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[求助] 请问一下上个世纪的前辈们

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4880
在有合成器的时候就有了yamaha和Roland的MIDI标准,Gm和XG,主要是控制外部硬件音源。

有一本书《标准MIDI》手册里面有详细介绍,不知道现在还能不找得到。


有了windows后,在Dos时代开始用cakewalk3.0,用host线跟电脑链接,几针忘记了,就是接工程控制器的那个接口。


其它非主流的工具就不知道了。






本帖最后由 DLL 于 22-9-24 01:41 编辑
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:我有这本书
:Roland GS

7552
protracker.png
看了一下这个界面的结构功能,我一楼的信息有可能真是在电脑下辅助完成输入的。
特别是那个-(小横杠)的习惯。
info点开后,会不会是可以输入作者的完整信息呢?

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七月我守口如瓶 发表于 22-9-23 15:18
我隐约记得”摇滚北京”专辑里王勇的“安魂进行曲”是在一台Amiga电脑上制作的。Commandore Amiga音乐电脑 ...

a500.jpg


截图来自:互联网

今天入手了当年的传奇电脑 - Amiga 500!Amiga 系统诞生于1985年(500系列在1987年发布),是最早的搶佔式多工(Preemptive multitasking)多媒体电脑,支持多达4096个颜色和多声道音乐!(PC 要在 Windows 95 才有此类多工,Mac 要等到 Mac OS X 时代!在1985年 PC 只能发布简陋的哔哔声,Mac 甚至只有黑白两色。)Amiga 在欧洲极受欢迎,游戏极多,可惜公司 Commodore 经营不佳,才导致这系列的灭亡。


https://weibo.com/2584320772/IiiuNnBby?type=comment#_rnd1663969203697

7552
查阅了一些国外的
Ruben Kenig:

I can't write for everyone making music in the mid to late 90s but I can give you my perspective. I was making music with a few different people in various genres of house/ambient at that time. I was not working for people with major label contracts/money and we were mostly working in small studios. I guess they were home studios but at the time gear was expensive and not many people had setups like this.

The first thing to say is that there were no DAWs as we know them now. ProTools launched in 1991. It cost a boatload of money and offered four tracks. By the late 90s things were picking up and some of the MIDI sequencer companies were offering digital audio options, but these were not cheap either. The other consideration is that hard disks were expensive and had very small capacities by today's standards. In the early to mid 90s (in the UK) drives were still in the megabyte range. Gigabyte sizes were beginning to come to regular users only by the late 90s.

So this means no virtual instruments or processors. We worked with keyboards or rack modules controlled by MIDI, effect units were actual discrete processors and everything was routed through a real mixing desk. Analogue gear wasn't used that much, digital was still cool in those days, and it was a pain to work with. Either you had to play your analogue gear live to tape or you had to deal with MIDI to CV/gate interfaces. They were a pain.

Samplers were the key tool. In the UK Akai was dominant, but I had an EMU and a Kurzweil too. I would use them for drum loops, analogue synth sounds, vocal samples and even recording sections of instruments such as guitar and bass. Even in the samplers space was at a premium. RAM maxed out at 32MB and 16MB was fairly impressive. The breakdowns you hear in lots of house of the time is not just a musical device. What is often happening is that the samplers are being taken out of use and all the sound is being generated by synths so that a new bank of sounds can be loaded. Often this would involve manually swapping in and out up to 14 floppy disks.

We did use multi-track tape. Often just four track but sometimes eight. This was used only for acoustic instruments/voices to save track space. One track would be sacrificed for sync signal and everything that could would be kept on samplers and synths. We would then mixdown to two track of some kind. Music was still shared on cassette at this time. We would take 1/4 inch masters to a pressing plant to get vinyl made though.

This is just my experience of the time. There were people making music in many ways from full-featured 32 track recording facilities to people with cassette portastudios. As to software used in the UK Cubase was dominant in the US Mark of the Unicorn Performer had more sway. There were other players like Opcode Vision.

