My Single Platform And Multiple Services

See also: Audio sequencer and Digital audio workstation Sequencing software allows recorded MIDI data to be manipulated using standard My Single Platform And Multiple Services editing features such as cut, copy and paste and drag and drop. Keyboard shortcuts can be used to streamline workflow, and, in some systems, editing functions may be invoked by MIDI events. The sequencer allows each channel to be set to play a different sound and gives a graphical overview of the arrangement. A variety of editing tools are made available, including a notation display or scorewriter that can be used to create printed parts for musicians.

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Tools such as loopingquantizationrandomization, and transposition simplify the arranging process. Beat creation is simplified, and groove templates can be used to duplicate another track's rhythmic feel. Realistic expression can be added through the manipulation of real-time controllers. Mixing can be performed, and MIDI can be synchronized with recorded audio and video tracks.

Work can be saved, and transported between different computers or studios. Cue-list sequencing is used to trigger dialogue, sound effect, and music cues in stage and broadcast production.

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These became essential with the appearance of complex synthesizers such as the Yamaha FS1R[62] which contained several thousand programmable parameters, but had an interface that consisted of fifteen tiny buttons, four knobs and a small LCD. In this way the device's limited source storage is augmented by a computer's much greater disk capacity. These create a full band arrangement in a style that the user selects, and send the result to a MIDI sound generating device for playback.

The generated tracks can be used as educational or practice tools, as accompaniment for live performances, or as a songwriting aid. These timing issues can cause synchronization problems, and clicks and pops when sample playback is interrupted.

Software synthesizers also exhibit a noticeable delay known as latency in their sound generation, because computers use an audio buffer that delays playback and disrupts MIDI timing. These cards used FM synthesiswhich generates sound through modulation of sine waves. John Chowningthe technique's pioneer, theorized that the technology would be capable of accurate recreation of any sound if enough sine waves were usedbut budget computer audio cards performed FM synthesis with only two sine waves.

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Combined with the cards' 8-bit audio, this resulted in a sound described as "artificial" [76] and "primitive". Some manufacturers used bit samples, and padded those to 16 bits. VJs and turntablists use it to cue clips, and to synchronize equipment, and recording systems use it for synchronization and automation. The receiving device or object would require a General MIDI processor, however in this instance, the program changes would trigger a function on that device rather than notes from a MIDI instrument's controller.]

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