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Innovation Performance 1 (Brighton Electric).

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In this Lesson we were put into groups and given the rehearsal slot to come up with a song using some form of innovation.

For me specifically, I liked the idea of using limitation to spark innovation, so I decided to use just one chord shape for coming up with sections for the rhythm guitar. I chose the E Major shape as that would be the easiest to use when experimenting with different fingerstyle/picking techniques.

I found this interesting, using the CAGED system to navigate different places I could use the Major chord shape.

I feel like this went well, the song itself came together nicely and working with people who are as motivated as me in regards to development and progress in the practical lesson was a nice change.

In terms of innovation, this was an effective first attempt of incorporating the idea into a live performance and I feel I came up with a good rhythm guitar section to accompany my peers using the limitation.

For future reference I could consider a different approach to the same challenge I set myself, if I had more time to flesh out my ideas I would experiment with more complex chord shapes that still fits with what my friends are playing. This is because although it works it's a little simplistic and I think I could come up with something a little more polished and unique.

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Main Innovation Concept to Consider (DAW)

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Main Innovation Concept to Consider (DAW)

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Innovation via Limitation.

More specifically, I want to use one instrument for the production of a song. One idea for my DAW song could be recording my electro-acoustic guitar to emulate other instruments and sections:

For the main guitar tracks.

Using an Octaver to create a bass track.

Hitting different areas of the body to create percussive rhythms.

Bowing the strings to imitate string sections

Sampling harmonics or single notes to create pad/synth sounds.

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Experimenting with the Limitation Idea (DAW)

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Experimenting with the Limitation Idea (DAW)

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(ADD VIDEO OF EXPERIMENTATION)

I knew I had to make a percussive rhythm to put underneath my guitar sections, and in order to do so I had to come up with ways I can make my guitar sound like different parts of a drumkit, or other percussion instruments. I thought the easiest one to do first was a kick drum.

I started hitting my guitar at different points on the body to find somewhere that makes the most low frequency sound when I hit it, as it would be ideal for mixing a kick drum. I then recorded a basic beat along the metronome (at 110BPM, I had a guitar riff I wanted to use that follows the tempo).

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Acoustic tap kick idea (mixed to emulate kick drum).

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I was satisfied with the recording itself, the transients were consistent and there wasn't and clipping due to adequate gain staging. However, as the pickup inside the electro-acoustic guitar wasn't designed to pick up percussive elements I decided to use some additive EQ: I added a Slate Digital graphic EQ and a stock tube compressor plugin in an attempt to increase the Low-Mid frequency range on the recordinng.

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Making a song using ONLY 1 Physical & 1 Virtual Instrument.

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To better inform the development of my ideas with producing music using one instrument to emulate the others I did some research to see if/how other musicians handled the idea.

I didn't find much in the way of forums or people discussing it, the point that comes up when searching was the process of how the first come up with a song, and layer ideas and instruments on top- not how you could use one instrument as all of the layers. However, I did find a YouTube video of someone testing this idea, and how to do it yourself.

He made some good points about and , but ultimately I didn't find this video as helpful as I'd like, specifically because .

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Making a song using ONLY 1 Physical & 1 Virtual Instrument

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This week we formed into groups and filtered into our rooms, with the expectation of developing a song that demonstrates innovation in some regard.

I decided to focus on dynamics within the song while working with my peers- to employ the "less is more" approach. This was to again utilize the idea of innovation through limitation.

For this reason, I let the boys play through the song a few times without my guitar on top. so I could think about the absolute minimum I could add that would be effective.

This resulted in single chord/ note strums on the quarter notes or after the start of every bar, and coming in fully on the choruses to add an extra layer of intensity that complemented the other instruments.

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I wanted to research into an example of innovation out of necessity to better inform my idea of what innovation is.

I looked into the invention of MIDI.

A major challenge pioneers of the modern music industry faced was a lack of standardized methods for emerging electronic technologies (synthesizers, drum machines, computers etc.) to communicate with each other. Previously, most machines used proprietary software and inputs that didn't always work together efficiently.

MIDI (Musical Instrument Digital Interface) was invented so that electronic or digital musical instruments could communicate with each other and so that one instrument can control another.

