Learn MIDI Editing for Music Production

1. Introduction to MIDI Editing: In this video, you will learn about media editing and how it is used in music production. So what? ISS MEDIA EDITING After you have MIDI notes and parameters recorded in your sequencer, you can edit them in various ways. The most common editing features are often to correct notes in pitch timing and length editing. The pitch means to change which note is played. For example, changing a C into a D editing the timing of notes means to align them as you want them in relation to the grid, for example, to the closest eighth note. And instead of dragging the note manually, you most often used the phone. Thais ation feature what is quoted ization. Well, you can think of quota station as a magnet, which pulls the note to align to the nearest greed value of your choice. So first you said the great value, for example, 2/8 notes. Then you select the notes. You want to correct the timing off, and finally you click quoted ization, and those notes will be aligned to the closest eight note in the grid. If that is the value you chose. Note length is also very common to edit, which simply means how long each notice played. Another common editing feature for MIDI is to delete knows that were recorded by accident, which often happens when you record with a midi keyboard, for example. Sometimes you also want to change the actual performance after he recorded it. To create a different variation, you can use mediating to add knows, duplicate notes, split notes all to add to the performance and make it more complex. So a tip I have is to start by recording a simple version off the melody bass rhythm, all whatever you're recording and then use media editing features to add to the performance . This way, you don't need advanced skills on the MIDI keyboard to create your media ports. Basically, meaty editing is where you perfect the performance. You want to be played off each media event in your project. Now let's continue to the next video, where I will show you some practical ways of using media editing in music production. My name is Mike, and I'll see you in the next video 2. MIDI Editing in Practice: in this video, I will show you some practical ways off editing meaty in various ways. Let's begin. It's important to learn about snapping before you start editing your media. Everything in the sequencer is tied to a grid to correspond to the timing, off notes and events. When you edit, you can choose if you want the notes to snap to this greed, or if you want to move notes freely without having them pushed to the closest great value. This is down by either turning on or off the snap feature in your d aaw. So start by finding out how you do that in your D u W and then test doing some mediating with snapping on versus off to see the difference crew. Enticing means to align the notes to the closest greed value that you choose. Basically perfecting the timing off the notes. You start by choosing a grid value. You want the notes to snap to, and then you select the notes. You want to apply quantum ization, too, and finally you click the Quant Ties button. Try this out for yourself and watch what happens to the notes when you click that Quantas button. Also try out different Kwan ties. Values to learn practical rhythmic timing. Moving notes in the editor is super easy. Just left. Click on a note with your mouse. Hold down the button as you move it, either vertically to change the note all horizontally to change the timing. The leading notes is, of course, very useful. If you, for example, made a mistake in your recording off the port, simply select the note with your mouth and press delete on your computer keyboard. You can also duplicate notes very easily by holding down the old button on your keyboard while you select the note with your mouse, Hold down both the mouse button on the old key on your keyboard and then drag to a different place as you can see a duplicate off. The note was now created, which I can then choose where to place and release the mouse button. To change the note lengths. You simply click and hold with your mouse button on the right edge of a note and then drag left, all right to reduce or extend the note length below the piano roll editor. Inside the mediating view, you have the velocity value. For each note, it is shown as a vertical line. The higher up the line goes, the higher the velocity value. If you select a specific note, you can see the exact velocity value as a number from 1 to 127. Transposing is a feature you use a lot in music production. It simply means to adjust notes to a higher pitch or to a lower pitch. The most common transposing value is 12. Because that is a full octave, you can transpose individual notes, a selection of notes or even entire media ports in your d. A. W. You just need to find the transposed to in your specific D A W and then choose the transpose value. If you have recorded media automation. Those are also shown below the piano roll Editor Automation is shown as curves with a specific range for most meaty parameters. The range of values go from 0 to 127 because that is the media standard here. I have recorded automation on the modulation wheel, which is usually assigned to control expression off the sound, and now you can go in and rule with your mouths to edit these curves. As you wish. Great. Now you have learned lots of practical media editing features. Remember to take action and try them all out for yourself in your d aaw to truly learn them . I, Mike, and I'll see you in the next video. 