This day goes heavily into geekery and this is no apology, I love it. I already know you're not faint of heart or you would not have come here in the first place.
So, roll with it if you like and this is not some demented exercise because there is an active although not mandatory problem to solve. Skipping to the punchline, it may well be possible to solve the problem for about thirty dollars US.
The situation develops when there are multiple instruments or devices which use MIDI data language to communicate with another. The important thing in this context is not so much the nature of the language but rather how it gets from one device to another.
A frequent configuration is the musico gets a second synth and wants them to talk to each other. The wiring does not need a multiplexer because there are only two instruments / devices.
Where it gets twisted is when a third synthesizer or other device is added to the configuration. Often they are connected in a daisy-chain manner (i.e. Device "A" connects to "B" and subsequently to "C"). This is still a relatively-easy configuration but it starts getting into the problem of lag (i.e. propagation delay). In other words, at an electronic level, Device "C" is not getting the MIDI information at precisely the same time as "B" and this may seem trivial but there is an aggregate effect depending on how many MIDI devices are daisy-chained in this manner.
That's when we get into MIDI multiplexing. My original requirements, twenty years ago, were to drive multiple MIDI-capable devices (e.g. synth, sound modules, drum machine, effects, etc) and there were about eight or so devices for which propagation delay was intolerable. Whenever a MIDI signal is sent out to one of the devices, it must be accessible to all at precisely or as close as possible to that precision on all of them. The propagation delay is greatly minimized because the MIDI multiplexer means each device has a single physical MIDI-in / MIDI-out set of connections.
Those are the words and here is an example image of it:
Sorry as it's bit blinding but perhaps you see each device is, in effect, point-to-point because all go through the MIDI multiplexer, in this case the Opcode Studio 5, and connect in the same manner. It's not clear how this would work as the Studio 5 should have five MIDI-ins and five MIDI-outs so I do not immediately see how this many devices can connect. Nevertheless, it serves to illustrate the concept and likely better than the words.
The unit I used was an Opcode Studio 16 and later models went out to a Studio 128. Here's the beauty part and that which leaves me incredulous. They are available even today on eBay for the tiniest fractions of their original selling prices. That's plural because there is not one but many. This stuns me and puts me into the stratosphere. There are multiple less-capable Opcode Studio units available with prices of thirty dollars US and even lower.
While floating about in the clouds, trippin' like a madman, it's not sensible to buy something even though at such a low price there's an excellent chance I could. The madness is grand but it's still tempered by my weight dropping under 140 lbs and I must be rigorous on adhering to a diet which gives me more heft and builds strength or I won't be playing anything at all. I'm only just clambering and scratching my way out of exactly that situation so discipline is mandatory.
There's one tiny problem in that I seriously suck at discipline.
(Ed: what about the ganja?)
I'm tellin' you, Ganja Man, I don't need the ganja to get trippin' because I am already. It's an enhancement and not a requirement, it's an exceptionally cool enhancement but it's still not a requirement. There are various other psych health aspects but that digresses from the point.
The right-now situation is one Korg synth keyboard, two Boss RC-50 loopers, and one Boss DR-880 drum machine, all of which are MIDI-capable. All is simple when there is only one looper as it sends MIDI-out to the drum machine and the MIDI aspect is complete.
Using MIDI for the Korg synth to the loopers is interesting but not useful because they are not, except for the DR-880, sound-producing units.
The problem to solve is both RC-50 loopers need to talk to one another and also the DR-880 so that's where a multiplexer comes into it because that configuration is not possible with daisy-chaining.
As to the current reticence, the write-up for the devices includes a reference to the software and I'm not clear on any software requirement because these are hardware connections and mapping MIDI channels is done internally with each one. Making it more complicated than that doesn't gain anything I or likely anyone else needs so what purpose for the software. It may be the OMS software which was provided with all of the Opcode devices but which I don't remember having any particular application for the Studio devices. Thus, the reticence because further study is needed.
As of this moment, there is no particular problem to solve as all of this is desirable but not absolutely necessary because I can bag the second RC-50 which has now been shown to be fully functional through a replacement power supply. That can go out to eBay to recover some, perhaps all of the money.