Following the rise of technology and advancements in computer science, integration with computers also led to the worldwide adoption of MIDI.

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In the world of music production and electronic instruments, one name has remained synonymous with connectivity and versatility for over four decades: MIDI. The Musical Instrument Digital Interface, or MIDI for short, has revolutionized the way musicians create and interact with music. In this post, we will embark on a fascinating journey through the history of MIDI, from its humble beginnings to its present-day significance.

I. The Birth of MIDI
The early 1980s marked a turning point in the music industry. Musicians and composers were eagerly embracing emerging electronic technologies, such as synthesizers, drum machines, and computers, to expand their creative horizons. However, a major challenge faced by these pioneers was the lack of a standardized method for these devices to communicate and synchronize with one another.

Prior to MIDI, electronic instruments and computers used a hodgepodge of proprietary protocols to communicate. Each manufacturer had its own incompatible system, making it challenging for musicians to integrate various devices into their setups. A common language was desperately needed, and this is where MIDI came into play.

In 1983, a group of music industry leaders, including Dave Smith from Sequential Circuits, Roland Corporation, and Yamaha, collaborated to create the MIDI standard. MIDI was officially introduced in 1983, and it quickly became the lingua franca of electronic music.
II. The MIDI Specification

Now that we know why MIDI was born, let's delve into how it works and the key components of the MIDI specification.

At its core, MIDI is a protocol that defines a set of messages or commands that electronic instruments use to communicate with each other. These messages include:

Note On/Off: For triggering and releasing notes.

Control Change: For adjusting parameters like volume, pitch, and modulation.

Program Change: For switching between different instrument sounds or presets.

Pitch Bend: For altering pitch smoothly.

System Exclusive (SysEx): For manufacturer-specific commands and configuration.

MIDI operates on 16 channels, allowing multiple devices to communicate independently within a single setup. Each channel can transmit its own set of MIDI messages, making it possible to control various instruments simultaneously.

MIDI data can be transmitted using different physical connectors, such as the familiar five-pin DIN connectors or newer USB and Bluetooth connections. This versatility has enabled MIDI to adapt to evolving technology.
III. The Impact of MIDI

The introduction of MIDI had a profound impact on the music industry and the way musicians created and performed music.

With MIDI, musicians gained the ability to record and playback their performances with unprecedented precision. MIDI sequencers allowed for the creation of complex compositions and arrangements, paving the way for the electronic music revolution of the 1980s and 1990s.

MIDI keyboards, drum pads, and other controllers gave musicians an expressive means of interacting with electronic instruments. This shift away from traditional instruments opened up new possibilities for sound design and performance.

As personal computers became more powerful, MIDI found its way into software applications. This integration allowed musicians to use their computers as MIDI controllers, as well as to record, edit, and arrange MIDI data on a digital platform.
IV. MIDI in Popular Music

MIDI's influence on popular music is undeniable, and its fingerprints can be found across various genres and eras.

The 1980s witnessed the explosion of synthesizers and MIDI-driven pop music. Iconic artists like Depeche Mode, New Order, and Kraftwerk embraced MIDI technology to create catchy and futuristic sounds that defined the decade.

In the world of hip-hop, MIDI played a crucial role in the creation of drum patterns and sampling. Producers used MIDI drum machines to craft the beats that underpinned rap classics, shaping the genre's rhythmic landscape.

The rise of EDM in the late 20th and early 21st centuries can be directly attributed to MIDI's role in electronic music production. Producers and DJs used MIDI controllers to trigger samples, synthesize sounds, and create dynamic live performances that captivated audiences around the world.
V. MIDI in the Modern Era

While MIDI's impact on music is undeniable, it continues to evolve and adapt to modern technologies and trends.

In today's digital music production landscape, MIDI is instrumental in controlling virtual instruments and software synthesizers. Musicians can now harness the power of incredibly realistic and versatile virtual instruments, thanks to MIDI.

MIDI controllers remain a staple in live performances, allowing musicians to trigger samples, manipulate effects, and control lighting rigs in real-time. This has led to visually stunning and sonically dynamic live shows across various genres.

