MIDI controller Setup / Debug

Started by Elantric, January 25, 2011, 06:19:33 AM

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Elantric







https://www.bome.com/products/sendsx

Perhaps we need a tutorial on the "workflow" for setting up MIDI controllers!


1) You will need a MIDI Controller that transmits MIDI Commands  - like a Roland FC-300,KMI Softstep, FCB-1010, VooDoo Labs Ground Control, etc. Old Floor FX pedals may be re-purposed as a MIDI floor controller too. (VG99, FC-300, GR-55, GP-10, Vox Tonelab SE, Line6 XT Live, HD500, etc)   Some are more versatile than others. Many other types of music gear today can be used as MIDI Controllers, look for one that can generate the MIDI messages you need for the task at hand. Even an Ipad can be used!
MIDI Foot Controller Comparison
https://www.vguitarforums.com/smf/index.php?topic=12355.msg566#msg566


2) You will typically require the full MIDI specifications for both your source controller and your target device you wish to Control, and have a known set of MIDI Continuous Controllers ( a.k.a. MIDi CC#) that you have pre-assigned in the user configuration settings of your target device.
VG-99, GR-55, GP-10 all responds to MIDi CC# commands  - after the user to makes personal MIDI CC# Control Assignments for a range of user tweak-able FX parameters ( i.e. Delay on/off, Delay Time, Tremolo Speed, Reverb depth, etc.)

But its important to know the MIDI Manufacturers Association has developed a MIDi CC# Specifications with the goal that cross platform third party gear has a basic set of MIDi CC# assignments - these are the suggested use for each  - but many types of gear do not support the list below and simply ignore it - so its not a global rule and very few products support ALL the MIDI CC# listed below

MIDI CC# number and Description
http://www.midi.org/techspecs/midimessages.php
0 Bank Select (MSB) (followed by cc32 & Program Change)
1 Modulation Wheel
2 Breath controller
4 Foot Pedal (MSB)
5 Portamento Time (MSB) Only use this for portamento time use cc65 to turn on/off
6 Data Entry (MSB) if you follow cc100=0 & cc101=0 this is pitch bend range
7 Volume (MSB) Note: CC7 and 11 both adjust the volume. Use cc7 as you would the control on the amplifier - set it and leave it at the beginning of the MIDI track
8 Balance (MSB) Some synths use it
9 Undefined
10 Pan position (MSB)
11 Expression (MSB) Note: CC7 and 11 both adjust the volume. Use cc11 for volume changes during the track (crescendo, diminuendo, swells, etc.)
12 Effect Control 1 (MSB)
13 Effect Control 2 (MSB)
14 Undefined
15 Undefined
16 Ribbon Controller or General Purpose Slider 1
17 Knob 1 or General Purpose Slider 2
18 General Purpose Slider 3
19 Knob 2 General Purpose Slider 4
20 Knob 3 or Undefined
21 Knob 4 or Undefined

22-31 are undefined, available for use by synths that let you assign controllers.

32 Bank Select (LSB) (see cc0)
33 Modulation Wheel (LSB)
34 Breath controller (LSB)
36 Foot Pedal (LSB)
37 Portamento Time (LSB)
38 Data Entry (LSB)
39 Volume (LSB)
40 Balance (LSB)
42 Pan position (LSB)
43 Expression (LSB)
44 Effect Control 1 (LSB) Roland Portamento on and rate
45 Effect Control 2 (LSB)
46-63 may be in use as the LSB for controllers 14-31 in some devices, but I have not seen one yet.
64 Hold Pedal (on/off) Nearly every synth will react to 64 (sustain pedal)
65 Portamento (on/off)
66 Sustenuto Pedal (on/off)
67 Soft Pedal (on/off)
68 Legato Pedal (on/off)
69 Hold 2 Pedal (on/off)
70 Sound Variation
71 Resonance (aka Timbre)
72 Sound Release Time
73 Sound Attack Time
74 Frequency Cutoff (aka Brightness )
75 Sound Control 6
76 Sound Control 7
77 Sound Control 8
78 Sound Control 9
79 Sound Control 10
80 Decay or General Purpose Button 1 (on/off) Roland Tone level 1
81 Hi Pass Filter Frequency or General Purpose Button 2 (on/off) Roland Tone level 2
82 General Purpose Button 3 (on/off) Roland Tone level 3
83 General Purpose Button 4 (on/off) Roland Tone level 4
91 Reverb Level
92 Tremolo Level
93 Chorus Level
94 Celeste Level or Detune
95 Phaser Level

It's probably best not to use the group below for assigning controllers.?
96 Data Button increment
97 Data Button decrement
98 Non-registered Parameter (LSB)
99 Non-registered Parameter (MSB)
100 Registered Parameter (LSB)
101 Registered Parameter (MSB)

It's very important that you do not use these no matter what unless you want to invoke these functions
120 All Sound Off
121 All Controllers Off
122 Local Keyboard (on/off) You might actually crash your keyboard if you use this one.
123 All Notes Off

You typically don't want your synths to change modes on you in the middle of making a song, so don't use these.
124 Omni Mode Off
125 Omni Mode On
126 Mono Operation
127 Poly Operation

GR-55 MIDI CC# Assignment Info
https://www.vguitarforums.com/smf/index.php?topic=4006.msg34962#msg34962

GR-55 MIDI CC# Assignment Walk Thru
https://www.vguitarforums.com/smf/index.php?action=downloads;sa=downfile&id=79

GR-55 MIDI Implementation
https://www.vguitarforums.com/smf/index.php?topic=4422.0


VG-99 Complete MIDI Implementation
https://www.vguitarforums.com/smf/index.php?topic=2968.0

Boss GP-10 MIDI Implementation
https://rolandus.zendesk.com/attachments/token/9DpnoVeDSj9pFGUAepOpoTthq/?name=GP-10_MIDI_Imple_e01_W.pdf


3) The next crucial item you will need is a MIDI Monitor, which you connect  to the MIDI Output of your MIDI Foot Controller,( From Step 1 )  to verify  / debug the correct MIDI Event data types and values are actually being transmitted by your foot controller for each pedal.

