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KeyStage 1.x Tutorial 6: Advanced MPE Routing — Transcript

by Ali Gokturk · 4,637 words · 822 segments · language en · Watch on YouTube

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0:05Hello and welcome to another tutorial
0:06video of Keyscape.
0:08So, this tutorial is about MP devices
0:11and how I can actually route MP signals
0:14from my Seaboard Block to different
0:17types of synthesizer, which are either
0:19natively MP compatible or not MP
0:21compatible, but multitimbral instruments
0:24or monotimbral instruments. So, let me
0:26first talk about what MP is. MP stands
0:29for MIDI Polyphonic Expression. So, I'm
0:31not going to talk about all the details
0:34of MP, but the way they work it does
0:36what it is is the following.
0:38So, when I play a note on my Seaboard,
0:41three additional signals are actually
0:43sent to the connected device.
0:45So, the first signal is called the slide
0:48signal, which
0:49is basically controlled by this vertical
0:52position on my Seaboard, and which is by
0:55default control change signal
0:5774, which is the brightness signal.
1:00And the horizontal movements uh
1:03controls the pitch bend of the notes,
1:06and the pressure is the channel pressure
1:08signal. So, along with every note that I
1:10play on the Seaboard, three additional
1:12signals, which I call MP signals, are
1:15sent automatically. In addition to that,
1:17every additional note note that I play
1:19on the Seaboard are sent to different
1:21channels on the connected device. So,
1:24each of them are controlled on different
1:26channels, which allows me to control
1:29the pressure, the brightness, and the
1:31pitch bend of each note separately.
1:33That's why we call it polyphonic
1:35expression.
1:36So, before I start, I need to configure
1:38my Seaboard to to be able to work with
1:40Keyscape.
1:46Okay, so I connected my Seaboard to ROLI
1:48Dashboard, which allows me to configure
1:50my Seaboard. So, the first thing that I
1:53uh you should do is turn this to
1:55multi-channel.
1:56And this is mainly because uh the MP
1:59mode doesn't allow you to choose the
2:01range of your channels. And
2:04you need to be able to choose the range
2:06of your channels
2:08uh in order to prevent direct
2:09connections with your Seaboard with the
2:11synthesizers in your iPad.
2:14So, this is this starts from 11 to 16.
2:17Well, it will depends on how you It It
2:20really depends on your Seaboard because
2:22since I'm using a Seaboard block, I you
2:24know, five notes more five note
2:26polyphony is enough. I won't be using
2:29both of my hands most of the time. So,
2:31that's why I started this number from 11
2:33to 16. So, you should make sure that
2:36this range does not intersect does not
2:37contain any of the inputs channels of
2:41your synthesizers or if it contains, you
2:44should just make sure that the Seaboard
2:46is not selected as one of the input
2:47devices.
2:49So, I'll come to that when I start
2:51loading the synthesizers. So, the pitch
2:53bend range you try to choose this as
2:55maximum as possible. So, since my
2:57Seaboard block is just two octaves, I
2:59just choose the highest possible range
3:01which is 24 semitones.
3:04Uh this is this is just up to you the
3:05octave the and also the transpose.
3:09Uh you should always choose 74 as your
3:12slide CC control change number because
3:15that's how Keystage configured.
3:17The slide mode should be absolute
3:19because
3:20uh
3:21this relative controls can be actually
3:23done from within Keystage.
3:26And these tracking modes uh they're not
3:29really important and these are just up
3:30to you these
3:32So, the most important thing is that you
3:33choose multi-channel and choose your
3:36start and end mid ranges such so that
3:39you don't have direct connections.
3:46Okay, now let's connect our Seaboard to
3:48our iPad. So, I'm using this free
3:50program called XK. This is actually a
3:52program that allows you to connect your
3:54uh Bluetooth Xkey Air to your iPad, but
3:57it actually works
3:58for any Bluetooth device. So, I can see
4:00that Seaboard here.
4:03So, it's connected.
4:06Now, I'm going to use three different
4:08synthesizers, three three apps to
4:11demonstrate MP routing with Keystage.