The internet has given rise to collaborative music-making and remote production. MIDI data can be easily shared and integrated into collaborative projects, making it possible for musicians from different parts of the world to work together seamlessly.
VI. The Future of MIDI
As technology continues to advance, the future of MIDI looks promising and innovative.

MIDI 2.0, introduced in 2020, is the next evolution of the MIDI standard. This updated protocol offers enhanced capabilities, including bidirectional communication, greater resolution, and support for more expressive controllers. MIDI 2.0 is poised to further revolutionize music production and performance.

The intersection of MIDI and artificial intelligence is an exciting frontier. AI-driven music composition and performance tools are becoming increasingly sophisticated, and MIDI will likely play a central role in how these technologies interact with musicians.
Conclusion
The history of MIDI is a testament to the power of collaboration and innovation in the music industry. What started as a solution to a pressing problem in the early 1980s has since become an integral part of music production and performance. MIDI has shaped the way we create, share, and experience music, and it continues to adapt and evolve in the digital age. As we look to the future, MIDI 2.0 and the integration of AI promise to push the boundaries of what's possible in music even further, ensuring that MIDI remains at the forefront of music technology for years to come.

In the world of music production and electronic instruments, one name has remained synonymous with connectivity and versatility for over four decades: MIDI. The Musical Instrument Digital Interface, or MIDI for short, has revolutionized the way musicians create and interact with music. In this post, we will embark on a fascinating journey through the history of MIDI, from its humble beginnings to its present-day significance.

I. The Birth of MIDI
The early 1980s marked a turning point in the music industry. Musicians and composers were eagerly embracing emerging electronic technologies, such as synthesizers, drum machines, and computers, to expand their creative horizons. However, a major challenge faced by these pioneers was the lack of a standardized method for these devices to communicate and synchronize with one another.

Prior to MIDI, electronic instruments and computers used a hodgepodge of proprietary protocols to communicate. Each manufacturer had its own incompatible system, making it challenging for musicians to integrate various devices into their setups. A common language was desperately needed, and this is where MIDI came into play.

In 1983, a group of music industry leaders, including Dave Smith from Sequential Circuits, Roland Corporation, and Yamaha, collaborated to create the MIDI standard. MIDI was officially introduced in 1983, and it quickly became the lingua franca of electronic music.
II. The MIDI Specification

Now that we know why MIDI was born, let's delve into how it works and the key components of the MIDI specification.

At its core, MIDI is a protocol that defines a set of messages or commands that electronic instruments use to communicate with each other. These messages include:

Note On/Off: For triggering and releasing notes.

Control Change: For adjusting parameters like volume, pitch, and modulation.

Program Change: For switching between different instrument sounds or presets.

Pitch Bend: For altering pitch smoothly.

System Exclusive (SysEx): For manufacturer-specific commands and configuration.

MIDI operates on 16 channels, allowing multiple devices to communicate independently within a single setup. Each channel can transmit its own set of MIDI messages, making it possible to control various instruments simultaneously.

MIDI data can be transmitted using different physical connectors, such as the familiar five-pin DIN connectors or newer USB and Bluetooth connections. This versatility has enabled MIDI to adapt to evolving technology.
III. The Impact of MIDI

The introduction of MIDI had a profound impact on the music industry and the way musicians created and performed music.

With MIDI, musicians gained the ability to record and playback their performances with unprecedented precision. MIDI sequencers allowed for the creation of complex compositions and arrangements, paving the way for the electronic music revolution of the 1980s and 1990s.

MIDI keyboards, drum pads, and other controllers gave musicians an expressive means of interacting with electronic instruments. This shift away from traditional instruments opened up new possibilities for sound design and performance.

As personal computers became more powerful, MIDI found its way into software applications. This integration allowed musicians to use their computers as MIDI controllers, as well as to record, edit, and arrange MIDI data on a digital platform.
IV. MIDI in Popular Music

MIDI's influence on popular music is undeniable, and its fingerprints can be found across various genres and eras.

The 1980s witnessed the explosion of synthesizers and MIDI-driven pop music. Iconic artists like Depeche Mode, New Order, and Kraftwerk embraced MIDI technology to create catchy and futuristic sounds that defined the decade.

