MIDI: The GM Standard and its Extensions

GM, GS & XG: A Little History

Many sound cards and synthesizers, as well as most audio software, are compatible with one of the three midi norms (GM, GS, XG). Though MIDI has long since proven its utility, the existence of different standards can be confusing, so this article has been put together in order to clarify a few points.

For someone who just wants to listen to music, or for a multimedia developer looking to add background music or sounds to their program, the Midifile format has proven to be a real asset. It allows a user to play a sequence that was written by another person, whatever gear or software they were using. But in the past, only the notes and rhythm of the musician were encoded, which didn’t necessarily guarantee a similar sound. In fact, the sounds coming from each sound card, each synthesizer, were different (different in their sound and in their organization). Patch number 15 could be a piano on synthesizer X, and a trumpet on synthesizer Y. It was sometimes necessary to be an expert in MIDI and/or have a lot of patience to get the right settings in order to listen to a piece written by another musician working on a different synth or platform.

The MMA (Midi Manufacturers Association) fixed this problem in 1991 by creating the GM (General Midi) standard. The goal of this standard has been to unify the behavior of sound generators when playing back a Midifile sequence. In order to be labeled GM, an instrument must be multi-timbral and polyphonic up to at least 24 voices, and include at least 16 families of sounds (pianos, guitars, strings…), each containing 8 variations (for example, for strings: violin cello, double bass, etc…

The main advantage of this standardization is that each patch number now corresponds to a certain instrument no matter what the machine. So, instrument number 71 will always be a bassoon and number 12 a vibraphone. The sound generator must also contain a drum kit, whose mapping (placement of the separate elements on a keyboard) is also standardized. Finally, MIDI controllers must be recognized also.

To read the full detailed article including the GM reference guide see:  MIDI The GM Standard and its Extensions.

Video Demo: Doepfer A-100 Compatible Modules

This one’s for die-hard modular fans: a demonstration of modules compatible with Doepfer’s A-100 modular system.

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Video Demo: Modules for Doepfer A-100

An overview of different modules compatible with Doepfer’s A-100 modular system.

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Video Demo: Doepfer Dark Energy

Doepfer talks about the new Dark Energy, their analog monophonic stand-alone synthesizer that also features a USB and Midi interface.

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Musikmesse: Akai Miniak Synth

Akai presents their new Miniak analog modeling synthesizer.

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Clavia Nord C2 Combo Organ

A list of the new features in the Nord C2:

• Pipe Organ
• New keyboard action
• Improved output routing capabilities
• Monitor input
• Percussion controls moved to the “classic position”
• Vibrato and chorus controls moved to the “classic position”
• Enhanced click
• Drawbar Preview

Accessories:

• Pedal Keys 27– This MIDI pedalboard has 27 keys and an integrated Swell pedal, with a sturdy chassis of aluminum.
• Aluminum stand The C2 can be used with a new stand, a very sturdy but lightweight stand made of aluminum.

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Sonic Charge Synplant: The Test

The Secret Sound of Plants
Sonic Charge Synplant: The Test

Since the dawn of synthesizers, there have been many types of synthesis to emerge. But the same can not be said about their approaches to work flow or interfaces. With Synplant, Sonic Charge has taken inspiration from the world of plants and their growth patterns in order to come up with a new way of creating sound. Marketing ploy or innovation?

Overview

The first thing to know about Synplant is that it’s an AU and VST plug-in that’s Mac and PC compatible. So far, so good. But soon we find ourselves in unfamiliar territory. First of all, the interface is quite minimal: a big round dial, referred to as a “bulb” (it kind of looks like Ueberschall’s loopeyes), surrounded by 12 buttons that represent the 12 half-steps of an octave, a patch selector/browser, four buttons and seven sliders, and that’s all (for now). The way it produces sound is as follows: you plant a “seed” in the center of the “bulb” and grow branches out from this seed (yes, really). Pretty original, right?

Let’s try it, then. A click in the middle of the screen, and a seed appears, accompanied by a brief sound (each seed contains its own particular sound). You can also right-click, which opens a menu offering, amongst others, the same function (more on this later). You can always jot down the name of the seed just in case (in order to stay within the botanical theme they’ve chosen some complicated ones), but you can’t choose one directly since new seeds are chosen randomly. One solution: open a Seed and save it as a preset without touching any settings. This can be done in a separate folder. Just as an indication, after generating 215 Seeds (whoa. ..), I only had four duplicates (same name, but not the same sound). Sound production is completely and utterly random.

Then, from out of this seed grows 12 branches, each corresponding to the notes of the octave on the outside of the bulb. When the branches are at there smallest (like when a seed is created), their sound is identical to the Seed. One of Synplant’s main principles of sound creation is to elongate these branches (in real time) to get a different sound.

Now let’s take a closer look…

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Conclusion

No doubt, originality pays off. First of all, the presets show that you can get all kinds of sounds, from typical FM pluck (with mod wheel effects) to ethereal choirs, a pseudo-Rhodes to an unstable pad, a classic lead to a prog pad, all with the surprising results that using the mod wheel brings.

But where this synth is really interesting is in its sound production, which forces us to rethink our whole approach. It’s more like a voyage rather than thinking in terms of frequency, timbre, pitch, etc.. And, if you accept this premise, you have to admit that the interface is absolutely brilliant. What’s rather reassuring, is that in terms of sound you don’t come across new sounds that are totally unusable (there are some, but not many), which is something you might assume after seeing the interface. There is always a direction to explore in one of the branches.

A few small drawbacks, like the unnecessary “complexity” of the envelope or the lack of clarity in the filtering, do not spoil the pleasure of working with Synplant, which generates as many new sounds as it does new compositional ideas. So, marketing gimmick or innovation? Innovation, kudos to Sonic Charge.