4:14Uh
4:15so, I make sure that my Keystage is not
4:17open.
4:19So, the first instrument is the Synth
4:21Master Player.
4:23So, this is an MP compatible instrument.
4:26So, when I play my Seaboard, I can it's
4:29I can see that it's directly connected
4:30to Synth Master. And I don't want that.
4:33I just want to
4:34to route all the signals through
4:36Keystage. So, I look at the MIDI control
4:38controls. Now, the problem with Synth
4:40Master is that you cannot really choose
4:42the MIDI range when it comes to MP. So,
4:45I I see that MP is enabled here, but it
4:48doesn't allow me to choose a range of
4:50channels.
4:51Uh I can either choose all channels or a
4:53single channel.
4:54But fortunately, it allows me to choose
4:57the MIDI inputs. So, I just choose
5:00network connection, which is not
5:01connected to anything. So, this
5:03basically cuts the direct connection
5:04between my Seaboard and Synth Master
5:06Player.
5:08Okay, the next app is Sunrizer.
5:12Uh this is a monotimbral instrument.
5:14It's not MP compatible. So, I make sure
5:17that the background mode is on.
5:19And when I look at the MIDI channel,
5:23it's MIDI channel 2.
5:25And my Seaboard sends channels from 11
5:28to 16. So, I don't have any direct
5:30connection. I'm good to go.
5:32So, when I play my Seaboard, I don't
5:33hear anything from Sunrizer as well.
5:36And the last app that I'm going to use
5:37is this Roland Sound Canvas. So, this is
5:40a multitrimbral instrument with 16
5:42channels.
5:44And now I can see that it's directly
5:46connected. And now you can see the
5:48channels.
5:50So Seaboard sends signals from 11 to 16.
5:54So let's go into the menu of Roland and
5:56see what kind of setups I can do with
5:59this. So I click call MIDI and here is
6:02my MIDI input ports.
6:04So I again choose network which is not
6:06connected to anything.
6:08So therefore my Seaboard does not
6:09communicate with sound commas directly.
6:11So
6:12now I can open KeyStage.
6:15Okay, I'll start with SynthMaster Player
6:17which is MP compatible. I choose my
6:19Seaboard here.
6:23Okay, so this is actually a good example
6:26of something that you should be careful
6:29about. So now even if I made all my
6:32connections
6:33and make sure that my Seaboard does not
6:35communicate with any of the devices, now
6:37I can hear something. I can hear
6:40the noise even if my output is not
6:42there. This is because
6:45when I open KeyStage, the virtual port
6:47of KeyStage basically entered into the
6:49system of iPad, the core MIDI of iPad,
6:52which basically changed this back to
6:55Omni.
6:56So every time you start up a new app,
6:59its MIDI connections gets into the
7:01system, this basically resets.
7:04And some apps does that. So you have to
7:06make sure that you just open all your
7:08apps and then
7:10then just check this MIDI connection.
7:12And sometimes SynthMaster Player also
7:15does the same thing.
7:17So even if it shows network connection
7:19here, sometimes when you open a new app,
7:22this just turns into all sources and
7:24then automatically starts this direct
7:27connection. So you just make sure that
7:29you have none of the connections here.
7:32Okay.
7:35So I have my Seaboard and I'm going to
7:37choose SynthMaster Player.
7:42So when you are using Seaboard or any MP
7:45instrument, uh you should always turn
7:48this MP on.
7:49This is one thing.
7:51And so, these channels,
7:55we can choose multiple channels. So,
7:57SynthMaster Player accepts signals from
7:58all channels. So, I simply choose all
8:00channels.
8:01Now, I want to demonstrate something. If
8:03this MP is off,
8:06what happens here is
8:08when I play a note,
8:10it may that that note is sent to all 16
8:14channels of SynthMaster Player. So,
8:15basically, a 16 copy of this note is
8:19played on SynthMaster right now.
8:21This is definitely something that we
8:22don't want. But, when I turn MP on,
8:26the MP routing is enabled. So, every
8:28note that I play is routed to a single
8:31channel
8:32out of these 16 channels.
