Peterson
MIDI Resource System™
OPERATING INSTRUCTIONS
OVERVIEW
The Peterson MIDI Resource System™ is
a microprocessor controller system that will output MIDI format
note on and note off data in response to key press and release
data from any Peterson OrgaPlex™ or Diode Matrix relay,
non-Peterson switching system, or touch sensitive (velocity sensing)
contacts.
Key data for the MIDI to a division
couplers is derived before coupling. Key data for the MIDI on
a division@ couplers is derived after coupling. Key data will
default to key #25 (middle C) = MIDI Note 60.
The default mode is the non-standard (but generally
accepted) Multi Mode (mode 5). Multi Mode has the advantage of
recognizing different program changes on each MIDI channel, thus
allowing multiple voices to be played from one keyboard. The ability
to assign any keyboard to any channel with any program change
number 1-128 is made possible with the optional control panel.
All MIDI commands, 31.25K baud rate, opto-isolated
MIDI Input and MIDI connector pin-outs comply with MIDI Manufacturers
Association (MMA) MIDI Detailed Specification 1.0, Version 4.2
(or the most current).
There is capacity for 72 MIDI Patch settable pistons
or 24 MIDI Patch settable stops. The MIDI stops include 16', 8'
and 4' pitches, plus melody and bass line stops. Either Pistons
or Stops, but not both, must be selected at the time of installation.
Velocity or volume data can be sent in response to
the organ's expression shoe(s) position(s). Expression data can
be programmed to affect MIDI voices on the Solo, Swell, Great,
Choir and Pedal MIDI channels from one or more shoes.
Recording organ stop control information to a MIDI
sequencer is accomplished using system exclusive (sysex) codes.
Up to 288 organ stop controls and 72 pistons can be encoded with
this system. Compatibility of MIDI Sequence files is provided
with Allen1 Organs and Rodgers2 Organs.
Both of these companies have extensive libraries of prerecorded
disks that can be used to play pipe organs using the MIDI Resource
System™ and an optional sequencer.
A user's control panel compatible in appearance with
other Peterson products is used for the MIDI Resource System™.
Refer to Figure 1.
This control panel includes rocker switches
and LED readouts that can be used to control MIDI devices directly
or to program presets.
External control functions (options) for the MIDI
Resource System™ include a sustain/sostenuto control
input, start/stop/continue switch inputs, Advanced Feature Control
Panel, 72 preset piston inputs, 24 settable MIDI stops, set piston
input, and six expression shoe inputs (one for each keyboard plus
an All Swells). A lock-out input (that can connect to the combination
action lock-out) prevents setting of the presets. A MIDI cancel
input is also provided.
1 Allen is a registered trademark of Allen Organ Co., Macungie, PA.
2 Rodgers is a registered
trademark of Rodgers Instrument Corporation, Hillsboro, Oregon.
DETAILS OF MIDI Resource System™
OPERATION
A Basic MIDI Resource System™ is supplied
with an output-only extension cable. The control panel is not
required for basic operation. This configuration will output
or send only on the default MIDI channel numbers. These are: Swell
on channel 1; Great on channel 2; Choir on channel 3; Pedal on
channel 4 and Solo (top of 4) on channel 5.
This arrangement allows an organist to connect a
synthesizer or voice module, preset at the synthesizer to a given
voice, and play this voice from any manual. If the synthesizer
or voice module permits separate voices on each MIDI channel then
multiple voices can be played. Multiple voice modules or synthesizers
can be connected and set so each one will respond to a different
channel. Consult your synthesizer or voice module instructions
for details. This basic system can also be used when a record/play
(sequencer) only system is desired.
Organ stop controls in each division to turn the
MIDI on can be provided as MIDI to a division (couplers)
or MIDI on a division (stops). Consult your organ
builder/installer as to the preferred arrangement.
Certain hardware programming is available to tailor
the MIDI Resource System™ to meet your needs. This
programming should be done by the technician during installation,
however, may be changed at any time if necessary. Please consult
with your installer regarding any special needs, such as alternate
channels, default omni/multi mode selection, sustain/sostenuto
and volume/velocity selection. These choices are described in
more detail later in this manual.
Some optional External DC controls are available
for use even with a basic MIDI Resource System™. (Pistons
and MIDI preset stops cannot be used since a control panel is
required to program these.) The available controls on a basic
system are: Start, Stop, Continue, Tremolo/vibrato, Sustain and
Transposer. Refer to the following sections for descriptions of
these controls.
Options that are available on the MIDI Resource System™ include:
- Expression Shoe Inputs
- Serial Outputs (for MIDI In and Sequencer capability)
- Control Panel/Control Interface (Required for preset pistons/stops)
- Piston (Presets)/Stop Inputs
- In/Sequencer Out/Instrument Out extension cable
- Sustain/Sostenuto switch
- Touch Sensitive (velocity) key contact system
- External Sequencer - (not manufactured by Peterson)
- Advanced Feature Control Panel
DETAILS OF MIDI OPTIONS
EXPRESSION SHOE(S)
One or more of the MIDI Resource System™'s
expression (volume/velocity) inputs can be wired to the organ's
expression shoe(s). If the organ has only one shoe, but expression
is desired on the Choir and Swell MIDI channels, both inputs may
be wired together to the one shoe. DIP switches set during
installation will determine whether volume or velocity values
are sent for a particular input. If the All Swells input is used,
its value is used for all keyboards. If the All Swells and another
expression input are both active, the highest value of the two
for that keyboard is used. All Swells affects volume (expression)
only; channels set for velocity are not affected.
An expression control change is sent after any program
change(s) on the channel(s) affected, using the expression value
of the manual(s) assigned to that channel. If there are Swell
and Choir expression shoes (for example), and the Choir shoe is
wired to affect the Choir, Great and Pedal: it should be noted
that reassigning the Swell manual to a channel used by the Choir,
Great or Pedal will cause both shoes to affect that channel's
expression.
CONTROL PANEL
The Control Panel option provides the ability to
take advantage of the Multi Mode, MIDI Channel and MIDI Program
selections (MIDI Patches), Piston and MIDI stop presets, and
MIDI In features.
The operation of the readouts and switches on the
control panel is as follows. Refer to Figure 1.
DETAILS OF MIDI CONTROL PANEL DISPLAY
PROGRAM MODE
The general rule for Program mode is that the values
displayed are what will be programmed.
When program mode is turned on, 0s are shown in
the manual, channel and program number displays. This provides
the opportunity to clear any pistons or stops which have been
previously set, by pressing and holding the set piston and then
pressing the numbered piston to be cleared. Clearing is allowed
whenever both channel and program are set to 0s.
Any key pressed will then cause that key=s manual
number to be displayed along with that manual=s default channel
number. The program number will remain zero. Channel and program
numbers can now be changed, if desired, using the switches below
the display windows. Subsequent key presses on the same manual,
or setting these values into preset stops or pistons, will not
change the values displayed.
When activating a preset stop or piston while in
the Program mode, the stop=s or piston=s values will ordinarily
override and be displayed. The exception is that when Set is
active, there will be no change in the display. Layered preset
stops or pistons that are activated while in Program mode will
flash an L and then display the last values programmed. When
layering new values, no L will be displayed unless that preset
is re-activated without pressing Set.
If a preset stop or piston is activated and causes
the manual number to change, then any subsequent key press on
the original keyboard will change only the manual number displayed.
Only the first key pressed on a new manual causes the channel
and program values to read 0.
USE MODE
The general rule for the Use mode is that the values
displayed are for use with the Send button (except that the manual
number may also display information about presets).
The Use mode display will show all 0s upon power
up. Any key pressed then changes the manual number display to
that keyboard=s number. Program and channel numbers remain zero.
Channel and program numbers can now be changed, if desired, using
the switches below the display windows. Subsequent key presses
on the same manual, or pressing the Send button, will not reset
any of these values. Pressing the Send button transmits the values
displayed.
Once a patch is sent on a keyboard, subsequent key
presses on that keyboard will ordinarily cause the same values
to be displayed again. However, if the keyboard=s channel was
over-written by another send or preset, channel and program values
of 0 will be displayed again.
When layered presets are activated while in Use mode,
the display will show an L in manual and -s (dashes) in channel
and program windows. When blank presets are activated, the display
shows 0 in manual and -s (dashes) in channel and program windows.
After pressing a key and the "send" button, if a preset
is activated that changes the manual number, a subsequent key
press on the original manual will restore the display to its sent
values. Only the first key press on a new manual causes the channel
and program windows to display "0".
