• MIDI channel selection  (to select MIDI channel 1-16)
• MIDI panic button  (to silence stuck MIDI notes)
• MIDI Off mode  (useful for keeping unused synthesizers silent onstage or for selecting built-in / local analog keyboard control and external control via control voltage gate interface jacks,  also known as CV/gate control)
• MIDI On mode  (normal operation)
• 4-note buffer  (for musical trill effects and for relaxed performance with automatic error correction)
• Single note triggering  (for legato performance)
• Multiple note triggering  (for articulated performance)
• MIDI transpose select mode  (for deeper bass)
• Analog  CV calibration mode*
• Receives MIDI Note On messages  (full range,  MIDI notes 0-127)
• Receives MIDI Note Off messages  (full range,  MIDI notes 0-127)
• Receives MIDI sustain pedal  (controller number 64)

Original MIDIJACK advantages

     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 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.
 

*  For adjustment of intonation during Original MIDIJACK installation and instrument service.  For more information,  see the Original MIDIJACK Quick Installation Manual.
 
 

Setting up a MIDIJACK-equipped synthesizer for performance

     Setting up for performance with a MIDIJACK-equipped synthesizer 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 installed on the analog synthesizer.  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 MIDIJACK-equipped instrument 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.

     The MIDI Function Ladder is like a physical ladder but with the mode of MIDI Off at the base of the ladder,  MIDI On/channel 1 on the first rung up,  MIDI On/channel 2 on the second rung,  MIDI On/channel 3 on the third rung,  and so forth up to the top rung of the ladder,  MIDI On/channel 16.  A short push of the button advances the MIDI channel by climbing up to the next rung.
 

     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 and the analog synthesizer returns to its original state,  allowing local analog keyboard control with original factory performance controls and external CV/Gate control if the unit was originally so equipped.  While the MIDI On Mode is active,  the MIDIJACK provides a MIDI input to the analog synthesizer and temporarily interrupts the original local keyboard and CV/Gate inputs control over the synthesizer but does not interfere with the CV/Gate outputs at any time,  allowing the original keyboard to output its own control voltages even while the analog voice is sounding incoming notes from a computer sequencer or other MIDI controller plugged into the MIDIJACK MIDI input.

     An example of a useful application of the MIDI in/analog out  capability of the Synhouse MIDIJACK would be a simple 3-piece setup using a PC running MIDI sequencer software,  a MIDIJACK-equipped Sequential Pro-One analog monophonic keyboard synthesizer,  and an unmodified Oberheim SEM analog monophonic synthesizer module without keyboard.  The PC plays a MIDI sequence and is plugged into the MIDIJACK on the Pro-One.  The Pro-One's CV/Gate outputs are patched through the appropriate adapter cables into the CV/Gate inputs on the SEM.  This way,  the Analog User's hands are on the Pro-One keyboard controlling the SEM in real time to accompany the sound of the sequenced Pro-One live onstage.

     An improvement over this setup that would eliminate the need for special adapter cables and free the Analog User's hands to tweak the knobs on both synthesizers in real time while the music plays would be to put a MIDIJACK on the SEM as well,  putting the entire analog synthesizer setup under MIDI control.
 
 

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.
 
 

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 primitive monophonic analog instruments that came from the eastern United States 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 Original 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.  Additionally,  many analog synthesizers have an octave or footage select switch to offset this range by a few extra octaves.  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 may not work as desired.  This is likely due to incorrect connections or settings.

Question 1:  The MIDI control of my analog synthesizer is great but the keyboard on my analog synthesizer doesn't work anymore.  What's wrong?
Answer:  MIDI On mode has probably been selected.  If the synthesizer is receiving MIDI,  the MIDIJACK bypasses the local (built-in) analog keyboard.  To turn MIDI off,  hold the MIDI function button down for at least a half a second (>.5 seconds) and the MIDI will be off.  In this MIDI Off mode,  the built-in keyboard on the analog synthesizer will work,  as well as all normal factory performance controls such as pitch bend,  portamento,  etc..  Since the MIDIJACK provides proper multiple note triggering and last note priority with a 4-note buffer,  it is often best to use MIDI control even if playing live without a computer sequencer.  Old analog synthesizers often have dirty electrical contacts in the keyboard, or even worse,  completely rotten rubber and metal mechanisms,  which causes missed notes or double-triggers.  Use of such a primitive keyboard with a range of only a few octaves is pointless when the analog synthesizer is equipped with a MIDIJACK which has a 128-note range.

Question 2:  My analog synthesizer has a MIDIJACK but it won't receive MIDI.  What's wrong?
Answer:  The MIDI may be connected or selected incorrectly. 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 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 analog synthesizer plays in tune with MIDI,  but with the MIDI off,  it no longer plays in tune.  What's wrong?
Answer:  The old analog synthesizer 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 keyboard at all.

Question 4:  My analog synthesizer plays in tune with it's own built-in keyboard 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 analog synthesizer has a MIDIJACK 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 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.
 
 

Copyright © 2002 Synhouse Multimedia Corporation