In the world of hip-hop, MIDI played a crucial role in the creation of drum patterns and sampling. Producers used MIDI drum machines to craft the beats that underpinned rap classics, shaping the genre's rhythmic landscape.

The rise of EDM in the late 20th and early 21st centuries can be directly attributed to MIDI's role in electronic music production. Producers and DJs used MIDI controllers to trigger samples, synthesize sounds, and create dynamic live performances that captivated audiences around the world.
V. MIDI in the Modern Era

While MIDI's impact on music is undeniable, it continues to evolve and adapt to modern technologies and trends.

In today's digital music production landscape, MIDI is instrumental in controlling virtual instruments and software synthesizers. Musicians can now harness the power of incredibly realistic and versatile virtual instruments, thanks to MIDI.

MIDI controllers remain a staple in live performances, allowing musicians to trigger samples, manipulate effects, and control lighting rigs in real-time. This has led to visually stunning and sonically dynamic live shows across various genres.

The internet has given rise to collaborative music-making and remote production. MIDI data can be easily shared and integrated into collaborative projects, making it possible for musicians from different parts of the world to work together seamlessly.
VI. The Future of MIDI
As technology continues to advance, the future of MIDI looks promising and innovative.

MIDI 2.0, introduced in 2020, is the next evolution of the MIDI standard. This updated protocol offers enhanced capabilities, including bidirectional communication, greater resolution, and support for more expressive controllers. MIDI 2.0 is poised to further revolutionize music production and performance.

The intersection of MIDI and artificial intelligence is an exciting frontier. AI-driven music composition and performance tools are becoming increasingly sophisticated, and MIDI will likely play a central role in how these technologies interact with musicians.
Conclusion
The history of MIDI is a testament to the power of collaboration and innovation in the music industry. What started as a solution to a pressing problem in the early 1980s has since become an integral part of music production and performance. MIDI has shaped the way we create, share, and experience music, and it continues to adapt and evolve in the digital age. As we look to the future, MIDI 2.0 and the integration of AI promise to push the boundaries of what's possible in music even further, ensuring that MIDI remains at the forefront of music technology for years to come.

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The Evolution of MIDI: A Journey Through Music's Digital Language

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The history of MIDI is a testament to the power of collaboration and innovation in the music industry. What started as a solution to a pressing problem in the early 1980s has since become an integral part of music production and performance.

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After looking around online I found an article that explores how I could better emulate real instruments using online software, mixing considerations and sampling.

I found some of the points made useful, such as the need to see the instruments you're trying to emulate in a real world setting to gain a better understanding of how it would operate. I like this idea because I'm a visual learner, and being able to see the "how" an instrument works physically will enable me to better emulate it.

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HOW TO EMULATE REAL INSTRUMENTS

Thanks to high-performance sample libraries such as The Score, it's never been easier to piece together breathtakingly convincing faux instrumental tracks in your DAW. However, with great power comes great responsibility, and if you don't know how a real violin, guitar, trumpet or harp is played by a real player, you risk making all sorts of unwitting mistakes in your emulative pursuits. Here are seven tips to help you on your way to playing and programming individual instrument and ensemble parts in MIDI that no one will be able to discern from the real deal.

1. GO AND SEE THE INSTRUMENT 'IN THE WILD'

Although you're not necessarily going to soak up a huge amount of literal technique unless you're sitting very close to the performer, if you get the change to experience the instrument you want to emulate in the hands of a real life professional player, jump at it. Watch the way the player sits and moves with the instrument; hear the way the performance flows from note to note in terms of dynamics, tonality and vibrato; and appreciate the way it makes you feel emotionally and viscerally - allow yourself to be inspired, in other words. Take notes throughout the concert if you can.

5. UNDERSTAND THE BROADER REMIT AND LIMITATIONS OF THE INSTRUMENT

When learning the ropes of your target instrument via the aforementioned observational approaches, as well as taking in the technical and stylistic execution of the individual notes played, you need to simultaneously garner an equally solid understanding of its more general angle, and the sorts of roles it serves on its own and in the context of an orchestra or smaller ensemble. The harp, for example, is known for its characteristic glissandi and arpeggios, so those are the kinds of things you should look to focus on; while the many textural, melodic and rhythmic possibilities presented by the violin each have their own compositional deployments and consequent learning curves.