SHOW MODE
The general rule for Show mode is to display the
values for the last control (preset piston, preset stop or send
button) that was activated.
If more than one preset stop is on at a time, only
the value(s) of the last one activated will be displayed. If a
preset piston or preset stop has layered values (patches) an L
will be momentarily displayed when it is activated (indicating
more values to follow). Activating a blank preset displays all
0s.
When values displayed are from the send button, all
decimal points are illuminated to distinguish these values. It
is helpful to know where these values are from if one or more
preset stop(s) is also on.
DETAILS OF MIDI CONTROL PANEL SWITCHES
1. Off/On/ANO - This is a 3 position rocker switch (on/off/momentary) with ANO being momentary. Off is off; the readouts are not lighted and all MIDI functions and modes are disabled. On enables all MIDI functions/modes and lights the readouts. ANO (All Notes Off) clears all Key On data on all channels by sending ANO code and by sending each note with a velocity of zero. All OrgaPlex™ Serial Outputs, including stops, are also cleared. This is like a reset for use in the event that a MIDI note ciphers on.
2. Prog/Use/Show - This is a 3 position rocker switch (on/on/on). Program enables setting of the preset pistons/stops. The MIDI output does not respond to control panel changes until the set (or send) button is activated. The displayed settings and MIDI values will change when a preset is pushed. The up/down buttons will then start from these values. Use will display the current value or values from a preset and allow changing of channel and program values immediately when a preset is activated. Values adjusted using the control panel switches will only be sent when the Send button is pressed (acting as an enter key). In the Use mode if presets are layered an L is displayed in the manual display. Show will cause readouts to display all values for the last preset pressed and disable all control panel changes. If more than one manual, channel or program value is stored on a given preset, the readouts will step through and show all values at a one per half second rate. Discrete LEDs are lighted when the Program or Show functions are active. Show is also used when selecting a stop control/sequencer format. Refer to the section on Details of MIDI Sequence Files found later in this manual.
3. Channel Up/Down - This is a 3 position rocker switch (momentary/off/momentary) which increments or decrements the channel value by one per push. If pushed and held for more than 1 second, the value will change and then sequence automatically at a 4 per second rate. The range of values is normally 0-16. However, a range 0-24 can be activated with the +8 feature (See Additional Features Section for more details).
4. Program Up/Down - This is a 3 position rocker switch (momentary/off/momentary) which increments or decrements the program value by one per push. If pushed and held for more than 1 second, the value will change and then sequence automatically at a 4 per second rate. The range of values is 0-128 and a position for Bank Select which is detailed in Additional Features Section.
5. Send/Receive - This is a 3 position rocker switch (momentary/off/momentary) used to select the programming of presets. With Send selected (in the Program mode) presets are programmed with the channel/program numbers to be sent out. With Receive selected (in the Program mode) pistons and/or tabs are assigned to respond to received program numbers. Normally, both MIDI OUT (send) and MIDI IN (receive) are both active. The programming with these will be covered in more detail in the presets section. Separate LEDs are lighted to indicate if the Send or Receive function is active. Both these LEDs are off when in Use mode.
6. Tuning - This is an analog rotary potentiometer that will send MIDI Pitch Bend values. The center is equal to A=440. Turning the knob clockwise tunes the synthesizer sharp and turning it counter clockwise tunes it flat. The range is approximately +/- 35 cents (hundredths of a semitone). This is used to tune the synthesizer or voice module to the pipes. Note: Some voice modules and/or synthesizers do not respond to pitch bend but may be tuneable at the device. Refer to the manual of your particular device.
7. Program Readout - This is a 2-1/2 digit 7 segment LED display for current program value 1-128; (1-128 = MIDI 0-127). The value displayed will be from the last preset, up/down button press or received program value. In the Show mode the program value for each channel, if more than one, will be displayed in an automatic step fashion. The current bank A or B is displayed between 1 and 128 (the bank select feature is covered later). The 0 in this display is used when clearing MIDI preset pistons.
8. Channel Readout - This is a 1-1/2 digit 7 segment LED display. The channel number displayed shows the most current channel value 0-16 (0 = Omni (all channels); 1-16 = MIDI 0-15), from the last preset, up/down button press or received channel number. The 0 is also used when clearing MIDI preset pistons.
9. Manual Readout - This is a 1 digit 7 segment
LED display. In the Show mode the Manual value (1-7) shows
the most current value from the last preset. The values displayed
are as follows: 1=Swell, 2=Great, 3=Choir, 4=Pedal, 5=Solo or
other top-of-4th manual, 6=Antiphonal and 7=Echo. In the Program
mode the Manual value shows the last manual a key was played on,
and is the value (manual) that will be stored in a preset (when
set is activated in the Program mode). If more than one manual
is being played, the first one read by the microprocessor is
displayed. The manual readout also displays information about
presets. If a preset is activated but has not been programmed,
a zero will be displayed. If a preset is programmed with more
than one channel or program number (layered), then an L is
displayed when in the Use mode. (The layered information indicated
by the L can be viewed by using the Show mode.)
PISTONS/MIDI PRESET STOPS
The Piston/Stop board (#404587) and Control Panel
are required to take advantage of the piston and MIDI preset stop
inputs. The operation of these presets in conjunction with the
control panel is as follows:
1. Setting - Requires the MIDI to be on, the
Prog/Use/Show to be in Program and the lock-out(s) to be off.
(The Send/Receive function will default to Send when Program mode
is selected.) Displayed values are captured on a desired piston
by holding that piston (or turning on the desired MIDI stop)
and then pressing the set piston. In the case of a General piston
affecting more than one manual, each manual's values will have
to be layered on (added to) the preset by adjusting the displayed
values, holding the piston again and then pressing the set piston
again. The manual value can be changed by pressing any key(s)
on the desired manual. The new manual value will be displayed
and settable. Multi mode allows any keyboard to have different
voices (program numbers) on each channel so one manual can play
more than one voice (some sound modules do not support this
mode). If more than one program number is set on a particular
channel the last one set will be used.
Note: It is recommended that MIDI channels 9-16 be
used for sound module synthesizer voices, especially when a sequencer
is used. MIDI channels 1-8 are reserved for use as control of
organ only. Synthesizer sounds on these MIDI channels will not
appear to respond to stop control (always on).
To clear a piston, press and hold it, and then press
the MIDI cancel piston. Cancel only clears piston or MIDI stop
memories when in the Program mode. Alternately a piston or preset
can be cleared (while in program mode) by setting both the channel
and program number displays to 0 and then pressing set and the
desired piston.
Setting can also be accomplished using the Hold
and Set feature. This is done by holding a piston for more than
2 seconds (in Program mode). This automatically activates the
set function. The display will momentarily blank out when set
is activated in this fashion. New values are written on the release
of the piston in this case, and the display will momentarily display
Set when the piston is released.
NOTE: 24 pistons are allowed to be layered with
up to a total of 16 channelseach. These are normally used forGeneral
and Tutti pistons. 48 pistons are allowed to be layered with up
to 2 channels each. These are normally used for Divisional pistons.
All pistons have 99 memory levels available. Also see the Advanced
Features section for information on assigning received program
change values to pistons or stops.
If duplicate patch values are inadvertently attempted
to be programmed (layered) on a piston, the message dupe is
displayed. When the maximum number of allowed layers are exceeded
the message full will be displayed. Blank pistons are indicated
by 0s being displayed in all the control panel read-outs.
Setting is not allowed if the manual, channel or
program number is zero (0) or if the program number read-out is
displaying the bank letter.
2. Recall - Any piston or MIDI preset stop
activated will display it's stored values in the control panel
readouts and output those values on the appropriate MIDI channels.
Layered pistons are indicated by an L in the manual
window when in the Use mode. These layered values can be viewed
by switching to the Show mode. Blank pistons are indicated by
0's in the manual, channel and program number windows when
in the Use mode.
Blank pistons/preset stops can be configured during installation to either cancel the MIDI Instrument (default) or to have no effect. Advise your installer of your preferred arrangement.
3. MIDI Cancel - The MIDI cancel input will
cause the MIDI to stop playing for any notes held. Also new
notes will not be played until a new program number (patch) is
sent. MIDI cancel does not affect preset tabs that are on unless
the MIDI cancel is connected to the combination action general
cancel.
The MIDI Resource SystemJ powers up in a cancelled state, i.e. no key data is sent to the instrument out port until a patch change is sent. Basic systems without a control panel power up in an active state using the default channels.
If more than one piston is pushed at a time the first
one that is seen by the microprocessor will be the active one.