7552
Nick Minieri:还是提到我们目前都还存活的软件

Back in the mid-late 90s the main programs on the computer were Cubase, ProTools and Logic. Up until around ‘96–97 most computers were too slow to edit audio in real-time so most would just use these programs to sequence in MIDI and then use an external sampler such as an Emu or Akai to handle the audio.

The final output was generally recorded to DAT or sometimes even cassette if the producer was on a tight budget. Some had the luxury of having a mixing console, as well as synthesizers, drum machines or other instruments. All depended on budget of course; most who worked primarily with hardware at the time only used the computer as a sequencer to handle the MIDI.

Future Music magazine was invaluable for many bedroom producers as this was before there were many resources on the internet. It came with a cover CD which included basic but fully-functional production software as well as samples to work with.

A lot of people liked the Atari ST system in those days because although they were slow (4mb RAM tops!), they had MIDI built right in and almost zero latency, which was desirable. You didn’t need a fast machine to edit and sequence MIDI.

Tracker programs also existed (OctoMed, Buzz, etc) which had an entirely different interface to timeline-based DAWs like the ones I listed above, but were still very popular within certain music circles, particularly the experimental ones. They were MIDI-only, had a steeper learning curve and were primarily text based, but if you learned the key commands you could get work done faster on a tracker than you could on ProTools.

VST technology (which allowed third party plug-ins to work with most DAWs) also came around in ‘96–97, which opened up the floodgates for in-the-box synthesis and effects. Reaktor (originally called Generator) was an important one as it was modular and fully customizable; people who wanted to get under the hood and tinker could do so.

Propellerhead ReBirth came out around ‘97ish; this was important because it was one of the first DAWs that didn’t require a huge learning curve to operate. It was designed to emulate the Roland 303/808/909, and its interface became the foundation to what eventually became Reason several years later.

Fruity Loops/FL Studio was released around ’98 or so but in its early years just had a very basic step sequencer that you would load samples on. That changed very quickly in the early 2000s.

Sony Acid came out around ’99 and was the first program that could timestretch audio in real time to fit the tempo of the project. Then Ableton released in 2001 and built on that even more, although it couldn’t handle MIDI until the mid 2000s.

Hope this helps!

7552
仔细看了一下这个大哥的演示:
https://www.你吐吧.com/watch?v=6OaBkvwx7Hw
感觉那个时候领先不止一点点啊

7552

7552
https://www.你吐吧.com/watch?v=OlspnqVcJho
cubase1993-3.1有图象化的符号了

7552
sonxu 发表于 22-9-24 05:56
https://www.你吐吧.com/watch?v=OlspnqVcJho
cubase1993-3.1有图象化的符号了

cubase.png
应该是desktop midi

3514
最早接触midi是用korg   m1.当时觉得惊艳!
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1160
当年浮克从石狮回来带了几张他做的midi卡这一转眼都三十年前的事情了
观众反应

1160
anan20001 发表于 22-9-24 07:36
当年浮克从石狮回来带了几张他做的midi卡这一转眼都三十年前的事情了

那玩意到底该叫midi卡,还是叫磁盘。。

781
朱旦旦 发表于 22-9-24 00:51
我93年开始接触MIDI,那会儿用合成器内置的音序器做编曲

和现在的编曲软件比起来,当年制作的难度是不可 ...

93年一位老兄抱个小枕头似的键盘和几张3.5寸软盘到现场,我觉得这货真信球,来这儿写作文?
后来才知道,是我愚昧了……
观众反应

781
anan20001 发表于 22-9-24 07:36
当年浮克从石狮回来带了几张他做的midi卡这一转眼都三十年前的事情了

话说浮克老师还在做音乐吗?不知道他是否还记得二七广场的演出……

737
朱旦旦 发表于 22-9-24 00:51
我93年开始接触MIDI,那会儿用合成器内置的音序器做编曲

和现在的编曲软件比起来,当年制作的难度是不可 ...

编的很棒
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