Every instrument also has its own comfortable pitch range, which you'll want to stay within or adapt the rest of the arrangement to if necessary. Timpani sound awkwardly flabby right down at the bottom of their tuning range, and the flute in its lowest octave is so soft that any heavy accompanying instrumentation may need to be dialled back at that point, to give but two examples.

Ronan Macdonald
Writer & Editor * Music Producer * Drummer

ABOUT THE WRITER: RONAN MACDONALD

A music and technology journalist of over 30 years' professional experience, Ronan Macdonald began his career on UK drummer's bible Rhythm, before moving to the world's leading music software magazine, Computer Music, of which he was the editor for more than a decade. He's also written for many other titles, including Guitarist, The Mix, Hip-Hop Connection and Mac Format, and edited several books, most notably the first edition of Billboard's Home Recording Handbook. Today, Ronan contributes to Production Expert, Computer Music and MusicRadar.com and works as an editorial consultant and media producer for a broad range of music technology companies. Away from the day job, Ronan is a keen producer and drummer, with a particular passion for 90s hip-hop, jungle, breakbeat and jazz, a hard drive full of unfinished projects and a plugins folder that one day he honestly will get round to tidying up. He's also the dep percussionist for seminal 80s/90s Italo-house outfit Black Box.

THE SCORE Getting Started

THE SCORE Preset Playthrough

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Here are seven tips to help you on your way to playing and programming individual instrument and ensemble parts in MIDI that no one will be able to discern from the real deal.

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After playing around with ideas for the DAW submission, regarding emulating different instruments using my acoustic guitar, I've decided to change direction in order to demonstrate innovation.

I've written up an action plan to stick to in order to develop my new DAW song idea on schedule for the Summative deadline. If I stick to this, as well as logging the development of our live performance submission in our Brighton Electric sessions, I should have 2 presentable songs to submit.

To do in order to develop the DAW song I need to:

Finish the overall structure of the song (Bridge section after second chorus, slower section after bridge).

Figure out the percussive rhythm of the song: Experiment with tempo of the song and drum sounds via Ableton (this would better inform how I'm strumming the main guitar part, and can also figure out the pocket/rhythm of the song).

Program drum section for each part of the song.

Record main guitar line over drum track.

Record bass track.

Record Vocals.

Experiment/Establish/Record lead guitar.

Mix.

Master.

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I missed a Performance Workshop lesson, and the song we were working on has been completely changed. I might be overexaggerating slightly but my parts were removed/ replaced by Ben, structural and dynamic changes meant I have less that a week to come up with a completely new part for the song. That is NOT enough time to come up with something worthy of a summative submission.

They suggested not playing anything in the verses, pre-choruses, bridge and outro, and to play an offbeat rhythm in the chorus. This would not give me enough to demonstrate innovation for my assignment. The singer left within the first 10 minutes of the lesson due to a health concern so not only do I have very little time to come up with something, I couldn't come up with something that fits with the vocals.

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Instead, I will be creating a performance song to do by myself. This would mean I'd lose points on collaboration, however the main idea behind the project is innovation, which I believe I can do as a solo act.

I will be playing on my electro-acoustic guitar and layering vocals on top. I could show innovation through picking and fingering techniques, which I intend to explore and document on my Padlet.

I came up with this "chicken picking" stye idea to start off with. I think the rhythm is interesting and allows for accenting using different notes with the chords from my left hand. I'll be experimenting and building from this.

To move forward with this I need to find a tempo that would work with the genre, and work up to it using a metronome. I would also need to find where the accent notes would fit in the riff, instead of placing them randomly. Additionally I need to come up with parts for the other sections, and develop a structure for the song as a whole.

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Reflecting on my action plan previously explored on my Padlet, I can note a few things.

For example, the deadlines I gave myself were more than a little strict, thinking I could complete sections of the song in that timeframe when attending uni lessons and working at my job was unrealistic at best and stressful at worst.

