8 - The setup measure in a MIDI file.

[JohnG]

MIDI files; the set-up measure. (part 1)

Definitions.
Before going into detail about what can be contained within a set-up measure, it's probably important to define exactly what is meant by the name. Set-up in this case implies that within this part of the MIDI file there will be instructions to the sound module (e.g. MU128, SC-8850) or software (MS GS synth, SY50-XG, Roland VSC) that will play the music to tell it exactly how it should set itself up, in order that it plays the notes, in the way that I or you, the programmer, or subsequent re-arranger of the file, want it to be played. A Measure or bar is often, but not always, a set of four quarter-notes that beat Strong, Weak, Less strong, Weak to the count of 1, 2, 3, 4. Those of you who can read from a score won't need this last piece of information.

What's it all about?
We will, within our MIDI file, almost certainly want to define how loud the file is to be played and what the relative volumes are between the different instruments that are playing. We will definitely want to define which instrument will play on each of the 16 MIDI channels (more if you're lucky enough to own a 32 or 64 MIDI channel sound module). If our PA system is stereo then we'll want to pan the instruments around the sound stage. If it's mono we may want to pan the music to the left channel and have a click track, maybe for the drummer, on the right or vice versa. Then feed one to the PA the other to a monitor or to headphones.

We may in addition, if our sound module supports it, want to define the FX used such as reverb type i.e. room, hall, plate etc. If we can do this then we probably will want to define just how much of that reverb will apply to each instrument. There could well be other FX that we want to apply too such as chorus.

But, over and above all these, if a MIDI file has been playing before the current file, then we probably need to make sure that any alteration to the default settings of controllers, made by playing that previous file, is either reset or changed to a more suitable setting.

So where are we going to put these commands that set up not only the overall way the sound module responds but also how each channel works within that overall set-up?

The set-up measure.
There's a good argument that says that there should be one musical measure (or bar) of say, 4/4 time, in which all these initiating commands are programmed into the MIDI file as a set-up sequence, and that should be the very first measure of the file. The musical notes (MIDI note on and note off instructions) will then start in bar two. Why not just spread the commands around in the file where they're needed? Well, yes, that can be done too if you like. But, if you've ever tried to modify a file created in this way, because it doesn't play quite the way you want it to on your system, then you'll realise that finding these set-up instructions within each track of your sequencer can be a nightmare and sometimes, when you make a modification, the most unexpected results can ensue because you've missed something in another place in the file. Hands up those who have experienced this.

A long pause?
Of course having a measure at the beginning with no musical notes in it implies that there will be some seconds of silence before the file begins to play. But with the creative use of the MIDI Tempo that should be limited to about two seconds for even the most complex of set-up measures. And, if we're going to record our output to wav or mini-disk or to an mp3 file, then it's possible to remove that silence fairly simply using one of a variety of hardware or software tools. If, like many professionals, you prefer using the sound-module live, then there's probably even a way around this problem of initial silence (if it is a problem for you) by creating a very short set-up measure, of less than a second, then perhaps having the hi-hat count in (tick, tick, tick, tick) whilst the rest of the set-up is done in parallel.

If even that is unacceptable, then we may just create the set-up measure at the start of the very first song in the set (or even in a separate tiny file, transmitted before the first song) and then put appropriate messages at the end of every file so that each new file starts from square one. It may not be necessary to have a 4/4 bar as the set-up measure. It could be 3/4, 2/4 or even as small as 1/8. Its length will depend upon what you need to incorporate in the set-up measure for the sound module or software that you use.

There are many variations and combinations of different ways of doing this set-up, which, I'm aware, many of our more experienced people here are doing right now. And I imagine that, over time, those people have got used to each file's little idiosyncrasies. But what if there were a better way? I maintain that having the set-up measure first and editing it for each file is still the best way. I figure that most people can cope with a two second pause before the count in or before the song starts.

If you start by creating a MIDI file just one measure long with the set-up that suits your sound-module and then copy the song file that you use to measure two, then edit the instrument set-ups to suit yourself, you're likely to end up with good sounding MIDIs all the time. Now that's got to be worthwhile hasn't it?
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This is the first part of a multi-part article.
The second part will follow shortly.
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[JohnG]

MIDI files; the setup measure. (part 2)

The need for a set-up measure
But why do we need to send these commands in the first place? Why don't all MIDI files just work properly?

