Looking for a special mid routing


#1

Hi, this is only ever so slightly off-topic, but well… I want to offload some duties off the OT to my other sampler (SP16) but still would maintain “megabreak of doom” possibilties using the OTs crossfader. Unfortunately, the SP16 midi channels are exclusive (you can’t assign the same channel to more than one track). My iCM4+ can’t “fan out” midi channels either. To be clear, I want OT’s midichannel 1 to be duplicated to 5 channels (1 to 5) on the SP16, and use sliced drum/perc chains on those tracks. Any suggestions? (That are not too budget-heavy, like half the price of a pre-owned AH :wink: )


#2

You want a midi processor?
Event Processor Plus
Midipal / Midibud
RK002

Bomebox is more exensive but maybe the best.


#3

Yep, but do you know of one that is able to do exactly that? The issue that I encounter is that most midi processors I know of process a message and then go to the next. None I know of can process a message, then process it again, and again and again for a defined loop with different mappings at each iteration which is what’s needed here. It’s so stupid that the SP16 left that out! We have had “drums on channel 10” since the very beginning of midi so it would make sense that a sampler should be able to set the same channel for a set of samples…


#4

I’m far from my gear and limited for internet, but when I come back home I can make a midi test to confirm.
Tell me what kind of test / results I can make…


#5

Thanks! I appreciate! I think I was quite clear in the post above, but basically

and I want to get that to work (from the OT by midi) on a external sampler that doesn’t allow me to set several tracks to the same midi channel. One OT knob (CC17) on one channel (say ch1) , but the message ( #b0 #11) should be “fanned out” to #b0 #11, #b1 #11, #b2 #11, #b3 #11 and so forth (I could do with 4 channels but a bit more would be cool). Latency is not an issue (if reasonable).


#6

http://www.axoloti.com/ should be able to do this, but you have to fiddle it yourself. I would try it out for you, but i don’t have the time at the moment, sorry.


#7

It is, slices are not the right ones otherwise.
They can be if you add a 17 ms latency for the note after CC17, more for even slices!
Triggering slices with midi notes?


#8

I meant, I am not planning to play Chopin with pianosamples and OT as a masterkeyboard :wink: Because the initial message needs to be buffered to be able to duplicate it several times, there’s obviously some latency involved depending on how many channels are processed but it’s not like playing real-time keyboard. I does obviously multiply the number of CC messages so I expect some limitations with the crossfader.

As I said in the initial post, it’s to offload some duties off the OT but I want to use it’s LFO’s, arp’s and crossfader with drum parts that I don’t want to resample, I know it’s a workaround for poor midi implementation on the SP16 so I expect that I’ll need to acept some compromises…


#9

Oh, that’s a nice one. I lIke that! I was a VST coder in C++ and Pascal (stopped that over a decade ago though) but I enjoyed it. Currently out of stock though.


#10

I prefer to play with a chopine ! :beer:
And seriously, would you play with an instrument playing the previous note you played instead of the current note?

I found a octave slice workaround for polyphonic stuff, midi processor or course. 1 slice assignment per octave. Wrong octave, sometimes, but not wrong note. Works pretty well for my experimental needs.

Sp16… Pretty sure I won’t buy it! :slight_smile:


#11

The latency issue is minor because I use it for mangling, not playing. The SP16 is in fact a very cool device, pristine sound, 16 stereo tracks (64 second ram sampling each) that can be midi or thru tracks as well, 3GB Ram, direct access to USB storage (I have a 500GB external drive attached filled with samples, all instantly available), p-locks, (can be used as s-locks if using chains, of course), great pads, very playable and a superb tactile screen. Very easy to access everything, especially in the heat of the moment. For my purpose it’s absolutely useful. Remember that I play guitar and bass live on stage while octatracking, eventiding, blofelding, prophetizing, digitoning…and trying to keep my sax and perc player under control, while mixing 40 channels of audio… And that’s where the SP16 shines: you need a fill, a hit , a stab, an instant 4 on the floor, it’s all there, in plain text and bright colors. A life-saver, I’d say. That Dave Smith filter sounds really good and is there at your fingertips. It’s not a octatrack, maybe not a mpc live (don’t know) but I’m glad to have it and even if got a AR (I really think I’ll go for that holy trinity) I will keep the SP16. It sounds REALLY good. (Did I mention 8 outputs?)


#12

Hahaha…


#13

MIDI Solutions Event Processor Plus (as can the non-Plus one but you only get 10 steps as opposed to 32) can do this. It matches the event against all steps so you can make a step per replication. Receive the incoming CC and send it out to which destination you want.

I just picked mine up a couple of days ago so I can use CCs to send Program Changes. After reading the manual though I’ve found out some other awesome things you can do! Take 15 minutes and read though it. The advanced chapter would explain more what you’re trying to do:

http://www.midisolutions.com/EP_Guide.htm


#14

Examples?

Midi Processors with Octatrack


#15

While I’ve yet to set it up as I just read through the manual last night, you can save variables on it. On the Digitone for example, to get around the “quirks” of switching patterns and having say, the filter cutoff jump to the value of the next pattern instead of maintaining the value of the current pattern, you can store the filter cutoff value in a variable then have that value recalled when you switch patterns.

“ VARIABLES

The Event Processor has two Variable locations to save off MIDI data, while the Event Processor Plus has eight of these locations. We’ve intentionally left out this ‘basic’ tool, the setting of Variables, in our earlier discussions. We did this because while setting a variable is an easy task, the variable has no purpose until we use it to affect the way the Event Processor looks at data.

Sometimes, in order to solve a problem with MIDI gear, we need to know something about the data that was already sent. MIDI doesn’t provide any way to look at past data; it’s strictly a real-time communications link. A MIDI device could, of course, store up a record of past MIDI communications, but this takes hardware and software resources and few if any devices bother to record MIDI for later use. Of the few devices that do, almost none of them allow the user to access the data. Fortunately, the Event Processor can remember previous data for later use.

Let’s say that we have a synthesizer that reinitializes a bunch of settings –- volume, filter, Mod Wheel position, etc. –- every time we change programs. That’s a useful in some applications (like sequencer recording), but when playing live, it’s very strange to hear the reverb knob jump from zero to a large value when touched after a Program Change. Yes, we can try to remember to always wiggle the reverb knob after a Program Change, but we’ll probably forget sometimes. The Event Processor can make things much better! We can save off the setting of the reverb knob, Mod Wheel, and other settings every time they move, and then reapply the latest settings after each Program Change. We’ve effectively changed the way the synthesizer handles Program Changes, without having to touch the synthesizer. Figures 12 and 13 show how this can be done, using the Mod Wheel for our example.”