Basic audio engineering - USB-MIDI cable, y adapter, stereo/mono/TRS/TS understanding

Background

I had decided to purchase a USB-MIDI cable online, and I was delighted to find a cheap one costing < $5.00: http://www.amazon.com/gp/product/B001LJUVO4/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1. When it came, no setup was required other than plugging it in. It seemed to work well, transmitting notes from my keyboard (a Yamaha P95-B) to GarageBand. 

But the problem came when I depressed the pedal: The software did sustain properly, but it also registered a blatant E note. The E note is unacceptable for me because I use the pedal often when I play piano, and it completely interferes with whatever I'm playing.

Consequently, I searched online for a solution. It seemed many people had had this issue: "Pedal plays an E???" (Apple discussion thread). Unfortunately, there was no clear answer. When I search for solutions online, I try to find multiple sources that describe the same answer - not only to get multiple perspectives for more information, but also for higher confidence in the solution.

Some people in stores suggest the problem is on the software's side, or the keyboard's side, or the pedal's side. This is possible, but in this specific case of the pedal playing an E note but also doing the sustain properly, I have found the issue to be in the specific cable. 

One answer in the Apple discussion at https://discussions.apple.com/thread/3122897?tstart=0 describes that the cable is the problem, too:

Well, my problem has been solved.

I coughed up AUD$49 and bought a branded USB-to-MIDI cable and the sustain problem has disappeared.

But there's no explanation for why a more expensive MIDI-USB cable might solve the issue for people in general. So I called Yamaha to ask about the keyboard, and see if it was truly the keyboard's problem or the cable or something else. This is what I learned:

Solution

Basically, there are 2 kinds of MIDI cables: "class compliant" and "proprietary." Class compliant are the cheaper ones, typically $3-15. These can work for basic use, but they lack support for the appropriate drivers, so they may behave erratically, playing arbitrary notes or not registering sounds at all. Proprietary ones are more expensive, usually >$40. These support the appropriate drivers.

To set up proprietary MIDI cables, you must ensure your computer has the proper drivers; if not, go through an install process to obtain them. For Mac, that amounts to simply downloading the right driver from this site: http://download.yamaha.com/search/detail/?site=usa.yamaha.com&language=en&category_id1=16277&category_id2=16279&category_id3=16298&product_id=107905&asset_file_language=EN&asset_id=57163. He said that the "UX16 USB MIDI driver" would work for me.

In summary, the problem was that the cheap cable that I had ordered lacked the proper driver support to interpret the pedal properly. According to the Yamaha support person, proprietary MIDI cables have proper support for these drivers, so buying a proprietary MIDI cable, which is more expensive, and then downloading the right driver on your computer is likely to solve the issue.

Why get a MIDI-USB cable to begin with?

My friend on the phone was of the talkative type, and he went into much more detail than I had anticipated. I'm grateful he did so because he actually helped me solve a bigger issue in my plan to record better music with my keyboard.

The whole reason I wanted a MIDI-USB cable was to record my keyboard playing more precisely. However, MIDI-USB cables don't transmit sound; they just play an existing sound on the computer in the GarageBand or Logic Pro library. The quality of the sound file may be better depending on the library of sounds available, so Logic Pro's library may sound better than GarageBand's library. But the point is that since no sound is transmitted through the cable, the nuances in piano playing are lost - you know, that expressive musician stuff. Granted, MIDI provides lots of benefits. The notes are editable in digital audio workstations (DAW) like Logic Pro, and you can change the instruments easily after recording. But for me, the nuances of music are more valuable, and I intend to record songs in one go and with minimal editing with a DAW anyway.

Understanding terminology

After explaining that I have a Scarlett 2i2 interface by Focusrite (http://us.focusrite.com/usb-audio-interfaces/scarlett-2i2), which accepts 2 inputs, he gave me this recommendation:

To keep nuances of the keyboard, I should get a Y-cable. Specifically: "a Y adapter/cable with a stereo miniature male on one side and a mono 1/4 inch male on the other side." I didn't know how to interpret this initially, but after asking around and reading, it's not so difficult.

• male refers to the pointed end of a cable; female refers to the hole/receiving end of the cable.
• 3.5mm (about 1/8 inch) is the common size for plugs into laptops and mp3 players. Think Apple earbuds or the typical headphone jack of a laptop - that's 3.5mm. 1/4 inch is the larger size for lots of audio equipment.
• So, by "miniature" he probably meant 3.5mm (1/8 inch), since 1/4 inch is probably the standard among audio engineering.
• I had told him I had a way to connect my regular headphones to my keyboard, so this is probably why he said "miniature". But my method requires using a converter from a 3.5mm female (F) to a 1/4 inch male (M). So, getting a 1/4 inch on both sides for the cable works better because then I don't have to use the converter.
• The converter is like this Hosa GPM 3.5mm TRS Adaptor.
• There are two types of sound systems: mono and stereo. 
• From http://www.diffen.com/difference/Mono_vs_Stereo:
• Stereo (or Stereophonic sound) is the reproduction of sound using two or more independent audio channels in a way that creates the impression of sound heard from various directions, as in natural hearing. 
• Mono (Monaural or monophonic sound reproduction) has audio in a single channel.
• Since stereo reproduces sound in 2 independent channels, it makes sense that the y-adapter splits off - the end with one part is the stereo side, and the end with two parts is the mono side.
• You can differentiate Stereo and Mono by looking at the number of stripes on the metal part. The stripes are insulation; the metal contact bands are the channels, with one extra for ground. So 2 metal bands means mono, and 3 metal bands means stereo. This explains those TS/TRS abbreviations we see on lots of cables/converters.
• TRS = tip ring sleeve = names of 3 metal parts = stereo
• TS = tip sleeve = names of 2 metal parts = mono

Finally, this is the cable I ended up ordering: http://www.amazon.com/Hosa-Cable-STP203-Dual-Insert/dp/B000068O1P/ref=cm_cr_pr_product_top/190-6296940-4917419. You can see the metal bands right in the picture.