Well, the fact is, that there's more than one way of setting up a MIDI file and it depends on which sound module, or software, you're using. If you've got an elderly sound card or module it may have been designed (in the early or mid-nineties) using the initial GM (General MIDI) standard. If the device was designed in 1998/9 or later then it may implement the GM2 (General MIDI 2) standard, which will give you more instrument sounds to choose from and some FX. If the device comes from Yamaha then it's likely to implement their XG (eXtended General MIDI) format. If it's from Roland or a recent copy of Windows Media player then it's likely to use the Roland GS standard.

But some sound modules, notably from both Yamaha and Roland, are capable of working in GM, GM2, GS and XG modes, depending what commands they're sent! (Both XG and GS extend a sound module's capabilities way beyond what was envisaged by the MMA, the MIDI Manufacturers Association who control the standards.) So it may be necessary to send a command to make sure the module plays the way the programmer intended, as far as possible, and for you to make the necessary alterations to those set-up instructions so that it plays correctly on your system.

The other issue that we face is that many people who create the MIDI files, that we may subsequently use, are probably first class musicians, but may not know all the technicalities of MIDI. So they may, for example, use a fade out at the end of the file, and leave an instrument's volume at, or close to, zero. They may use pitch bend and leave the control off centre meaning all subsequent notes on that MIDI channel will play out of tune. They may even change the pitch bend range away from its default of two semitones to, say, an octave. Then when you play the next file mayhem ensues!

So, there are numerous controls that can be modified and what we need to do is to make sure that they are all reset to their default settings before the next MIDI file begins to play and, maybe, modify them again.
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Contents of the set-up measure - 1. Meta Data.
So what are we going to put into this set-up measure? Well the very first thing ought to be, what's known technically as, Meta-Data. Meta-data is information that is needed or stored by the sequencer about essentials of how the file is to be played, like beats per bar, tempo etc. It is also information that the programmer may want stored, like copyright data or the naming of tracks and channels or some text data. It is also information that may be displayed in some way like lyrics, sequence name or, if the sequencer can display notation information, then it might include key signature as well as transposition information for various instruments, whether both upper and lower staves are shown or just one or the other etc. This data is read into memory as the file is loaded and usually requires no time to process; it's just stored for the sequencer to use.

Contents of the set-up measure - 2. GM System On.
The next thing that we need in the file is a reset command. Why? Well, if it's not the first file played since the sound-module was switched on, then the previous file will have altered some settings. We could go around issuing set channel volume to 100 16 times, and set panpot to centre 16 times and so on but it's much simpler to insert one command that resets all the commonly used parameters to their default positions. This reset command is known as GM System On. It's important that there is then a short period when no more commands are sent. Why? It can take a GM sound module up to 200 milliseconds (1/5th of a second) to implement this reset, it usually depends just how old the module is. (A response to a poll done by the MMA found that some MIDI devices could take up to 1 to 2 seconds to complete the GM on process!) Please note that there are a few things that the "GM On" message doesn't reset and this is quite deliberate.
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What GM On does
According to the MMA specification this is what a GM On message is supposed to do:
Set channel Volume (controller #7) to 100 (maximum is 127).
Set Expression Pedal (controller #11) to 127 (maximum).
Set channel Pan (controller #10) to 64 (centre).
All actions defined for the channel message Reset All Controllers (see next paragraph) should be implemented.
Those devices that respond to effects controllers #91 to #95, reset them to their defaults.
Any other actions to restore the device to GM power-up state e.g. Bank Select and Program Change to zero.

Many people use another MIDI command called "Reset All Controllers". The trouble is that this command is misnamed and only resets some of the controllers not ALL. (Maybe it should be re-named "reset some controllers"?) As it's a channel message we'll have to issue one to Reset each MIDI channel that could have been altered. (Maybe all 16 channels to be on the safe side?)

What Reset All Controllers does.
Again these are the MMA recommendations:
Set Modulation (controller #1) to zero.
Set Expression (controller #11) to 127 (maximum).
Set Pedals #64 to #67 to zero (minimum or off). (Sustain, Portamento, Sostenuto, Soft pedals.)
Set Registered (RPN) and Non-Registered (NRPN) Parameters LSB and MSB to null (127).
Set Pitch Bend to centre (64).
Reset Channel pressure to zero.
Reset Poly pressure to zero.
All other controllers should be set to zero.
(One of the RPNs controls Pitch Bend sensitivity i.e. the range of the Pitch Bend wheel.)

