One of many issues once faced by wanna-be MIDI musicians was that humans examine musical notes differently than MIDI sound modules. To oversimplify, we use words to represent each notice (C sharp in the fourth octave, for example), and numbers are used by MIDI sound modules. Since most MIDI sound modules can play as much as 128 notes, a MIDI sound module can them to number from 0 to 127. The problems arose when different companies started using different figures to correspond with different notes. A C sharp in the sixth octave may match number 61 on sound segments made by one producer, and to a on one made by another. Were talking critical chaos here imagine what it would do to your composition if you made it on a and attempted to play it on yet another producers sound component. Even worse, some really disorganized producers assigned different numbers to different records even in the exact same sound element based on which instrument you played. Quite simply, you merely about needed a qualification in compsci to find it all out, and actual composing composing a song meant about 3 times as much grunt work.
This musical chaos was organized by the General MIDI standard by decreeing that all GM certified pads must play an A440 message in a reaction to a MIDI order that included 69 to the MIDI note number. So your same note number could play the same note on any GM-compliant sound module, aside from it was manufactured by who all other MIDI note numbers were calibrated in accordance with this standard. Drum sounds were similarly standardized; with 48 MIDI note numbers standardized to correspond with 48 specific drum sounds. For those enthusiastic about much more detail, MIDI Channel 10 is reserved because the default route for drum sounds. Whilst long as you pound out your drum parts utilizing the GM standardized requirements, and be sure to use MIDI channel 10 for the parts of your composition, you shouldnt maintain for any nasty suprises when you try to play your composition.
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