In my case - I use an old  Terrasonde Audio Toolbox, or ipad/Android phone running a MIDI Monitor app set to measure / read / monitor and display real time MIDI Data .Event packet types emerging from the MIDI Foot Controller I'm attempting to program - I will determine if I'm sending the correct  / intended MIDI Note On/Off commands, MIDI CC# values, and Pitch Bend range data  - ON THE CORRECT MIDI CHANNEL # for my target MIDI controllable audio device I'm trying to control. Its a versatile tool!

http://mixguides.com/studiodesign/reviews/terrasonde-audio-toolbox-0502/



But most Windows users will use a PC with a known good 5 pin DIN MIDI I/O interface,(i.e a MIDIMAN / M-AUDIO UNO, MOTU 828, etc)  and a shareware program such as MIDI-OX which displays ALL MIDI value types in real time, as they emerge from the Foot controller you have connected to the PC's MIDI Input.

http://www.midiox.com/

If you have a Mac, "Snoize" is an OSX equivalent to MIDI-OX

http://www.snoize.com/MIDIMonitor/

If you have an iPad and a USB Camera adapter, or a recent Android SmartPhone that supports USB OTG, this a USB MIDI Cable can work along with a MIDI Message Monitor app. I like MIDI Wrench. Android has one too
https://www.vguitarforums.com/smf/index.php?topic=8393.msg60023#msg60023

Test Your MIDI Hardware (Windows)
https://www.vguitarforums.com/smf/index.php?topic=8184.msg58086#msg58086


App to Test Your MIDI Hardware (Mac OSX)
http://www.snoize.com/MIDIMonitor/


App to Test Your MIDI Hardware (iPad IOS)
https://itunes.apple.com/us/app/midi-wrench/id589243566?mt=8

App to Test Your MIDI Hardware (Android)
https://play.google.com/store/apps/details?id=com.extreamsd.usbmidimonitor

4) After verification that your foot controller is actually sending the desired MIDI data types and values required by your target Audio processor to be controlled - connect the MIDI foot controller's MIDI Output to your audio Processor's MIDI Input with a 5 Pin DIN MIDI cable. Verify proper operation.

5) Debug - by repeating steps 2 thru 4 until all available foot pedals are working as desired.


Learn about Roland/Boss Control assignments-employed since 1995 Boss GT-5
https://www.vguitarforums.com/smf/index.php?topic=88.0

In my floundering around developing a MIDI controller, I've just found this brilliant tool:

https://onlinetexttools.com/convert-hexadecimal-to-text

imall41

Wow, this is great, "Midi for Idiots", that is definitely me.

Ok, here's my question about how to choose a midi foot controller.

In this chart,
http://www.musicplayers.com/tutorials/guitars/2006/MIDI_ComparisonChart_r2.pdf
It states that the FC-300 can only send one ,simultaneous, cc and pc command per preset.
So, if you want to control multiple devices (s/a GR-55 & VG-99 & a midi controlled effect),
would'nt you have to buy a foot controller capable of as many cc, pc, commands needed to change the patches on multiple devices simultaneously, s/a the Ground Control Pro?

I bought the FC-300 for the simplicity of the RRC2 connection to the VG, but figured I would eventually have to get another foot controller if I wanted to , seemlessly, control multiple devices. (Yes/No)?

I do read a lot at TweakHeadz.com, but us midi newbies need a lot of repetition for it to sink in.

Elantric

#2
There are workarounds for controllers that only send one type event for each pedal.
You must assess your tone needs in advance, and have enough user patches on your devices to make this work.
VG-99 has 200 User patches
GR-55 has 297 User patches.



One method, (there are several) You can assign both target devices ( GR-55 & VG-99 ) to the same MIDI channel, but create an array of patches on each  that has the audio  output volume set to Zero.

One example would be:

VG-99 User Patch 001 = Strat Clean  and GR-55 User Patch 001 = Mute

VG-99 User Patch 002 = Les Paul Lead and GR-55 User Patch 002 = Mute

VG-99 User Patch 003 = Mute  and GR-55 User Patch 003 = Sax Solo

VG-99 User Patch 004 = Nylon Acoustic Guitar  and GR-55 User Patch 004 = Symphonic Strings

You can also use a pair of external stereo volume pedals on the VG-99 Audio Output and the GR-55 Audio Output, to increase versatility.

More info on MIDI is here:
http://www.midi.org/aboutmidi/tutorials.php

http://www.midi.org/aboutmidi/intromidi.pdf
http://www.musictech.net/2017/06/beginners-guide-creating-a-starter-studio/

Brent Flash

#3
Quote from: imall41 on January 25, 2011, 07:04:05 AM
Wow, this is great, "Midi for Idiots", that is definitely me.

Ok, here's my question about how to choose a midi foot controller.

In this chart,
http://www.musicplayers.com/tutorials/guitars/2006/MIDI_ComparisonChart_r2.pdf
It states that the FC-300 can only send one ,simultaneous, cc and pc command per preset.
So, if you want to control multiple devices (s/a GR-55 & VG-99 & a midi controlled effect),
would'nt you have to buy a foot controller capable of as many cc, pc, commands needed to change the patches on multiple devices simultaneously, s/a the Ground Control Pro?

I bought the FC-300 for the simplicity of the RRC2 connection to the VG, but figured I would eventually have to get another foot controller if I wanted to , seemlessly, control multiple devices. (Yes/No)?