If the first one is then released while the second one is still
held, the second will become active.
If more than one preset stop is being used and they
are programmed with the same Keyboard/MIDI channel, the program
value of the last one activated will be used. Thus some stop changes
could over-ride previous stops even though that stop is still
on. However, if the over-riding stop is then canceled and the
previous stop is still on, it's program value is restored on it's
channel.
OrgaPlex™ SERIAL OUTPUT/MIDI IN
This option requires an OrgaPlex™ Serial
Output Board (#404590) to be installed. MIDI In data is sent to
the OrgaPlex™ Serial outputs. The OrgaPlex™
Serial data is used to play the organ's keys, stops and expression.
Thus a MIDI Sequencer connected to the MIDI Resource System™'s
MIDI In can act as a pipe organ player. See the section
on Details of MIDI Sequencing later in this manual.
MIDI In data received from channels 1-8 are assigned
to the organ specifically and cannot be reassigned. These assignments
are as follows:
1. Swell keys Solo
2. Great keys Great
3. Choir keys Accomp.
4. Pedal keys Pedal
5. Solo keys (top of 4 manuals) Bombarde
6. Antiphonal keys Accomp. 2nd
7. Echo keys Great 2nd
8. General controls General controls
MIDI In data received on channels 9-16 are copied
(merged) with Instrument Out channels 9-16. These channels must
be used when a MIDI Instrument is required with organ in a sequence.
These channels may be assigned (mapped) to any keyboard as desired.
MIDI IN/SEQUENCER OUT/INSTRUMENT OUT
Extension cables and a mounting bracket/plate can
be provided to allow the installer to mount the MIDI In/Sequencer
Out/Instrument Out receptacles in the back of the console or under
the key bed. This permits convenient access to the MIDI cables
if cable swapping needs to be done.
See
Figure 2 for some examples of interconnecting
voice modules, a sequencer and/or a PC using the MIDI In/Sequencer
Out/Instrument Out ports. In some cases, multiple MIDI devices
may require additional Merge and/or Thru adapters to interconnect
all devices. Chaining more than three MIDI devices via MIDI Thru
connectors is not recommended. Accumulated delays can cause problems.
If needed, MIDI Thru Boxes that provide multiple outputs are
available. Additional information on interconnecting MIDI devices
may be found in the instruction manuals of the MIDI devices you
are using.
Typically the Sequencer's output connects to the
MIDI Resource SystemJ In. Optionally a remote MIDI keyboard's
output could connect to the MIDI Resource SystemJ In.
The MIDI Resource SystemJ Sequencer Out connects
to the input of the sequencer. Note: This output does not transmit
MIDI codes for "PitchBend" and channels 1-7 (dedicated
to organ only) do not cancel with MIDI cancel. Therefore if a
MIDI Instrument were connected to this output, remote tuning would
not work and channels 1-7 would play all the time.
The MIDI Resource SystemJ Instrument Output connects
to synthesizer or sound module. Note: This output does not transmit
System Exclusive (Sysex) data from organ stops.
SUSTAIN/SOSTENUTO
The sustain/sostenuto control can optionally be supplied
as a skate clamp switch. A toe stud or similar control can also
be supplied. When activated, a Sustain control code (Bn 40 7Fh)
is sent on all MIDI channels. If preferred, a Sostenuto control
code (Bn 42 7Fh) can be sent on all MIDI channels. The preferred
use is programmed by the installer during set-up.
START/STOP/CONTINUE
Pistons buttons (or other controls of the purchaser's
choice) can be installed for this feature. These controls are
useful for operating a MIDI Sequencer or other Real Time MIDI
device. Additional information on use of these controls with
MIDI devices may be found in the manuals of the MIDI devices you
are using.
TOUCH (VELOCITY) SENSITIVE CONTACTS
(not available at this time)
This option uses a variation of the Peterson Master
Touch contact assembly and a slave microprocessor controller board
that measures key travel time. This measurement is then converted
to velocity data which is sent along with the Note On codes.
ADVANCED FEATURE CONTROL PANEL
Includes momentary switches (buttons) for: Mode Select,
Basic Channel Select, Start, Stop, Continue, Memory Dump and Memory
Select. This control panel may also include a 2 digit, seven segment
readout for the memory level. A detailed description of each function
follows:
Mode Select - Used to change the MIDI Mode of operation. The Modes available in the MIDI Resource System™ are: Mode 1 = Omni On, Poly; Mode 3 = Omni Off, Poly; Mode 5 = Multi Mode. To change the Mode, activate the Mode Select switch and then using the Channel Select Up/Down buttons, select 1, 3 or 5 (in the Channel Window). Then press Send or Receive to select whether this mode is sent on the basic channel to change an external device or to set the MIDI Resource System™'s mode of operation. Note: Some voice modules may not recognize received mode messages.
Basic Channel Select -
Used to set the MIDI Basic Channel which is used to receive Channel
Mode Messages and Control Change Messages when Omni is off. To
change the Basic Channel activate the Basic Channel Select switch
and then use the Channel Select Up/Down buttons to select the
desired channel 1-16 (in the Channel Window). Then press Receive
to set the MIDI Resource System™'s basic channel of
operation. The Basic Channel of each other MIDI device must be
changed at that device. Refer to the manual of that device for
information on how this is done.
Start - Used to control
and synchronize external real time devices such as sequencers.
Pressing the Start button sends a code to start a device, usually
at it's beginning. Refer to the instruction manual of the device
to be controlled for further information.
Stop - Used to control
and synchronize external real time devices such as sequencers.
Pressing the Stop button sends a code to stop a device. Refer
to the instruction manual of the device to be controlled for further
information.
Continue - Used to control
and synchronize external real time devices such as sequencers.
Pressing the Continue button sends a code, usually to restart
a device from where it was stopped. Refer to the instruction
manual of the device to be controlled for further information.
Memory Select (Up/Down)
- Used to select the memory level (1-99) of the MIDI Resource
System™'s settable pistons if the memory select is
not connected to the organ's combination action memory select
switch. Momentarily pushing the Up or Down switch will increment
or decrement the memory level by one. Pushing and holding one
of these switches will cause the memory level to begin incrementing
or decrementing in an automatic stepping fashion. The current
memory level is displayed in the Memory Level Readout described
below.
Memory Level Readout -
Used to display the current memory level (1-99) of the MIDI Resource
System™'s settable pistons. This is a two digit, 7
segment LED display. This display is controlled by the Memory
Select Up/Down switches described above.
TRANSPOSER
This is used to transpose MIDI data to track the
organ's transposer. The transposer selector switch can provide
a -6 to +6 semitone range. In most installations this MIDI transposer
switch is connected to the organ's transposer switch.
EXTERNAL SEQUENCER
Sequencers manufactured by other companies are available
from Peterson, or we can recommend suitable sequencers that may
be purchased locally.
Refer to your sequencer's instruction manual for
details of its operation and to the following section on details
of MIDI sequencing.
ADDITIONAL FEATURES
BANK SELECT
Some voice modules and synthesizers have more than
128 voices or may permit external voice memory (expansion) cards.
Only 128 voices can be addressed by program change values. To
access additional voices a bank select is used which moves the
128 program change values to another set of voices. The MIDI
Resource System™ allows selecting MIDI banks 0-127.
This is done by using the program change up/down button and incrementing
or decrementing the program number display between 1 and 128.
At this point the letter b (lower case) displays in the manual
#1 window. While this is displayed, pressing the send/receive
selects the value of the bank # transmits this value on the selected
channel. Bank 0 is always activated when power is turned on.
CHANNELS +8 FEATURE
In the normal mode of operation, MIDI channels 1-16
can be mapped (assigned) to play from any keyboard to the Instrument
Output Port and MIDI channels 9-16 are copied to the Sequencer
Output Port channels 9 -16, thus allowing MIDI Instrument(s) to
be Sequenced (recorded) along with the organ.
With the +8 feature active, the Control Panel Numbers
will range from 1-24. With 1-16 being related to the Instrument
Output Port (as above) and 17-24 being used for 9-16 of the Sequencer
Output Port. This would allow two MIDI Instruments to be connected
(one to the Instrument Out and the other to the Sequencer Out)
with each being controlled separately for a total of 24 MIDI channels
for MIDI Instruments. In this case when Sequencer playback (MIDI
In) data from channels 9-16 is copied to Instrument Out 9-16 and
Sequencer Out 9-16, care must be taken in the assignment of MIDI
Instruments recorded with the organ.
