Listed below are
the 13 functions of the MIDIJACK 303:
MIDIJACK 303 advantages
The MIDIJACK 303 is totally unique. Is is an internal MIDI retrofit for the Roland TB-303 Bassline with a 10-2/3 octave MIDI note range. You can do super deep bass and TB-303 xylophone sounds! All user selections of MIDI channel, MIDI Off, MIDI On, single note triggering, multiple note triggering, and MIDI transpose are stored in nonvolatile flash memory, so your preferences will be remembered even with the power off! The Synhouse MIDIJACK 303 requires no batteries for this. Incorporating the latest advances in MCM (Multi-Chip Module) and VLSI (Very Large Scale Integration) technology, the MIDIJACK is the world's smallest MIDI device. The MIDIJACK utilizes a RISC processor and proprietary data processing architecture to make it the world's fastest MIDI processor.
Since the introduction
of MIDI, users have suffered from slow response time and "MIDI lag".
For this reason, Synhouse has developed Accelerated MIDI for use
in professional music applications. Accelerated MIDI utilizes a combination
of digital sampling techniques and computerized numerical data filtering
processes to separate critical MIDI data from unusable redundant MIDI data,
process it, and implement it instantaneously. This creates
a new type of MIDI processor that is dedicated to the specific applications
of the Analog User, without ever allowing the CPU (Central Processing
Unit) to be interrupted by useless data such as MIDI clocks and commands
sent to other MIDI slave instruments on other MIDI channels. With
the MIDIJACK, the analog note sounds while the slow-moving MIDI message
is still in the MIDI cable! This allows the analog synthesizer to
instantly respond to the players note action, preserving the finest
rhythmic nuances. No other brand of products has ever achieved this
level of timing accuracy.
Setting up a MIDIJACK 303 for performance
Setting up for
performance with a MIDIJACK 303 is simple. No analog patch cables
are needed. All that is required is a standard MIDI cable.
One end of the cable should be connected to the MIDI output of the desired
controller, which may be a personal computer sequencer, MIDI keyboard,
or other MIDI controller. The other end of the MIDI cable should
be plugged into the MIDIJACK 303 installed on the TB-303. The MIDIJACK
is for MIDI input only. MIDI notes should be sent to the MIDIJACK
one note at a time. The MIDIJACK is for analog monosynths and groups
of notes sent as chords may be misinterpreted, causing a malfunction
of the analog synthesizer. The MIDIJACK does not have a MIDI output
and Synhouse does not condone MIDI through. The TB-303 should be
powered by either batteries or the Roland power supply. To use it
with MIDI, the external power supply provided with the MIDIJACK 303
should be connected to the metal jack on the side, which powers only
the MIDIJACK. The MIDIJACK 303 bypass switch should be selected in
the position ponting towards the MIDI input as seen here:
This dual power arrangement is required
to allow the MIDIJACK to give the TB-303 a range greater than ten octaves,
which is impossible with any other MIDI retrofit for the TB-303 (The second
power supply is not required for non-MIDI use, so the TB-303 may
still be used as a battery-powered portable device.). The MIDIJACK
303 is now ready for performance.
MIDI Channel Selection and MIDI Panic Button
All functions
are arranged in a Function Ladder on a single MIDI function button.
The advantage of having a single button is that it requires drilling only
one hole on the analog synthesizer to make the entire MIDI control panel.
The Function Ladder concept is quite intuitive and has been implemented
for use without any visual indicators during setup or playing. This
permits use under poor lighting conditions, while reading music,
or while looking at a computer or video monitor. For this reason,
the button may be mounted out of sight, such as at the back of the
instrument or even on the bottom side. Most importantly, the
Synhouse Function Ladder allows a non-sighted user to access all MIDI functions
without assistance. No other brand of products has this capability.
When the user pushes the button many times to advance the MIDIJACK all the way up the Function Ladder to MIDI On/channel 16, it will go no further and does not wrap around. To go to a higher MIDI channel, simply press the button as many times as necessary to reach the desired channel. For example, to go from MIDI channel 4 to channel 6, press the button two times. While on the Function Ladder, the MIDI channel selection will only increment and will not decrement. To set to a MIDI channel of a lower number, the MIDIJACK must be reset to turn MIDI off and the new channel must be selected starting at the base of the ladder. For example, to go from MIDI channel 6 to channel 4, reset and start over, advancing up the ladder to MIDI channel 4. See the section entitled "MIDI Off Mode".