I do read a lot at TweakHeadz.com, but us midi newbies need a lot of repetition for it to sink in.
The FC-300 can send multple commands to multiple devices in PATCH MODE. A "patch" is a group of multiple MIDI messages (MIDI stream) and other settings that are configured together as a single unit. The FC-300 can store up to 100 individual patches.
The patch can set the following parameters.
• Patch's ON Stream
Group of MIDI messages transmitted when a patch is selected.
• Patch's OFF Stream
Group of MIDI messages transmitted when a different patch is selected or when a pedal is released. These are used for canceling settings from ON streams.
• Timing for transmission of the patch's OFF stream
• CTL1,2 ON streams
These are the groups of MIDI messages transmitted when the pedals are switched on.
• CTL1,2 OFF streams
These are the groups of MIDI messages transmitted when the pedals are switched off.
• AMP CONTROL
You can set the status of the AMP CONTROL jacks when a patch is selected.
• Control pedal, expression pedal, and other settings
• Patch names
* An individual patch can hold MIDI messages containing up to a maximum of approximately 500 bytes. Although the total amount of MIDI message data that can be stored in Patch Mode is approximately 8 Kbytes, this amount of memory is shared by all patches. Therefore, please note that not all patches can contain the full approximately 500 bytes.

Brent Flash

#4
This may also help, it is a post from another thread where I was trying to give basics on MIDI.

Ok, MIDI 101
Channels are what keeps things separated. There are 16 MIDI channels. Set a keyboard to receive on channel 7 you must transmit on channel 7 for it to do anything.

OMNI means that a device set to OMNI will receive all midi channels no matter what channel hits it's "MIDI IN" port. Most older keyboards just received on 1 MIDI channel and were only capable of playing one sound at a time. Most new keyboards are able to play more than one sound or timbre. They are call multitimbral keyboards. They need to be in the MULTI MODE to access the different sounds and the different sounds are controlled on different channels.

On a MIDI channel there are events that are sent by the controller (from it's MIDI OUT Port) and received (at it's MIDI IN Port) by the device being controlled . Some of the events are "NOTE ON" and "NOTE OFF". These make the keyboard play the sound just as if you would be pressing a key. Other events are control events. An example of this is a CC#7 value of 127 is sent and the keyboard will play at its loudest volume just as if you raised the volume knob all the way up. If a CC#7 value of 0 then the volume will be turned all the way down and you will not hear anything. Another event example is velocity. Velocity is sent along with a "NOTE ON" event. If the velocity of 127 is sent the note will play loud as if you hit the key on the keyboard hard. If a velocity event of 15 is sent the note will sound soft as if you hit the key on the keyboard softly.

Another event that can be sent is PROGRAM CHANGE or PC#. Send PC#1 and the first sound on the keyboard will be selected on the MIDI channel that it is sent on. If you set up the VG to send on a different MIDI channel on each string you can play a different sound with each string as long as the keyboard has this capability. If you send the same Program Change number on all the strings MIDI Channels you will play the same sound on each string. If you send different PC#s on each strings MIDI channel then you will have different sounds on each string.

Let me know if you have any questions about any of this.

A word of advice. You don't need to know all the workings of MIDI to have fun using it. Once you get the basics you should be able to do whatever you need.

Elantric


imall41

Quote from: Brent Flash on January 25, 2011, 10:06:07 AM
The FC-300 can send multple commands to multiple devices in PATCH MODE.   

Thank you Brent & Elantric (again),

So, Using Patch Mode on the FC, I configure each device, to receive on a different channel (not omni).
Then I can send multiple (channel specific) commands per patch (not exceeding 500 bytes per patch, or 8 Kbytes total).

This does answer my question, if my summary above is correct.

Vic1iful

Thank you all. I did not use any midi controler other than changing the patches using the VG-99 (No Floorboard), I tried the midi out to my multitimbral keyboard and in poly mode it worked with no problem. But in mono mode, every time I try to make the next string different it makes all the strings sound the same as the next change. What am I doing wrong?
Here is the kicker, on the keyboard, I moved out of "Voices" to "Drum patches" and all of a sudden, I had different instruments on all my strings as if I were in mono mode, but I had put the VG-99 back to poly mode.

Brent Flash

#8
Quote from: Vic1iful on January 25, 2011, 02:43:39 PM
Thank you all. I did not use any midi controler other than changing the patches using the VG-99 (No Floorboard), I tried the midi out to my multitimbral keyboard and in poly mode it worked with no problem. But in mono mode, every time I try to make the next string different it makes all the strings sound the same as the next change. What am I doing wrong?
Here is the kicker, on the keyboard, I moved out of "Voices" to "Drum patches" and all of a sudden, I had different instruments on all my strings as if I were in mono mode, but I had put the VG-99 back to poly mode.
Drum sounds will have a different drum on each note of the keyboard.

The sounds being the same in MONO MODE can be a number of things. When your keyboard is in multitimbral mode you will have to have each part set to a different MIDI channel to start off with. Then you will have to assign a different sound to each part for each string to play a different sound. This can be done in the GUITAR TO MIDI pane under TRANSMIT PROGRAM CHANGE. Remember the keyboard has to be set up on the MIDI channels that the VG is transmitting each string on.

Vic1iful

"Remember the keyboard has to be set up on the MIDI channels that the VG is transmitting each string on."

OK, I think I understand about setting up the keyboard. The keyboard was one of the first multitimbrals from about 18 years ago. Yamaha sy88. It was all general midi back then and I remember it came with a map sheet. I'm sure I still have it in my papers that I keep.
Example: So, if the map says horn is #5, I should go somewhere in the key board and assign #5 to the VG-99 #1?
Orchestra #6 assign to VG-99 #2?  and so forth?

As to the drum patch, I know each key has a different drum but The odd thing was that drums were not playing on my guitar but it somehow randomly picked out 6 different instruments and sent it to my strings. lol

Elantric


Vic1iful


Elantric


Elantric

#13
iConnectMIDI specs reveal this may actually be a real swiss army problem solver.

Its MIDI Merge capabilities would allow many MIDI control options that otherwise are not possible.

