MicroDexed (from now called MD) is a software which runs on a Teensy(-3.6/4.x) microcontroller. It simulates a well known 6 operator FM synthesizer with some additions (like effects) and slightly extensions. It is controlled via MIDI and voice presets can also be programmed via MIDI. The sound engine is based on [Dexed](https://github.com/asb2m10/dexed), a famous open-source VST plugin.
MicroDexed (from now called MD) is a software which runs on a Teensy(-3.6/4.x) microcontroller. It simulates a well known 6 operator FM synthesizer with some additions (like effects) and a few extensions. It is controlled via MIDI and voice presets can also be programmed via MIDI. The sound engine is based on [Dexed](https://github.com/asb2m10/dexed), a famous open-source VST plugin.
## Requirements
To use MD, you need suitable hardware. For example [TeensyMIDIAudo (TMA)](https://codeberg.org/dcoredump/TeensyMIDIAudio/src/branch/master/Rev-1.8) was developed directly for MD. The schematics and layouts are open-source, so you can easily build a TMA board. You can also build it on a stripe grid board or use completely different variants - it's up to you how you build the hardware. Another option (with a few extensions) is the [Teensy Guitar Audio Shield](http://blackaddr.com/products/).
Basically your MD "board" needs the following:
* I2C connector for connecting a LCD display (software is written for a 2*16 character display, but a bigger one should do also).
* 2 Encoders (for each encoder one digital input for the button and two digital inputs for the encoder directions).
* A DA converter supported by Teensy (something like a "audio shield", e.g. the Teeensy audio shield, or (the simplest way) you can use the 12bit DA output pins of the Teensy-3.6 (not possible for Teensy-4.x!)). Audio output is also possible via the USB-B port direct into a program (like Audacity).
* I2C connector for connecting an LCD display (software is written for a 2x16 character display, but a bigger one should do also).
* 2 rotary encoders (for each encoder one digital input for the button and two digital inputs for the encoder directions).
* A DA converter supported by Teensy (something like an "audio shield", e.g. the Teeensy audio shield, or (the simplest way) you can use the 12bit DA output pins of the Teensy-3.6 (not possible for Teensy-4.x!)). Audio output is also possible via the USB-B port directly into a PC and some recording software (like Audacity).
* Getting MIDI into the Teensy
* via the onboard Micro-USB port (or USB-B port on a TMA board (note: will not work for USB-MIDI-keybords, because it is not a host port!))
* via USB-Host port (with soldering a header on the Teensy-3.6/-4.1)
* via external IO-components for DIN-MIDI.
* A small FAT32 formated SD card.
* The Arduino-IDE and TeensyDuino for compiling and uploading the program code (tested with Arduino-1.8.12 and TeensyDuino-1.52).
* A small FAT32 formatted SD card.
* The ArduinoIDE and TeensyDuino for compiling and uploading the program code (tested with Arduino-1.8.12 and TeensyDuino-1.52).
The complete hardware build manual for the TMA-board can be found inside the [TMA-Build-Manual](https://codeberg.org/dcoredump/TeensyMIDIAudio/src/branch/master/Rev-1.8/Build-Manual/TMA-Build-Manual.pdf). So for now we expect that you have a running hardware with installed MD software.
The complete hardware build manual for the TMAboard can be found inside the [TMA-Build-Manual](https://codeberg.org/dcoredump/TeensyMIDIAudio/src/branch/master/Rev-1.8/Build-Manual/TMA-Build-Manual.pdf). So for now we expect that you have a running hardware with installed MD software.
<divstyle="page-break-after: always"></div>
## Operating elements on the front
## Front Panel Controls
The normal controls for the user are arranged as follows:
@ -50,16 +50,16 @@ If you decide to do the arrangement differently this is no problem. You only hav
* Left encoder is named __VOLUME__
* Right encoder is named __PRESET__
### Permament encoder functions
### Permament Encoder Functions
The __VOLUME__ encoder always has the following functions - no matter where you are in the menus:
* __Turn left/right__: Change the volume (MIDI-CC 7). The volume-change-screen appears when turing and disapears after a short time and you get back, where you left off.