Note especially that no Bank Select or Program Change messages are altered.
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Contents of the set-up measure - 3. GM2, GS or XG System On.
Now, if we are using a GM2 sound-module (from about 1999 on) or one from Roland or Yamaha then, if we intend to use the modules full capabilities i.e. not just use it in GM mode, we almost certainly need to insert another type of reset to get things like FX and so forth back to their defaults. Surprisingly perhaps these are known as GM2 System On, GS System On and amazingly XG System On. We need to insert just one of these, depending on the sound module we are using, after the GM On. 1/5th of a second after. As these sound modules are likely to have been made when electronics were becoming much faster they typically only need around 50 milliseconds (1/20th of a second) for the module to perform the reset.

It is these one (GM) or two (GM2 or GS or XG) System On messages that really should go at the beginning of the MIDI file, if at all possible, definitely before any note data and preferably before any Program Changes (instrument allocations). However, if we add up the two times that they take to implement we're only talking about 250 to 300 milliseconds (a quarter of a second or so) to implement them both. Surely most people can wait that long before the first tick of the count in? Along with these set-up messages, if we choose to use it, should go the command that sets the Master Volume i.e. the overall volume for the entire device. All these messages are what are known as System Exclusive (SysEx) messages and I'll detail their form for you later on the article.

Other system set-up messages.
The next things that must go into this measure, if we are going to use them, are the system set-ups for any sound effects that are to be used, an example, and the most commonly used, is Reverb Type. i.e. what acoustic do we want to surround the MIDI instruments playing. GM2 settings are Small Room, Medium Room, Large Room, Medium Hall, Large Hall and Plate. It's also possible with GM2, with Roland GS and with Yamaha XG compatible devices to define Reverb Time as well as Chorus Type and a several other effect types too. These parameters take very little time to implement (a few milliseconds) and will, unless you are setting-up many different devices simultaneously, take just a very short time to send. These are, pretty well, the only things that it's really essential to put in a set-up measure at the beginning of a MIDI file for the average live gig user.
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Defining the instruments etc.
Once we've set up the sound-module's global parameters then we can start to define, channel by channel, what instrument sound will be used, how loud that instrument will be, whereabouts (left, centre, right) it appears and how it will use any Reverb, Chorus or other sound effect that has been pre-defined. These again could all go in the set-up measure to make them easier to edit later, if necessary. But then again they could go all go at the beginning of the 2nd measure in channel order, or in the order in which the instruments sound, all, that is, except for one.

Defining the Rhythm Channel drum set.
If we are to start the song with a count in measure (1, 2, 3, 4), say using the high-hat, and we intend to use a drum kit other than the standard one defined in the GM MIDI spec. then we need to issue the commands to select that Rhythm kit before we use it. So in this case we should insert those Rhythm Channel set-up commands within the first (set-up) measure too. In order to implement this non-standard Rhythm Channel assignment we have to insert a couple of commands for each channel we are using for drums. N.B. the GM2 spec allows us to use channel 11 as well as the default channel 10 for Rhythm Channels. If we're going to use a 2nd Rhythm Channel then we should, ideally, set it up at the beginning. Again I'll detail these commands later on in the article.

Getting the timing right.
Now, what is important, as we create the first and second measures, is that we insert those instructions (a) in the correct sequence and (b) that there is a sufficient timing gap between each instruction, especially the various System On messages. How do we do that? Well, very often this means that we have to switch into a more detailed view, often called the Event List, insert the commands and/or edit the timing of those commands within the MIDI file. A bit daunting perhaps when we first do it but actually very easy and even a bit boring once we've got used to it. I'll give some examples later.

Problems with timing?
Usually we define the instruments etc. in the main window of our software sequencer but, with many sequencers it will put all these Program Change messages at the same identical moment in the file, in terms of timing, and actually most sound-modules will cope with them without problem. However, when we start to use the more advanced Bank Select messages that allow us to allocate alternate voices for a given sound e.g. "wide grand piano" or "dark grand piano" as defined in GM2, GS and XG sound sets, then it is necessary to insert Bank Change messages which must be implemented before the Program Change. Quite often simple sequencers lump all the Bank Selects and Program Changes together at the same MIDI timing point within the file (usually at MIDI clock 000.00.000). The free JazzWare sequencer is particularly bad at this. This can cause chaos and make the sound-module falter or even stop. So separating these messages by one MIDI pulse or tick and implementing them in the right sequence and channel-by-channel will prevent this problem. Examples coming right up.
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Notice for beginners
Now, there's a great deal of information in those last paragraphs, and for some of you setting out on MIDI file modification for the first time, it's going to be a struggle understanding some of it. That's quite normal. Don't be put off. Go back and read the earlier articles, maybe have a cup of tea or coffee. Leave it for a day or two then come back and read it again. Let me re-assure you it will, eventually, start to make sense.

