That's because patch #1 on the DX-7 is not a piano - it's a trumpet sound. They play the MIDI file on that DX-7, and suddenly, the piano part is playing with a trumpet sound. He takes that MIDI file to a friend's house. He has a piano track, so he puts a program change event at the track's beginning to select patch #1, which happens to be a Piano sound on his D-10. ![]() So, this musicianĬreates a MIDI file using his D-10. So, any program change event in a MIDI file refers only to a patch number as well - not the actual patch name. Patch numbers, so every manufacturer used his own discretion as to "patch mapping".īut the real problem was with MIDI files that the musician made. The MIDI 1.0 specification did not require that particular sounds be assigned to particular So if patch #1 on the DX-7 is a trumpet sound, then that's what he gets on the DX-7, despite the fact that selecting patch #1 on the D-10 yieldsĪ piano sound on the D-10. a trumpet? How did this happen? Well, it happened because MIDI sends a program change message that contains only a patch number - not the actual name of the patch. ![]() He selects the patch labeled "Piano" on the D-10, and he plays the D-10 keyboard, and on the DX-7 he hears. One typical scenario may have been as follows:Ī musician attaches his Roland D-10 to his Yamaha DX-7, because he prefers the front panel of the D-10, but prefers the sound of the DX-7, and he wants to use the D-10 to "play" the DX-7. MIDI 1.0 specification had overlooked some important concerns. Musicians started to attach these instruments via their MIDI ports, and quickly discovered that the After the MIDI 1.0 standard was finalized in the early 1980's, numerous musical instruments with MIDI jacks appeared
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