While set to MIDI
On/channel 16, a push of the button mutes the machine and clears
the buffer, however, the MIDIJACK remains in the mode of MIDI
On/channel 16. This is the only setting where a push of the button
does not change the MIDI channel, making the button act as a dedicated
MIDI Panic Button to silence stuck notes. For this reason,
channel 16 is the best channel for live performance with a MIDIJACK-equipped
instrument. The MIDI channel selection will be stored in nonvolatile
flash memory.
MIDI Off Mode
If you forget
your MIDI channel selection, need to set to a lower MIDI channel,
or would like to turn MIDI reception off, the MIDIJACK must be reset
to the base of the Function Ladder. To return to the base of the
Function Ladder and to turn MIDI reception off, press the button
and hold it for at least a half of a second (>.5 seconds), then release.
The machine will be set to MIDI Off Mode and no MIDI information will be
received. The new MIDI Off setting will now be stored in nonvolatile
flash memory. At this time, all MIDIJACK MIDI functions are
inactive. While the MIDI On Mode is active, the MIDIJACK provides
a MIDI input to the TB-303.
MIDI On Mode
If MIDI is off
(in MIDI Off mode) and you would like to receive MIDI, activate the
MIDI On mode by pressing the button the number of times equal to
the desired MIDI channel number. For example, if MIDI is off
and you want to set it to receive MIDI on channel 6, press the button
6 times. The MIDIJACK is now ready to play on the selected MIDI channel,
channel 6. The MIDI channel selection will be stored in nonvolatile
flash memory. Be sure that the MIDIJACK 303 bypass switch is set
in the direction towards the MIDI input jack to enable MIDI control.
4-Note Buffer
The Synhouse MIDIJACK utilizes a unique software algorithm that causes a RAM (Random Access Memory) buffer to store the 4 most recently played MIDI notes that have not yet been released. This allows musical trill effects to be performed by letting newer notes revert to older notes by holding the oldest notes and releasing the newer ones.
The MIDIJACK always
gives the monophonic analog synthesizer voice latest note priority.
When combined with the 4-Note Buffer, this provides a certain degree
of automatic error correction. Most analog synthesists playing around
the time of the turn of the century actually became familiar with playing
music in the 1980s and 1990s by using newer digital computer-based,
proper multiple note triggering, truly polyphonic synthesizers and
samplers. The playing habits that resulted from using this superior
technology made using low-note rule, single-triggering analog synthesizers
a very difficult and unpredictable task. The use of the monophonic
analog instruments in the 1970s required the skilled player to hold his
or her wrists high above the keyboard and to quickly strike and release
the keys in a staccato style: This avoided bass lines with missing
note attacks. With the application of newer Synhouse technology,
even older instruments such as these may be controlled reliably.
The combination of 4-Note Buffering, multiple note triggering,
and latest note priority implemented in the MIDIJACK ensures that the correct
note is always available.
Single Note Triggering and Multiple Note Triggering
If a keyboard player plays a musical passage with several notes that have no pauses between them, it may be intelligently interpreted by the MIDIJACK in two different ways. The type of analog synthesizers controlled by the MIDIJACK have analog envelope generators that would ordinarily see this passage of several notes as a single note event and would not retrigger the envelope generators several times for a fresh attack for each new note. This type of response may be selected on the MIDIJACK and is called single note triggering, giving a legato sound to all notes that are performed without a pause or a rest between them. If the analog synthesizer is set to have a filter envelope with the sustain stage set to a fairly low cutoff frequency on the lowpass filter, playing a continuous passage of notes without pauses will give the mellow sound of lounge music. If an Analog User accustomed to modern polyphonic keyboard instruments plays with this type of single triggering, the results will be very unpredictable and it may be impossible to play a properly articulated bass line because some notes will fail to have a strong attack. For this, multiple note triggering may be used. Multiple note triggering causes the analog gate output to intelligently retrigger with every new note, whether or not there are time spaces or rests between notes.
There are two
note triggering modes, single and multiple. The most recent
selection of single or multiple note triggering is stored in nonvolatile
flash memory. To toggle from the current triggering mode to the other,
power-up the MIDIJACK-equipped synthesizer while holding the MIDI function
button down, then release. The new setting will now be stored
in nonvolatile flash memory.