The __VOLUME__ encoder will always have the following functions - no matter where you are in the menus:
* __Turn left/right__: Change the volume (MIDI-CC 7). The volume change screen appears when turning the knob and disappears after a short time and you return where you left off.
* __Long-Press__: A MIDI panic is triggered and all voices are muted.
* __Short-Press__: Back (from the selected menu-item or up to the parrent menu)
* __Short-Press__: Go back, from the selected menu item or up to the parent menu.
The __PRESET__ encoder has only two different permanent function:
* __Long-Press__ inside menu: This takes you to the sound/bank selection.
* __Long-Press__ inside voice/bank selection: Changing between voice and bank selection.
The __PRESET__ encoder only has two different permanent functions:
* __Long-Press__ inside menu: go to the sound/bank selection.
* __Long-Press__ inside voice/bank selection: switch between voice and bank selection.
<divstyle="page-break-after: always"></div>
@ -67,7 +67,7 @@ The __PRESET__ encoder has only two different permanent function:
On a freshly installed MD the screen should greet you with the sound/bank selection. The volume is set to 80%.
__Long-Press PRESET__: Changes between voice and bank selection:
__Long-Press PRESET__: Switch between voice and bank selection:
@ -77,8 +77,8 @@ __Long-Press PRESET__: Changes between voice and bank selection:
- [<img src="../../images/LCD_characters_green/small_1_inv.png" width="12"/>](../../images/LCD_characters_green/small_1_inv.png) indicates that you are using timbre 1.
- [<img src="../../images/LCD_characters_green/key.png" width="12"/>](../../images/LCD_characters_green/key.png) indicates that you currently use the monotimbral engine.
- [<img src="../../images/LCD_characters_green/bracket_open.png" width="12"/>](../../images/LCD_characters_green/bracket_open.png)[<img src="../../images/LCD_characters_green/bracket_close.png" width="12"/>](../../images/LCD_characters_green/bracket_close.png) are showing which parameter you currently edit with the __PRESET__ encoder.
- [<img src="../../images/LCD_characters_green/note.png" width="12"/>](../../images/LCD_characters_green/note.png) below the timbre symbol(s) indicates that there was an MIDI event (if using a Teensy -4.x different height bars (depending on velocity) are displayed per timbre).
- [<img src="../../images/LCD_characters_green/bracket_open.png" width="12"/>](../../images/LCD_characters_green/bracket_open.png)[<img src="../../images/LCD_characters_green/bracket_close.png" width="12"/>](../../images/LCD_characters_green/bracket_close.png) are showing which parameter you are currently editing with the __PRESET__ encoder.
- [<img src="../../images/LCD_characters_green/note.png" width="12"/>](../../images/LCD_characters_green/note.png) below the timbre symbol(s) indicates that there was a MIDI event. If you are using a Teensy -4.x different height bars (depending on velocity) are displayed per timbre.
<divstyle="page-break-after: always"></div>
@ -90,15 +90,15 @@ The individual menu items are described below. MD knows three different states:
* Adjust volume
* Menu
After switching on, you are in the voice/bank selection. To enter the menu you have to press the volume encoder. You can return to the voice/bank selection by holding down the preset encoder. If you turn the volume encoder, the volume screen appears and you can see which value is set. After a few seconds the system automatically returns to the previous screen.
After turning MD on, you are in the voice/bank selection. To enter the menu press the volume encoder. You can return to the voice/bank selection by holding down the preset encoder. If you turn the volume encoder, the volume screen appears and you can see which value is set. After a few seconds the system automatically returns to the previous screen.
To select items in the menu, the preset encoder must be turned. On the right side you will see where you are in the menu list. You can select a menu item or jump to a submenu by pressing the preset encoder.
To select items in the menu, turn the preset encoder. On the right side you will see where you are in the menu list. You can select a menu item or jump to a submenu by pressing the preset encoder.
If you want to leave a menu point or change to a higher menu, the volume encoder must be operated.
If you want to leave a parameter edit or go up one level in the menu, press the volume encoder.
