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VOICE 3 types of defined CCs Control Changes

VOICE 3 types of defined CCs Control Changes. Continuous controller 0-63 Switched 64 - 95 Data Increment/decrement 96-97. Controller numbers 120-127 are reserved for Channel Mode Messages , which rather than controlling sound parameters, affect the channel's operating mode. RPN LSB/MSB

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VOICE 3 types of defined CCs Control Changes

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  1. VOICE3 types of defined CCsControl Changes Continuous controller 0-63 Switched 64 - 95 Data Increment/decrement 96-97

  2. Controller numbers 120-127 are reserved for Channel Mode Messages, which rather than controlling sound parameters, affect the channel's operating mode.

  3. RPN LSB/MSB Registered Parameter Number. A pair of MIDI Controllers are used to select each specific parameter number NRPNs are specified by Controllers 98 and 99 RPNs are specified by Controllers 100 and 101

  4. RPN LSB/MSB Registered Parameter Number (MIDI SPECIFIED). The current MIDI standard specifies five RPNs 1.Pitch Bend Sensitivity 2. Fine Tuning 3.Coarse Tuning 4.Tuning Program Select 5.Tuning Bank Select 4 and 5 parts of the MIDI Tuning Standard, which is not widely implemented

  5. NRPN LSB/MSB NON-Registered Parameter Number. NRPNs are "non-standard" meaning that any synthesizer could do whatever it wants with a given NRPN based on manufacturer programing

  6. MODES Channel Mode (CM) messages are the second type of messages that are MIDI channel specific (voice messages previously discussed). Instead of controlling a voice (sound), CMs control the MIDI device.

  7. Mode messages split into two groups:

  8. Group 1 oAll sound off oReset all controllers oLocal control on/off oAll notes off

  9. Group 2 oOmni on oOmni off oPoly oMono

  10. Mode - Group 1 • CM (mode) 120 All Sound Off This message sends 128 note-off commands to a specific MIDI channel.

  11. Mode - Group 1 • CM 120 All Sound Off The all notes off message (CM 123) is better to use to silence all notes on a MIDI channel...all sound off is effective for silencing MIDI capable effect units such as reverbs, delays, etc.

  12. Mode - Group 1 • CM 121 -Reset All Controllers This message resets all continuous controllers as well as pitch bend and aftertouch to their normal states.

  13. Mode - Group 1 • CM 122 Local on / off When a MIDI synth is set to local off, the keyboard is separated from the sound generator. It becomes just a controller.

  14. Mode - Group 1 • CM 122 Local on / off Typically, local -off is turned off on the keyboard itself (usually found in the keyboard’s global menu – see the manual).

  15. Mode - Group 1 • CM 122 Local on / off CM 122 can be sent from the sequencer to turn local-off remotely. This is handy if this command is recorded into the first beat of the sequence.

  16. Mode - Group 1 Local off Cont. To record local on/off messages, put the sequence into record and then switch the local to off on the keyboard.

  17. Mode - Group 1 Local off Cont. Be sure to quantize that measure to whole note to move the message to the first beat.

  18. An old trick to thicken the sound of a keyboard was to connect its MIDI Out to its MIDI In. This caused the notes to be played twice since local was on, thus the sound was doubled or chorused (this also cut the polyphony in half).

  19. Mode - Group 1 • CM 123 All Notes Off This message sends 127 note-off commands (one for each MIDI note). This is effective when notes become hung-up and continue to play after the sequencer has stopped.

  20. Mode - Group 1 • CM 123 All Notes Off Note: this shouldn’t be used as a substitute in cases where note-off or sustain-off commands haven’t been recorded.

  21. Mode - Group 1 • CM 123 All Notes Off Some early MIDI keyboards automatically send this message when no notes are being played.

  22. Mode - Group 1 • CM 123 All Notes Off This can be disruptive when sequencing. In this case, the sequencer may have a filter that will filter out all notes off messages that come from the keyboard.

  23. Mode - Group 2

  24. Mode - Group 2 • CM 125 Omni Mode On This message forces the MIDI device to respond to any and all MIDI messages, regardless of the MIDI channels they are for.

  25. Mode - Group 2 • CM 125 Omni Mode On In other words, the device will try to do anything that comes into its MIDI-in port.

  26. Mode - Group 2 • CM 125 Omni Mode On 1 2 3 4 5 6 7 8

  27. Mode - Group 2 • CM 126 Mono Mode On This CM forces the receiving unit to play only one note at a time per MIDI channel (no chords).

  28. Mode - Group 2 • CM 126 Mono Mode On This is best used when using a MIDI guitar since each string can usually be set to a different MIDI channel. The tone module will play only one note per string.

  29. Mode - Group 2

  30. Mode - Group 2 • CM 127 Poly Mode On This channel mode is the most commonly used mode. It forces a unit to respond polyphonically (specific channels) to MIDI channel specific input.

  31. Mode - Group 2 • CM 127 Poly Mode On 1 2 3 4 5 6 7 8

  32. MIDI MODES Combining the channel modes of group two creates MIDI modes.

  33. Reception modes These combinations are referred to as reception modes.

  34. Reception modes The first half of the mode tells how a MIDI device will monitor incoming MIDI channel messages.

  35. Reception modes The second half dictates how the MIDI device will play the notes coming in.

  36. MIDI MODE 1 Mode 1: Omni On, Poly The device plays all notes regardless of MIDI channel up to the polyphonic limit of the MIDI device.

  37. MIDI MODE 2 Mode 2: Omni On, Mono All note information is played, but forced into 1 note (this is rarely, if ever, used).

  38. MIDI MODE 3 Mode 3: Omni Off, Poly Messages are played on the specific MIDI channels they have been assigned to using as many notes as needed (up to the polyphony of the unit).

  39. MIDI MODE 3 Mode 3: Omni Off, Poly This breaks the MIDI device (if multi-timbral) into smaller a number of specific polyphonic synthesizers.

  40. MIDI MODE 3 cont. The number of sound generators in a device is determined by the multi-timbral capabilities of the device.

  41. MIDI MODE 3 cont. An 8-part multi-timbral device will function like 8 synthesizers. A 16-part multi-timbral device will function as 16 synthesizers. This is the most common MIDI mode setting.

  42. MIDI MODE 4 Mode 4: Omni Off, Mono Each MIDI channel plays only one voice at a time. When a MIDI message starts a new note, the device will stop playing any previous note, even if a note-off command hasn’t been received.

  43. MIDI MODE 4 cont. Mode 4: Omni Off, Mono This is the usual mode used with guitar synthesizers for the reasons stated in the description of mono-mode. MIDI devices that are built specifically for MIDI guitars are usually 6-part multi-timbral, one sound generator per string.

  44. SYSTEM MESSAGE Unlike Channel Messages, System Messages are not MIDI channel specific.

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