This feature is most useful when control of two MIDI
Instruments is desired. Just keep in mind which instrument the
Sequencer is using.
If this feature is desired, the installer/technician should be advised as a hardware change is required to enable this feature.
ASSIGNING RECEIVE PROGRAM CHANGE VALUES
This feature is used to assign a received program
change to activate stops or a piston on the organ thus allowing
a remote MIDI keyboard controller to control the organ's registration.
To assign received program numbers to pistons or stops;
a. Select the MIDI Resource System™'s Program and Receive modes.
b. Adjust the displayed values on the MIDI Resource System™'s control panel for the desired MIDI receive channel number and receive program number using the Channel Up/Down and Program Up/Down buttons.
c. Push and hold the desired piston or turn on the desired organ stop(s) and then press the set piston.
d. Repeat the above process for any desired receive program values.
e. Return the MIDI Resource System™ to the Use Mode.
The assigned program value(s), when received on the
assigned MIDI In channel(s) will now activate the piston or stop
control(s).
AUTO RESEND
This is an exclusive feature of the Peterson MIDI
Resource SystemJ . MIDI normally only transmits data at the
instant of a change. Therefore, on playback of sequencer files
one must rewind to the beginning of a file, before any registration
changes occurred, to assure proper playback.
When enabled, the Auto Resend feature immediately
re-transmits all organ data to the Sequencer Output and then at
regular intervals. This permits rewinding to any place in a file
on playback. Stops, expression and keys will be restored properly
within the preselected time interval (selected during installation).
Also, if a momentary button is used, this feature could be used
to cue stop and expression data when starting a recording.
This can be an extremely useful feature in some applications, however, there are some drawbacks. Re-sending data does use more sequencer memory and disk (file) space. The shorter the interval is, the more memory/disk space is required. Also if percussive type sounds (piano, harp, chimes, etc.) from a synthesizer were recorded with the Auto Resend feature active, these voices may re-strike (at the resend interval) on playback. This Phenomenon only occurs with synthesizer voices, not with real electrically or pneumatically operated voices. Therefore, the interval time and the use of this feature should be used judiciously. We recommend it's use only with organ type sounds.
DETAILS OF MIDI SEQUENCING
One of the many useful features of the MIDI Resource
System™ is the ability to add an optional sequencer
and make MIDI sequence (player) files. Even more useful is the
fact that the MIDI Resource System™ can play MIDI
sequence files in several formats allowing compatibility with
Allen1 Organs and Rodgers2 Organ sequence
files. Both of these companies offer extensive libraries of pre-recorded
MIDI disks that can be used to play your pipe organ.
It should be noted though, that not all sequencer
file disks are directly interchangeable. The MIDI data contained
on them is compatible but the storage format used by various sequencers
is not. Much like computer disks, an Apple disk won't work on
an IBM and vice versa. This is unfortunate but true. Therefore,
when exchanging MIDI files you need to know the type of sequencer
the file was made on too.
Peterson supplies Yamaha MDF II MIDI Data Filers,
which we have found to have adequate capacity and are relatively
easy to use. The MDF II records data in MIDI Format 0 Files.
These files are compatible with many of the newer sequencers
and software now available.
Other sequencers vary in the amount of memory available,
their features and in other ways. However, any sequencer can
be used with the MIDI Resource System™. In fact, for
those that want to do a lot of file swapping, more than one sequencer
(of different brands) could be connected to the MIDI Resource
System™.
In regards to sequencer (player) disk storage capacity,
a 2 Sided Double Density 3.5" floppy (used with the Yamaha
MDF II) will accommodate aproximately 80,000 notes (on and off).
If one assumes 120 notes played per minute (without expression
changes), there would be 328 minutes or almost 5 1/2 hours of
music capacity. If one continuously pumped the expression shoe
and made frequent large stop changes there might only be 20 minutes
of music capacity on a disk. In actual use we have found that
recordings of 125 major works (each 2-15 minutes) will fit on
a single disk. Another disk has been recorded with 50 hymn tunes
of 2-6 minutes each. Each of these include typical registration
changes and moderate use of expression.
PLAYBACK of pre-recorded
sequence files:
Connect a MIDI cable from the MIDI Resource System™'s
MIDI In connector to the sequencer's MIDI Out connector. Insert
the MIDI sequence file disk into the sequencer and follow the
instructions for that sequencer to load and play (sequence) the
file(s). The MIDI Resource System™ will determine
if the file is a Peterson, Allen1, or Rodgers2,
format and automatically adapt for stop handling. Stops must
first be assigned using the desired stop list; Peterson, Allen1
or Rodgers2. See stop assignment section.
Bear in mind that MIDI sequencers record event changes
(i.e. key on, key off, stop on, stop off, etc.). Therefore, be
sure to start playing a file (song) from it's beginning. Otherwise,
stop registration changes may be missed and the organ would appear
to not be playing (until the next registration change). Also
see Auto Resend section.
NOTE: Sequence files other than Peterson, Allen1
Organ and Rodgers2 Organ may not be compatible in regards
to stops and expression. The key data of any sequence file will
play keys, although manual assignments may be different. If this
is the case, even these files can be played by manually registering
stops and re-assigning the manual/channel assignments.
Stop registrations that are incompatible can be turned
off with an optional external control or the Advanced Feature
Control Panel that activivate the All Stops Off Feature.
RECORDING or making of
sequence files:
Connect a MIDI cable from the MIDI Resource System™'s
MIDI Sequencer Out connector to the sequencer's MIDI In connector.
Insert a blank (or formatted) file disk into the sequencer and
follow the instructions for that sequencer to put it into the
record mode. Then select and follow the procedure for one of
the following formats. Bear in mind that MIDI sequencers
record event changes (i.e. key on, key off, stop on, stop off,
etc). Therefore, one should begin a recording session with all
stops, keys, etc off. Put the sequencer in record (wait
for any count down timers) then register stops (including MIDI
stops), then begin playing. Also see Auto Resend section. Since
organ key data is transmitted and received on MIDI channels 1-8,
when recording sound module voices along with the organ be sure
to use channels 9-16 for this purpose.
PETERSON STOP CONTROL FORMAT
(default)
If no other action is taken, key data from the MIDI
Resource System™ will be output to the sequencer and
recorded in the standard note on, note off manner using the default
MIDI channel assignments. Do not re-assign manuals/channels
when making compatible sequence files. The organ's stop
controls will be recorded using the Peterson Sysex Format.
In order for stops to match another organ's stops
the Stop Assignment step must have been performed. This Stop
Assignment will provide compatibility of stops, even between
organs with different stop lists. Refer to the section of this
manual for details of the Stop Assignment. The Peterson Universal
Stop Assignment List (MAP) must be used in conjunction with the
Peterson Format.
For those organists who are seriously interested
in exchanging sequencer (player) files with other organists,
it would be a good idea to make a copy of your organ's stop list
and note the assigned stop values that were used. Supplying this
notated list along with the sequencer data will provide the opportunity
for others to re-assign their stops for an even better match in
stop registration. See description of the Peterson Sysex Format
found at the end of this manual for greater details of how stops
are handled.
PETERSON DEFAULT CHANNEL ASSIGNMENTS:
1. Swell Solo
2. Great Great
3. Choir Accomp.
4. Pedal Pd/Pd 2
5. Solo Bombard
6. Antiphonal Accomp 2
7. Echo Great 2
8. Generals
Channels 1-7 are the standard assignments for organ
dedicated channels and Channels 9-16 are available for recording
MIDI Instruments along with the organ. Be sure to assign any
desired MIDI sounds using these channels.
ALLEN1 ORGAN FORMAT
It is first necessary to re-assign MIDI channels
to the Choir and Pedal manuals. Only these Manual/Channel assignments
should be used to maintain full compatibility. Allen1
Organ channel assignments are:
Classical Theatre
1. Swell (Base) Great (3m) Solo (2m)
2. Great Accomp
3. Pedal Pedal
4. Choir Solo (3m)
5. Solo (4th) Accomp 2nd touch
6. 5th Manual ----
7. ---- ----
8. General Pistons General Pistons
The Allen1 format is selected by turning
on the Show Mode, and then pressing the Program Up and Channel
Up buttons together. This selection will be confirmed by the Program
number read-out displaying all (for Allen1).
The format selection button sequence described above
needs to be done at the beginning of each MIDI sequence file disk.
(It does not need to be done at the beginning of each piece on
that disk). Use of this format requires that the organ stops
be assigned, using the Allen1 Organ Company's Master
List of stops.