---
> __Hint__:
> You can compile MD with several different options and accordingly some features may or may not be available. This also depends on what kind of microcontroller you use. In > this manual the standard options are used. These are:
> You can compile MD with several different options and accordingly some features may or may not be available. This also depends on what kind of microcontroller you use. In this manual the standard options are used:
@ -110,30 +110,30 @@ If you use the *dual-timbral* engine, in many menus a small <img src="../../imag
---
> __Hint__:
> MD stores changed values in the internal EEPROM. These changes survive a separation from the power supply. __However, the changed values are only written into the EEPROM when the menu is exited by pressing the volume eincoder (BACK)!__
> MD stores settings in the internal EEPROM. These changes will survive a power loss. __However, the changed values are only written into the EEPROM when the menu is exited by pressing the volume encoder (BACK)!__
---
### Sound/Bank selection
The most important screen will be the selection for the sounds. The screen displays the selected bank number (top left) and the selected voice number (below). Next to the numbers are the corresponding names. The paramater, which is shown in square brackets, can be changed by turning the preset encoder.
The most important screen will be the sound selection. The screen displays the selected bank number (top left) and the selected voice number (below). Next to the numbers are the corresponding preset names. The active paramater (marked with square brackets) can be changed by turning the preset encoder.
MD can manage 100 banks (0-99) and 32 voices per bank. If you turn the encoder over the 32 voices, the first voice of the next bank will be loaded automatically - that is if you are not already inside the latest bank (bank 99). This happens the same way if you go lower than voice number 1.
MD can manage 100 banks (0-99) and 32 voices per bank. If you turn the preset encoder farther than the 32nd voice of a bank, the first voice of the next bank will be loaded automatically, except if you already reached the last bank (bank 99). This happens the same way if you try to go lower than voice number 1.
To switch between voice and bank selection, the preset encoder must be pressed for a long time.
To switch between voice and bank selection, the preset encoder must be long-pressed.
Next to the bank name is the symbol for the active engine. As described above, we use the *mono-timbral* engine for this manual, so the display next to it has a key symbol and is therefore not available. In this case we can not switch between the two instances by pressing the preset encoder.
Next to the bank name is the symbol for the active engine. As described above, we use the *mono-timbral* engine for this manual, so the character next to <imgsrc="../../images/LCD_characters_green/small_1_inv.png"width="12"/> shows a key symbol and is therefore not available. In this case you can't switch between the two instances by pressing the preset encoder.
If one or several MIDI note events are detected, a note symbol is displayed below the corresponding instance as long as this note is active.
When the voice is changed, MD sends a voice dump in the background via MIDI SYSEX on its selected MIDI channel. This has the advantage that external devices (like a voice editor on a PC) synchronize the data directly.
To enter the menus, the volume encoder must be operated.
To enter the menus, press the volume encoder.
### Voice Menu
The Voice menu is the most comprehensive menu. Here all functions related to sound generation are stored in different menus.
The Voice menu is the most comprehensive menu. Here all functions related to sound generation are available in submenus.
#### Audio Menu
@ -143,29 +143,28 @@ The audio submenu contains all functions that can lead to audible changes in any
By changing (and later saving) this value you can compensate for differences in volume between different sounds. The value ranges from 0 to 127. Default is 100, but you can make the sound louder by increasing the value.
The place in the stereo image can be adjusted here (MIDI-CC 10)
The voice's position in the stereo image can be adjusted here (MIDI-CC 10).
##### Effects
MD comes with some effects. Basically, each MD instance has its own resonant low-pass filter, (mono) Chorus and a separate (mono) delay (500 ms for mono-timbral / 250ms for bi-timbral). This is followed by the placement in the stereo image (see panorama) and a stereo reverb. A complete picture of the generation of the audio signal is stored in the [Repository](https://codeberg.org/dcoredump/MicroDexed/src/branch/master/doc/MicroDexed-Audio-FlowChart.png).