3. Live Demo Part 1: in this video, I will do a live demo off media editing in a real music production project. Let's begin. All right, so I have created a couple of tracks and assigned instruments and sounds to them. I have a drum kit and the base as well as a piano. All right, let's start by listening to the complete short composition without any media editing, so it sounds OK, but we can improve this a lot with some thoughtful media editing. Well, the drums. I have used the method off writing in the notes with the mouse. The main upside is that you get complete control of the timing, which can be difficult when playing on a midi keyboard or controller. However, if you record a performance on a keyboard, you automatically get variation in velocity values, no lengths and so on to create a more human and musical result. This means that the method off writing music with the mouse needs some extra meaty editing to get a Maura human and musical feel to your music. Especially important is to focus on adding dynamic variation in the velocity values. All right, so let's start these media editing session with the drums, so I will solo the drums and let's listen to it first. As you can hear, it's very straight, static and rigid and very robotic and boring, in fact, so we are going to change that. I will double quick on this part to get into the editing view, and here you can see all the notes of the drums. The lowest is to kick drum the next one here. I used to stare than the closed high heads and the open hi hats. All right, so let's start with the kick drum first. What we have here now is a 44 beat with the kick drum, where every it is the same velocity level as you can see down here. And, in fact, four kick drums usually don't want that much variation in velocity because it is driving the beat. Ah, so what you can do is to add a couple of notes to spice up the 44 rigid pattern. All right, so let's add a couple of notes to spice it up. Here. We can add one, used the pencil to and just click here. Let's add one here on. Put it even closer to the next bar on DA you can. Let's use another editing feature left click on this whole down. The old key and drag do the left and we have a duplicate. It sounds like this, right? And now for the kick drum. Let's Onley change the velocity values off these added notes. So we had this one here. It's on 100. Let's put it on 70 and this one over here as well. 70 So it's a bit softer in the change. Now let's move on to the snare drum and add some extra knows because it's only place on every third off each board at the moment, as you can see up here. But I actually want to keep this marked ah, accent with the snare on the third of each bar. So I'm only going to add a little filled with a snare at the end of the phrase, and this is very common to do with drums, so I'm going to add a couple of notes, have them lower in velocity. Let's listen to the ending like that and finally the high. It's the clothes, tires and the open Hyatts, and here's a tip for you. They hire the peach, the instrument editor s ah, like thes high hats, the more variation you can create in the rhythm so and also the velocity values. So let's start by first actually deleting some off the notes because music also needs some air so it can breathe. So I'm just going to delete some notes randomly here to spice up the rhythm. I don't want to delete the accents, which you can see because I have ah, more notes on that specific part. But I want to have some variation. Let's see how this sounds like that was too close tie. It's quite interesting, in fact, and you can try things as you wish to use the Jew picket method for the open high. Yet let's move in open higher to that space. Ah, let's. In fact, you don't need ah to mark every beat the same. So it's ad one, Let's say here and remove that. In fact, to add some variation in which notes you mark with an accent. And you know, Mark, let's listen to have these sounds, so that's much more interesting now. But we also need to vary the velocity values because it's still sounds very static. Um, so let's say you want to edit this one. All of them are 100 velocity to start with, because I use the manual mouse writing method. So let's say this one. Want to have it? 90. This want it? 70. These want it 50. Let's Ah, show the same for the clothes tights with salt with a marked date than going down to 50. This one can also be 50. Was this one on this one? So I'm just going to show that in the early part of this beat, let's listen to it so it's much more dynamic this way. You can even move the velocity value often. Let's say an accident like this 1 to 120 and this one this will and move some of these even lower. Let's see what happens now. Let's delete these, in fact, so we can copy the high. It's to the rest of the porch. Hold on your left mouse button and the old key on a computer keyboard on do the same for this. As you can see, this is a very fast way to edit, So learn the duplicate method so you can use it to efficiently edit your meeting with Let's listen to how it sounds now. So as you can hear now, we have more very variation in the beat by adding duplicating the leading some notes as well as more variation in the velocity, as it can also see down here. All right, so now we are ready to move on to the next port where I will show how to edit the base. I'm Mike, and I'll see you in the next video. 4. Live Demo Part 2: it is now time to edit the bass track for this project. Let's begin for the base. I recorded the baseline with a meaty keyboard to get a more live groove and vibe. This means that the notes have variation in timing, length and velocity. In some cases, the variation gets a bit too much, so mediating on live recorded ports usually need some corrections and polish ing to tame the performance. So let's move on to the bass track now. I was so low that and let's listen first to have itself sounds like I play that pretty tightly, so I don't know if we need to. You said that much corrective mediating in timing. But let's say I have played this note to be Let's turn off the snuff feature there. Let's listen to with the click in here. It sounded out of time. So in this case, I don't want to use quant izing to align all these notes to the grid because I want slight imperfections in timing to add to the groove and human feel off this performance, especially when you play in things, live for base and leads reefs at so tetra it works very well to have some slight timing variation. So then you can instead use corrective editing without snapping to drag it closer to the grade. But not