8:36So, how key state works is is the
8:38following. The first note that comes
8:40from Seaboard,
8:42for example, it's from channel 11, is
8:44routed to the first available channel on
8:46this on this output channel, which is
8:48channel one.
8:51And the second note the direct is routed
8:53to the second available channel.
8:56So, now
8:57any additional channel note is sent to
9:00different channels. So,
9:06So, now MP is now working just as it
9:09expected. So, this is an native MP
9:11instrument. So, we don't have to do
9:14many configurations.
9:16But,
9:17I want to click on this advanced tab and
9:20just make sure about one thing.
9:22There is this master output channels
9:24section.
9:26So, there are a couple of choices here.
9:27I can choose all channels. I can choose
9:29selected output channels, which is all
9:31channels in this case. Or, I can choose
9:33any of the channels here. This selection
9:35really depends on the instrument
9:38that you're using.
9:39For Synth Master Player, we don't have a
9:41configuration of that, but from
9:44experimentation I know that the Synth
9:45Master Player's master input channel is
9:48channel one. Okay, what is master output
9:50channel? So, Synth Master is a
9:53MPE compatible instrument. It accepts
9:55MPE signals, but it also accepts other
9:57signals like the volume signal,
10:00you know, and some other parameters as
10:02well.
10:03So,
10:04the thing is all these other parameters,
10:06non-MPE parameters, are routed to master
10:09channel and they are not note dependent.
10:13So, these global parameters basically
10:15control
10:16all the notes simultaneously. So, the
10:18volume
10:25This volume basically controls all the
10:27notes. It's not MPE independent.
10:30Okay, now let's move on to Sunrizer, our
10:33monotimbral instrument. So, I choose my
10:35Seaboard here and I choose Sunrizer. And
10:38now that it's channel two.
10:41Okay.
10:45Let's choose another
10:47instrument here.
10:56Okay, so
10:58without any configuration, so it looks
11:01like it's working, but
11:02let me actually show you what happens
11:05when this MPE
11:06switch is off.
11:10So, as you know, the
11:12the slide parameter, the the vertical
11:14parameter, sends control change 74. And
11:17on Sunrizer,
11:19I configured it in such a way that the
11:21slide parameter
11:24controls the
11:26effects depth,
11:28the amount the effect amount on on
11:30Sunrizer. But if I play two notes,
11:34you see that the
11:36the effect that basically alternates
11:38between the two
11:39vertical positions of my notes. And if I
11:42play three notes, it basically starts
11:43alternating between the three notes.
11:47But, if I turn my MP's switch on,
11:55now I don't have that discontinuity on
11:58on the chorus.
12:02What happens is
12:04the following. So, there are these
12:06tracking modes. You You might have
12:08recognized these tracking modes from the
12:10Roli dashboard. They also have tracking
12:12modes that you can configure for
12:13Seaboard.
12:15Uh but, the thing is
12:16so, my channel is a single channel note
12:20channel two. All the notes, together
12:22with all these parameters, are routed to
12:24that single channel.
12:26And these tracking modes allows you to
12:29basically combine
12:31the different parameters on different
12:32notes
12:34um
12:35to to to single parameter. So, for the
12:38slide value, I just chose the highest
12:40value, which means that if I play three
12:42notes,
12:44the highest value on my slide parameter
12:46is sent to to to Sunrizer, and it the
12:50lower two values are neglected. But, I
12:52can also choose
12:54different options like the average
12:57value, for example. So,
13:00so, the average value basically sends
13:02the average of all my notes. So, if I if
13:04I increase,
13:07so, you can see that the the average of
13:09these two
13:10vertical positions are sent.
13:15So, these tracking modes are especially
13:17useful when you're using a monotrimble
13:19instruments, like the Sunrizer.
13:22And the same also works for pressure
13:25modes and glide modes.
13:28So, after I demonstrate with all types
13:30of synthesizer, I'm going to talk about
13:32how I can actually map these dimensions,
13:34the three dimensions, to different
13:36parameters on each instrument.
