Hi Tony,
> JH >A switch for Low note priority would be a good
> addition as well.
>
> No plans for this either, sorry. This would require
> another port on the
> midiDAC PIC and one isn't available as it stands.
> Juergen, could you
> tell me why you would like this? For years I struggled
> with low note
> priority on my old synths and I just love new note
> priority. Remember
> the midiDAC has a note stack so it will return to the
> previous note(s)
> if you take of the new low or high note(s). Velocity data
> is not
> remembered in the note stack as I feel this is more
> intuitive.
I'm used to having 3 options, low, high and last note priority,
from the Kenton Pro-2. In practice, I'm using low note
priority to 70%, high note priority to 29.5% and last
note priority to 0.5%. I'm aware that I could use last note
more often and high note less often, but nothing can replace
low note priority for me.
Why ? Because the low note is the bass note, and at least for
my playing style, this mostly defines the key in which I'm playing,
and I like to use this for transposing a modular + sequencer
setup while playing along on a polysynth.
In practice, it's a little more complicated, and works even better:
With the low note, I'm transposing both, the analoge sequencer /
modular setup, and the arpeggio on latched chords of the OB-8,
while playing freely along on the same OB-8, without even using
any split mode. This is absolutely crucial for my playing style.
I already have this for the JH-3 + OB-8 setup, but I plan to install
a second such setup with MOTM, a Frostwave FAT controller and
the VL1 for the keyboard. So I'm looking around which affordable
Midi-CV interface would fit the need. (I'm also thinking about
alternatives:
Building a keyboard controler from scratch, with a lot of pots
and sliders that send CVs to the modular. But in that case I would
loose
the Midi control to polyphonic synths.)
Another favorite setup of mine for the Pro-2 is using low note
and high note priority at the same time. Send the 2 channels to
different VCOs (or groups of VCOs) and you can do increadible
things with ringmodulators and other nonlinear modulations by
just hitting two keys - learned this on the SH-7.
High note is nice for doubling the top note of polyphonic
playing with solo voice from the modular. With a careful blend
of the polyphonic and the monophonic sound, this doesn't sound
like a different voice, but rather enriches the top note of
the poly sound. OTOH, with a little panorama modulation on
the solo voice, this gets a quite independent character even
though it's just th etop note doubled.
But really, the part about the bottom note and sequencer control
is the most important for me.
BTW, I have a few more modes, discovered by accident when I
built the CV interface for the CS-50. A top note which
will ∗not∗ jump to lower values unless all keys are released
can be very useful for certain things.
What I really don't understand about you guys that are skilled
in uC programming (and this includes all commercial manufacturers
of Midi/CV devices): Once you have a good core to process Midi
and a good circuit with DAC and MUXes, you could build the world's
greatest controller by just adding a number of switches (use another
MUX if you don't have enough ports) for some extra key assign
modes and options, but nobody does it. You all stop at more or less
standard stuff, and different manufacturers have a different set
of standard functions. Why does nobody take a all-in-one approach ?
Where is the "Mother Of All Midi Interfaces" ??
JH.