Or, of course, you can always ask me a question of clarification. That's what the forum is for.
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This is the 2nd part of a multi-part article. The nitty-gritty will follow in the next part.

[JohnG]

MIDI files; the setup measure. (part 3)

The nitty gritty detail
So let's take a look at how we might set up that first measure. First of all the Meta Data that defines some basic information about the file and also Time Signature and Tempo. Please notice that I've only put in the Hexadecimal equivalent of the message name where I perceive that it's absolutely necessary. If the sequencer you use doesn't allow you to enter the other Meta Data then, with all due respect, I think it's time you thought about getting one that does!

Added later
The data represented here is in its raw form. There is every likelihood that the sequencer you use will have a much more user friendly way of allowing you to enter that data. If so please use it. My dilemma has been how to represent it. However after entering the necessary commands in the easiest way your sequencer allows, you may still (should) go into the "list view" and check that the timing, i.e. the number of ticks apart that each event occurs, is correct.

Also please note that you don't have to slavishly follow my timing. These are just the meanderings and idiosyncrasies of a feller who has spent all of his life (40 years or so) dealing with deeply technical stuff. To me MIDI is exceptionally simple compared to some of the signalling or data interchange protocols I have had to work with. Use your own imagination and feel free to arrange things to suit your own use.

The only things that are really important are that you space certain messages apart, as I've indicated, by a certain amount of MIDI pulses or ticks.

N.B.More about bits, Bytes, binary and hexadecimal in a future article!

All the following examples assume that your sequencer is set to 480 ppqn (pulses per quarter note).
If your sequencer uses something different you'll have to change the number of pulses (pls) or ticks to suit.
Meas=measure. bt=beat. pls=pulse or tick.

Master track (track zero) or its equivalent.

Meas/bt/pls	Message type	Value	Hexadecimal
0001 01 000	Tempo	120	FF 51 2F 07 A1 20
0001 01 000	Time signature	4/4	FF 58 04 04 02 18 08
0001 01 000	Copyright notice	© A.N.Other	- - -
0001 01 000	Sequence name	"Setup measure	- - -

Having entered the Meta Data we now need to reset the sound module hence a General MIDI System On message.

System set-up track sometimes sequencer track 1, sometimes track 17 but usually issued on MIDI channel 1.

Meas/bt/pls	Message type	Value	Hexadecimal
0001 01 000	Univ non real time	GM System On	F0 7E 7F 09 01 F7

After this command it's necessary to wait typically1/5th of a second (200 milliseconds (msec)).
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Next we need to enter just one of the following three commands (if we have a GM2, GS or XG sound module).
N.B. At 120 beats per minute each pulse in just fractionally longer than 1 thousandth of a second (1 msec).

Meas/bt/pls	Message type	Value	Hexadecimal
0001 01 200	Univ non real time	GM2 System On	F0 7E 7F 09 03 F7
or
0001 01 200	XG Program SysEx	XG System On	F0 43 10 4C 00 00 7E 00 F7
or
0001 01 200	GS Program SysEx	GS System On	F0 41 10 42 12 40 00 7F 00 41 F7

N.B. Only one of the above three messages is necessary.
If you're using JazzWare sequencer which defaults to 192ppqn then the message should be at 0001.01.080
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The next thing I like to put in is a MIDI Master Volume message, it allows control of the overall output level of the sound module before any physical volume control. This allows us to turn down the volume of some files which may be too loud. I like to turn the physical volume control on my sound module full up and then get MIDI files sounding roughly the same loudness using this overall control at the start of every file. The setting of 110 is my setting, yours may be different. (Normally this defaults to 127 i.e. maximum output. "Hey, too LOUD man!")

Meas/bt/pls	Message type	Value	Hexadecimal
0001 01 250	MIDI Master volume	110	F0 7F 7F 04 01 00 6E F7

Here are some useful values for you for the second to last byte (i.e. the 6E).
For volume = 90 to 95 change 6E to 5A thru 5F.
For volume = 96 to 105 change 6E to 60 thru 69.
For volume = 106 to 111 change 6E to 6A thru 6F.
For volume = 112 to 121 change 6E to 70 thru 79.
For volume = 122 to 127 change 6E to 7A thru 7F.
This should give you masses of volume range to play with.
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Global effects settings
Before we start to set up the individual instruments we may want to define the acoustic in which our MIDI instruments are going to play i.e. the kind of room or the FX. My personal preference is to put these messages within the second beat in the first measure. i.e. 0001.02.000. You don't have to be a control freak like me!
The following are GM2 reverb set-up messages.

