The controller section is responsible for the settings of the different MIDI controllers.
The controller section is responsible for the settings of the different MIDI controllers.
---
> __Mote on Controllers:__
>
> How it works inside MD:
>
> Pitch and amplitude modulations are set inside the voice presets by two parameters : *PMD* (*P*itch *M*odulation *D*epth) and *AMD* (*A*mplitude *M*odulation *D*epth)
>
> Those settings cannot be edited using MDs interface (but can be edited via MIDI-SYSEX).
>
>---
> Pitch modulation:
>
> The LFO, internal to MD, will affect all operators in the same way. Its frequency (or rate) and depth are common to all those operators.
>
> Depending on the LFO’s waveform, the effect will sound like a faint vibrato or a large wobble (sine or triangle), a trill (square), a series of random pitches (sample and hold), to name a few.
>
>---
> Amplitude modulation:
>
> The LFO, internal to MD, will affect all operators independantly: Rate will be common, but modulation depth can be set differently on each operator.
>
> If the operator is a carrier, the LFO will affect the general volume of the preset. A sine wave LFO applied to a carrier operator will result in some kind of tremolo effect.
>
> If the operator is a modulator, the LFO will affect the harmonic content of the preset. A sine wave LFO applied to a modulator operator can, in most cases, be compared to an automatic Wah-Wah effect. A sample and hold LFO applied to a modulator operator will result into a series of notes with random brightness.
>
>---
> MDs controller menu
>
> Even if pitch and amplitude modulations are already set inside the Dexed preset, it is still possible to add modulation using external controllers.
>
> Controllers are physical or virtual devices, external to MD, which will have an effect on some parameters, via MIDI-CC messages.
>
> On MD, sources are : Pitch Bend, Modulation, Breath Controller, Foot Pedal, Aftertouch.
>
> Destinations are : pitch modulation by internal LFO, amplitude modulation by internal LFO, EG Bias.
>
> On a physical synth or master keyboard, pitch bend is usually controlled by a wheel or one axis of a joystick, modulation by a second wheel, or the second axis of the joystick, a breath controller by an external pressure sensor, and foot pedal is obvious.
>
> But in fact, if this is a common setting, other combinations can occur, depending on the keyboard/controller and of the musician’s choice.
>
> Those MIDI messages can as well be produced by virtual controllers as DAW, virtual keyboards or MIDI command softwares.
>
> The devices named in this manual refer to the MIDI message, no matter which organ of the controller device produces them.
>
> MD will not produce those MIDI CC messages, but will define their destination, their operating mode, and their intensity.
---
###### Pitchbend
###### Pitchbend
The pitch of the note can be raised or lowered using the Pitch Bend control (Usually a dedicated wheel or joysitck on a master keyboard). The range can be set up to 1octave on both directions (up/down). *Range* setting defines the highest possible variation: from one semitone to a full octave.
The pitch of the note can be raised or lowered using the Pitch Bend control (Usually a dedicated wheel or joysitck on a master keyboard). The range can be set up to 1octave on both directions (up/down). *Range* setting defines the highest possible variation: from one semitone to a full octave.
@ -237,24 +284,39 @@ Parameters:
---
---
> __Note on target EG:__
> __Note on target EG:__
>
> When a controller is routed to EG (aka EG Bias), the *Range* value will define how much the controller will affect each operators output level (depending on a parameter which is internal to the sound engine’s preset, this will have a different effect, and on many cases, no effect at all).
>
>
> On MD, this internal parameter is called AMD (for *A*mplitude *M*odulation *D*epth) and the controller routed to EG will only have an effect on the operators when their individual *AMD* is set to a value greater than 0.
> Each of the 6 operators has similar settings, no matter if it is a carrier or a modulator.
>
> Amongst those settings, an envelope generator, and an output level.
>
> Output level could as well be named “Gain” and can be compared to a mixer entry fader (in case of a carrier) or a modulation index (in case of a modulator).
>
> EG stands for EG bias, and could as well be called EG depth. It could be compared to the filters EG depth on an analog synthesizer.
>
> When a controller is routed to EG (aka EG Bias), the *Range* value will define how much the controller will affect each operator’s envelope depth.
>
> Depending on a parameter which is internal to the sound engines preset, this will have a different effect, and on many cases, no effect at all.
>
> On MD, this internal parameter is called *AMD* (for *A*mplitude *M*odulation *D*epth) and the controller routed ot EG will only have an effect on the operators when their individual *AMD* is set to a value greater than 0.
>
>
> If those operators are carriers, the controller routed to EG will control the overall volume of the sound.
> If those operators are carriers, the controller routed to EG will control the overall volume of the sound.
