MIDITEMP MP 22-W, MP 22-CD, MP 88-W, MP 88-CD, PMM 88-E, MT 16-X
MIDITEMP MP 22-W, MP 22-CD, MP 88-W, MP 88-CD, PMM 88-E, MT 16-XMIDITEMP MP 22-W, MP 22-CD, MP 88-W, MP 88-CD, PMM 88-E, MT 16-X
MIDITEMP MP 22-W, MP 22-CD, MP 88-W, MP 88-CD, PMM 88-E, MT 16-X
16
6.1 Example: Organizing Matrix programs
Let's say you work in two different situations: you play in a live band, and you
occasionally do songwriting at home. Let’s also assume you have a professional master keyboard
with polyphonic aftertouch and several synth modules permanently installed in your transportable
rack for stage work. At home you have a few more MIDI devices plus a sequencer for composition
purposes. To satisfy all your (MIDI-) needs in both situations, it is a good idea to create a single
global program for each of the above scenarios to cover all the various basic conditions:
*
For the live band, this program could filter out the superfluous aftertouch data and increase the
velocity sensitivity of the keyboard so that you don't have to hammer your fingers to the bone
when the engineer turned you down …. You can also determine a MIDI input and channel for
the first (M1A) bank’s MIDI program changes: this allows the master keyboard to be used to
select sub-programs which are only needed for specific songs or passages.
*
For home use, you’ll want to record all the data from the master keyboard without changing it,
so filter functions etc. won't apply here. Though you can program your composing environment;
programming conditions like “I always want the drum pads to appear with channel 10 on MIDI
port A of my sequencer”, and so on.
It’s best if the “global program” is created in Group 8 (please read also section
“Combining control methods”, page 104), because you won’t need to edit this program while
playing. The “sub-programs” within the global program are stored in the first bank and contain only
those routing, filter and processing functions which are required for specific sounds or songs. The
advantage is that the global settings defined for both scenarios above don’t have to be programmed
again for each sub-program.
The global program
The global programThe global program
The global program remains in the background and is not changed for another one: it serves as a
remains in the background and is not changed for another one: it serves as a remains in the background and is not changed for another one: it serves as a
remains in the background and is not changed for another one: it serves as a
“working environment” for specific performance situations.
“working environment” for specific performance situations.“working environment” for specific performance situations.
“working environment” for specific performance situations.
The sub-programs operate in the foreground. They are switched manually or via MIDI and contain
The sub-programs operate in the foreground. They are switched manually or via MIDI and containThe sub-programs operate in the foreground. They are switched manually or via MIDI and contain
The sub-programs operate in the foreground. They are switched manually or via MIDI and contain
the settings for individual songs or passages.
the settings for individual songs or passages.the settings for individual songs or passages.
the settings for individual songs or passages.
&
The possibilities offered by even just two active Matrix Programs are pretty staggering. For instance
you could use the Programs of Group 2 to filter out unwanted events from any of the Midi inputs.
Provided you don’t switch off the Program containing these filters, it will perform its functions
independently from the Program in Group 1. This means that you no longer need to call up lots of
different Matrix Programs just to get them to filter out an extra type of event - you only need to alter a
single Program in Group 2, and the new settings will act on the whole device. Then you could make
the Banks in Group 1 (as well as the Song Banks, of course) respond to Midi Program Changes so
that you can control your Matrix via Midi in the usual way.
If you want to connect several Midi musicians into a Matrix, each one of them (up to a maximum of
eight) can be given his or her own Group containing the programs that determine the routings
required by the musicians. Midi Remote can be used independently for each Bank (i.e. that thankfully
each musician will only be changing Programs within his or her own Group). Each of the eight Banks
within a group contains 128 Program spaces so no-one is going to run out of memories.
When networking more than one device the number of Midi ports increases, as does the total number
of available Banks. The number of simultaneously active Banks, however, remains the same as for
one device - no more than ten (8 x Matrix, 1 x Song, 1 x Wave).
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