RODGERS2 ORGAN FORMAT
It is first necessary to re-assign MIDI channels
to all of the manuals. Only these Manual/Channel assignments should
be used to maintain full compatibility. Rodgers2 Organ
channel assignments are:
12. Great
13. Swell
14. Pedal
15. Choir
16. Solo
The Rodgers2 format is selected by turning
on the Show Mode, and then pressing the Channel Down and Program
Down buttons together. This selection will be confirmed by the
Program number read-out displaying rod (for Rodgers2).
This format selection button sequence described above
needs to be done at the beginning of each MIDI sequence file disk
(It does not need to be done at the beginning of each piece on
that disk). Use of this format requires that the organ stops
be assigned, during installation, using the Rodgers2
Instrument Corporation Stop Sysex Code ssignments list. Note:
The stop assignment procedure only needs to be done once, during
the installation and set-up.
STOP CONTROL ASSIGNMENTS
This step should be performed to prepare the MIDI
Resource System™ for compatibility with the desired
sequencer (recording) format. This permits pre-recorded sequences
of music to be replayed using the proper stop registration. It
also permits recording sequences that will then be playable on
other instruments, even if their stop lists are not the same.
The Peterson MIDI Resource System™ supports
compatibility with three possible formats. These formats are:
1. Peterson (default) format
2. Allen1 Organ format (Will be available in the future with software update).
3. Rodgers2 Organ format (Will
be available in the future with software update).
The Allen1 and Rodgers2 formats were chosen because of these companies' proven experience in recording with their respective formats and to allow taking advantage of their vast libraries of pre-recorded music. If compatibility with either of these formats or with any other instrument is not required, the default Peterson
format can be used. We highly recommend choosing
one format and assigning stops to maintain compatibility with
other instruments. In some cases where stop compatibility is
not required it may be desirable to achieve the maximum speed
in stop handling (to avoid delays) by using the Peterson format
Fast Config assignment (See below).
Once the desired format is chosen refer to the corresponding
Stop List (Peterson, Allen1 or Rodgers2)
located at the end of this manual for the stop assignments.
Turn the organ power off, then while holding down
the show, channel down, program down and receive buttons on the
Control Panel, turn the power back on. This puts the MIDI Resource
System™ in it's Assign Stops Mode. Note: Normal
MIDI functions do not work in this mode. Next, turn on one stop
and use the Program Up/Down button to set the Program Number to
the reference number associated with that stop from the desired
Stop List. Use the Channel Up/Down to set the division number
in the Channel read-out. 1=Swell, 2=Great, 3=Choir, 4=Pedal, 5=Solo,
6=Antiphonal, 7=Echo and 8=generals and intermanual couplers.
Now press the Send button to store the division number
and stop number for the stop that is turned on. Repeat this process
for every stop control on the organ. The values assigned to a
stop can be viewed by switching to Show mode. Turn stops on,
one at a time, assigned values. If E EE EEE is displayed when
setting, an error has occurred. Usually this means more than
one stop is on. When set is displayed the values have been
written to memory. An S (looks like 5) is displayed in the manual
read-out when in the show mode of assign stops. In a similar
manner, each numbered piston must be assigned to its division
(Not required for Peterson format). Again use the Channel Up/Down
button and read-out to select the division. Then hold the Send
button and push each piston in that division, one at a time, to
store them.
After all the stops and pistons have been assigned,
it is a good idea to switch to the show mode and examine each
stop to be sure they are programmed. Any that show - -- ---
were overwritten from a duplicate setting. Choose a new value
and reprogram that stop. Finally, turn off the Assign Stops dip
switch and again reset the MIDI Resource System™ by
turning the organ power off and on as above, to return to normal
operation.
Fast Config. Assignment
(Available in Peterson format only.)
Follow the procedure above but rather than using the Stop List values, assign sequential numbers to the stops in each division. Start with the value one for the first stop of the Swell (division 1), two for the second stop, etc. (Values up to 299 are valid). Change to the Great division (number 2) and repeat the process starting with number one again. Follow this procedure until all stops have been assigned. This "Fast config." sequential assignment is automatically done on systems as shipped from Peterson. The only exception to sequential assignment is that MIDI On/Off controls on each division must be asigned #35. The MIDI Resource SystemJ uses this #35 to control data to the instrument output.
ADVANCED SEQUENCING
Most sequencers (hardware or software based) have
many features built in that organists can put to good use. These
include: Multi-Track recording capability, quantizing, scoring
and editing. Multi-Track recording allows layering of data on
the 16 MIDI channels which can be used, for example, to create
four (or more) handed pieces or build orchestral ensembles. The
quantizing can automatically align notes in synchronization with
a fraction of a metronome beat. The editing can be used to fix
mistakes or embellish already recorded music. Refer to the operating
manual of the sequencer device you are using for details.
Also available are PC programs for scoring music
played via MIDI. These programs can also be used to edit and embellish
music and then sequence (replay) the altered version. Peterson
distributes Finale by Coda and "Cakewalk Professional"
by Twelves Tones for this purpose. Feel free to contact Peterson
for more details about this software.
ADDITIONAL REFERENCES
For those organists interested in learning more about
MIDI, how it works, how to get the most out of it and what it's
limitations are, there are a number of books available. One source
is the International MIDI Association (IMA). The IMA carries books
such as: The MIDI Book, MIDI: the Ins, Outs and Thrus and
Taking the Mystery Out of MIDI. The IMA can be reach at: 5316
West 57th Street, Los Angeles, CA. 90056, or by phone 1(310) 649-6434.
Similar books are available at local music stores and bookstores.
MIDI IMPLEMENTATION DETAILS of the MIDI Resource System™
1. See MIDI Implementation Chart (located later in this manual) for additional information.
2. Running status is used whenever possible to reduce MIDI overhead. A timer is used to re-assert status bytes after 3 seconds if no new key on/off data is detected.
3. If velocity keying is not implemented a velocity value 40H is sent for Note On.
4. Note Off data uses Note On - Velocity 0 (9n 00h) for Note Off to avoid changing status. Key Off codes (8n h) are recognized though.
5. Pitch Bend (En DD DDh) is transmitted when the
tuning pot on the Control Panel is changed.
6. Control change (Bn 07h) is transmitted for expression shoe changes on the MIDI channel(s) that a particular shoe is to affect. Note: Alternately expression shoe data can be sent as velocity value for note on.
7. Control change (Bn 64h or Bn 66h) is transmitted on all channels for sustain or sostenuto.
8. Program changes (Cn DDh) 0-127 transmitted and can be user defined on receive.
9. Sysex (ID# 00 00 57) is used for Peterson format organ stop control data. See section on Description
of Peterson Sysex Format for details.
10. All Notes Off - Follows MMA recommended procedures (see Pages 30 and 59) of MIDI 1.0 Detailed Specification.
11. The Basic Channel for receiving Mode Messages is channel #1. This can be re-assigned by the user.
12. Multi Mode allows each MIDI channel to be polyphonic and have its own voice(s) controlled by program change commands.
13. There are five 16' and five 4' MIDI Preset (stops) for which the note data is offset by one octave (up for 4' - down for 16').
14. Instrument output port excludes sysex data. Key on/off data is inhibited by MIDI cancel until a new program (patch) change is transmitted.
15. Sequence output port filters trem/vibrato data, pitch bend data and MIDI cancel has no effect on key on/off data for channels 1-8.
16. Tremolo control transmits MIDI code Cn 5C FFh and control 99/98 sequence to send Allen tremolo codes.
17. Bank Select transmits Cn 00 MSB, 20 LSB sequence.
(LSB values 0 - 127 used)
MIDI IMPLEMENTATION CHART
MODEL: PETERSON MIDI Resource System™
Version: V1.54 Date: 3-27-96
FUNCTION TRANSMITTED RECOGNIZED REMARKS
DEFAULT CHANNEL 1=Sw 2=Gt 3=Ch 1=Sw 2=Gt 3=Ch User Configurable
4=Pd 5=So (4th) 4=Pd 5=So (4th)
6=Antiphonal 7=Echo 6=Antiphonal 7=Echo
9-16 Mappable 9-16 Mappable
MODE Yes Yes Modes supported:
1, 3, Multi
NOTE NUMBER 24-108
24-108
VELOCITY Note On Yes No User selected. Sent Note Off No No instead of (expression)
Master Volume
AFTER Keys No No
TOUCH Channels
No No
PITCH BEND Yes No
CONTROL 0 Yes No
CHANGE 7 Yes Yes Ch.1=Sw Ch.2=Gt Ch.3=Ch
Ch.4=Pd Ch.5=So
32 Yes No
64 Yes No User Selected
66 Yes No User Selected
92 Yes No
98 Yes Yes Stop Control
99 Yes Yes Stop
Control
PROGRAM CHANGE 0-127
0-127
SYSTEM EXCLUSIVE Yes Yes Sysex ID # 00 00 57h
Note 1
SYSTEM Song Position No No
COMMON Song Select No No
Tune No No
SYSTEM
REAL TIME
Local On/Off No No
All-Notes-Off Yes Yes
Active Sense No No
Reset No No
Start Yes No
Stop Yes No
Continue Yes No
Notes:
1. Also recognize Allen1 Organ sysex ID # 00 00 35h, Rodgers2 (Roland) sysex ID # 41h
2. MIDI channels 17-24 optionally available using
sequencer output port.