The 1/4 inch stereo side fits into my Yamaha P95-B's headphone jack, and the two 1/4 inch mono sides fit into my Scarlett 2i2 interface's two inputs. They work great.

Diagram of how to connect

(Scarlett 2i2 Interface here)

Mono 1/4 inch male 

Input 1 Input 2 - make sure to switch both to *Line input mode!* 

\                 / 

 \               / 

   ---------- 

          | 

Stereo miniature male 

(Keyboard here)

Then I can put headphones into the Scarlett and listen to myself play as I record.

limitation

suddenly, the flute seems like a limitation; a case of glass around a greater creativity trying to shatter through.
the limits of tone and sound bounded by this invisible barrier, muting a beauty bashing its head on the transparent solid, feeling the endless smoothness mask it's explosive - but inert - possibilities.

Improv on piano - how do you combine both hands and guarantee it sounds good?

Theory is amazing (in music, math, anything...): it lets you be lazy.

Know the key/basic chord progression, and play within it as the melody moves along. Simple as that.

The recipe for making up a piano rendition of a pop song:

Basic Chord/Key Progression + Ability to play melody by ear with few/0 mistakes + Creative movements within the current key

Basic music theory helps then - knowing your scales and chords and arpeggios and whatever.

Simple is good. Something that feels dead simple, like an arpeggio in the left hand while you play the melody in the right, sounds beautiful to most other listeners. And it should sound beautiful to you - when you realize how such a simple mechanism can yield such beautiful music.

Improv Tips

the key: standards. we go into it with too high expectations of how great our improv should be.

strategy: restrict yourself to only play a few notes, say the notes of the dominant seventh. ex: F, A, C Eb.

improv doesn't have to be complex or fancy - the simple tunes, even using only a few notes, can be impressive without the performer even realizing it.

over time expand your range of notes.

standard jazz notes to improv on ex: Ab, Bb, C, D, Eb, F, G, Ab, Bb...

Flute piece position to reduce wrist pain

I found that my left wrist had been hurting more and more after holding the flute for a while. It turns out (according to http://www.jennifercluff.com/lineup.htm#align) a good number of professional flute players recommend aligning the flute mouth piece in this manner:

"align the far side of the embouchure hole (the striking edge, where the air splits) with the center of the flute's keys."

In my case, my flute has a little arrow/notch indicating the center of the flute keys (highlighted in yellow here):

This is new to me: my mouth piece used to be tilted farther away from my mouth, making my left wrist strain uncomfortably. I had no idea for so long =/. This way, the wrist doesn't have to bend as much.

(Also I feel like I can hit lower notes better now...)

Keep in my mind, as the article linked above says, that this is recommended for most flute players, but doesn't apply to all; it depends on "the formation of the lips, chin, hands, arms and the level of the player's development."

But it works for me.

singing techniques: word painting, overtone singing (octave, perfect 5th, then 4th - oscillates, hard to control, like wind chimes)

Portal

Just finished Portal, one of the games I've heard of for the longest time. It's nice to finally set aside time to play it. 

The story has lots of meaning: It makes us question the morality of what we do in the name of science. Creating weapons for those still alive. Is it okay to kill others to improve our knowledge of science?

The crude humor is intriguing too... stories.

Amazing how music can capture a moment.

This reminds me of the post I had about the stigma of video games when they can be very meaningful and engaging stories just like books.

"Difference is the Differences" by George Watsky

Catchy song that got stuck in my head recently...

His lyrics incorporate so many allusions - I find it really impressive. And his meaning is remarkably cool too - I feel that I'll never be able to dig up all the meaning from his works.

The difference is the differences I've got? I think that makes sense. There's a point when all the small differences you possess create you, someone who, as a whole, is just so different from everyone else. There's a point when miniscule distinctions lead to qualitative differences that engender individuality. Uniqueness.

A level of art not understood

I encountered an interesting pianist during a TEDx event I attended back during my first year of college.

He began his story saying that the tones of the piano - the sounds he heard - weren't enough for him after decades of mastery. He wanted more from between the notes, from between the C and C#, the A and Ab.

So he manipulated the piano.

The piano I saw was so strange - contraptions inside, padding here and there - it seemed like a violation of the strings of the piano. The strings were altered such that he got what he wanted - a variety of new sounds. A new world of art to explore.

It was stimulating hearing about his feelings toward the piano, toward music, but I felt bothered when he played his own songs on his modified piano. What he called music sounded like noise to me.

I realized later that he reached a level of art that he alone grasped and that stimulated him but not others. Most others could not understand or appreciate his music. I've played piano for over a decade, and I couldn't find any sense of awe or wonder in his music. It was just noise to me.

I write because I wonder about this level of art - and its implications. To reach something as this man did must have felt fulfilling for him, but it led him down a path of intrinsic value, where few others could appreciate what he was doing. Some might call it insanity. Situations like this create this divide between practical enjoyment and aesthetic value... his work became a pursuit for him, but not to the benefit of many others. His work became a pursuit that only someone who was truly dedicated to the art could follow. A pioneer in his field, I guess - one that might not be appreciated immediately.

It reminds me of a quote... "To be great is to be misunderstood." -Ralph Waldo Emerson

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