The Huge seller for me is the the USB Host Port - with its cool ability for it to convert MIDI over USB controllers to standard 5pin DIN MIDI OUT!!  (no computer required) Perfect for Fishman TriplePlay.

and of course its an Ipad IOS hardware MIDI I/O port device too, or any other OS's that accept Class Compliant USB MIDI device  - so it works with OSX.
http://www.iconnectivity.com/iConnectMIDI


And it allows these guys to control the GR-55

Korg NanoControl Bundle for $88 at Ebay Item# 390351258651


A cheap USB hub will allow you to use all three at the same time.


iConnectMIDI at Sweetwater $179
http://www.sweetwater.com/store/detail/iConnectMIDI


Review

http://www.harmonycentral.com/t5/Expert-Reviews/iConnectivity-iConnectMIDI-Interface/ba-p/34630936


http://synthodeon.blogspot.com/2011/07/iconnectmidi-product-and-analysis.html

GtrGeorge

All I can add to this discussion is that I like the Ground Control by Voodoo Labs/Digital Music VERY much. I am talking about the old version...I never have used the new one.(mine is the long rectangle shaped, two rows of buttons NOT 3 or 4)
   If you like a simple floor device its good at that.  Not as full featured as some others,but what it does it does well. the only gripe I have is:the switches go after a while. They can be repaired,but in the long run you may wish they had just done some Carling heavy duty switches.
But the full LED readout is a very good thing.   because these are older units they can be had at a good price. They hold up well, excpt for the switches which are TAC switches that mount on the PCB.
   If anyone wants a job modifying my old units to have those nice heavy duty Carlings..give me a call!!!!!!!
     GtrGeorge

Elantric

#15
http://www.musicplayers.com/tutorials/guitars/2006/0306_MIDIFootControllers.php

For many serious guitar players, stomp boxes running into the front end of an amplifier do not provide the audio quality or effects-programming flexibility that rack-mounted effects offer. For others, a combination of rack-mounted effects and stomp boxes are often utilized to create their sounds, and some players take it one step further and include multiple amplifiers and speakers in their guitar rigs, employing a switching system that enables them to access all of their equipment as needed on-the-fly.

We'll be exploring all of these scenarios in detail at MusicPlayers.com, but for the first article in this series, we're going to focus on utilizing MIDI foot controllers to manage your rack-mounted effects in conjunction with a single guitar amp or rack-mounted MIDI-controlled preamp.

MIDI Foot Controllers Features Comparison Chart

Click here to view a detailed features comparison chart of popular MIDI foot controllers. The chart will be updated regularly as new products become available and old ones become discontinued.
http://www.musicplayers.com/tutorials/guitars/2006/MIDI_ComparisonChart_r2.pdf


MIDI – Must I Do It? Technology That Even a Guitar Player Can Understand

Musical Instrument Digital Interface (MIDI) technology has been used by keyboard players and recording pros since the mid-80s, but guitar players can still get by without knowing a thing about it. These low-tech guitarists (dare we call them rock-n-roll purists) won't lose much sleep nor go insane trying to figure out the technical stuff, but they also won't be able to create the kinds of sounds you're after for your guitar rig. This article isn't for the pedal stompers.

The MIDI interface on an effects processor enables you to remotely change its programs/patches as well as manipulate many of its settings in real time: turning effect blocks on and off like a stomp box, adjust parameters such as tremolo speed, reverb depth, tap tempo, and more. The MIDI interface on a guitar amp or preamp enables you to switch amp channels (though this can typically be done with standard analog switching pedals), and on some of the more advanced guitar preamps, MIDI control can enable you to modify amp settings such as your gain level, in real time while playing. Whoa!

There are two basic types of MIDI instructions of which you'll need to be aware with rack gear and foot controllers: Program Change instructions and Continuous Controller (CC) messages.

Program Change instructions are just that – you select a patch number on the foot controller and it sends a program change instruction to select a specific patch/program on your rack gear.

A Continuous Controller message, or CC message, sends a specific command, typically to turn an effect block On/Off, set tap tempo, select a tuner mute/output, and more (a CC value of 0 or 127 is transmitted). With an expression pedal (looks like a volume or wah pedal, and is described in detail later in this article), a range of CC values are sent from 0 to 127 based on the position of the pedal as you step on it.

Typically, each MIDI-equipped device listens for instructions on a single MIDI channel (of which there are 16 available), unless configured to listen in OMNI mode, whereby it will respond to a command it receives on any of the 16 channels. Many MIDI controllers, such as foot controllers (the subject of this article) or keyboard controllers, can transmit information on multiple MIDI channels concurrently in order to control multiple MIDI devices independently.

By default, all of the MIDI devices you purchase are set to MIDI Channel #1, which is why immediately connecting a few pieces of MIDI gear may seem to work sometimes for some basic tasks.

Amplifier Considerations

While many guitar players use rack-mounted signal processors with rack-mounted MIDI controllable preamps from the likes of Marshall, Mesa Boogie, Engl and more, other players are happy to stick with their combos and heads, using the MIDI stuff just for their effects. This is absolutely fine. Really. You don't need our permission to do it.

Many effects processors provide analog switching relays so that you can eliminate the amp's foot controller and change amp channels via your signal processor (connecting an appropriately-wired cable from the effect processor to the pedal input jack on the amp/head). With this configuration, you can simultaneously use your MIDI foot controller to switch amp channels and call up new effect programs in your MIDI gear.

Making the Connections

To utilize a MIDI foot controller to change settings on a piece of MIDI equipment, you connect the MIDI OUT from the foot controller to the MIDI IN of the receiving device such as the effects processor or preamp.

If you have two pieces of MIDI gear to be controlled, you can connect the MIDI THRU on the first device being controlled to the MIDI IN on the second device so that MIDI instructions from your foot controller reach both MIDI devices. Some devices use one combined port labeled OUT/THRU.




A MIDI THRU port simply "passes through" all MIDI information that the device receives via its MIDI IN port to its MIDI THRU port, sending the original incoming MIDI commands through to the next device's MIDI IN port. It's like connecting your foot controller directly to the other piece of MIDI equipment... almost.

Latency is the term that describes the delay of an electrical signal – not a good kind of delay like with your digital effects, but rather a delay in the time it takes for an electrical signal to travel from one place to another. If there is too much latency introduced by the first device you've connected to your foot controller, you may experience an audible delay when changing settings on the second device in your MIDI chain. This could prove incredibly inconvenient. For example, imagine kicking in your lead solo sound only to find your amp channel switching a few milliseconds too late... after you already started soloing while still on your clean tone!