MD comes with some effects. Basically, each MD instance has its own resonant low-pass filter, (mono) Chorus and a separate (mono) delay (500 ms for mono-timbral / 250ms for bi-timbral). This is followed by the position in the stereo image (see panorama) and a stereo reverb. A complete picture of the generation of the audio signal is stored in the [Repository](https://codeberg.org/dcoredump/MicroDexed/src/branch/master/doc/MicroDexed-Audio-FlowChart.png).
---
> __Note on effects menu:__
> It is possible to deactivate the effects at compile time. If this was done, then no effects menu is available!
> It is possible to deactivate the effects at compile time. If this was done, then the effects menu is not available!
---
###### (Mono-)Chorus
A simple chorus created on the mix of the original signal and a pitch-modulated original signal. The effect is only audible when frequncy, depth and level are all somehow greater than 0.
This simple chorus is generated by mixing the original signal and a pitch-modulated copy. The effect is only audible when frequency, depth and level are all somehow greater than 0.
Parameter:
Parameters:
* Frequency (0-10 Hz)
* Waveform (Triangle/Sine)
* Depth (0-100)
@ -175,7 +174,7 @@ Parameter:
The delay has a feedback loop and can be mixed into the original signal by means of level. Therefore time and level must be greater than 0.
Parameter:
Parameters:
* Time: (0-500ms for *mono-timbral* or 0-250 for *dual-timbral* (on Teensy-3.6))
* Feedback (0-100)
* Level (0-100)
@ -189,7 +188,7 @@ Parameter:
The filter is a resonant 4-pole low-pass filter.
Parameter:
Parameters:
* Cutoff (0-100)
* Resonance (0-100)
@ -199,9 +198,9 @@ Parameter:
###### (Stereo) Reverb (Master effect)
The reverb is a port of the freeverb. With the *mono-timbral* engine the parameter *Reverb Send* seems to be superfluous and can be set to 100. But if you use the *dual-timbral* version, you can set the amount of reverb send for each of the two sound generators separately. The reverb can only be heard when the roomzize and level, as well as *Reverb Send* are greater than 0.
The reverb is a port of freeverb. With the *mono-timbral* engine the parameter *Reverb Send* seems to be superfluous and can be set to 100. But if you use the *dual-timbral* version, you can set the amount of reverb send for each of the two sound generators separately. The reverb can only be heard when the roomsize and level as well as *Reverb Send* are greater than 0.
Parameter:
Parameters:
* Roomsize (0-100)
* Damping (0-100)
* Level (0-100)
@ -214,7 +213,7 @@ Parameter:
The EQ is only active when using a Teensy audio shield (or SGTL5000 chip). It serves as a simple adjustment of the sound image.
Parameter:
Parameters:
* Bass (0-100)
* Treble (0-100)
@ -229,30 +228,30 @@ The controller section is responsible for the settings of the different MIDI con
>
> 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).
> These settings cannot be edited using MD's 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.
> The LFO, internal to MD, will affect all operators in the same way. Its frequency (or rate) and depth are common to all 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.
> 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.
> The LFO, internal to MD, will affect all operators independently: 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.
> 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 in a series of notes with random brightness.
>
>---
> MDs controller menu
> MD's 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.
> 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.
>
@ -260,27 +259,27 @@ The controller section is responsible for the settings of the different MIDI con
>
> 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.
> 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.
> Controller MIDI messages can as well be produced by virtual controllers as DAWs, virtual keyboards or MIDI command software.
>
> The devices named in this manual refer to the MIDI message, no matter which organ of the controller device produces them.
> The devices named in this manual refer to the MIDI message, no matter what kind of controller device produces them.
>
> MD will not produce those MIDI CC messages, but will define their destination, their operating mode, and their intensity.
> MD will not produce any MIDI CC messages, but will define their destination, their operating mode, and their intensity.
---
###### 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.
*Steps* define if the control is continuous (step = 0) or by discrete values (steps) of 1, 2 ... 12 semitones.
The pitch of a note can be raised or lowered using the Pitch Bend control, which is usually a dedicated wheel or joystick on a master keyboard. The range can be set up to one octave on both directions (up/down). *Range* setting defines the highest possible variation: from one semitone to a full octave.
