VOICE3 types of defined CCs

Control Changes

Continuous controller 0-63Switched 64 - 95Data 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.

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

RPN LSB/MSBRegistered Parameter Number.

The current MIDI standard specifies five RPNs

1.Pitch Bend Sensitivity2. Fine Tuning 3.Coarse Tuning 4.Tuning Program Select 5.Tuning Bank Select4 and 5 parts of the MIDI Tuning Standard, which is

not widely implemented

RPN LSB/MSBRegistered Parameter Number

(MIDI SPECIFIED).

NRPNs are "non-standard" meaning that any synthesizer could do

whatever it wants with a given NRPN based on manufacturer programing

NRPN LSB/MSBNON-Registered Parameter Number.

MODESChannel 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.

Mode messages split into two groups:

•Group 1

oAll sound off

oReset all controllers

oLocal control on/off

oAll notes off

•Group 2

oOmni on

oOmni off

oPoly

oMono

Mode - Group 1

•CM (mode) 120 All Sound Off

This message sends 128 note-off commands to a specific MIDI channel.

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.

•CM 121 -Reset All Controllers

This message resets all continuous controllers as well as pitch bend and aftertouch to their normal states.

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.

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).

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.

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.

Mode - Group 1

Local off Cont.

Be sure to quantize that measure to whole note to move the message to the first beat.

Mode - Group 1

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).

•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.

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.

Mode - Group 1

•CM 123 All Notes Off

Some early MIDI keyboards automatically send this message when no notes are being played.

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.

Mode - Group 1

Mode - Group 2

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.

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.

Mode - Group 2 •CM 125 Omni Mode On

1 2 3 4 5 6 7 8

•CM 126 Mono Mode On

This CM forces the receiving unit to play only one note at a time per MIDI channel (no chords).

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.

Mode - Group 2

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.

Mode - Group 2

•CM 127 Poly Mode On

Mode - Group 2

1 2 3 4 5 6 7 8

MIDI MODES

Combining the channel modes of group two creates MIDI modes.

Reception modes

These combinations are referred to as reception modes.

Reception modes

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

Reception modes

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

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.

MIDI MODE 2

Mode 2: Omni On, MonoAll note information is played, but forced into 1 note (this is rarely, if ever, used).

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).

MIDI MODE 3Mode 3: Omni Off, Poly

This breaks the MIDI device (if multi-timbral) into smaller a number of specific polyphonic synthesizers.

MIDI MODE 3 cont.

The number of sound generators in a device is determined by the multi-timbral capabilities of the device.

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.

MIDI MODE 4Mode 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.

MIDI MODE 4 cont.

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.

Mode 4: Omni Off, Mono

SYSTEM MESSAGE

Unlike Channel Messages, System Messages are not MIDI channel specific.

SYSTEM MESSAGE

System messages are sent to all of the units connected to a MIDI system. Rather or not each device will respond to system messages is based on if the device is meant to perform the purpose of the messages.

There are three types of system messages:

1.System common. Helps coordinate song selection and tuning MIDI devices.

There are three types of system messages:

2. System exclusive. Sends data between specific devices that cannot be sent as any other kind of MIDI message.

There are three types of system messages:

3. System real time. Synchronizes timing of devices while recording and during playback.

SYSTEM MESSAGESsystem common

System common messages prepare sequencers and MIDI devices to play music. This includes selecting a song, where to begin playback, and tuning the MIDI devices.

song select message is used to load a specific song from storage or RAM. Songs are assigned a number from 0-127 and called up by the assigned number.

system common

Though most sequencers allow calling up a song by name, this is accomplished by associating the given names with the assigned number.

system common

system common

Song position pointer (SPP) dictates where a song will begin playback.

system common

system common

Song position pointer (SPP) It accomplishes this by dividing a song into 6-clock increments starting at the beginning of the song.

system common

Song position pointer (SPP) makes use of two data bytes, which allows for 16,384 clock markers per song that can be used as location points.

system common

(SPP cont.) This message is effective for live performances when a performer wishes to have a set of songs ready play rather than having to use song select messages to call up songs from storage .

system common

(SPP cont.)By nesting several songs into one song, SPP can be used to jump to various songs without load time delay. This is effective only if the 16,384-value limit is not exceeded, so it isn’t possible to have a thousand songs ready to play. Yet, using songs that represent groups of songs can be a time saver.