Meas/bt/pls	Message type	Value	Hexadecimal
0001 02 000	Global Param Ctrl	Reverb type	F0 7F 7F 04 05 01 01 01 01 01 00 04 F7

Wow! That's some SysEx message. Don't worry about all the preamble. The important stuff is in the two bytes before the F7. The 00 says "set reverb type" the 04 is the room type, in this case "large hall", the default setting. Here are the permitted GM2 values for the room type:
00 = Small Room
01 = Medium Room
02 = Large Room
03 = Medium Hall
04 = Large Hall
10 = Plate Reverb Simulation
N.B. If all you want is the default Large Hall then there's no need to input this at all. Phew!

The MIDI specification then goes on to say that an undefined period of time should be left in order to allow the sound module to implement the command.

Further messages of this kind can then be input to set up things like Reverb Time, Chorus Type and several other parameters that effect the overall sound. It's possible that I may cover these in a later article.
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First instrument track
Having reset the device and selected the global settings we want to use, we can now go on to set-up the instruments we want on each channel and all the other settings we want. i.e. channel volume, expression, pan, reverb amount for each instrument etc..If however, we're using anything more modern than a basic GM sound module then we ought to define exactly which, of the many, variations of sounds we want to use. We do this by issuing two Bank Select messages before the instrument select (Program Change) message.
The first bank select message, known as Most Significant Byte or MSB, selects whether it's a Melody (79Hex) or Rhythm (78Hex) Channel. The second, known as the Least Significant Byte or LSB, selects which of the several available banks is to be used.

These selections should be, at the very minimum, one pulse (or tick) apart as follows:

Meas/bt/pls	Message type	Value	Hexadecimal
0001 03 000	Channel control	Bank sel MSB	Bn 00 79

N.B. n = the MIDI channel number. 0 for Channel 1, 1 for channel 2 and so on. Values 0 to 9 and A to F.

Meas/bt/pls	Message type	Value	Hexadecimal
0001 03 001	Channel control	Bank sel LSB	Bn 20 xx

N.B.
n = the MIDI channel number. 0 for Channel 1, 1 for channel 2 and so on. Values 0 to 9 and A to F.
xx = the bank type. 00 would be basic GM sounds. For a few instruments there are up to 4 variations (01 to 04), in the SFX section up to 9 variations for a few.

If there's a general call for the info. I could publish a list of the GM2 sound banks.

Many (most) sequencers have the habit of piling all these messages into the very first pulse of the first beat of the first measure. If there are too many messages received at the same time it can cause a sound module at best to select the wrong voice or no voice at all, at worst to lock up completely! It's a very good idea, although extremely tedious, to spread these messages a pulse (or tick) apart.

Meas/bt/pls	Message type	Value	Hexadecimal
0001 03 002	Program change	Voice select	Cn yy

N.B.
n = the MIDI channel number. 0 for Channel 1, 1 for channel 2 and so on. Values 0 to 9 and A to F.
yy = the instrument or sound effect you want in hexadecimal. It's probably easier to let your sequencer do this for you and once it's done then input the bank selects and tweak the timing if necessary.
All settings shown are for GM2 sounds. GS and XG have a lot more settings.

Setting up a Rhythm Channel.
As said before, by default in GM, GM2, GS and XG, the rhythm channel is automatically set to channel 10. GM2 and GS devices should let you add an additional rhythm channel on channel 11. So you can have two kits. The Yamaha XG specification (v2)says that you can assign any normal melody channel to be a rhythm channel. I imagine that it will depend upon how old the Yamaha sound module is as to whether this is true.

Anyway, to change the kit away from the standard kit on a GM2 device on channel 10 you'll need the following messages:

Meas/bt/pls	Message type	Value	Hexadecimal
0001 02 000	Channel control	Bank sel MSB	BA 00 78
0001 02 001	Channel control	Bank sel LSB	BA 20 00
0001 02 002	Program change	Voice select	CA yy

Where yy is 00H for the standard kit then:
yy = 09H for the "Room set"
yy = 11H for the "Power set"
yy = 19H for the "Electronic set"
yy = 1AH for the "Analog set"
yy = 21H for the "Jazz set"
yy = 29H for the "Brush set"
yy = 31H for the "Orchestra set"
and lastly
yy = 39H for the "SFX set"

N.B. These "additional" GM2 drum sets only typically add a few sounds by replacing sounds in the "Standard kit." e.g. "Note 36, Bass Drum 1 in the Standard kit is replaced with Jazz Kick 1 in the Jazz kit. The replaced instruments can be as few as two voices, as in the Jazz kit, to as many as twenty-four, as in the Orchestra kit.
All, that is, except the SFX kit which isn't really a drum kit at all.
The complete GM2 Standard kit has sixty-one instruments. I might post a list if anyone is interested.

