from BWV147.mid taped and with VST effects equipped and when AC3 5.1 generates.
BWV147_6chan.ac3 (right click for download)
BWV147_6chan.mp3 contains the data from BWV147.mid taped and with VST effects equipped
when Fraunhofer MP3 was generated 5.1 (can be also pla
BWV147_6chan.mp3 (right click for download)
BWV147_NewMix_6chan.ac3 contains the data from BWV147.mid anew taped and with VST effects equipped and when AC3 5.1 generates.
BWV147_NewMix_6chan.ac3 (right click for download)
BWV147_NewMix_6chan.mp3 contains the data from BWV147.mid anew taped and with VST effects equipped
when Fraunhofer MP3 was generated 5.1 (can be also played in the Stereo MP3 player).
BWV147_NewMix_6chan.mp3 (right click for download)
Toccata_51ac3.zip contains an organ piece which was taped from MIDI and was generated with VST effects equipped as an AC3 5.1.
MIDI Toccata AC3 5.1 (35.07 MBytes)
Toccata_51mp3.zip contains an organ piece, from MIDI taped and with VST effects equipped
when Fraunhofer MP3 was generated 5.1 and also can be played in the Stereo MP3 player.
MIDI Toccata Fraunhof MP3 5.1 (21.23 MBytes)
chanTest_6chan.ac3 contains the announcement channels with reproduction on channel.
It can be tested with whether a reproduction is successful by AC3 5.1.
chanTest_6chan.ac3 (right click for download)
chanTest_6chan.mp3 contains the announcement channels with reproduction on channel.
It can be tested with whether a reproduction is successful by Fraunhof MP3 5.1.
chanTest_6chan.mp3 (right click for download)
########################### END ############################################################
Downloads
MIDI demo 4 complete (41.55 MBytes)
MIDI demo 6 complete (46.15 MBytes)
MIDI Bach BWV 147 complete (123.74 MBytes)
MIDI Toccata AC3 5.1 (35.07 MBytes)
MIDI Toccata Fraunhof MP3 5.1 (21.23 MBytes)
MIDI Create MIDI Cakewalk Pro Audio 9-1999 (8.95 MBytes)
MIDI Create MIDI Cakewalk Pro Audio 9-1999 Cal Scripts (0.28 MBytes)
MIDI Sample MIDI SynthFont (13.93 MBytes)
Wave Create Stereo Wave Compression FLAC (2.72 MBytes)
Wave Create Stereo Wave Editor Kristal (6.32 MBytes)
Wave Create Stereo Wave Editor Quartz (2.97 MBytes)
Wave Create Stereo Wave Editor WavoSaur (2.36 MBytes)
Wave VST Effects (10.33 MBytes)
Wave VSTi Organ (7.04 MBytes)
MP3 Create MP3 5.1 Fraunhof MP3 Surround (6.20 MBytes)
MP3 Cut MP3 Stereo and 5.1 MP3 Direct Cut (0.37 MBytes)
AC3 Create AC3 5.1 Aften 52 (0.63 MBytes)
AC3 Create AC3 5.1 Enc Wave To AC3 (3.27 MBytes)
AC3 Cut AC3 5.1 MPEG 2 Schnitt (2.19 MBytes)
Text To Speech Tools (10.21 MBytes)