Mode 1: Omni On, Poly Mode 2: Omni On, Mono
Mode 3: Omni Off, Poly Mode 4; Omni Off, Mono
1 Allen is a registered trademark of Allen Organ Co., Macungie, PA.
2 Rodgers is a registered
trademark of Rodgers Instrument Corporation, Hillsboro, Oregon.
DESCRIPTION OF PETERSON SYSEX FORMAT
(Peterson's SYSEX ID = 00 00 57h)
OVERVIEW
Stop controls are handled with the MIDI System Exclusive
(Sysex) code and ID#. The data following the Sysex/ID codes consist
of a Device ID (allowing for future sysex features), at least
one Stop Group Code (explained below) followed by Stop Control
Data bytes. Individual stop changes are handled with a single
Stop Control Group. As many groups of Stop Control Data are used
as required to cover the full stop list of an organ. Stop Control
Groups must always be the 5 byte (stop group code + 4 data bytes)
block but can be truncated with an EOX (End Of Exclusive). This
allows changing manuals and/or jumping groups on the fly.
The MIDI controller will check for key on/off activity
between Stop Control Groups and handle that key data before finishing
stop data. If there is key data activity an End Of Exclusive (EOX)
is sent, then the required status byte and data for those keys.
The Sysex is returned to in the normal way to finish stop controls
if needed.
A single Stop Group Code/Stop Control Data block
consists of a 5 byte header, a Stop Group Code, 4 data bytes and
an EOX byte. This is a total of 11 bytes which requires 3.52 mS.
Additional Stop Group Code/Data blocks could follow without re-sending
the header if no keys need to be handled and would take 1.6 mS.
each. A general piston on a combination action of a large 3 manual
organ may require 14-16 Stop Group Code/Data blocks (to handle
100 stops) which would take 25.9 - 29.1 mS. A stop registration
change such as this would produce no noticeable delay. Sending
10 key changes (on and off) between these stop groups would cause
a 42.2 mS delay from the 1st to the last stop, but only 13.1 mS.
delay in the keys.
STOP GROUP CODE DEFINITION
The Stop Group Code is a prefix to Stop Control Data
bytes and identifies which manual (division) and subgroup the
stop data belongs with. This byte will always have a 0 in the
Most Significant Bit (MSB). The next 4 bits will identify a subgroup
of the stop bit map. This provides 16 subgroups. The 3 Least
Significant Bits (LSB) will identify the manual (division). The
manual numbers match the default assignments (1 = Sw., 2 = Gt.,
etc.).
A Stop Group Code precedes each 4 byte data group
(block) of stop data. This permits 16 subgroups times 28 stop
bits (7 bits X 4 bytes) = 448 stops maximum per division.
The Stop Group Code byte format is as follows:
0ssssmmm
ssss = subgroup permitting 16 subgroups
mmm = manual (division) permitting 8 that
match the default manual (division) assignments
Note: The subgroup can also be thought of as a group
offset value.
STOP CONTROL DATA DEFINITION
The stop control data bytes will always have a zero
(0) in the MSB to distinguish them as data bytes. Each of the
remaining 7 bits represents one stop (stop position). This provides
7 stops per byte for a total of 28 stops (positions) per 4 byte
block. The individual bit values will be: 1 = on; 0 = off. These
bits represent a bit map of the Peterson Universal Stop List
(Map). Physical stops read in the stop input matrix will be assigned
a position in this (logical) map.
Only the blocks and data bytes in which a stop change
occurred need to be sent. If a stop change occurred on Universal
Stop #63 of a particular division only the first 2 bytes of the
3rd block needs to be sent. Groups can only be truncated by an
EOX. When a block is truncated it will be assumed that no change
occurred in the remaining bytes.
Example: 7. 0.07 4' Octave (Principal)
LEGEND
7. = Assigned (logical) number
0 = Stop Subgroup
07 = 7th bit (of 1st byte)
4' = The Pitch
Octave = Stop Name
(Principal) = Alternate stop name(s)
Hence, the Great 4' Octave would be coded (in hex)
as:
F0 00 00 57 01 ; Begin Sysex, ID, device ID
01 01 00 00 00 F7 ; Subgroup code, data to turn stop
on, EOX.
F0 00 00 57 01 ; Header
01 00 00 00 00 F7 ; would then turn it off.
A code of:
F0 00 00 57 01 ;
09 01 26 07 78 ; turns on 11 great stops, one per true bit.
11 10 F7 ; note the next subgroup code for the next
; group of data & group truncated
by EOX
A code of:
F0 00 00 57 01 ;
00 01 02 04 08 ; turns on 4 swell stops
30 00 00 C0 0A ; jumps groups & does 4 more swell stops
0A 20 10 0F 0D F7 ; then switches manuals & does
9 choir stops
PETERSON UNIVERSAL STOP LIST (MAP)
Each physical organ stop control will have a pre-assigned
stop name and pitch from the Peterson Universal Stop List (MAP).
The stops on any particular organ will be assigned to their corresponding
logical bit in the appropriate division stop group, thus making
MIDI files interchangeable between organs of any size and stop
list. Even files made on a theater organ could be used on a classical
organ or vice versa.
Most frequently used stop controls/pitches will be in the first (0) stop subgroup and the least used will be in the 8th subgroup. Subgroups 9-11 are used for Fast Config. assignments. Subgroups 12-16 would be used for unique stops/controls that would not likely translate to any another organ specification. Consult Peterson on the use of these un-assigned subgroups to avoid conflicts in compatible files. Channel 7(8) is reserved for encoding general couplers and piston data. A means of masking and/or disabling the piston data should be provided as piston changes are not likely compatible from organ to organ. Piston bits should only be used if compatibility is not required and where visual (or mechanically moving) stop control from
a combination action is desired or from an assigned
receive program change. An alternate method of encoding/decoding
pistons (as stops) using subgroups 12-16 is preferred.
The Universal Stop List (MAP) begins below and is
broken down by subgroups showing prioritizing. There are currently
207 stop controls with 296 stop names (including alternates) provided
for in this list. These utilize 8 subgroups. Additional stop controls
and/or alternate names can be added. There are 17 un-assigned
bits in the 1-8 subgroups and most of the bits in subgroups 12-16
for this purpose. Bear in mind that this list is re-used for
each of 7 divisions, so a 1358 stop organ could be accommodated.
An example/legend is provided at the beginning of
the Universal Stop List (MAP) below that explains the format
used.