13:38Now, on a monotimbral instruments, you
13:40can't really use the full potential of
13:43MPE, of course, because you have only
13:45one channel available. You cannot
13:46really, you know, have independent
13:48control over notes, but you can still
13:50use the gestures of your Seaboard, like,
13:52you know, the
13:55the horizontal position. Now, when it
13:58comes to the pitch bend,
14:02you can see that it's not really working
14:04the way it's supposed to work.
14:07When I When I pitch one octave up,
14:10it just pitches
14:12uh a tritone up. So, how can I fix that?
14:15So, one way is to actually change the
14:17adjust the pitch range of your Seaboard
14:20to work with the Sunrizer. So, if I go
14:22into Sunrizer, I can see that my pitch
14:26range is the maximum pitch range, which
14:28is 12 semitones, which cannot go beyond
14:3112 semitones on Sunrizer.
14:33But, I don't want to adjust my
14:35Seaboard's pitch range to 12 semitones,
14:37because I may actually want use it with
14:40some other synthesizer which supports 24
14:42semitones.
14:44So,
14:45to actually adjust that, I'm going to
14:47add a custom translator,
14:49which converts pitch bends
14:52to pitch bends.
14:54So, remember from the custom translators
14:56tutorial, the pitch range in Keystage is
14:59chosen from a minus 48 to 48, 48 meaning
15:04the full pitch range.
15:05So,
15:07the applied translator to range is the
15:08incoming range coming from my Seaboard.
15:11So, what I need to do is I want to
15:13adjust this range from minus 24 to 24.
15:18So, when I slide for 12 semitones here,
15:22it sends the pull pitch range, which
15:23corresponds to
15:2512 semitones on my C SunRiser. So,
15:33So, now it works.
15:39So, you just have to do a little math to
15:41configure all these. And what I usually
15:44is I save this
15:46uh preset to
15:49uh C board
15:5312 semitones.
15:58So, whenever I have an instrument which
16:00only supports up to 12 semitones, I'm
16:02just going to use this preset
16:04uh to change my pitch bend range.
16:08Okay, now let's go to Sound Canvas,
16:10which is our multi-timbral instruments.
16:13Okay, so our Sound Canvas
16:16uh also supports all channels.
16:19And I turn MPE on.
16:21So, I have my Sound Canvas parameters
16:24here.
16:26This is a piano, so let's choose a
16:27string instrument. Yeah, let's choose
16:29this tremolo.
16:37So, one thing that you should make sure
16:40before you start on
16:42on a multi-timbral instrument is your
16:43output channels.
16:45So,
16:46you have a multi-timbral instrument,
16:48each channel is controlled
16:49independently. There isn't a global
16:53master input for Sound Canvas.
16:56So, therefore, you just have to choose
16:58selected output channels, which is all
17:01channels in our case.
17:03So, any global signal that is sent from
17:06KeyStage will be sent to all channels
17:08simultaneously. So, what what are the
17:10global signals here? First of all, our
17:12program change signals. So, whenever I
17:14change an instrument here,
17:17choose another instrument like this.
17:21On sound canvas,
17:23all the instruments
17:25on these channels are just changed to
17:28low-fi strings. Okay, except channel 10
17:30because
17:31uh channel 10 is actually assigned for
17:33drums. So, maybe
17:36we shouldn't be actually choosing all
17:37channels here because we don't we want
17:39to skip channel 10. So, let's actually
17:42choose every channel
17:44from 1 to 8.
17:46And my output is just a selected output
17:49channel. So, now I'm controlling the
17:50first eight channels
17:52on my sound sound canvas.
17:54So, for example, if I change the volume
17:56here,
17:59go to sound canvas,
18:01you can see that the volume of the first
18:04eight channels
18:05are changed
18:07and they're controlled
18:09uh simultaneously with these global
18:11parameters.
18:20Now, I need again have to correct the
18:22pitch pitch range.
18:24And
18:25because sound canvas's pitch range is
18:28only two semitones.
18:30So, I have to basically do the same
18:33thing.
18:35So, let me add the 12 12 semitones
18:37preset here. And instead of 12
18:39semitones, I need to do this to two
18:41semitones. And two semitones corresponds
18:44to four and minus four.