If you plan to control your entire rig from a single MIDI foot controller, make your guitar preamp the first piece of equipment in the MIDI signal chain, followed by effect processors. It's more important that your amp channel switch is instantaneous rather than switching your flanger effect On or Off.

Although there is no requirement to make the reverse connection from your preamp/effect processor's MIDI OUT to your foot controller's MIDI IN (requiring a second MIDI cable), sometimes it can be useful. We'll look at this connection option in greater detail later in this tutorial.

Power to the Pedals

MIDI foot controllers must be connected to a power source, typically via traditional "wall warts" or via an internal power supply or battery source. If the idea behind your MIDI controller was to minimize cables on the floor, you'll be excited to learn about a popular foot controller feature called phantom power that enables powering of the pedal board through your MIDI cable.

Usually, phantom power is supplied through the use of a special 7-pin DIN MIDI cable. Traditional MIDI cables have 5-pin DIN connectors, but a few clever manufacturers realized that two additional pins in a 7-pin cable could be used to supply power through the cable alongside your MIDI data.




Just because your foot controller supports phantom power isn't enough reason to rejoice – you need a power source at the other end of the cable to actually supply the current. Devices that supply phantom power (certain guitar preamps, for example) often have a phantom power input jack on the rear of the unit. You take the MIDI foot controller's original power supply/wall wart and plug it into the back of your preamp, and power is passed through from the power input jack to your foot controller.

While this may seem odd, it ensures that you're able to supply the correct voltage to the foot controller without any issues. Since we're dealing with rack-mounted equipment, you just plug the wall wart into the back of your rack-mounted line conditioner/power strip. You have one of those, right?

If you have a preamp or effects processor that is capable of supplying phantom power, we highly recommend using foot controllers that take advantage of this great feature.

There are a few foot controllers that receive phantom power on a standard 5-pin DIN cable, but this is not the norm and can lead to other challenges:
Because MIDI signals only use three of the five pins (two for data and one for ground), to save money on manufacturing, not all MIDI cables are wired for all five pins.
You can't glance at the MIDI connectors on a piece of equipment (or even the 5-pin DIN cable) and know whether or not it supports phantom power.


We encourage manufacturers to stick to the 7-pin DIN method of supplying phantom power since there's no mistaking the connector on a piece of MIDI equipment.

If you end up with a 7-pin DIN equipped device and a 5-pin DIN enabled product that both support phantom power, there are some custom cables and adapters available that may enable you to connect the products and utilize the phantom power capability. Otherwise, you can custom-wire your own cable with a 5-pin DIN at one end and a 7-pin DIN at the other.

Alternate Hook-up Considerations

Using a single MIDI controller to change settings on your preamp and one or two (or more) signal processors can make the programming of your MIDI setup quite complex. Depending on your playing style, you might be better suited to utilize two separate foot controllers – one for your preamp and another for your effects. If you have a guitar amp head/combo with its own foot switch for channel switching, don't feel like you have to give that up and surrender control of your amp to your MIDI setup.

Having used various MIDI setups over the years, I usually prefer to use two separate foot controllers for my amp and my effects. Although my guitar preamp could be controlled by the same foot controller that is attached to my effects processor, this approach requires careful planning of program changes as they relate to settings on my preamp.

With my preamp controlled independently from its own foot controller, I can leave one particular effects setup in place and change between clean and distorted channels in my amp. This is particularly convenient when composing new music or just jamming for fun – I can randomly dial up programs in my effect processor and easily switch individual effects On/Off from one foot controller and, with my other controller, I can select various clean or overdriven sounds in my guitar preamp.

Elantric

http://www.musicplayers.com/tutorials/guitars/2006/0306_MIDIFootControllers.php

Finding the Best Approach Before You Start

Before setting up your MIDI rig, you should decide on which approach to device control best suits your needs. Depending on the approach you take, it will require more or less programming either in your effects processors or in your foot controller(s). You can't figure this out half-way through hooking up your devices.

Your very first priority is to decide whether or not you intend to control your amp/preamp settings from the same foot controller as your effects. As I mentioned earlier, you may prefer to change your amp settings with a dedicated analog-relay switching pedal (usually provided by the manufacturer of your amp) or you may purchase a second dedicated MIDI foot controller for changing settings on your more-advanced MIDI-controllable guitar amp/preamp.

Programming Logic – In Your Foot Controller or In Your Effects?

Let's assume that you have two MIDI-controllable effect processors – perhaps a dedicated reverb/delay unit and a general-purpose multi-fx processor. When you step on a specific pedal, you would like Processor A to switch to patch #36 and Processor B to select patch #27. This event can be processed by your equipment in numerous ways.

By default, your foot controller sends a single program change value on a single MIDI channel. There is a one-to-one mapping of these numbers, so if your foot controller was in its first bank of presets and you stepped on button #3, your controller would typically send a program change message on MIDI channel 1 to your effects processors telling them to call up program/patch/preset #3. We say typically because sometimes the numbers don't line up.

With computer-controlled devices, sometimes program/patch numbering begins with the #1 but, in some devices, the first program is #0. Stepping on button #1 will call up program #0, button #2 will call up program #1, and so on, until you reprogram either the foot controller or the preamp/processor. (Some foot controllers have a feature built-in to select whether or not program changes begin at #0 or #1 – very useful.)

You have some decisions to make for processing patch changes within your effects processors:
1. You could just save a copy of patches #36 and #27 in your effects processors to program location #3 in each (the example above), or any number that you'll call up from the foot controller. This is the simplest approach that requires no programming work in your foot controller, but you'll end up replacing tons of great sounding effect patches in your equipment with duplicates. We do not recommend this approach. If you choose this option, we're going to take your rack away and trade you a set of second-hand stomp boxes.


2.By utilizing the MIDI Mapping function in your equipment, you can change how it responds to a program change command. For example, when Processor A receives a program change command, you can set it so that incoming program change #3 (from our example) changes the processor to patch #36. You can save customized MIDI maps for all of the program locations in your processors. You can even utilize the mapping feature to shift your program changes by one if you're experiencing the zero/one numbering issue mentioned earlier.

