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Posted by Schechter on January 5th, 2021

The problems that electronic musicians confronted with playing their structures on equipment made by different manufacturers was a severe one in the 1980s. Hook up a MIDI Controller made by one manufacturer to a sound module made by another producer, and your flute solo could come out as a drum solo. You could try changing the volume and wind up changing the pitch rather. This is due to the fact that MIDI commands, which are used to manage every element of the composition from notes played, instrument utilized, volume, pitch, and numerous other parameters, are numerical, and when upon a time (meaning the 1980s) various manufacturers used different functions to correspond with various MIDI Command numbers. For example, the number representing a trumpet sound on one brand of devices might represent a harmonica noise on another brand name of equipment.

There were many other problems as well, the majority of them developing from an absence of standardization of the correspondence between MIDI Have a peek at this website Command numbers and the real specifications that they changed. For this reason, the General MID (GM) standard was developed so that all (or most of) the numbers used to create any specific MIDI command would do the very same thing on any brand name of equipment that integrated the General MIDI requirement for instance, the number 12 placed at a specific point in the string of digits that represents any MIDI command now activates any GM standard noise module to play a Vibraphone noise, and absolutely nothing else. This noise might differ rather on different sound modules (sound quality will vary depending on how costly the sound module is and what type of innovation it utilizes), but a minimum of you wont wind up playing a flute instead of a vibraphone.

The GM standard included a range of standardizations other than MIDI commands for example, it required all GM compliant sound modules to be totally multi-timbral that is, each noise module had to be able to get MIDI messages on 16 different channels, so that the sound module can play 16 various patches (comparable to 16 various instruments) simultaneously, representing the 16 readily available MIDI channels.