An additional rhythm channel
If you want to add an additional rhythm channel then for GM2 it should be channel 11. It's done by sending a sequence of messages very similar to the set of three directly above but with the channel changed as follows:

Meas/bt/pls	Message type	Value	Hexadecimal
0001 02 000	Channel control	Bank sel MSB	BB 00 78
0001 02 001	Channel control	Bank sel LSB	BB 20 00
0001 02 002	Program change	Voice select	CB yy

Where, again, yy represents the number of the drum kit as above.

Okay, I think that's fairly exhaustive not to say exhausting.

What goes in the second measure?
Well we must begin by setting the time signature to the one necessary for the MIDI file we're creating or altering. You can, if you like, leave it out if it's the same as the set-up measure. I tend to put it in regardless. Then we may (usually do) need to change the Tempo to something other than the relatively quick 120 bpm that we used for the set-up measure. Again, your call, if it's the same. If a Key signature is needed then I put it here at the beginning of the real music data. As follows:

Meas/bt/pls	Message type	Value	Hexadecimal
0002 01 000	Time signature	4/4	04 02 18 08
0002 01 000	Tempo	100	09 27 C0
0002 01 000	Key Signature	C maj	00 00

Your MIDI file follows on from here

[JohnG]

MIDI files; the setup measure. (part 4)

The final part, putting it all together
Here I've taken a GM2 setup as an example, but if you use a Roland GS or a Yamaha XG module then you'll need to replace the "GM2 System On" command with the appropriate one for your system. If your sound module is GM only then just cut that line right out (line 6 after the heading). Of course you'll have to alter some of the other entries too like drum kit select and voice select where you want to use alternative settings. Remember this is just an example!

As an example, I've taken an "Elvis Medley 2" and given it the treatment.
The original was programmed for Roland GS and bears all the tell-tale marks of having been sequenced using JazzWare (not my favourite sequencer for several reasons) but here I've altered many of the GS commands to GM2. All I'm showing here though is the set-up measure and the beginning of the very first bar. I'll try to complete the edit and post it on the members' MIDI files section.
N.B As I've added a 2nd drum track on channel 11 I've had to move the previous channel 11 to channel 12.

N.B. Please note again that my sequencer, and most good ones, give you 480 pulses per quarter note (ppqn). If your sequencer is different you will want to alter the "meas/bt/pls" timing to suit it.

First the "Master Track" or "Conductor Track" whatever the sequencer you use calls it. If it has neither of these then the commands may just have to go in track 1.

Meas/bt/pls	Message type	Value	Hexadecimal	Notes
0001 01 000	Tempo	120	FF 51 2F 07 A1 20	SMF Meta data
0001 01 000	Time signature	1/4	FF 58 04 01 02 18 08	ditto
0001 01 000	Copyright notice	© John Garside	-	ditto
0001 01 000	Sequence name	Setup measure	-	ditto
0001 01 000	Univ non real time	GM System On	F0 7E 7F 09 01 F7	GM reset
0001 01 200	Univ non real time	GM2 System On	F0 7E 7F 09 03 F7	GM2 reset
0001 01 250	MIDI Master volume	110	F0 7F 7F 04 01 00 6E F7	System volume @ 110
0001 01 260	Global Param Ctrl	Reverb type	F0 7F 7F 04 05 01 01 01 01 01 00 04 F7	Set System Reverb
0001 01 265	Global Param Ctrl	Chorus type	F0 7F 7F 04 05 01 01 01 01 02 00 02 F7	Set Chorus Type
0002 01 000	Time signature	4/4	FF 58 04 04 02 18 08	-
0002 01 000	Tempo	160	FF 51 2F 09 27 C0	-
0002 01 000	Key Signature	C maj	00 00	-

After doing the basic "system set-up" the next thing is to define all the instrument sounds and extra commands needed for all the MIDI channels we need for our instruments. Please notice that we use the same sequence of commands for each channel.

