![]() Once it is an audio track, we can keep the original MIDI (performance) data muted in a safe place (typically a CUBASE Project “FOLDER”). Ultimately, when we are finally happy with our music performance, we can commit to this performance by rendering the track as an AUDIO track in the DAW (Cubase). You will want to think of them as a work in progress. They are in a state that we can correct and perfect the performance of music. They represent the raw compositional data – a series of coded messages – that artfully represent our musical performances. ![]() You want to be able to work so that your MIDI tracks serve their purpose. But if you don’t know how to use them both, you may never find a solution when it is required. Yes, they can both be used simultaneously – and there may be situations where this is just what is required. The point is, when you have acquired the skills to use both the internal and external sequencer, you will find the utmost flexibility. The MO-XF, quite naturally, does this automatically. And then you would need to reunite the MIDI data with the PART it is intended for, manually, matching the MIDI receive channel to the appropriate MIDI data. To the poor recording computer – it does not know which is which, you will need to sort that out. Recording the same thing as MIDI data is not quite as simple a process – because you are playing a single MIDI channel – yet generating four separate streams of MIDI data, on four separate MIDI channels – some of the data is generated by the notes you are actually triggering, while others are being generated by the arpeggio patterns you are controlling. In the AUDIO RECORDING series we recorded a MO-XF PERFORMANCE as audio to Cubase. You will find that for some things it is far simpler to record to the MO-XF’s sequencer (for example, when attempting to record a PERFORMANCE as MIDI data). If all you look at is the hammer, pretty soon everything starts looking like ‘a nail’. A hammer is a great tool, but then again so is a screwdriver. Do not let anyone convince you one is better than another. The answer to this is one that can be simply a matter of choice and should be one that you explore fully. And it will allow a conductor-orchestra relationship so that we all play together, in time. It will locate to the exact same measure and beat, when we need it to. This means it can start and stop when Cubase starts and stops, if we need it to. In fact, our introduction to MIDI (Musical Instrument Digital Interface) was in setting up Cubase as the “master” MIDI clock and setting the MO-XF so that it will “slave” to that clock. ![]() ![]() In the third of the BASIC AUDIO RECORDING series, we described synchronizing the clock of the MO-XF with that of Cubase, and how this will allow the computer program to count in time with the musical divisions of time (measures and beats). With MIDI data and its physical controllers we are able to become drummers, guitar players, bass players, cellists, flautist, even zither players of some decent quality… that is, if we apply ourselves and take advantage of the ability to edit and perfect our musical attempts to perform these various other instruments! We may have started our musical career with lessons on the piano, but when you own a synthesizer you wind up being self-taught on dozens of other instruments. ![]() And specifically the creative power it gives us as synthesizer players. The single biggest advantages of working with MIDI data is the flexibility it gives us as musician/composers. MIDI has been around since the early 1980’s and is an important pre-production and compositional tool. ![]()
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