But, see above about discipline, doing the responsible thing is not likely when the potential makes me wild with possibilities. I've done this before so I know I can; the price for a used multiplexer is unbelievably inexpensive; the solution could be here in a week with no more than thirty to forty dollars to do it. Also as above, the reticence is because I need to know precisely what the software does.
Where this goes into another Universe is if I can get the GR-20 Guitar Synthesizer working again, possibly by replacing an extensive cable. Unfortunately, it also is battle-weary because it also took a serious bounce in the crash in Nice. If the GR-20 does still work then it will plug directly to the multiplexer from where it can drive synth sounds on the Korg keyboard.
Note: MIDI-out from the guitar is NOT standard MIDI and uses an extra pin for power. However, MIDI-out from the GR-20 synth is standard so that goes up to the multiplexer and let's play.
The result of this configuration as I can play a chord on the guitar and that dry signal will go as a normal guitar's 1/4-inch plug to effects, etc and then on to the mixer. The MIDI signal will, at once, go the the GR-20 which produces it's cool synth sounds which also subsequently go to the mixer. Via the multiplexer, the Korg synth will, at once, get the MIDI signal from the multiplexer and will also send its output to the mixer.
In this way a single guitar chord will produce three unique voices for combinations of sound which are impossible any other way.
So, I will get on back to the clouds just now for some major dreaming and will research further on the Studio software needed for the multiplexer ... or it's not. To be determined.
Meanwhile, to dreams and who cares if I wake, I'm so absolutely diggin' it.
Whoopsie ... forgot the ultimate killer punchline. MIDI can also be used to control lights and, thus, the lasers and LEDs can be in precise sync with the music. I don't need virtual worlds to work within them since this gives the capability to create one by hitting a chord and none are interpretive by anyone but rather under the direct management of the music.
The existing light control does not have MIDI-out because it doesn't need it but the MIDI-in is available and waiting for an application. It will go beyond the current discussion to cover MIDI triggers but the MIDI-in port means patches for the light configuration can be changed at will, the will of the music and not a human hand. Fark!
This has been the dream since I was a kid ... what does music look like ... well ...
So, roll with it if you like and this is not some demented exercise because there is an active although not mandatory problem to solve. Skipping to the punchline, it may well be possible to solve the problem for about thirty dollars US.
The situation develops when there are multiple instruments or devices which use MIDI data language to communicate with another. The important thing in this context is not so much the nature of the language but rather how it gets from one device to another.
A frequent configuration is the musico gets a second synth and wants them to talk to each other. The wiring does not need a multiplexer because there are only two instruments / devices.
Where it gets twisted is when a third synthesizer or other device is added to the configuration. Often they are connected in a daisy-chain manner (i.e. Device "A" connects to "B" and subsequently to "C"). This is still a relatively-easy configuration but it starts getting into the problem of lag (i.e. propagation delay). In other words, at an electronic level, Device "C" is not getting the MIDI information at precisely the same time as "B" and this may seem trivial but there is an aggregate effect depending on how many MIDI devices are daisy-chained in this manner.
That's when we get into MIDI multiplexing. My original requirements, twenty years ago, were to drive multiple MIDI-capable devices (e.g. synth, sound modules, drum machine, effects, etc) and there were about eight or so devices for which propagation delay was intolerable. Whenever a MIDI signal is sent out to one of the devices, it must be accessible to all at precisely or as close as possible to that precision on all of them. The propagation delay is greatly minimized because the MIDI multiplexer means each device has a single physical MIDI-in / MIDI-out set of connections.
Those are the words and here is an example image of it:
Sorry as it's bit blinding but perhaps you see each device is, in effect, point-to-point because all go through the MIDI multiplexer, in this case the Opcode Studio 5, and connect in the same manner. It's not clear how this would work as the Studio 5 should have five MIDI-ins and five MIDI-outs so I do not immediately see how this many devices can connect. Nevertheless, it serves to illustrate the concept and likely better than the words.
The unit I used was an Opcode Studio 16 and later models went out to a Studio 128. Here's the beauty part and that which leaves me incredulous. They are available even today on eBay for the tiniest fractions of their original selling prices. That's plural because there is not one but many. This stuns me and puts me into the stratosphere. There are multiple less-capable Opcode Studio units available with prices of thirty dollars US and even lower.