Now why, for goodness sake, have I chosen to show it all to you in Hex? Well, certainly NOT because that's how I want you to input it, no, on the contrary, you should use your sequencer's own instrument definition screen (usually the default window) to do this set-up. But many sequencers tend to cram all the commands at the very first pulse of the first beat of the first measure, together with the reset commands. This is appallingly bad practice. If you leave them like that you run the risk of your sound module "freezing up" or just stuttering because of overload. However, many do work okay even if we don't create a nice tidy layout. Why? Because MIDI sound modules have, what is known as an, input buffer. An input buffer is a bit of computer memory where the module temporarily stores the commands as they come in through the MIDI cable or USB port until it can obey them. Better quality sound modules have a larger input buffer.

So, what I want you to do is (a) to get used to seeing this stuff in Hex and (b) get used to editing the timing elements, in the "list view" window of your sequencer, so that the data is spread out in the correct way.

We're going to start this process by setting up channel 10. Only because we want to get that out of the way as it may be required to provide a lead in "tick tick tick tick" to get us "in the groove".

Channel 10. If you're just going to use the Standard Kit you don't need these 3 commands at all.

Meas/bt/pls	Message type	Value	Hexadecimal	Notes
0001 01 270	Channel control	Bank sel MSB	B9 00 78	Drum setup
0001 01 271	Channel control	Bank sel LSB	B9 20 00	Channel 10
0001 01 272	Program change	Voice select	C9 00	Standard Kit

Next we're going to do the special set up of channel 11 as a second drum channel.
Why? Only because I wanted to give you a complete example.
You can cut it right out if you don't need it and certainly the Elvis medley doesn't require it.

Channel 11. IF you want a 2nd drum track, just as an example.

Meas/bt/pls	Message type	Value	Hexadecimal	Notes
0001 01 275	Channel control	Bank sel MSB	BA 00 78	Drum setup
0001 01 276	Channel control	Bank sel LSB	BA 20 00	Channel 11
0001 01 277	Program change	Voice select	CA 19	Analog set

Then we go on to do the set-up of each of the MIDI channels we're using in this song. I've done them strictly in channel order but your sequencer may show them in a different order, mine did.

Channel 2.

Meas/bt/pls	Message type	Value	Hexadecimal	Notes
0001 01 280	Channel control	Bank sel MSB	B1 00 79	Melody voice setup
0001 01 281	Channel control	Bank sel LSB	B1 20 00	Channel 2
0001 01 282	Program change	Voice select	C1 20	Acoustic Bass
0001 01 283	Channel Volume	100	B1 07 64	Default Volume (100)
0001 01 284	Pan	61	B1 0A 3D	Pan slightly left
0001 01 285	Expression	127	B1 0B 7F	Max Expression
0001 01 286	Reverb Send	15	B1 5B 0F	Slight reverb
0001 01 287	Chorus Send	30	B1 5D 1E	Some Chorus

Note how the commands are issued a pulse apart and that I've left a few spare pulses at the end of the commands for channel 2 and the next set of commands for channel 3.

Channel 3.

Meas/bt/pls	Message type	Value	Hexadecimal	Notes
0001 01 290	Channel control	Bank sel MSB	B2 00 79	Melody voice setup
0001 01 291	Channel control	Bank sel LSB	B2 20 00	Channel 3
0001 01 292	Program change	Voice select	C2 01	Bright Piano
0001 01 293	Channel Volume	100	B2 07 64	Default Volume (100)
0001 01 294	Pan	64	B2 0A 40	Pan centre
0001 01 295	Expression	127	B2 0B 7F	Max Expression
0001 01 296	Reverb Send	64	B2 5B 40	Some reverb
0001 01 297	Chorus Send	0	B2 5D 00	No Chorus

And so on.

Channel 5.

Meas/bt/pls	Message type	Value	Hexadecimal	Notes
0001 01 300	Channel control	Bank sel MSB	B4 00 79	Melody voice setup
0001 01 301	Channel control	Bank sel LSB	B4 20 00	Channel 2
0001 01 302	Program change	Voice select	C4 19	Steel Guitar
0001 01 303	Channel Volume	100	B4 07 64	Default Volume (100)
0001 01 304	Pan	96	B4 0A 60	Pan right some
0001 01 305	Expression	127	B4 0B 7F	Max Expression
0001 01 306	Reverb Send	76	B4 5B 4C	Strong reverb
0001 01 307	Chorus Send	36	B4 5D 24	Some Chorus

Channel 6.