18:50So, now it works.
18:53Well, I cannot go beyond two semitones
18:55because sound canvas doesn't really
18:57support it, but I can still use those
19:00gestures
19:02over sound canvas.
19:07Okay, now we have done our basic setups
19:09for for these three types of
19:11instruments. let's do some additional
19:13customizations. Let me start with the
19:15SynthMaster R
19:17MPE instrument and MPE compatible
19:19instrument.
19:22So, uh suppose that I want to change the
19:25functionalities of my three dimensions
19:27to control other parameters on
19:30SynthMaster. So,
19:33the channel pressure So, since this is
19:35an MPE compatible instrument, we already
19:37have
19:39So, for this
19:40sound
19:40our channel pressure changes the
19:42brightness, I think, the brightness of
19:45our sound.
19:46But, let's say I want to change the
19:48volume using our vertical slide. Now,
19:52uh let's add a custom translator to do
19:55that.
19:57Now, we have to be careful about
19:58something here.
20:01Okay, control change 74 is our slide
20:04parameter.
20:05Uh let's change the volume outputs.
20:09Now,
20:13it doesn't seem to work.
20:15And this is because
20:17the volume parameter is not an MPE
20:19parameter on Sunrize, on SynthMaster.
20:23And it's only a global parameter. Uh you
20:26cannot change the volumes of individual
20:28notes on SynthMaster. SynthMaster
20:30doesn't allow us to do that because it's
20:32not an MPE parameter.
20:34But, you can send these parameters,
20:38these vertical slides, to global
20:40channel. And this is where this switch
20:43comes into place. Send the MPE to master
20:46channel, the global channel. So, now
20:55Okay, you cannot have individual volumes
20:58uh of for each note,
21:00but
21:01these
21:02uh slide tracking
21:04algorithms still also works for
21:08uh signals, those uh signals which are
21:10mapped to global parameters. So, the
21:13highest value of these three notes
21:17Well, okay. I just need to activate
21:19this.
21:24Controls the volume of synth master.
21:26And just like that, you can also do the
21:28same thing with channel pressure. So,
21:30let's change this to channel pressure.
21:40So, I can use the three dimensions of my
21:42Seaboard to control non-MPE parameters
21:45globally by using this send
21:48to MPE master channel.
21:51And other MPE parameters still works.
21:59And what I can do is I I can just
22:02uh also translate the incoming channel
22:04pressure signal. So, each channel
22:12the channel pressure is also mapped, and
22:14they are mapped as MPE signals. So, they
22:16are independently controlled over each
22:19note. So, for monotimbral instruments,
22:22you just have to do the same thing
22:24because you have a monotimbral
22:26instrument, you don't have MPE control
22:29uh over anything. Let me do this on the
22:32on the track this time.
22:34Now, let's create a translator.
22:37And suppose I want to control uh the
22:39modulation here.
22:40And again, I make sure that I send
22:42everything to MPE master channel.
22:48Well, this instrument doesn't support
22:50uh modulation.
22:56Well, this one works.
22:59So, you can see that the modulation
23:03is again controlled by these
23:05uh tracking modes because we are on a
23:07multi-timbral instrument.
23:09So, let's go to Sound Sound Canvas,
23:11which is a multi-timbral instrument.
23:13Now, you have full control over all the
23:15parameters independently on a
23:19multi-timbral instrument. And this is
23:21especially good to if you have a
23:23multi-timbral keyboard. So,
23:26all everything that I show here also
23:28works on a hardware instrument, which is
23:30multi-timbral. So, you can control uh
23:33each channel independently.
23:35Uh
23:42So,
23:44the slide parameter already controls the
23:46brightness.
23:48So, let's increase the brightness
23:50globally.
23:52And instead, let's this parameter
23:54control the resonance instead.
23:56So, let's choose
23:58control change 74, and I'm going to
24:00choose resonance here.
24:05And now you can see that
24:12these are controlled independently, and
24:13I don't need to turn the
24:15uh send to MP master channel. Well, if I
24:18do that,
24:19I again have global control over all
24:21notes.
24:26If I turn this off,
24:30each note's uh resonance are controlled
24:33independently.