In light of this test, AudioFanzine gives the Award for Innovation to Sonic Charge’s Synplant..

Concept
Originality of the interface
Quality of the interface
Inventiveness
Sound Quality
Oscillator Quality
Seed creation due to complete chance
Richness and diversity of tones
The ability to refine sounds
Numerous modulations
Many presets
Midi Learn
CPU friendly
Interactive help included
The price

Manipulate Genes interface sometimes unclear
Only one envelope
Why not include a simple ADSR?
Filtering and envelope need getting used to
No aftertouch

To read the full detailed article see:  Sonic Charge Synplant Review

Test: Clavia Nord Wave Synthesis Review

Multifaceted Synthesis
Clavia Nord Wave: The Test

Integrating analog modeling, FM synthesis, digital waveforms, and sample reading, the Nord Wave positions itself as a versatile multi-synthesis specialist. Focusing on immediate programming as opposed to navigating through endless menu pages, does it have what it takes to stand out from the rest?

In 1995, Clavia introduced the Nord Lead, a small red bomb modeling polyphonic analog synths of yesteryear. The machine also came with a sound bank from the original Prophet-5. In the following 10 years, it gave birth to gifted offspring, exploring FM synthesis on the way, with the Nord Lead 3 and its fancy luminous interface. The Swedish manufacturer was quick to explore the world of virtual modular synths, with a family just as gifted that allowed it to model many signal processing tools. The only thing missing was sample reading, something which Clavia was soon to develop in order to generate some of the sounds of its keyboards destined for playing live. The Nord Wave therefore has profited form the know-how of the brand. Now at maturity, with a stable OS (1.08) and coming with an additional bank of 250 MB of Mellotron samples, a test was called for …

Getting Started

True to Clavia tradition, the Nord Wave synth is both lightweight and solidly built. Weighing in at 6 kg on the scale in a red and black frame all in metal the machine was made for live gigs. Controls (33 knobs, 3 notched endless encoders, 33 buttons) are firmly attached to the front panel (they won’t be going anywhere!). As usual, they’re all grouped together on the left half of the machine. You either like it or you don’t. In any event, the controls are too crowded and too small for tired eyes and trembling hands. In addition, the screen is on the extreme left, which isn’t practical for reading. All parameters except for global/Midi settings are accessible directly from the front panel. Some buttons have an alternate function which is accessible by pressing “Shift”. The sections are pretty clear, with (from left to right): modulations (portamento, LFO, assignable envelope), 2 oscillators, a filter with its envelope, the volume with its envelope and its effects. Work flow and ease of use are strong points of this machine. The LCD screen (2 x 16 characters) completes the picture: in addition to the names of programs, the LCD screen shows the value of all parameters while editing, especially the names of multi-samples and digital waveforms. Note that the value of certain parameters is shown in its true unit of measurement: frequency in Hz, time in seconds, intervals in semitones … nice! A dedicated “Panic” button can cut all notes and is ideal for gigs. Some small shortcomings: there’s no “compare” button and rotary knobs only function in “jump” mode.

As for its keyboard action, the Nord Wave offers a lightweight 4-octave keyboard (49 keys) that’s sensitive to both velocity and pressure. Its feel and dynamic response are comfortable and responsive to nuances, however, the pressure control is very abrupt and not very expressive. It’s a shame that Clavia hasn’t switched to the standard 5 octaves, especially to play multi-samples. To overcome the lack of octaves, there are buttons that quickly transpose, plus or minus 2 octaves, near the cool pitch stick without a central position and the modulation wheel. On closer examination, the back panel proves to be a disappointment (picture on the left): one pair of audio outputs, a headphone jack, a duo Midi, 2 Pedal outputs, and a USB socket (see box on sample management). So goodbye multiple outputs, digital audio, MIDI Through … There’s only internal power to console us, which is surprising from a machine of this level and price.

Now let’s take a closer look…

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Conclusion

In the end, the Nord Wave is a concentration of synthesis types with excellent musicality. User friendly, robust, and lightweight, it’s made for live situations, like all Clavia products. Its range of sounds is surprising, with very different and perfectly complementary timbres within easy reach. If you add to that the intermodulation of oscillators, the excellent library of Mellotron samples, you should be satisfied… except, that for this level, some aspects just barely cut it, especially the keyboard, multi-timbrality, connections, computer dependence for sample management, and certain sections that aren’t sufficiently developed. In any event, for those who put sound quality at the top of their priority list, as well as the variety of sounds and ease of use, it’s hard to beat the Nord Wave at the moment.

Both solid and light, ideal for using live
Easy to use and quick results
Wide and excellent sound range
Beautiful 250 MB Mellotron bank
Quality effects, especially the chorus
Oscillator inter-modulation
Filters are varied and musical
Envelopes very responsive
Morphing between 2 sounds
A lot of FlashRam to load samples

Only bi-timbral
No Split or dynamic layers
Keyboard only 4 octaves
Aftertouch limited to vibrato and difficult to control
Knobs, dials, and buttons are small and crowded
Limited effects section
No Midi sync for the LFOs/delays
No arpeggiator
Not autonomous in the management of samples
No multi-layered samples
No audio input
No Midi Through

To read the full, detailed article see:  Clavia Nord Wave review

NAMM 2009: Video Demo Radikal Technologies Spectralis 2

Joerg Schaff presents the Spectralis 2 from Radikal Technologies.

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NAMM 2009: Video Demp Micro Korg XL

Rich Formidoni from Korg USA presents us the new micro Korg XL.

To watch all NAMM 2009 video demos visit us on Audiofanzine NAMM 2009.