*Steps* define if the control is continuous (step = 0) or uses discrete values (steps) of 1, 2 ... 12 semitones.
Parameter:
Parameters:
* Range (0-12)
* Step (0-12)
###### Other controllers (Modulation-Wheel/Aftertouch/Foot-Contoller/Breath-Controller)
The other MIDI controllers all have the same modification possibilities. The allocation of modulation can affect different destinations: PITCH (pitch envelope), AMP (loudness envelope), EG (see note below). It is possible to specify targets or any combination of targets but to be able to hear an effect, the voice preset must be configured accordingly.
Other MIDI controllers all have the same modification possibilities. The output of modulation can affect different destinations: PITCH (pitch envelope), AMP (loudness envelope), EG (see note below). It is possible to specify targets or any combination of targets. In order to hear an effect, the voice preset must be configured accordingly.
---
> __Note on controllers:__
@ -288,29 +287,29 @@ The other MIDI controllers all have the same modification possibilities. The all
> External controllers such as Mod Wheel, Foot Pedal, etc, will send MIDI messages to MD, from 0 to 127.
>
> * The *Assign* parameter will define the destination of this modulation.
> * The *Range* parameter will define a divider, reducing this operating range to fit the users needs (*Range* can be seen as a percentage value).
> * The *Mode* parameter will define the behaviour of the controllers output, or how MD will react on the controllers messages.
> * The *Range* parameter will define a divider, reducing this operating range to fit the user's needs (*Range* can be seen as a percentage value).
> * The *Mode* parameter will define the behaviour of the controller's output, or how MD will react to the controller's messages.
>
> In *Linear* mode, the modulation applied to the chosen destination will vary from 0 to the value defined by *Range*.
> Output can be considered as:
>
> > MIDI CC value * (*Range*/100) (and is not inverted)
> > MIDI CC value * (*Range*/100) (not inverted)
>
> In *Reverse* mode, the MIDI CC value is substracted to its maximum. The output will vary from 127 to (127-*Range*), and thus, will be inverted, compared to its input.
> In *Reverse* mode, the MIDI CC value is substracted to its maximum. The output will vary from 127 to (127-*Range*), and thus will be inverted, compared to its input.
> Output can be considered as:
>
> > 127 - (MIDI CC value * (*Range*/100))
>
> In *Direct* mode, the modulation applied to the chosen destination, will vary from (127-*Range*) to 127, without being inverted.
> In *Direct* mode, the modulation applied to the chosen destination will vary from (127-*Range*) to 127, without being inverted.
> Output can be considered as:
>
> > 127 - ((*Range*/100)*127) + (MIDI CC value * (*Range*/100))
>
> *Linear* will be prefered for Pitch or Amp modulations (no modulation when MIDI CCs value is null, maximum modulation set by the *Range* parameter.)
> *Linear* will be preferred for Pitch or Amp modulations (no modulation when MIDI CC's value is null, maximum modulation set by the *Range* parameter).
>
> *Direct* mode will be prefered when modulation is applied to EG bias: MIDI CC value of 127 (maximum) will leave the sound un-altered, when lower values will reduce the volume or brightness of the preset, down to a value defined by *Range*.
> *Direct* mode will be preferred when modulation is applied to EG bias: MIDI CC value of 127 (maximum) will leave the sound unaltered, while lower values will reduce the volume or brightness of the preset, down to a value defined by *Range*.
>
> *Reverse* mode will for example be used when a same controller is applied to two different MD units (or two instances of a bitimbral MD), set to the same MIDI channel, to modify the level balance of those two engines. If one of the MDs is set to Direct and the other to Reversed, it will then be possible to control the balance of those two engines, for example by turning the Mod Wheel or by pressing the Foot Pedal, allowing some kind of sound morphing.
> *Reverse* mode will be used for example when one controller is applied to two different MD units (or two instances of a bitimbral MD), set to the same MIDI channel, to modify the level balance of those two engines. If one of the MDs is set to Direct and the other to Reversed, it will then be possible to control the balance of those two engines, for example by turning the Mod Wheel or by pressing the Foot Pedal, allowing some kind of sound morphing.