PETERSON UNIVERSAL STOP LIST (MAP)
Example: 65. 2.09 8' DULCIANA (AEOLINE)
LEGEND
65 = Assignment number
2 = Stop Subgroup
09 = Second bit of 2nd byte
8' = Pitch
DULCIANA = Stop name
(AEOLINE) = Alternate stop name(s)
143. 5.03 64' GRAVISSIMA
142. 5.02 32' OPEN DIAPASON (FLUTE OUVERTE)
141. 5.01 32' PRINCIPAL
136. 4.24 32' CONTRA VIOLONE
95. 3.11 32' CONTRA BOURDON
135. 4.23 32' CONTRA BOMBARDE (DIAPHONE)
134. 4.22 32' CONTRA FAGOTTO
54. 1.26 32' RESULTANT
96. 3.12 16' OPEN DIAPASON (DIAPHONIC DIAPASON, FLUTE OUVERTE)
10. 0.10 16' PRINCIPAL (MONTRE)
128. 4.16 16' CONTRA BASS
129. 4.17 16' VIOLONE
11. 0.11 16' BOURDON (SUBBASS, TIBIA CLAUSA)
97. 3.13 16' GEMSHORN (SPITZFLUTE)
98. 3.14 16' GAMBA
12. 0.12 16' LIEBLICH GEDACKT
99. 3.15 16' QUINTATON (ROHR BOURDON)
130. 4.18 16' BOMBARDE (OPHECLIEDE)
131. 4.19 16' TROMBONE (POSAUNE, DIAPHONE)
137. 4.25 16' TUBA
13. 0.13 16' FAGOTTO (BASSON, HAUTBOIS, OBOE, OBOE HORN)
14. 0.14 16' TRUMPET (TROMPETTE)
132. 4.20 16' DULZIAN (CLARINET)
133. 4.21 16' TROMPETTE-EN-CHAMADE
219. 7.23 16' SAXOPHONE
220. 7.24 16' BRASS TRUMPET
221. 7.25 16' ENGLISH POST HORN
108. 3.24 16' VOX HUMANA
109. 3.25 16' RESULTANT
100. 3.16 10 2/3' GROSS QUINTE
113. 4.01 8' STENTORPHONE (GRAND DIAPASON, DIAPHONIC DIAPASON)
57. 2.01 8' OPEN DIAPASON (1st OPEN DIAPASON)
1. 0.01 8' PRINCIPAL (2nd OPEN DIAPASON)
58. 2.02 8' GEIGEN PRINCIPAL (3rd OPEN DIAPASON, VIOLIN DIAPASON)
59. 2.03 8' FLUTE MAJOR (GROSS FLUTE, SOLO TIBIA CLAUSA, TIBIA CLAUSA)
2. 0.02 8' BOURDON (2nd FLUTE)
60. 2.04 8' FLUTE HARMONIQUE (CONCERT FLUTE, MELODIA, HOHLFLUTE)
61. 2.05 8' GEDACKT (STOPPED DIAPASON, CHIMNEY FLUTE, ROHRFLUTE)
62. 2.06 8' QUINTADE (QUINTADENA)
3. 0.03 8' VIOLA (VIOL DA GAMBA, VIOL D. ORCHESTRE, GEMSHORN)
4. 0.04 8' VIOLA CELESTE (GEMSHORN CELESTE)
63. 2.07 8' SALICIONAL
64. 2.08 8' VOIX CELESTE
114. 4.02 8' FLAUTO DOLCE (ERZAHLER)
115. 4.03 8' FLUTE CELESTE (ERZAHLER CELESTE)
65. 2.09 8' DULCIANA (AEOLINE)
116. 4.04 8' UNDA MARIS (AEOLINE CELESTE)
66. 2.10 8' TUBA (TROMBA, HARMONIC TUBA, TUBA MIRABILIS)
5. 0.05 8' TRUMPET (TROMPETTE, CORNOPEAN, BRASS TRUMPET)
6. 0.06 8' OBOE (FAGOT, HAUTBOIS, BASSON, ORCHESTRAL OBOE, OBOE HORN)
67. 2.11 8' HARMONIC TRUMPET (TROMPETTE HARMONIQUE)
68. 2.12 8' FRENCH HORN (CORNO DI BASSETTO, COR D' ORCHESTRE)
117. 4.05 8' ENGLISH HORN (COR D' ANGLAIS)
69. 2.13 8' CLARINET (KRUMMHORN, CROMORNE)
70. 2.14 8' VOX HUMANA (VOIX HUMAINE)
118. 4.06 8' TROMPETTE-EN-CHAMADE (TROMPETTE REAL, FANFARE TRUMPET)
159. 5.19 8' ENGLISH POST HORN
160. 5.20 8' KRUMMET (KRUMMHORN, KORNET)
161. 5.21 8' SERPENT
162. 5.22 8' MUSETTE
163. 5.23 8' SOLO VOX HUMANA
164. 5.24 8' SAXOPHONE (BRASS SAXOPHONE)
165. 5.25 8' KINURA
71. 2.15 5 1/3' QUINT
119. 4.07 5 1/3' QUINT TROMPETTE
7. 0.07 4' OCTAVE
72. 2.16 4' PRINCIPAL
73. 2.17 4' PRESTANT
110. 3.26 4' GEIGEN OCTAVE
8. 0.08 4' CHIMNEY FLUTE (ROHR FLUTE, KOPPEL FLOTE)
74. 2.18 4' GEDACKT (BOURDON, TIBIA)
75. 2.19 4' SPITZ FLUTE (SPITZ PRINCIPAL, GEMSHORN)
76. 2.20 4' OPEN FLUTE (NACHTHORN, WALDFLOTE)
77. 2.21 4' HARMONIC FLUTE (FLUTE TRAVERSO, ZAUBERFLOTE, CONCERT FLUTE)
120. 4.08 4' FUGARA (VIOLINA)
78. 2.22 4' SALICET
121. 4.09 4' CELESTE
79. 2.23 4' GAMBETTE
122. 4.10 4' CELESTINA
80. 2.24 4' DULCET
123. 4.11 4' CELESTE
85. 3.01 4' HARMONIC TUBA (HARMONIC CLARION)
9. 0.09 4' CLARION
86. 3.02 4' CHALUMEAU (ROHR SCHALMEI)
87. 3.03 4' OBOE (FAGOT, HAUTBOIS)
124. 4.12 4' TROMPETTE EN CHAMADE
125. 4.13 3 1/5' GROSS TIERCE
23. 0.23 2 2/3' QUINTE (TWELFTH)
88. 3.04 2 2/3' NAZARD
21. 0.21 2' PRINCIPAL (FIFTEENTH)
89. 3.05 2' SPITZ FLUTE (SPITZ PRINCIPAL)
22. 0.22 2' BLOCK FLUTE (PICCOLO)
90. 3.06 2' HARMONIC PICCOLO
126. 4.14 2' KORNET
24. 0.24 1 3/5' TIERCE (TERZ)
29. 1.01 1 1/3' QUINT (LARIGOT)
127. 4.15 1 1/7' SEPTIEME
91. 3.07 1' SIFFLOTE (FIFE)
145. 5.04 2/3' QUINT
146. 5.05 HARMONICS
147. 5.06 FULL MIXTURE
30. 1.02 FOURNITURE
31. 1.03 SHARFF
92. 3.08 CYMBAL
147. 5.07 ACUTA
32. 1.04 SESQUIALTERA
93. 3.09 CORNET
94. 3.10 SEPTERZ
53. 1.25 II MIXTURE
25. 0.25 III MIXTURE
26. 0.26 IV MIXTURE
20. 0.20 TREMULANT I-FAST (PRIMARY OR FIRST)
148. 5.08 TREMULANT II-SLOW
171. 6.03 TREMULANT MAIN A
172. 6.04 TREMULANT MAIN B
173. 6.05 TREMULANT TIBIA
174. 6.06 TREMULANT VOX
175. 6.07 TREMULANT BRASS
176. 6.08 TREMULANT REEDS
187. 6.19 GLOCK RE-IT
188. 6.20 XYLO RE-IT
189. 6.21 MARIMBA RE-IT
15. 0.15 16' SUB COUPLER
16. 0.16 8' UNISON COUPLER (UNISON OFF)
194. 6.26 5 1/3' QUINT COUPLER
17. 0.17 4' OCTAVE COUPLER
37. 1.09 16' SOLO TO X
38. 1.10 8' SOLO TO X
194. 6.26 5 1/3' SOLO TO X
39. 1.11 4' SOLO TO X
40. 1.12 16' SWELL TO X
41. 1.13 8' SWELL TO X
42. 1.14 4' SWELL TO X
43. 1.15 16' GREAT TO X
44. 1.16 8' GREAT TO X
45. 1.17 4' GREAT TO X
46. 1.18 16' CHOIR TO X
47. 1.19 8' CHOIR TO X
48. 1.20 4' CHOIR TO X
222. 7.26 PEDAL TO X
152. 5.12 ECHO ON X
153. 5.13 ANTIPHONAL ON X
154. 5.14 POSITIV ON X
34. 1.06 16' MIDI TO X
35. 1.07 8' MIDI TO X (MIDI ON/OFF)