24:37So, for with multi-timbral instruments,
24:39you have more control compared to
24:42MP-compatible instruments because you
24:43can control every parameter with your
24:45custom translators.
24:51Okay, now let's create some splittings
24:53and layerings with these instruments.
24:55Well, the layerings and splittings are
24:57done in the same way with regular
24:59controllers, non-MP controllers.
25:02But, we have some additional control
25:03now. We have another additional slide.
25:05This came with a 1.3, the slide range.
25:09Uh the slide range basically allows us
25:11to define vertical ranges on our
25:13seaboard. So, you can manually change
25:16these, and you can also just tap and
25:19touch anywhere on your surface on your
25:21seaboard to choose the upper range or
25:23lower range. So,
25:27So, anything above
25:29somewhere here is muted.
25:31So, I I can just take this here.
25:37So, these two instruments are layered
25:39down here, but up here
25:43I only have control over all the sound
25:45canvas. This allows you to do some
25:47vertical splittings, and can also
25:49include the standard note splitting the
25:52range splitting. So, you can basically
25:55define rectangles over your seaboard for
25:58for each instrument.
26:05Now, one thing about multi-channel
26:08instruments is that you can actually use
26:11a bunch of channels. So, remember on my
26:13sound canvas I choose my channels from 1
26:15to 8 on this track. So, I can create a
26:19copy of it, and this time I'm going to
26:21be choosing from 11 to 16. So, I'm just
26:25using the remaining channels on my sound
26:27canvas, and I can do splittings and
26:29layerings with two sound canvas
26:31instruments. So, let's see. So, I can
26:33have this instrument. Let's choose
26:34another one. Let's choose a piano.
26:39Okay, I want to disable my vertical
26:42slide.
26:46And also, I want to disable the pitch
26:47bend because I'm playing a piano
26:49instrument.
26:50So,
26:52and let me choose a range for it.
26:56And here,
26:59let's choose another instrument, and
27:01this time let's choir strings.
27:08So, the vertical parameter controls the
27:10brightness, and let's say I want to
27:13control uh the pressure to change the
27:16resonance
27:18or the volume.
27:21So, let me actually show you one more
27:23thing.
27:24This relative control also works with
27:26the MPE. So, I can have an initial
27:28volume value here,
27:30and our pressure basically changes the
27:32volume relatively on each note.
27:42Well, okay, let's change the range of
27:44this as well.
27:46So, I have my splits and full control
27:49over
27:50the piano on the lower range,
27:54and opera on the upper range I have the
27:56string choir
27:58with full MPE comp control over
28:01parameters of my sound canvas.
28:08Okay, finally, I want to talk about how
28:10we can control these synthesizers with
28:13regular keyboard together with a
28:14Seaboard at the same time. One way to do
28:17it is just basically assign different
28:19tracks, uh specific tracks for for my
28:22regular keyboard, and specific tracks
28:24for the Seaboard, and then just control
28:26them separately. This is the easier way.
28:28But, what if I want to control the same
28:30instrument, the same track both with my
28:33Seaboard and with my regular keyboard,
28:35so the X key air in in this case?
28:38Let's connect our X key air to the same
28:41track, the MPE track. So, I have this
28:43uh channel from one to eights.
28:48So, it automatically works,
28:50but there are some a couple of details
28:52that I want to talk about here. This
28:54master input channel, so Keystage treats
28:57every non-MP parameter as global
28:59parameter. Control change 74, pitch
29:02bend, aftertouch, and note signals. So,
29:05these are MP signals. They are
29:07considered as MP signals, and any other
29:10signal is automatically considered as a
29:12global signal, like this modulation
29:13signal, for example. And whenever
29:16Keystage receives a signal, I mean, a
29:18track with MP on receives a signal other
29:21than these MP signals, they're
29:23automatically routed to the global
29:25channel, to the master channel here. Uh
29:27we have a regular keyboard sending
29:29signals uh from a single channel like
29:31this, which also emits MP signal like
29:34pitch bend here. Uh we should specify
29:36whether it's a global channel or a
29:39non-global channel. Our Xkey Air sends
29:41signals from channel 1, and suppose that
29:43I choose my master input channel as
29:45something other than channel 1. So, the
29:47note signals are still received, but the
29:50pitch bend signals uh are received from
29:53channel 12 uh channel 1, which is not my
29:56master input channel. Keystage thinks
29:58that this is an MP signal coming from an
30:00MP device like Seaboard, and it receives
30:03an pitch bend signal with no
30:05corresponding notes, and basically
30:07discards those signals. So, they're not
30:09routed. To actually eliminate that
30:11problem, I have to choose my master
30:13input channel to be the same as the
30:16output channel of my regular keyboard.