We don't know of any popular MIDI-controlled preamp or effects processor that lacks this simple capability. Learn to use the MIDI mapping feature of your effects processor(s) because it is one of the simplest ways to select your patches.


3. Many foot controllers can be programmed to send one or more program changes on multiple MIDI channels concurrently. Some can also be programmed to handle your MIDI mapping simultaneously. Stepping on pedal #3 could be set to send program change value #36 on MIDI channel #1 and value #27 on MIDI channel #2.

Sending program changes on multiple MIDI channels is very convenient if you have two or three devices under the control of your pedal board, but it introduces the requirement of learning to program your foot controller. You will also need to spend some time thinking about which patches you want to call up in your effects processor(s) on a song-by-song basis, and then map them out on paper in order to facilitate programming the foot controller with minimal frustration. It is much easier to program and review MIDI mappings in your individual MIDI-controlled devices than it is to program or review these settings in most foot controllers.


Adding Pedals to Your Pedals

Just because the MIDI foot controller you're interested in purchasing doesn't have a built-in continuous controller doesn't mean you can't add one (or more) to it.

Many foot controllers have input jacks for connecting one or more pedals of various types – continuous controllers for adjusting everything from volume to wah effects to tremolo speed to delay repeats and more, plus additional switch pedals for single-function On/Off tasks such as dedicated Tap Tempo control, switching to your tuner output, and gain boosts for soloing, to name a few. The more versatile the MIDI capabilities of your foot controller, the more options you'll have available for controlling your rack gear.

You'll want at least one continuous controller in your setup, and with pedal input jacks on your foot controller, you'll have the opportunity to select specific pedals with just the right feel, instead of settling for whatever continuous controller is built into your foot controller. Some players prefer a wah pedal that is spring-loaded, while others prefer the feel of a traditional volume pedal, for example.

Whatever your preference, you'll usually have the option to add either a dedicated continuous controller pedal (like the popular Roland EV-5 Expression Pedal) or, in many cases, you can use a volume pedal for MIDI control. Connections are made either with ¼" stereo cables or with insert cables that have a ¼" stereo connection at one end and separate ¼" mono cables at the other. These "Y" cables are frequently used for connecting rack-mounted processors like compressors and noise gates to mixing consoles. No audio signal is ever passed into or through a volume pedal used for expression pedal purposes – only the output jack is connected to your foot controller, and this is only used to generate changes in electrical current that are translated by the foot controller into MIDI CC values in the range 0-127 for controlling a specified effect in your rack gear.

Are You Latching On to All of This? Take a Moment to Read This.

Bad puns aside, the pedals in MIDI foot controllers are either Momentary, Latching, or adjustable through programming.

Momentary pedals send one MIDI value when stepped on (typically CC value 127) and another value (typically CC value 0) when released. Latching pedals are pure On/Off transmitters... the first time you hit them, they send a value of 127 (On), and the next time they send a value of 0 (Off).

Your effects processor(s) may react in unexpected ways if it receives an invalid CC message created by using an inappropriate type of pedal. Adjusting Tap Tempo usually works best with a Latching pedal because the effects processor waits for two full press/release actions with the pedal to establish a tempo. If you hit a Momentary pedal once for setting Tap Tempo, it will register your tempo as being the difference in time from when you first depressed the pedal to the time you released the pedal, which is not going to generate tempos that you had in mind for your delay repeats or other synchronized sound effects.

When setting up your MIDI foot controller, it's important to figure out what kind of pedal response your effects processor(s) is configured to work with, and then make sure that your floor controller is configured to match.

The Lights Are On (or Off), But Is Anyone Home?

With all-in-one floor-based effects such as a Boss GT-8 or Line 6 PODxt Live, when you select a patch, you can see lights identifying which effect blocks are active. Unfortunately, with MIDI foot controllers, it's not as simple as making the reverse connection of a MIDI OUT from your processor to the MIDI IN of your foot controller. Often times, the result of this connection is... absolutely nothing.

For example, in order for most foot controllers to display the On/Off status of effect blocks when a new preset is called up, they need to receive MIDI instructions from your rack gear, and this requires the second MIDI cable. However, not all devices transmit this information so, depending on the foot controller and rack gear that you have, this connection may be unnecessary. Also, some foot controllers store effect block status in their internal memory, which negate the need for more than a single MIDI cable. And, additionally, there are some simple MIDI foot controllers that don't even have a MIDI IN jack.

Even without the second MIDI cable, you are still able to control the On/Off status of effect blocks, and they will light up on your foot controller when you step on them to change a pedal state from Off to On.

Since phantom power is only supplied on the MIDI OUT jack from a foot controller, you may have a setup requiring one 7-pin DIN cable and one 5-pin DIN cable for complete functionality.

If you plan to program different effect presets/patches for all of your effect states instead of turning effect blocks On/Off within a patch (ex. Program #41 has your chorus, delay, and reverb On, and program #42 has only the chorus and reverb, but no delay), you'll only need a single MIDI cable.

Manufacturers haven't come up with a standard way of providing this important visual feedback to your foot controller so, typically, it only lights up when you turn an effect block ON from within your foot controller's CC (continuous controller) mode. Unfortunately, when you first load a program/patch/preset, your foot controller has no idea what the status of each effect block is, so all of your buttons are visually Off by default.

Some products like Lexicon's MPX-G2 effects processor combined with Lexicon's R1 foot controller (both discontinued but very popular items on the used market) overcame this challenge through some proprietary data exchange between the two devices. Other foot controllers have been pre-programmed to provide the correct visual information for specific effects processors, sometimes from the same manufacturer as the foot controller, and sometimes for popular processors from other manufacturers.

In some cases, you may be able to program a solution that provides visual status indicators depending on the capabilities of your foot controller, the capabilities of your effects processor, and your own capacity to tolerate mental anguish, sleepless nights, and lots of email with the technical support folks who make your equipment. If you're technically inclined and have any kind of programming or engineering background, or if you're the type that enjoys a good puzzle (or a good fight), reading your equipment's MIDI Implementation should provide the building blocks from which to figure out how to implement a solution that works for you.