entirely. But they wanted slightly early like that, and it still sounds tight enough. So let's say I wanted to use quote icing. Then you just select all of these notes and apply quant ties to whatever agreed value want and all notes or perfectly in time with agreed. But let's undo that, because I don't actually like that. Ah, especially on base. So I'm going to just some note lengths in this performance. In fact, I don't want that much of a gap in between some of these notes. I will use it with snapping off so I can simply drag this closer and this one as well, in fact, so it overlaps a bit even and over here as well. And over here on here so we can now listen to how it sounds with less of a gaps between the notes here as well that gets read off the abrupt feel that you get when you have gaps between notes, because I want the base to sound smooth and flowing then I also want to adjust some of the velocity values, especially for these shorter notes, so we can simply turn both of these style of it. Let's say to 80 and then you can see they are lighter, which means they are softer and velocity. But you don't want Teoh at too much velocity information in lower pitched instruments like bass kick drums, low percussion, etcetera because, ah, it creates too much mud in the mix because you want the low end to be very clear and focused. So let's listen to how these sounds now. In fact, that was too much of a variation velocity. So let's go up again to 90. That's always with media editing. There is basically only two things you should focus on. One is corrective editing. So, for example, adjusting the timing of knows as I did hear adjusting wrongly, played notes to another pitch or even deleting notes that you played accidentally when you recorded. And number two is creative editing, which can mean adjusting the note lengths as I did to get more flowing and smooth performance. It can mean adjusting velocity values to get more dynamic interest in variation in the performance. Ah, and even automating. Ah, some meaty parameters, like modulation and so want to add even more dynamics into the part. One final thing I have done also is to move some of the notes to be slightly before the beat, instead of slightly off the beat, which some of the notes were before eso with me. The editing had just turned off the snap feature and dragged some of the notes manually. And it's actually very common for lower pitched instruments like bass, for example, to be rushing the beat, which means they're notes being played slightly before each beat. Great. Now let's move on to the final demo, where I will edit the court track on piano I Mike, and I'll see you in the next video. 5. Live Demo Part 3: it's now time to edit the core to track off this project played by a piano. Let's begin on on for the Piana port are used the method off importing mid eclipse to create a core progression. These specific media clips have all notes on the same velocity values. The courts are also all in route position, and all cords have this same note length. This creates a court progression that has perfect timing but sounds pretty boring and simple. So we need to do some media editing again to spice up the court progression. So, as you can see here on the courts track, each off the courts in the corporation is in fact a separate clip because we use the meaty A clip import feature to actually create and arrange this court progression. So what we need to do first is to select all these clips and then joined them together. So in this D A W. You just right click and use join eclipse, but you need to find out where you do that in your DW. Join them so they are only one part double picks to go into editing mode. Let's start with some creative Imedi editing to spice up the very rigid and boring called progression. The first thing I recommend to do with core progressions is to make the court changes feel more smooth and cool. Changes are smoother if the notes are closer together to each other on this is when you can use chord inversions to make a variation or record. Ah, that is more closely connected to the previous cord and what is a chord inversion. So basically, you have these knows here, but you can move any off these notes, an octave up or an octave down, and it will still be the same notes in the cord just in different octaves. So as you can see, if we move this notes up in octave, it will be more closer to the previous a top note of the cord. So if we use the transposed feature, move this up 12 semi tones, which is a full octave and you can see it is actually the same note as the top note off the previous cord. So let's listen before so no the piano. And now move this up in Octave, which will create an inversion off this cord as you can see much smoother, and you can do this for every chord in your court progression like, for example, this one up in octave on this one. And this one is pretty close to the previous. So let's listen to the core progression now. So the core progression sounds smoother now, But it's still pretty boring because, as you can hear, it's only long sustained notes. So let's do some creative, immediate hitting to add some interest. I want to start by using the racer tool here to split some clips, and in fact, you did to make sure you have the snap feature now so you can split the clips on the grid. So let's start by splitting the middle. Note off these cords. Let's see on there. Let's listen to have that sells. So that's simple change made it much more interesting. Another thing that works great for corporations is adding a note before a new court that works as a leading note to the new chord. This will make the court change feel more smooth, a lot more interesting, so we can do that by using the pencil to and adding a note, and you should start by trying notes from within the scale that usually works best. So. But see, we haven't no tear. I want to reduce the velocity. Teoh. That's a 60 so it's a bit softer than the other notes there. Let's test that. Let's do one over here as well, and I'm using the duplicate. No trick here because