Hi G. - it's Jon again. Unless you object I'm going to repost your reply
to this thread along with my own on my site. I'm inspired this week!
Jon
Gary Gregson wrote:
>
> Hi Mango,
>
> > Does the AN1x manual go in-depth about the Ctrl Matrix and give examples
> > of it's various uses? If not... would anyone who is experienced in this
> > share some (preferably a lot ;-) of example-situations of it's various
> > possibilities?
>
> The Control Matrix is perhaps one of the most powerful features of the AN1x.
> Unfortunately it appears to be overlooked by most people when creating
> voices. This is a shame, as it can add so many dynamic possibilities to a
> voice.
>
> The basic purpose of the Matrix is to map incoming (CC) continuous
> controllers (1 - 95) and other standard MIDI controllers (e.g. After touch,
> Pitch Bend) and keyboard specific controllers (e.g. Knobs, ribbon etc) to
> AN1x parameters.
>
> In this way you can configure a whole bunch of 'controllers' to control a
> bunch of AN1x 'parameters' in real-time! What's more its very flexible....so
> for instance you can have a single controller affect multiple AN1x
> parameters simultaneously....or a number of different controllers affect a
> single AN1x parameter. Or different controllers affecting different scenes
> etc...
>
> There are two basic scenarios where the power of the function can be
> realised:
>
> a) When playing the synth live - you can have a set of foot controllers etc
> (or the on keyboard controllers; knobs, wheels, ribbon etc) configured to
> perform real-time voice modifications. This can give you significantly more
> expression, timbre and dynamic control over the voice.
>
> b) When playing the synth from a sequencer - you can setup a bunch of
> standard controllers (which are easily edited by your sequencers built in
> functions e.g. controller curves etc) to edit the voice during playback in a
> reproducible manner. Using this method is significantly easier (both for
> entry and modification) than attempting to embed lots of sysex data edits in
> the body of a song! In fact if you carefully create a matrix for each voice,
> you can effectively dispense with having to run AN1xEdit and your sequencer
> together......just use normal patch select and controller messages instead!
>
> If you are using AN1xEdit (as you should be :-) you will find all Control
> Matrix parameters laid out in the Matrix view. Each scene has its own 16
> controller mappings, together with specific controls for setting pitch bend
> up/down ranges. In addition their are a pair of Voice Common mappings that
> are global to the whole voice (but are displayed in the scene matrix for
> ease of access)
>
> The Source value determines which input controller is used (if you look at
> the popup list, the selections should be self explanatory).
>
> The Parameter value determines which AN parameter is affected by the input
> controller. Again the popup list of possible selections should be pretty
> much self explanatory. However it is worth noting that not all controllers
> can be mapped to all AN parameters. Where a parameter cannot be mapped it
> will be shown in red within the list (you can select such parameters...but
> they will have no affect in use).
>
> So for example you could have the keyboard after touch response increase the
> resonance of the voice filter: i.e. SOURCE=AFTERTOUCH, PARAMETER=RESONANCE
>
> The Depth parameter determines the actual scaling of input source controller
> range to the range of the selected parameter. Obviously, most standard CC's
> operate in range 0 - 127. However, different AN parameters have different
> operating ranges e.g. LFO1 Delay has a range of 0 - 127 whereas LFO1 Speed
> has a range 0 - 255. So in the first case you do not need to scale the CC's
> values, but in the second case you may wish to scale the input to achieve
> the full output parameter range. Hence the Depth control allows you to set
> the scaling...either positive or negative by some value....or to leave as is
> (DIRect).
>
> The possibilities available within the matrix are endless...so no amount of
> examples will really do it justice or explain all the possible nuances you
> can achieve. Therefore your best option is just to experiment. As always a
> good place to start is with some existing voices that have been configured
> to use the Matrix (take a look at the Best Of Yamaha set). Check out the
> Matrix mappings in each voice, and experiment with manipulating the
> controllers that are assigned as sources! You should soon get the idea!!
>
> Also make sure you check out the real-time parameter editing features of the
> FreeEG and Step Sequencer!!
>
> Regards
>
> Gary
> Email:
> gary@...
> http://www.yme.co.uk/yme
>
> > -----Original Message-----
> > From: mango [mailto:j.kolling@...]
> > Sent: 20 July 2000 23:53
> > To: an1x-list@egroups.com
> > Subject: [AN1x-list] Control Matrix
>
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