The simplest solution without advanced programming? Create your effect patch/program, set all of the effects blocks Off, and save the program in that default state. Then, when you call up that program from your foot controller and change it from Program Change mode to its Continous Controller mode, or just directly access its CC pedals (if available), you'll know immediately (visually) that sending an On instruction lights up the switch on your foot controller and enables that effect block. This may not be the most elegant solution, but it works reliably without any programming hassles, and may be a good place to start if you are still getting your feet wet with this technology. (This solution only requires a single MIDI cable.)




Armed and Dangerous

The accompanying table lists many popular MIDI foot controllers and summarizes numerous features. Due to the specialized audience that these serve, you will not find many foot controllers (if any) to select from at your local guitar shop. In fact, many popular controllers are only available directly from their respective manufacturers.

While the best advice with many products is to try-before-you-buy, you rarely have that opportunity with this kind of product, so your purchasing decision will most likely be one based on evaluation of the products from online information, product specifications, and reviews like the ones accompanying this article.

First determine your pedal needs, and then see if an available product meets or exceeds that need. If a foot controller only enables you to switch three effect blocks On and Off, but your processor features six switch-able effect blocks, that foot controller may not be right for you.

Do you prefer to control your effects stomp-box style or would you rather select pre-programmed patches on your processor? Different foot controllers use different methods of sending Program Change commands and Continuous Controller messages. Some have separate pedals for each of these functions, while others have one set of pedals and a mode-change switch that toggles between these operating modes. Does the foot controller you want enable you to make changes as rapidly as you'll need?

There are plenty of popular MIDI foot controllers available second-hand on eBay as well. One of these may serve your needs well enough and, fortunately, there haven't been any changes to the MIDI specifications that would render these older foot controllers any less useful than the newer products available today.

We plan to continue evaluating new MIDI foot controllers over time. We're particularly looking forward to new capabilities such as the ability to program a foot controller from computer-based software. This would be a much simpler approach than the various methods employed for programming many of the current foot controllers – a series of commands entered by stepping on numerous foot switches.

Don't forget, you can talk with us (and your peers) in our Rack Gear & FX forum about using these products, too!

In Review

We have in-depth product reviews of MIDI foot controllers in our Reviews section, and we'll be reviewing additional MIDI foot controllers as soon as they come into our offices and studios. Be sure to sign up for our monthly newsletter or check MusicPlayers.com regularly for recent additions.
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Elantric

#17
What may not be apparent is I can now use my Android phone as a MIDI Monitor to fully debug any MIDI System.
https://www.vguitarforums.com/smf/index.php?topic=8393.msg67942#msg67942
The USB MIDI Monitor lets you view all incoming MIDI events from your USB MIDI interface. The events are timestamped and the event type, MIDI channel and values are displayed in a scrollable table. For control changes, extra information is displayed if the control change is a known type like volume or panning.




Quote from: vtgearhead on April 05, 2018, 12:01:42 PM
Yup.  To be thorough, I should sniff the bus and see what's being sent.  My utility laptop has a variety of MIDI monitor tools on it, so will drag that upstairs.  Hard to see why one of the 127 CC#s would fail to transmit, but stranger things have happened.

I actually have a Bus Pirate in the shop, but it's not as convenient - Arrrrrrhh, Matey!

I still use my Audio Tool Box 90% of the time - or my ipad or android phone with a USB Class compliant cable




Use this Android app to debug MIDi
https://play.google.com/store/apps/details?id=com.extreamsd.usbmidimonitor&hl=en
USB MIDI Monitor
eXtream Software Development



Elantric

#18
If you want to obtain more incite and better explanations of how Roland gear works - review the OWNERS MANUALS for the earliest examples of current gear.

http://www.gitaar.net/forum/index.php/file/7/14419/20030641-Boss-GT-x-Set-Up-v02.pdf













And read all docs on this thread
https://www.vguitarforums.com/smf/index.php?topic=88.0

Elantric

Controlling other gear with MIDI CC# is something I take for granted with

*  Roland VG-99/FC300 /



* Boss  GT-100



* Line6 (HD500X, XTLive ),




*  Vox Tonelab SE



All work as Master MIDI controller for your whole rig compared to the non existing MIDI CC# Transmission of  Kemper REMOTE Footpedal.

All known KPA MIDI Info is here:
http://www.wikpa.org/MIDI

admin

Advanced MIDI Protocol Analyzer
http://dangerousprototypes.com/blog/2016/09/20/video-talk-midi-with-the-bus-pirate-on-talk-like-a-pirate-day/






Published on Sep 3, 2016
Equipment: Rigol 1054Z http://amzn.to/2bNa24T
Tymkrs MIDI In Me: http://bit.ly/2cihEdA
(any) MIDI controller: http://amzn.to/2bTJo7l
Bus Pirate: http://bit.ly/2bKjZfT
(software alternative) http://www.midiox.com/
Resources:
MIDI Messages (Dublin Institute of Technology): http://bit.ly/2bTTh5c
The MIDI Physical Layer (Kent State Univ.): http://bit.ly/2c1I2ee
MIDI Assoc.: http://bit.ly/2bTUaKW
Blog post: http://bit.ly/2bYkPqe


admin

Make the World's Cheapest MIDI Tester

Even many high-end MIDI modules/boxes will have a "MIDI Activity" light, just to let you know something is being transmitted/received. That's what I have made in this video. Cheap MIDI cables can be found here on Amazon: http://amzn.to/28WNOg2 and here on eBay: http://ebay.to/28R3Dpd More info and schematics on my blog, here: http://bit.ly/CheapMIDItester

Elantric

#22
Here's a decent article about some other sysex uses.
http://www.kidnepro.com/blog/sysex-made-simple/


Sysex Made Simple

I wanted to start using the midi tips section of our blog to talk about some of the most common questions that we receive. It's seems that hardly a day goes by when someone does not call or e-mail us asking about how they can purchase our sounds on ROM, RAM or PCM data cards. We let them know that we no longer carry the cards and all our sounds are available in "system exclusive" (sysex) format for Mac or PC computers.