system common

Tune request was created at a time when analog synthesizers tended to drift out of tune. Since digital keyboards don’t suffer from this anomaly, this message isn’t used much anymore. Still, any old retro MIDI devices can be told to tune themselves by the sequencer.

system common

EOX is an acronym for End of Exclusive (message). This message is sent at the end of system exclusive messages to let the receiving unit know that all of the data has been sent. Otherwise, the unit would continue to wait for more data instead of

processing the SysEx data that it has received.

system common

System exclusive (SysEx) messages are used by manufacturers to allow custom messages to be sent and received by their particular devices. In effect, the manufacturers write their own MIDI code that only their specific products will understand.

system exclusive

system exclusive

SysEx messages may use as many data bytes as needed to transmit all of the data.

system exclusive

Each manufacturer applies for and is assigned a specific System Exclusive ID number by the MIDI Manufacturers Association.

system exclusive

Usually a seven-bit Manufacturer's I.D. code. if the synthesizer recognizes the I.D. code as its own, it will listen to the rest of the message. Otherwise, the message will be ignored.

The MIDI Manufacturers Association (MMA) issues System Exclusive ID numbers to MIDI manufacturers worldwide, except for Japan.

The MMA maintains a database of every assigned and unassigned System Exclusive ID number. These numbers are not transferable, not assignable by or to any other person or organization, and a manufacturer may only receive one ID number.

SYSEX

Since there are more than 128 manufacturers of MIDI products, extra three bytes may be added to increase the possible IDs to 16,384. The first byte contains no data (00000000). The other bytes provides 14 bits of data (0xxxxxx 0yyyyyy)

SYSEX

When a MIDI device receives a SysEx message, it first reads the ID number to see if it was sent by, or was meant for, its manufacturer’s ID. If it is, it pays attention to the incoming data. If not it ignores it.

SYSEX

Once a SysEx message has been completely transferred, an EOX message is sent to let the device know that the transfer is complete.

SYSEX

Once the EOX is sent, normal MIDI messages are once again paid attention to by all of the devices of the MIDI system (some MIDI messages such as timing clocks can be inserted into the SysEx stream so that MIDI devices will stay in synch with the music).

SYSEX

One of the uses for SysEx is to send patch data from one device to another. For example, the patches of a MIDI capable reverb unit can send its contents to a duplicate model. This is effective for sharing custom patches.

SYSEX

Software librarian/editor programs use SysEx messages to transfer the patch data back and forth from the computer. This is good for backing up the contents of devices in case the device is damaged so that the patch data isn’t lost.

SYSEX

SYSEX

SYSEXThe Internet can be used to send patch data to the same device anywhere in the world. This is good for touring bands that back up the contents of their devices or for studios that need the same contents in their devices.

It is possible to record SysEx data into any sequencer.

SYSEX

1. Put the sequencer into record.

SYSEX

2. On the MIDI device, choose the send data feature (see its manual on how to do this).

SYSEX

3. The sequencer will record the SysEx data.

SYSEX

To put the data back into the MIDI device, simply hit play on the sequencer (you may have to prepare the device to receive SysEx data, once again see the manual).

SYSEX

To make sure that the correct sound will play out of a MIDI sound generator, record/send an individual patch’s SysEx data into the sequencer, the sequencer will transmit the patch data back into the unit before playing the song.

SYSEX

SysEx data for some devices can be very large causing a MIDI buffer error in the device. If this happens, try to save and send the data in smaller packets.

SYSEX

Some manufacturers allow updating the system software of their devices by posting the SysEx data on Web pages that can be downloaded and played into specific devices.

SYSEX

With some MIDI devices, it is possible to record every button push or editing of the unit by putting the sequencer into record while this is done.

SYSEX

On playback, the unit will go through each menu and change just as if you where physically doing it. This is good for real time patch editing that wouldn’t be otherwise possible.

SYSEX

Universal Exclusive Messages

There are also Universal Exclusive Messages that are not specific to manufacturers.

Three types of exclusive messages are not manufacturer specific.

Universal Exclusive Messages

Universal Exclusive Messages

used for extensions to MIDI that are NOT intended to be manufacturer exclusive

EXAMPLES

o Sample dump header

o Sample dump packet

o Sample dump request

o MTC

o Special

o Punch in point

o Punch out point

o Delete punch in pointo Delete punch out pointo Event start pointo Event stop pointGeneral MIDI 1 System OnGeneral MIDI System Offetc

New...Mobile Phone Control Message

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