30:18So, now these pitch bend signals are
30:20received from this master channel.
30:27We don't have any problems with other uh
30:29signals, non-MP signals, but just for
30:32this specific case, make sure that your
30:34input channel
30:35basically matches with the output
30:37channel of your regular keyboard.
30:39Okay, so we can control our master
30:41keyboard
30:43together with the seaboard.
30:47So, this basically reserves one channel
30:48from this list, takes one channel when
30:51when I play my keyboard, and whenever I
30:53start adding additional notes, it
30:55basically starts reserving additional
30:57channels here.
30:58So,
30:59what if I want to
31:01uh switch between these two on different
31:03channels? Like, suppose X key is also
31:05connected to my synth master player.
31:11And I want to create a layering where I
31:13use my X key to control sound master,
31:16but I want to use my seaboard to control
31:19sound canvas here. But, on the second
31:21section, I want to use my X key to
31:22control sound canvas.
31:24So, here,
31:27seaboard controls here, but this
31:29basically sends signals to both sound
31:31canvas and synth master player. To
31:32eliminate that, I have these active
31:35inputs for each parts, and its default
31:38value is all input. So, for here, I just
31:40choose seaboard. And seaboard controls
31:43sound canvas, where
31:44this only controls uh my synth master
31:47player. And here,
31:51both keyboards basically control sound
31:53canvas.
31:54And not only that, you can also do
31:57things like
31:58uh multiple parts on a single channel,
32:02and for each part, I can choose
32:04different instruments. Like, seaboard
32:06here and
32:07X key here. So, these are routed to the
32:10same channel, and I can have different
32:13ranges on different parts. For example,
32:15I want to assign this part of my
32:17seaboard to control sound canvas.
32:25So, the rest basically doesn't send any
32:27signal, and for my
32:30X key, I want to control the upper
32:31range.
32:34This region doesn't send any signal,
32:36and only this region
32:38of my Seaboard sends signals to sound
32:40canvas.
32:41And suppose I want to do something like
32:44uh control this slide parameters. Or
32:47let's say I want to control this uh
32:49horizontal slide to control a parameter
32:52on the sound canvas without playing any
32:54notes on the Seaboard. So suppose on the
32:56Seaboard I simply choose here my
32:58Seaboard I simply mute it by, you know,
33:02assigning C-2 on the range. And
33:06I have the full range of my keyboard.
33:08Now, the thing is the Seaboard doesn't
33:10send any note signals and since those
33:13note signals are filtered, their
33:14corresponding MP signals are also
33:16filtered. But there is one switch, one
33:19final switch on the advanced sections of
33:21MP here. Route MP signals of filtered
33:25notes uh to master outputs. So, all the
33:28notes coming from my Seaboard are
33:29filtered because of the range limiter,
33:32but if I turn this on,
33:34the MP signals are routed to the global
33:36channel even if the corresponding notes
33:38are filtered. So, now
33:41I can basically use the three dimensions
33:44to control the sound without actually
33:47playing them on on the Seaboard itself.
33:50I can actually even change those
33:51signals.
33:52Suppose I want to change the pitch bands
33:54to control volume. And I want to do it
33:57in relatively.
33:58So, suppose that I have this initial
34:01volume.
34:06So, you see this pitch band now controls
34:08the volume without playing any notes.
34:10So, you can use your Seaboard as an XY
34:13controller to change any parameter even
34:15if you're not actually playing on the
34:16Seaboard itself.

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