---
Parameters:
@ -328,29 +327,27 @@ Parameters:
>
> 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.
> Among those settings are 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).
> Output level could as well be called "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.
> EG stands for EG bias, and could as well be called EG depth. It could be compared to the filter's 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.
> 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.
> Depending on a parameter which is internal to the sound engine's preset, this will have a different effect and in 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.
> 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.
>
> 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 modulator’s 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 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.
> In short: If, inside the preset, *AMD* is set to 0 for all operators, then the controller will have no effect.
>
> 
>
@ -364,14 +361,14 @@ In this menu everything concerning MIDI control is set.
###### MIDI Channel
This parameter sets the MIDI receive channel. MD will react on messages coming from this channel. A channel between 1 and 16 can be selected. Alternatively *OMNI* can be selected if data should be received from all MIDI channels.
This parameter sets the MIDI receive channel. MD will react to messages coming from this channel. A channel between 1 and 16 can be selected. Alternatively *OMNI* can be selected if data should be received from all MIDI channels.
Parameters:
* MIDI-Channel (OMNI/1-16)
###### Lowest/Highest note
You can also restrict the range to which MIDI-notes MD should react. This allows split and/or dual configurations with the *dual-timbral* engine.
You can also restrict the range of MIDI-notes to which MD should react. This allows split and/or dual configurations with the *dual-timbral* engine.
Parameters:
* Lowest Note (A0-C8)
@ -396,16 +393,16 @@ The currently configured voice can be sent via MIDI SYSEX, for example to edit i
> The voice data is send on the current MIDI channel. If the MIDI channel is *OMNI* the data will be send on Channel 1.
> The voice data is sent on the current MIDI channel. If the MIDI channel is *OMNI* the data will be send on Channel 1.
#### Setup
The setup menu contains all other parameters that are necessary for this voice.
The setup menu contains all other parameters that control this voice.
##### Portamento
@ -422,14 +419,14 @@ Parameters:
---
> __Note on portamento:__
>
> Each musical instrument has a specific way to produce notes. Some have frets, keys, pistons and will produce discrete notes inside a scale… In european temperament, those notes are usually a chromatic scale (C, C#, D, D#, ...).
> Each musical instrument has a specific way to produce notes. Some have frets, keys, pistons and will produce discrete notes inside a scale. In european temperament, those notes are usually a chromatic scale (C, C#, D, D#, ...).
>
> On these instruments, it is uneasy, or even impossible, to produce a note between those. The pitch will then abruptly switch from one note to another, it will only vary by steps, and no intermediate pitch will be produced.
> On these instruments it is very hard or even impossible to produce a note between those of a scale. The pitch will then abruptly switch from one note to another, it will only vary by steps, and no intermediate pitch will be produced.
>
> On other instruments, such as violin or trombone, the pitch of the note can vary continuously, depending on the exact position of the finger on a string, or the length or the air column inside the pipe: this allows the pitch to slide continuously from one note to the next one. This is known as portamento.
> Depending on the instrumentist technique, this slide can be fast or slow. On MD, this speed is defined by the *Time* parameter. Higher values for portamento rate will produce a fast slide when lower values will result in a slower slide.
> On other instruments, such as violin or trombone, the pitch of the note can vary continuously, depending on the exact position of the finger on a string, or the length or the air column inside the pipe: This allows the pitch to slide continuously from one note to the next one. This is known as portamento.
> Depending on the instrumentalist technique, this slide can be fast or slow. On MD, this speed is defined by the *Time* parameter. Higher values for portamento rate will produce a fast slide while lower values will result in a slower slide.
>
> In monophonic setting, the choice is given to have a constant (*Full*) portamento (all notes are concerned) or a *Fingered* portamento, which will only happen when you keep the initial key pressed, when playing a new key (legato).
> In monophonic setting, you can choose between a constant (*Full*) portamento (all notes are concerned) or a *Fingered* portamento, which will only happen while you keep the initial key pressed when playing a new key (legato).
>
> *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.
lars.pelz@gmx.net
4 years ago