However, laying out what I had to do in that format definitely helped to structure my work and complete it in a more organised fashion, despite the self-appointed time restrictions.

If I were to plan this project out again I would implement an action plan toward the beginning of the module, to aid the initial experiments and planning for it.

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Recording two guitar tracks, one using an audio interface, the other in a live room through an amp, and using the amp recording as a reverb effect for the first guitar track- grouping the tracks together for mixing and proportionate levelling.

I feel like this gives the guitar more space in the mix and helps pack out the frequency range. I think I'm going to come up with a synth in a Radiohead/Deftones style that plays continuous, drawn out notes to try and complement the spaced-out guitar layer. It should hopefully create a nice background effect, as well as let the cleaner audio interface recording be heard a little more, because it's muddying up the amp recording slightly.

(screen record Ableton/ export audio to demonstrate).

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After finding a good tempo to play the riff, I wanted to put together some sections of the song of the song.

I'm deciding what kind of structure I want to go with- an Intro > Verse > Chorus > Verse > Chorus > Outro pt1 > Outro pt2 format could work, as after doing some research I found that a lot of western songs do a similar thing, just with repeated verse structures in between. For example, you can find this concept within Marty Robbins' Big Iron.

To make it sound a little less messy I decided to place the accent notes following the up-strum using my index finger, which sits on the second and fourth notes in the bar. This fits into the innovation idea as it demonstrates a unique plucking style and uses hammer-ons and pull-offs in a way that makes the rhythm of the song change.

This is good progress, as with a sections established and a structure being made I can begin experimenting with vocal melodies to sing on top. I might find this part challenging as I normally have difficulties singing and playing at the same time if the guitar component is too complex. Maybe I'll come up with something that follows the root notes of the sections so I can follow along easier?

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Drums (clean, distorted and both together).

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Today I attempted to create a drum beat for my DAW submission. I'm using a MODO DRUM plugin to model the drums, it also has some mixing tools and effects you can chain within the plugin itself. This means I can use effects native to the plugin, as well as before any EQ or corrective EQ.

To demonstrate innovation, as well as consistency thematically/sonically in my song, I wanted to see if the room recording/reverb track idea i used for my guitar tracks would work contextually with the drum ideas. I can't play drums and I don't have enough time to teach a drummer to play the loops I made, so I had to come up with something.

Instead, I duplicated the track and added heaps of distortion and crusher effects, as well as FET compressors with high ratios and fast releases in order to curve the distortion, and catch the initial transients of the drum hits. I also added a small amount of reverb to smooth things out. I then grouped both the clean and emulated room tracks and leveled them to the guitars.

I think this idea worked well in creating a big sound that complements the theme of the song as a whole. Using new mixing and sound scaping effects demonstrates innovation because I'm using mixing techniques to do things they weren't initially made to do, as well as create a unique sound for the song.

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Lyrics and Vocal Melody Developed (Live)

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Lyrics and Vocal Melody Developed (Live)

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Today I wrote up the lyrics for the Live submission.

I wanted to use this direction change as an opportunity to do two things simultaneously: to successfully develop an innovative song to submit for my summative assignment, and write this song for a girl that I like. I thought I could tie this into the "western" theme I was coming up with for both the theme/genre of the song and the video idea I had to complement it.

I think this went fairly well, the main motif was going to be a cowboy talking about how a girl swiped his heart and he's hunting her down to get it back. As a premise this tied things together and functioned with he right creative intention.

For a melody I came up with something that follows the root note of the chords I'm playing, as this works with my lower vocal register and also allows for accent notes to add to the song.

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After figuring out the guitar structure and vocals respectively, I put them together. I wasn't happy with the tempo I established on the the guitar, this was likely a result of not having practised singing the melody and guitar sections at the same time. I decided to slow it down, and add a little bit more of a swing to the chords and accent notes. I feel like this achieved a different "feel" to the song, somehow it sounds a little more modern than the traditional western genre when played at a different tempo and rhythm.

With this sorted, I could move on to putting together a live video setting for the performance- I was thinking outside would fit the theme.

I went hunting for locations, and by locations I mean looking around in each of my friends' gardens for a place that has enough plants and fits the antique/western look.