MIDI Transpose Select Mode
The Synhouse MIDIJACK has full MIDI note range capability, performing all 128 MIDI notes from 0-127. This allows performance over a range greater than 10 octaves. Imagine a computer arpeggiator performing a long run of notes, from a deep sub-bass rumbling oscillator around MIDI notes 0-12 up to supersonic audio notes so high that the lowpass filter must be opened up to allow the fundamental frequencies to pass through! Any computer sequencer will allow full range MIDI note control with the MIDIJACK. However, some analog users with simple MIDI setups may not be able to utilize the full note range in some circumstances because MIDI keyboards with 61 plastic keys are generally fixed to output MIDI notes 36-96 only, considerably less than half the potential of the Synhouse MIDIJACK. The Analog User may find that the lowest C on the keyboard, note 36, is not low enough for bass sounds on the MIDIJACK-equipped analog synthesizer. For this reason, Synhouse has developed the MIDI Transpose Select Mode. This allows a selection of intervals to transpose downward by one, two, or three octaves, in addition to the normal full range setting. Standard Western music uses a 12-tone scale, so that there are 12 half-step notes in one octave, just as a piano-style keyboard has 12 keys in one octave. Transpose intervals selectable are -12 half steps (one octave down), -24 half steps (2 octaves down), and -36 half steps (3 octaves down). When set to -36, MIDI note 36 becomes MIDI note 0, effectively making a 36-96 note range MIDI keyboard into 0-60.
To enter MIDI
Transpose Select Mode, press the button and hold it down for at least
five seconds (>5 seconds). After five seconds, the MIDIJACK
will begin to play the analog synthesizer all by itself. Release
the button and listen. It will play middle C (MIDI note 60) for one
second, then play the same note again to show that there is no transposition.
It will then play 60, then 48 one octave down, demonstrating
a one-octave downward transposition of -12 half steps. Then it will
do this two more times to let the Analog User hear -24 half steps and -36
half steps, then it will start from the top again and loop forever
unless stopped. To make a transpose selection, wait until the
correct transpose interval is heard between a pair of notes, then
press the button to select it and exit the MIDI Transpose Select Mode.
The new setting will be stored in nonvolatile flash memory. The instrument
will be at the base of the Function Ladder, in MIDI Off Mode.
Analog Calibration Mode
The MIDIJACK has a scale adjustment trimmer that affects the musical intonation of the analog synthesizer while it is under MIDI control. It is less than one inch away from the MIDI function button and may be adjusted by inserting a small flatblade screwdriver into the control panel opening. A Synhouse Pocket Screwdriver fits perfectly.
The scale adjustment trimmer may be set by ear if the Analog User has a good sense of pitch. A MIDI controller keyboard should be connected with a MIDI cable to the MIDIJACK and the audio output of the analog synthesizer to a sound system for monitoring. The MIDIJACK should be in MIDI On Mode and set to the same MIDI channel as the MIDI controller keyboard. While playing alternating notes on the MIDI controller keyboard that are an octave apart, the user can turn the scale adjustment trimmer very slowly until the proper one-octave interval is heard and the entire keyboard plays in tune. It may be easiest to hear the tones clearly by adjusting the analog synthesizer so that the filter is open with the frequency set to maximum, the resonance (also known as "Q", or emphasis) set to minimum, and the envelope generators set to sustain, without any vibrato on the oscillators. An extra help would be to use a MIDI synthesizer or sample playback keyboard as the MIDI controller and listen to its sound output as a reference tone to match the analog synthesizers intonation while adjustments are being made. A low note may be played on the MIDI keyboard while the analog synthesizer's master tuning knob is adjusted to bring the two sound sources into tune. Next, play higher octave intervals of that note, and slowly turn the MIDIJACK scale adjustment trimmer until the entire keyboard plays in tune.
Analog calibration should only be performed occasionally, as overuse of the scale adjustment trimmer may cause excessive wear and premature failure of the part.
Get funky.
Troubleshooting
At times, the MIDIJACK 303 may not work as desired. This is likely due to incorrect connections or settings.
Question 1: The MIDI control of my
TB-303 is great but the internal sequencer doesn't work anymore.
What's wrong?
Answer: The MIDIJACK 303 bypass
switch is probably set to enable MIDI operation. Be sure that the
MIDIJACK 303 bypass switch is set in the direction away from the MIDI input
jack to disable MIDI control.
Question 2: My MIDIJACK 303 won't
receive MIDI. What's wrong?
Answer: It may be one of three problems.
The MIDIJACK 303 bypass switch may be set to bypass MIDI operation.
Be sure that the MIDIJACK 303 bypass switch is set in the direction towards
the MIDI input jack to enable MIDI control. Make sure the MIDI output
of the controlling computer sequencer or MIDI keyboard is connected to
the MIDIJACK with a known good MIDI cable. Do not use the MIDI through
function on any MIDI device, ever. Make sure the MIDIJACK 303
is on, powered, and that the MIDI channel is correctly selected
to be the same as the channel on the MIDI controller. Review the
earlier chapter entitled "MIDI Channel Selection and MIDI Panic Button".
