Conference napalm::commusic_v1

    Either 5 or 6 octaves centered on C4...
    
    Edd

    36-108
    
    -Neil
    

    Thanks, I mean, what's the lowest note and what's the highest note it
    can play under sequencer control (not from the keyboard).
    Thanks
    Tom

    TX81Z's do B0 thru G8 I bleeves...

I'd say most synths can probably do 0-127 or somewhat close though each patch
may have its own restrictions.  I know on the D50 and other boards and boxes
I've gone both above and below the "keyboard" range.  Some do like 10-115 or
somewhat.

Chad

    The K5 has 5 octaves (C2 to C6) but will respond to MIDI notes 0-127
    by using the transpose feature on the keyboard, or through a sequencer.
    
    Bill Allen
    
    (Are you trying to win a bet or something?)

    Which reminds me of another "sugestion" for synth makers:
    
    	If you're gonna give us a transpose feature, please don't
    	limit to one octave of transposition.
    
    Nah, why stop there?
    
    	Every keyboard capable of sending MIDI should be able to transpose,
    
    Or maybe:
    
    	Every instrument capable of receiving MIDI should be able to
    	transpose over several octaves.
    
    For example, I can't program MT-32 bass tracks from my SQ-80 keyboard
    because the keyboard doesn't go "low" enough.
    
    	db

    Roland MSK 20 is 15 to 113.
    MIDI 0 ( C -1) would be 8 hertz, if a  synthesizer can play a note of
    8Hz, you can't
    hear it as a tone, because the ear can't hear it.
    This is for a program I wrote.  I think I will limit it to 
    C1 24 to C8 108.
    Thanks for all your responses.
    Tom

Not all synths respond with the same frequency for the same MIDI note numbers.
That is why a keyboard often responds to the full range.  Different patches
may map differently to the MIDI note numbers or the synth itself may do
it differently.

Chad

	The EPS seems to have a fairly intelligent implementation, with a few
	zits. You can map a wavesample into any range 0-127, and it doesn't
	HAVE to track pitch (i.e. C0 doesn't HAVE to be 8Hz). But the keyboard
	might not be able to get to it. Not a problem if you're using a 
	sequencer, but changing keyboard ranges in performance isn't exactly
	a real-time event. You could (architecturally) store 128 wavesamples
	in a layer, providing you had the memory to hold them. 

	/pjh

    In my setup, middle C, note #60, maps to C3, not C4.  Using that, the
    KX88 will gen note no's down to A0 and up to, uh, F7 (I think).  
    
    The SGU's can respond from 0-127, *IF* I wanna bother to map sample
    files to those note ranges..
    
    karl, back from sunny Michigan

>        <<< Note 2330.12 by SALSA::MOELLER "Never trust a Prankster." >>>
>
>    In my setup, middle C, note #60, maps to C3, not C4.  Using that, the
>    KX88 will gen note no's down to A0 and up to, uh, F7 (I think).  
>    
>    The SGU's can respond from 0-127, *IF* I wanna bother to map sample
>    files to those note ranges..
 >   
 >   karl, back from sunny Michigan

    Gee, uh, the octave increment is at C, so it counts B3, then C4.
    But the KX88 is a piano-long keyboard, so the bottom key wouldn't be
    A0 relative to a C4 middle C, it would be Aminus1.  I think it may have
    been Helmholtz who called middle C C 4 and the system has been in use
    for 100 years.
    Tom
    

          <<< Note 2330.13 by MILKWY::JANZEN "Tom 228-5421 FXO/28" >>>
>   I think it may have
>    been Helmholtz who called middle C C 4 and the system has been in use
>    for 100 years.
    
    Well, I'll be sure to inform Mark of the Unicorn that Performer's MIDI
    event lists don't adhere to historic musicological practice.
    
    karl

    Most of what I said about pitch names was wrong.
    According to an at least 20-year-old Oxford Companion, here are some
    names for middle c:
    2 -foot
    middle c
    helmholtz called it c'
    Arthor Tabor Jones called it C3, and the Journal of the Acoustical
    Society of America adopted that.
    
     Then later the Journal propsed in 1931 that middle c was C8 (powers of
    2, called philosophical pitch because physcial middle C is 256 Hz, 2**8
    Hz.)}
    
    My program went out in the mail with C4 for middle C.  Tough.
    Maybe I'll set a new standard.
    Tom

    And piano tuners call middle c c 40 because it is the 40th key.
    Tom

    Yamaha apparantly does it different from everybody else.  I can't
    remember which way is which.  But the VISION sequencer has a
    'preferences' option where you can tell it whether you want middle C
    to be C4 or C3.  And one of the choices says "(Yamaha)" next to it.

    The Roland convention (who cares, right?) is to call middle C "C4".
    This makes MIDI note number 0 "C-1"
    
    My synths all "respond" to note numbers 0 - 127, but they may "recycle"
    the octaves at the extreme low and high ends.  This seems more
    prevalent on the digital machines, whose digital oscillators can only
    output a particular range of frequencies.  Thus, the note number where
    pitches cycle back to the octave above or below depends on the
    oscillator's range (e.g., 2', 4' 8' or 16').  The analog machines
    seem more willing to make arbitrarily bizarre sounds when pushed to
    their limits.
    
    The actual range of note numbers over which a synth will track pitch
    is usually specified on the MIDI implementation sheet.  Roland is
    particularly conscientious about documenting this.
    
    len.