When you go from one platform to the other it makes things quite complicate when you want to check the octaves of a peculiar note.
C4 is certainly good, but since it doesn’t seem like there is a way of changing the middle C in Cubase to make it C4, is there a way to change the middle C in Dorico for it is called C3? Just to have the same scale between both platforms?
Yamaha DX7 was the first successful synth that used MIDI and of course popularized it.
It counted its keys in the “normal people” way, starting with 1 (and not with 2, or 0 or -1). This way the complete keyboard range was a very neat and easy C1 to C6, and it made C3 the middle C. And I guess it stuck, at least for a while.
“Professor Smarts, what caused the fall of human civilization in the 21st century?” “Well, my students, they couldn’t even agree on how to count the notes on a piano…” "Until finally the ancient kings ‘Google’ and ‘Facebook’ took it upon themselves to rewrite all content in the way they saw fit, finally settling on ‘C4’. Some question whether the Google really existed or if the tale is a later addition by the “Monks of the Half-eaten Fruit.”
C4 was the convention until Yamaha screwed things up. I’ve lost a few hours to frustration over this since starting to record in the box in 1998, just a few. But the cat’s out of the bag now…although C4 is the standard in my studio, every once in awhile I’ll come across a developer who obviously bought a DX-7 in high school and can’t let go of C3. Hey, our differences are what makes life interesting.
Logic Pro defaults to middle C as C3 (Yamaha) [Logic’s parenthesis], with an option for C4 (Roland). C3 drives me mad so I change Logic to C4. I’m surprised Cubase doesn’t have an option for that. In any case, middle C is always MIDI note No. 60 whether it’s C3 or C4.
Hmm I actually thought it was the other way around, perhaps wrongly… Before MIDI, middle C literally meant the middle C of a given keyboard size or instrument range. That’s how I personally was taught to find it as a kid. And comparing the ranges of some instruments it probably makes more sense like that for both players and teachers. It’s more likely Yamaha simply continued in that vein.
I speculate it was the discrepancy between this tradition and MIDI numbering based on a huge theoretical keyboard length that led to the standard for C4.