Question 3: My TB-303 plays in tune
with MIDI, but with the MIDI off, it no longer plays in tune.
What's wrong?
Answer: The TB-303 needs calibration
but the MIDIJACK may play it in tune perfectly due to it's infinite analog
scaling. It should really be calibrated by a service center specializing
in the repair of older analog equipment, but if it plays in tune
with the MIDIJACK, you may be able to use it as it is with MIDI and
never use the built-in sequencer at all.
Question 4: My TB-303 plays in tune
with it's own built-in sequencer when the MIDI is turned off, but
when the MIDI is turned on, it's out of tune. What's wrong?
Answer: The MIDIJACK needs calibration
to achieve proper intonation. This can be done by the Analog User
with a keen sense of pitch. Review the earlier chapter entitled "Analog
Calibration Mode".
Question 5: My TB-303 has a MIDIJACK
303 and sometimes plays the wrong note or has a note stuck on after the
music has stopped playing. What's wrong?
Answer: The MIDIJACK is a MIDI interface
for analog monosynths. These synthesizers have only one voice and
should be sent monophonic MIDI notes only. This means that only one
note at a time should be sent to a MIDIJACK-equipped analog synthesizer,
and computer sequences should be recorded with this specific requirement
in mind. Many previously recorded computer sequences contain chords
instead of single notes. Since MIDI is a serial interface,
these notes cannot be sent simultaneously. The notes will be sent
one at a time in no particular order, as a string of note on commands
without any note offs, while the monosynth is playing one note at
a time. There is no way of knowing which note of the chord will sound
at any one time. Making matters worse, the MIDIJACK puts all
of these incoming notes into the 4-note buffer, then matches them
up with note off commands when they start arriving. When the MIDI
note on/note off data no longer makes sense, various active notes
may linger in the buffer. When this occurs causing a stuck MIDI note,
the user may push the MIDI function button to stop the stuck note.
One considerable defect of the MIDI specification is that it supposedly
has 16 channels, when it really has only one. Compared to multichannel
audio mixing consoles and televisions, the MIDI spec has really misappropriated
the word "channel". All MIDI data is sent on a single wire regardless
of the "channel". One channel of MIDI data is sent on one wire.
Sixteen "channels" are also sent on one wire, but at a greatly reduced
speed due to the reduction of usable bandwidth. The result:
All MIDI devices set up in a standard "star" configuration have to read
and understand the MIDI data of all 15 irrelevant channels while set to
only one "channel". Not only does this drastically reduce the bandwidth
of the datastream, but it also increases the data processing chores
required by all MIDI devices in the setup, in some cases by thousands
of times. An audio signal processor set to receive a single a MIDI program
change once during the middle of the song only (after doing nothing for
two minutes), instead has to read 3,750,000 bits of data while waiting
for the one command it will get during the song being played. The
result may be poor, slow DSP (Digital Signal Processor) performance
damaging the audio, and different results entirely when some MIDI
tracks are muted, due to suddenly increased bandwidth of the datastream.
If the MIDI setup is configured in the daisy chain configuration where
the MIDI through function is used, the results are bound to be a
hundred times worse due to added MIDI delays and distortion of the MIDI
signal by pointlessly optoisolating the MIDI signal several times turning
a sharp, clean digital string of zeroes and ones into a sleepy analog
sinewave that may be interpreted incorrectly and differently by the MIDI
slave devices. In such a situation, synchronization between
MIDI tracks is lost, and the feeling of the music wanders as it plays.
To maximize performance in a MIDI setup with multiple instruments,
the MIDI data should be channelized by any means available so that one
instrument receives only the channel data sent on the channel to which
it is assigned. It will still receive potentially unnecessary MIDI
clocks and system exclusive data, but for now, this is as good
as it gets.
Warranty
The MIDIJACK 303
is warranted against defects in parts and manufacture for a period of 90
days from the date of purchase. Warranty becomes void if in the opinion
of Synhouse Multimedia Corporation the MIDIJACK has been subjected to unauthorized
service, modification, or unintended usage. No liability
is assumed by Synhouse Multimedia Corporation for any loss or damage,
direct or indirect, resulting from the use of or inability to use
the MIDIJACK 303.
Copyright © 2002 Synhouse Multimedia Corporation