Meas/bt/pls	Message type	Value	Hexadecimal	Notes
0001 01 310	Channel control	Bank sel MSB	B5 00 79	Melody voice setup
0001 01 311	Channel control	Bank sel LSB	B5 20 00	Channel 2
0001 01 312	Program change	Voice select	C5 1B	Clean Guitar
0001 01 313	Channel Volume	100	B5 07 64	Default Volume (100)
0001 01 314	Pan	16	B1 0A 10	Pan left
0001 01 315	Expression	127	B5 0B 7F	Max Expression
0001 01 316	Reverb Send	76	B5 5B 0F	Strong reverb
0001 01 317	Chorus Send	30	B5 5D 1E	Some Chorus

Channel 7.

Meas/bt/pls	Message type	Value	Hexadecimal	Notes
0001 01 320	Channel control	Bank sel MSB	B6 00 79	Melody voice setup
0001 01 321	Channel control	Bank sel LSB	B6 20 00	Channel 2
0001 01 322	Program change	Voice select	C6 3D	Brass Section
0001 01 323	Channel Volume	100	B6 07 64	Default Volume (100)
0001 01 324	Pan	61	B6 0A 24	Pan left some
0001 01 325	Expression	127	B6 0B 7F	Max Expression
0001 01 326	Reverb Send	64	B6 5B 40	Some reverb
0001 01 327	Chorus Send	0	B6 5D 00	No Chorus

Channel 8.

Meas/bt/pls	Message type	Value	Hexadecimal	Notes
0001 01 330	Channel control	Bank sel MSB	B7 00 79	Melody voice setup
0001 01 331	Channel control	Bank sel LSB	B7 20 00	Channel 2
0001 01 332	Program change	Voice select	C7 39	Trombone
0001 01 333	Channel Volume	100	B7 07 64	Default Volume (100)
0001 01 334	Pan	110	B7 0A 6E	Pan right
0001 01 335	Expression	127	B7 0B 7F	Max Expression
0001 01 336	Reverb Send	64	B7 5B 40	Some reverb
0001 01 337	Chorus Send	0	B7 5D 00	No Chorus

Channel 9.

Meas/bt/pls	Message type	Value	Hexadecimal	Notes
0001 01 340	Channel control	Bank sel MSB	B8 00 79	Melody voice setup
0001 01 341	Channel control	Bank sel LSB	B8 20 00	Channel 2
0001 01 342	Program change	Voice select	C8 41	Alto Sax
0001 01 343	Channel Volume	100	B8 07 64	Default Volume (100)
0001 01 344	Pan	20	B8 0A 14	Pan left
0001 01 345	Expression	127	B8 0B 7F	Max Expression
0001 01 346	Reverb Send	64	B8 5B 40	Some reverb
0001 01 347	Chorus Send	0	B8 5D 00	No Chorus

Remember this was channel 11 in the original medley.
Channel 12.

Meas/bt/pls	Message type	Value	Hexadecimal	Notes
0001 01 350	Channel control	Bank sel MSB	BB 00 79	Melody voice setup
0001 01 351	Channel control	Bank sel LSB	BB 20 00	Channel 2
0001 01 352	Program change	Voice select	CB 43	Baritone Sax
0001 01 353	Channel Volume	100	BB 07 64	Default Volume (100)
0001 01 354	Pan	82	BB 0A 52	Pan right some
0001 01 355	Expression	127	BB 0B 7F	Max Expression
0001 01 356	Reverb Send	64	BB 5B 40	Some reverb
0001 01 357	Chorus Send	0	BB 5D 00	No Chorus

And that's it! All set up. E&OE as they say. If you more techy ones notice mistakes please let me know.

What some of you might have noticed is that we've managed to squeeze all of this into less that 360 pulses out of 480. (The ppqn clock goes from 0 to 479 at 480ppqn.) In other words all of these set-up commands have been done in just one beat of a 4/4 measure. At a tempo of 120 bpm that's just half a second. Take a look back at the top (of this 4th part) where we set up the tempo of the first measure, the 2nd command. We've set the initial measure length to 1/4 then in measure 2 it's been set to 4/4 and the tempo raised to 160bpm as required for the song. We should have left adequate time for the sound module to do its set up and we've included all the commands for instrument set-up as well. Of course this is just a relatively simple example, many GS and XG set-ups use many more set-up commands needing a longer lead-in measure.

If I've made any "typos" please let me know.
PLEASE ask away if you need help or clarification.

Copyright John Garside 2008