While floating about in the clouds, trippin' like a madman, it's not sensible to buy something even though at such a low price there's an excellent chance I could. The madness is grand but it's still tempered by my weight dropping under 140 lbs and I must be rigorous on adhering to a diet which gives me more heft and builds strength or I won't be playing anything at all. I'm only just clambering and scratching my way out of exactly that situation so discipline is mandatory.
There's one tiny problem in that I seriously suck at discipline.
(Ed: what about the ganja?)
I'm tellin' you, Ganja Man, I don't need the ganja to get trippin' because I am already. It's an enhancement and not a requirement, it's an exceptionally cool enhancement but it's still not a requirement. There are various other psych health aspects but that digresses from the point.
The right-now situation is one Korg synth keyboard, two Boss RC-50 loopers, and one Boss DR-880 drum machine, all of which are MIDI-capable. All is simple when there is only one looper as it sends MIDI-out to the drum machine and the MIDI aspect is complete.
Using MIDI for the Korg synth to the loopers is interesting but not useful because they are not, except for the DR-880, sound-producing units.
The problem to solve is both RC-50 loopers need to talk to one another and also the DR-880 so that's where a multiplexer comes into it because that configuration is not possible with daisy-chaining.
As to the current reticence, the write-up for the devices includes a reference to the software and I'm not clear on any software requirement because these are hardware connections and mapping MIDI channels is done internally with each one. Making it more complicated than that doesn't gain anything I or likely anyone else needs so what purpose for the software. It may be the OMS software which was provided with all of the Opcode devices but which I don't remember having any particular application for the Studio devices. Thus, the reticence because further study is needed.
As of this moment, there is no particular problem to solve as all of this is desirable but not absolutely necessary because I can bag the second RC-50 which has now been shown to be fully functional through a replacement power supply. That can go out to eBay to recover some, perhaps all of the money.
But, see above about discipline, doing the responsible thing is not likely when the potential makes me wild with possibilities. I've done this before so I know I can; the price for a used multiplexer is unbelievably inexpensive; the solution could be here in a week with no more than thirty to forty dollars to do it. Also as above, the reticence is because I need to know precisely what the software does.
Where this goes into another Universe is if I can get the GR-20 Guitar Synthesizer working again, possibly by replacing an extensive cable. Unfortunately, it also is battle-weary because it also took a serious bounce in the crash in Nice. If the GR-20 does still work then it will plug directly to the multiplexer from where it can drive synth sounds on the Korg keyboard.
Note: MIDI-out from the guitar is NOT standard MIDI and uses an extra pin for power. However, MIDI-out from the GR-20 synth is standard so that goes up to the multiplexer and let's play.
The result of this configuration as I can play a chord on the guitar and that dry signal will go as a normal guitar's 1/4-inch plug to effects, etc and then on to the mixer. The MIDI signal will, at once, go the the GR-20 which produces it's cool synth sounds which also subsequently go to the mixer. Via the multiplexer, the Korg synth will, at once, get the MIDI signal from the multiplexer and will also send its output to the mixer.
In this way a single guitar chord will produce three unique voices for combinations of sound which are impossible any other way.
So, I will get on back to the clouds just now for some major dreaming and will research further on the Studio software needed for the multiplexer ... or it's not. To be determined.
Meanwhile, to dreams and who cares if I wake, I'm so absolutely diggin' it.
Whoopsie ... forgot the ultimate killer punchline. MIDI can also be used to control lights and, thus, the lasers and LEDs can be in precise sync with the music. I don't need virtual worlds to work within them since this gives the capability to create one by hitting a chord and none are interpretive by anyone but rather under the direct management of the music.
The existing light control does not have MIDI-out because it doesn't need it but the MIDI-in is available and waiting for an application. It will go beyond the current discussion to cover MIDI triggers but the MIDI-in port means patches for the light configuration can be changed at will, the will of the music and not a human hand. Fark!
This has been the dream since I was a kid ... what does music look like ... well ...
No comments:
Post a Comment