I really want to keep the velocity level soft. Let's see right solicitous into that. Let's remove the click. All right. Now I want to show you a little secret. I have Teoh form a basis of a melody or help or guide the lead melody of your track by using a note on top off the court progression. And this technique works because our ears mainly listens to and focuses on the higher pictures or higher notes. So if you have this court here, this note is the one you hear the most. And how can you add notes here? Well, either you can choose one of the notes from within the courts, which is a great starting point, or you can simply use any note from within the scale. But I like Teoh start out with the chord progression so Let's start with this. A here used to duplicate note method. Okay, so a three going up to a four and let's say you want to have that on half a bar. Listen again. This is a note to hear the most. And then let's say you want to go to this G here, er, but use it for half were recorded notes. Then let's use these leading note, which is only be so Let's listen to this Asik. In here we are starting to fall a melody from the chord progression on This can be a great way to use as a guide for your real melody, because after you have completed this for the entire sequence, you can simply could be these notes and paste into the lead instrument. Track you juice. If you use a media track, that is now, let's listen to the final result. After media editing has been applied and before me The editing. This is how the track sounded. As you can hear, the difference is like night and day, and now that you know this, remember to always use creative, thoughtful as well as corrective media editing on all your ports, whether you roll them by mouse by recording on your media, keyboard or controller all by importing mid eclipse right into your sequencer. And when you get more advanced, you can add automation off modulation, expression, seen filters, etcetera in the MIDI editing process. Amazing. Now you have learned more about MIDI editing from a practical live demonstration. I'm on IQ and I'll see you in the next video. 6. Mike's Bonus Tips: in this video, I'm going to give you my best bonus Tips for media editing Tip one Master the grid in music production in a. D. W. The greed is basically the timing of your notes and events. The highest greed value is a full bore. Then there are divisions of a bore. Each division is half in length compared to the previous one. The one bore becomes 1/2 bar, then those are divided into quarter notes. Next is eighth notes and someone. You will change the greed value of lot when working with different tracks and ports in your projects to my tip is to get familiar with the greed as much as you can learn how to quickly change the great value in your D. W, preferably by using keyboard shortcuts, because it will save you a lot of time. Tip to master rhythm music production and editing is very dependent on your sense and knowledge off rhythmic values. You should instinctively feel what greed value to use when Kwan ties ing and aligning midi notes and how to program the rhythms you want in the editor without having to spend a lot of time testing and messing. To get to your final result, I recommend practicing by programming drum and percussion ports in all kinds of rhythms. You can also use a metro gnome to practice getting a feel for different rhythms. Tap your foot to the beat. Count out loud as you listen. Use your fingers to tap the beat on a table, anything that will help you develop your rhythmic sense. The goal for you is to know beforehand how a specific programmed rhythm will sound like Tip three. Focus on dynamic variation. Music is best when it has that human character, which comes from dynamic variation in the performances and ports. You should therefore, spend lots of time in media editing to add variations in all parts of your productions. Avoid having every note perfectly quant, ized. And even if you have quoted ization set up on a port, most D A. W's allow you to add a slight drift to your meeting notes, either having them hit a bit early or a bit late. In musical terms, this is often referred to as rushing and dragging. I advise you to get familiar with that as well. Tip for the keyboard shortcuts for media editing keyboard shortcuts is essential for the workflow off music production, but especially, editing demands a lot off repeated actions. So I really recommend you to look up the keyboard shortcuts for the actions you use. Often, media editing is something you will spend a lot of time with when you produce music. So as you learn the essentials and try out advanced editing, make sure to write down the workflow off each editing feature as well as the keyboard shortcut for every action. Your goal is to make every editing action become second nature to you almost like a reflex . Do you want to spend time on the creative side of music production and have the workflow of the technical side as smooth and fast as possible? I, Mike and I'll see you in the next video. 7. Your Project: well right now, it's time for you to take action, Which is always the best way to learn your project is to use several media editing features to add interest and variation to one of your projects. Make your track have more character using MIDI editing. Let's do a recap first. Here are some mediating features You should practice one quanta izing notes to different great values to moving, deleting and duplicating notes. Three. Changing note lengths for changing velocity values. Five. Transposing individual media notes, as well as complete media ports and six editing meaty automation parameters. And here's your guy to complete this project one. Start by creating a project in your D aaw with three tracks Brahms, piano and bass to create an eight board composition with these three tracks and make it simple to start out with. And three used the power off media editing to enhance these tracks. In the editing stage, I might wishing you good luck with your media editing adventures because you broke my friends