>
>
> If those operators are modulators, the controller routed to EG will affect the modulation indexes, which have an effect on the harmonic content of the sound (the higher the modulators level, the richer the harmonics, leading to a brighter sound).
> If those operators are modulators, the controller routed to EG will affect the modulation indexes, which have an effect on the harmonic content of the sound (the higher the modulator’s level, the richer the harmonics, leading to a brighter sound).
>
>
> If carriers and modulators have an *AMD* setting with a value greater than 0, then the controller routed to EG will affect, at the same time, volume and brightness of the sound.
> If carriers and modulators have an *AMD* setting with a value greater than 0, then the controller routed to EG will affect, at the same time, volume and brightness of the sound.
>
>
> If, inside the voice-preset, *AMD* is set to 0 for all operators, then the controller will have no effect.
> If no operator has an *AMD* setting greater than 0, then the controller will have no effect.
>
> Or better to say:
>
> If, inside the preset, *AMD* is set to 0 for all operators, then the controller will have no effect.
>
>
> 
> 
>
>
>> __Note on changing *AMD*:__
>> __Note on changing *AMD*:__
>> You can easily change all voice parameters by using an external MIDI-SYSEX editor (see Appendix).
>> You can easily change all voice parameters by using an external MIDI-SYSEX editor (see Appendix).
---
---
##### MIDI
##### MIDI
In this menu everything concerning MIDI control is set.
In this menu everything concerning MIDI control is set.
@ -330,6 +392,8 @@ Parameters:
>
>
> *Glissando* is different in that instead of producing a continuous slide between the pitches of the subsequent notes, it will play all the notes of the scale which are between those 2 notes, like a pianist gliding his finger on the keyboard, or a guitarist on his fretted guitar neck.
> *Glissando* is different in that instead of producing a continuous slide between the pitches of the subsequent notes, it will play all the notes of the scale which are between those 2 notes, like a pianist gliding his finger on the keyboard, or a guitarist on his fretted guitar neck.
> A glide between C3 and E3 will play subsequently C3, C#3, D3, D#3, E3, when a portamento would result in a continuous rising of the pitch, from C3 to E3.
> A glide between C3 and E3 will play subsequently C3, C#3, D3, D#3, E3, when a portamento would result in a continuous rising of the pitch, from C3 to E3.
@ -453,16 +517,148 @@ You can always abort the process by pressing the volume encoder (back):
### Load/Save
### Load/Save
MD can save settings for effects and sound separately from the voice/bank parameters. Furthermore it is even possible to call up finished combinations of these three variants.
#### Performance
#### Performance
A performance is a combination of an effect setup, voice setup and the selected voices themselves (see below for descriptions of effect setup and voice setup).
Loading and/or saving a performance makes it possible to call up or save a complete setup ready to play for live operation.
---
> __Hint on Performance:__
> It is possible to call up a performance directly via the first used MIDI channel using MIDI Bank Change/MIDI Program Change.
>
> TBD: explain how to do this
---
#### Voice config
#### Voice config
Voice configurations store all data beyond the sound data itself that is necessary for playing. Voice-Configs should not be confused with the voice data (inside a bank) that describes the sound. All data that are not stored in the voice data are stored there:
* MIDI channel
* MIDI lowest note
* MIDI highest note
* Tranpose
* Tune
* Internal level
* Panorama
* Polyphony
* Velocity level
* Engine Type
* Mono/Poly
* Note refresh mode
* Pitchbend:
* Range
* Step
* Modulation wheel
* Range
* Assign
* Mode
* Foot controller
* Range
* Assign
* Mode
* Breath Controller
* Range
* Assign
* Mode
* Portamento
* Mode
* Glissando
* Time
* Operator status
#### Effects
#### Effects
Effect configurations save all settings for the effects and are independent of voice configurations or the voices themselves. The following parameters are stored:
* Filter cutoff
* Filter resonance
* Chorus
* Frequency
* Waveform
* Depth
* Level
* Delay
* Time
* Feedback
* Level
* Reverb
* Send
* Roomsize
* Damping
* Level
* Equalizer
* Bass
* Treble
#### MIDI
#### MIDI
The following menu items allow data exchange via MIDI-SYSEX with editors/libraries or other (compatible) synths.
##### MIDI Recv Bank
##### MIDI Recv Bank
A bank consists of 32 voices. These can be sent in a block to MD. Before you can send them, you have to select a bank slot and maybe want to edit the name of the bank on MD's side.
5. Now you can choose to edit the name of the new bank. The blinking cursor is located on the first character (on the left) and can be moved with the preset encoder in this example to the position of character the "4").
10. Now can go to step 5 and edit the other characters like the first one, or you can go one position after the last character to leave the edit screen. An OK prompt will apear on the right.