At that point about half of them go....What is sysex? Maybe your one of them. It's like I'm speaking some mysterious foreign language. These are usually musicians that just never really got into using the computer with their synthesizer. I'm not saying that's necessarily a bad thing. There are lot's of talented musicians out there who just are not into that. They basically use their computer to surf the net or send e-mail and they are not interested in digital recording, midi and all that other stuff. Some feel it's just too complicated and don't want to bother with it.

Well I can understand that point of view, but judging from personal experience I'm glad I got into it. It's not as hard as it seems. There are lots of cool things you can do once you connect your computer to your keyboards, but let me just focus on the sysex issue for today.

What is this sysex stuff and why should I care about it?

Let me answer the "why should I care" part first...

Well first of all, those RAM, ROM and PCM data cards that I mentioned earlier have not been made in many years. Even if you can mange to find some on ebay or at a music store that sells used equipment there is a good chance that the internal battery on the card is dead and it's not always possible to replace it. Yeah, all those old cards have lithium battery's inside them. All the synthesizers being made now have better way's of expanding the sounds by using expansion boards or smart media cards so the RAM, ROM and PCM card format died during the mid 90's.

Let me talk about RAM cards first. RAM stands for "Random Access Memory". RAM cards usually did not come with preset sounds on them. They were used to "store" your sounds or sequences. With some cards, like the old Korg or Roland 256K RAM cards that were used with the Korg M1, Wavestation Series or Roland D50 it's still possible to get a lithium battery at a place like radio shack. However, there are many old RAM cards like those old Yamaha DX7 RAMs or Rolands M64C cards that were used with the Roland MKS70, JX10, JX8P or Super Jupiter that you can't replace the battery. Once the battery dies then that's it. I advise not to purchase any of those cards because if the battery is not already dead, then it's going to be very soon.

Other reason why you should care is money. When you can find them, RAM cards are usually pretty expensive for the amount of data that they hold. Usually you can only save one bank of sounds on the card and you usually can't customize the card with your favorite sounds. ROM (Read only memory) cards and PCM (Pulse Code Modulation) cards you can "not" save any data on. They usually come with preset sounds on them. Also remember that they also have an internal battery and once that goes the sounds are gone....and your not getting them back. The card is worthless at that point.

You should also remember that your synthesizer has an internal lithium battery that usually needs to be replaced about every 5-10 years. Once the battery dies then you lose all your sounds. If you don't have them backed up somewhere then your in trouble.

Once you start getting into this whole sysex thing, then all these problems just fade away.

Now let me answer the first part of that question.....What is SYSEX?

The technical stuff......

Each instrument manufacturer wants their MIDI device to do something special that no other MIDI device can do exactly the same way. Rather than clutter the MIDI standard with thousands of messages that are exclusive to a single device, the MIDI standard defined a message type called System Exclusive.

A System Exclusive message has a standard beginning, saying "This is a SysEx message from manufacturer So-and-so". After that comes whatever manufacturer So-and-so wants. The message ends with a standard ending.

So how will sysex let me load in new sounds into my synthesizer?

First you need a Midi Interface. The interface will connect your computer to your instruments. It plugs in to the USB port on your computer. If you have a pre USB computer you will have to find a old style midi interface that will connect to your computers "serial port". Those are not made new anymore. You connect two "midi cables" to the midi interface on one end and your keyboard on the other end.

You can get a USB midi interface at your local Music Store or just about anywhere online. Sometimes we even carry them at our Hardware Section. They are not expensive and start at about $60. US dollars. You can also do things like recording or printing music with your computer once you get a midi interface so it's a great investment if your interested in making music with your computer.

If your just interested in loaded new sounds via sysex then a simple interface with one or two inputs/outputs will do. For those of you with many instruments and want to get into recording midi with a sequencer program then you will require a larger interface with more inputs and outputs.

Once you get the midi interface and have everything connected. You use your computer to perform what is called a "System Exclusive" or SYSEX Dump. You can load the sounds through the "Midi Port" on your synthesizer. You can also store all your sounds for all your Midi instruments on your hard drive. It's much cheaper than buying RAM, ROM or PCM cards and everything can be easily backed up on a CD or DVD. No more worries about losing your important data.

What software do I need to start working with SYSEX data transfers?


There are tons of free programs online which will let you dump sysex in and out of your computer. We have a few applications at our website which will get you started. The programs can be downloaded at our our demo page. There are also many other sysex programs available at sites like; www.hitsquad.com.

We also provide detailed instructions on how to make everything work. Your owners manuel for your synthesizer or sampler will have instructions on how to set up your instruments to transfer data via midi. It varies slightly from one instrument to another. It's usually just a matter of turning the memory protect "off" and the sysex turned "on" on your instrument. Also make sure that your instruments "midi channel" matches the channel that your software is on. Most software usually defaults to channel "one".

There are also some commercial programs that will not only dump data to and from the computer to synth, but will edit and store custom banks of sounds for you. These are called "Editor/Librarians". One of our favorites is Mark Of The Unicorn's "Unisyn". We use it often to create many our synthesizer sounds with our computers. Unisyn comes in Mac or PC formats and will work with over 150 Midi instruments. Check out the MOTU Web Site for details on all their products. They have lot's of cool stuff. If you have a lot of synths in your rig or your interested in creating custom made soundbanks with all of your favorite sounds then you might want to go this route.

Can I load Roland D50 sounds into my Korg M1 with sysex? I love the sound of the D50 and would like to get those sounds in my M1.


No. In most cases two instruments from two different companies are "NOT COMPATIBLE". There are few exceptions. In most cases synthesizers have their own special sysex parameters and can only accept data made specifically for it.

Well I guess that about covers it. It hope I've shed some light on some of your questions about sysex. Now go out and pick yourself up a midi interface, download the free software that we have at our web site and get going. Once you have it all set up and working it's a breeze to work with and you will never look at another RAM, ROM or PCM card again!

Good Luck.

Proton


admin

#23
https://web.archive.org/web/20111011010745/https://tweakheadz.com/midi_controllers.htm