36. 1.08 4' MIDI TO X
49. 1.21 16' MIDI A
50. 1.22 16' MIDI B
102. 3.18 16' MIDI C
103. 3.19 16' MIDI D
18. 0.18 8' MIDI A
19. 0.19 8' MIDI B
104. 3.20 8' MIDI C
105. 3.21 8' MIDI D
51. 1.23 4' MIDI A
52. 1.24 4' MIDI B
106. 3.22 4' MIDI C
107. 3.23 4' MIDI D
81. 2.25 8' MIDI MELODY
82. 2.26 4' MIDI MELODY
83. 2.27 16' MIDI BASS
84. 2.28 8' MIDI BASS
155. 5.15 MANUAL TRANSFER
156. 5.16 ALL SWELLS TO SWELL
157. 5.17 BASS COUPLER
158. 5.18 MELODY COUPLER
169. 6.01 PIZZICATTO COUPLER
170. 6.02 SOSTENUTO
181. 6.13 16' PIANO
182. 6.14 8' PIANO
183. 6.15 4' PIANO
184. 6.16 PIANO SUSTAIN
215. 7.19 REMOTE ORGAN ON/OFF
216. 7.20 REMOTE OCNSOLE ON/OFF
217. 7.21 LOCAL ORGAN ON/OFF
218. 7.22 LOCAL CONSOLE ON/OFF
33. 1.05 CHIMES
149. 5.09 HARP
150. 5.10 CELESTA
151. 5.11 CARILLON
185. 6.17 TOWER CHIMES
177. 6.09 MARIMBA HARP
178. 6.10 CHRYSOLGLOTT
179. 6.11 XYLOPHONE
180. 6.12 GLOCKENSPIEL
186. 6.18 TUNED SLEIGH BELLS
101. 3.17 ZIMBELSTERN
179. 6.23 GONG
180. 6.24 TRIANGLE
212. 7.16 SLEIGH BELLS
200. 7.04 CRASH CYMBAL
201. 7.05 TAP CYMBAL
202. 7.06 BRUSH CYMBAL
214. 7.18 FINGER CYMBAL
203. 7.07 SNARE DRUM
199. 7.03 BASS DRUM
204. 7.08 SNARE DRUM ROLL
205. 7.09 TOM TOM
206. 7.10 TYMPANI
207. 7.11 TAMBORINE
208. 7.12 CASTINETS
209. 7.13 CHINESE BLOCK
210. 7.14 WOOD BLOCK
211. 7.15 SAND BLOCK
197. 7.01 STEAMBOAT WHISTLE
198. 7.02 BIRD WHISTLE
190. 6.22 SIREN
213. 7.17 GLADSTONE AFTERBEAT
225. 8.01 SWELL SHADE 1
226. 8.02 SWELL SHADE 2
227. 8.03 SWELL SHADE 3
228. 8.04 SWELL SHADE 4
229. 8.05 SWELL SHADE 5
230. 8.06 SWELL SHADE 6
231. 8.07 SWELL SHADE 7
232. 8.08 SWELL SHADE 8
233. 8.09 SWELL SHADE 9
234. 8.10 SWELL SHADE 10
235. 8.11 SWELL SHADE 11
236. 8.12 SWELL SHADE 12
237. 8.13 SWELL SHADE 13
238. 8.14 SWELL SHADE 14
239. 8.15 SWELL SHADE 15
240. 8.16 SWELL SHADE 16
241. 8.17 SWELL SHADE 17
242. 8.18 SWELL SHADE 18
243. 8.19 SWELL SHADE 19
244. 8.20 SWELL SHADE 20
245. 8.21 SWELL SHADE 21
246. 8.22 SWELL SHADE 22
247. 8.23 SWELL SHADE 23
248. 8.24 SWELL SHADE 24
249. 8.25 SWELL SHADE 25
250. 8.26 SWELL SHADE 26
251. 8.27 SWELL SHADE 27
252. 8.28 SWELL SHADE 28
The following is a duplicate Universal Stop List
(MAP) that has been sorted by it's assignment (sysex subgroup)
numbers. Use for checking assigned stops.
1. 0.01 8' PRINCIPAL (2nd OPEN DIAPASON)
2. 0.02 8' BOURDON (2nd FLUTE)
3. 0.03 8' VIOLA (VIOL DA GAMBA, VIOL D. ORCHESTRE, GEMSHORN)
4. 0.04 8' VIOLA CELESTE (GEMSHORN CELESTE)
5. 0.05 8' TRUMPET (TROMPETTE, CORNOPEAN, BRASS TRUMPET)
6. 0.06 8' OBOE (FAGOT, HAUTBOIS, BASSON, ORCHESTRAL OBOE,OBOE HORN)
7. 0.07 4' OCTAVE
8. 0.08 4' CHIMNEY FLUTE (ROHR FLUTE, KOPPEL FLUTE)
9. 0.09 4' CLARION
10. 0.10 16' PRINCIPAL (MONTRE)
11. 0.11 16' BOURDON (SUBBASS, TIBIA CLAUSA)
12. 0.12 16' LIEBLICH GEDACKT
13. 0.13 16' FAGOTTO (BASSON, HAUTBOIS, OBOE, OBOE HORN)
14. 0.14 16' TRUMPET (TROMPETTE)
15. 0.15 16' SUB COUPLER
16. 0.16 8' UNISON COUPLER (UNISON OFF)
17. 0.17 4' OCTAVE COUPLER
18. 0.18 8' MIDI A
19. 0.19 8' MIDI B
20. 0.20 TREMULANT IFAST (PRIMARY OR FIRST)
21. 0.21 2' PRINCIPAL
22. 0.22 2' BLOCK FLUTE (PICCOLO)
23. 0.23 2 2/3' QUINTE
24. 0.24 1 3/5' TIERCE (TERZ)
25. 0.25 III MIXTURE
26. 0.26 IV MIXTURE
27. 0.27
28. 0.28
29. 1.01 1 1/3' QUINTE (LARIGOT)
30. 1.02 FOURNITURE
31. 1.03 SHARFF
32. 1.04 SESQUIALTERA
33. 1.05 CHIMES
34. 1.06 16' MIDI TO X
35. 1.07 8' MIDI TO X (MIDI ON/OFF)
36. 1.08 4' MIDI TO X
37. 1.09 16' SOLO TO X
38. 1.10 8' SOLO TO X
39. 1.11 4' SOLO TO X
40. 1.12 16' SWELL TO X
41. 1.13 8' SWELL TO X
42. 1.14 4' SWELL TO X
43. 1.15 16' GREAT TO X
44. 1.16 8' GREAT TO X
45. 1.17 4' GREAT TO X
46. 1.18 16' CHOIR TO X
47. 1.19 8' CHOIR TO X
48. 1.20 4' CHOIR TO X
49. 1.21 16' MIDI A
50. 1.22 16' MIDI B
51. 1.23 4' MIDI A
52. 1.24 4' MIDI B
53. 1.25 II MIXTURE
54. 1.26 32' RESULTANT
55. 1.27
56. 1.28
57. 2.01 8' OPEN DIAPASON (1st OPEN DIAPASON)
58. 2.02 8' GEIGEN PRINCIPAL (3rd OPEN DIAPASON, VIOLIN DIAPASON)
59. 2.03 8' FLUTE MAJOR (GROSS FLUTE, SOLO TIBIA CLAUSA, TIBIA)
60. 2.04 8' FLUTE HARMONIQUE (CONCERT FLUTE, MELODIA, HOHLFLUTE)
61. 2.05 8' GEDACKT (STOPPED DIAPASON, CHIMNEY FLUTE, ROHRFLUTE)
62. 2.06 8' QUINTADE (QUINTADENA)
63. 2.07 8' SALICIONAL
64. 2.08 8' VOIX CELESTE
65. 2.09 8' DULCIANA (AEOLINE)
66. 2.10 8' TUBA (TROMBA, HARMONIC TUBA, TUBA MIRABILIS)
67. 2.11 8' HARMONIC TRUMPET (TROMPETTE HARMONIQUE)
68. 2.12 8' FRENCH HORN (CORNO DI BASSETTO, COR D' ORCHESTRE)
69. 2.13 8' CLARINET (KRUMMHORN, CROMORNE)
70. 2.14 8' VOX HUMANA (VOIX HUMAINE)
71. 2.15 5 1/3' QUINT
72. 2.16 4' PRINCIPAL
73. 2.17 4' PRESTANT
74. 2.18 4' GEDACKT (BOURDON, TIBIA)
75. 2.19 4' SPITZ FLUTE (SPITZ PRINCIPAL, GEMSHORN)
76. 2.20 4' OPEN FLUTE (NACHTHORN, WALDFLOTE)
77. 2.21 4' HARMONIC FLUTE (FLUTE TRAVERSO, ZAUBERFLOTE, CONCERT FLUTE)
78. 2.22 4' SALICET
79. 2.23 4' GAMBETTE
80. 2.24 4' DULCET
81. 2.25 8' MIDI MELODY
82. 2.26 4' MIDI MELODY
83. 2.27 16' MIDI BASS
84. 2.28 8' MIDI BASS
85. 3.01 4' HARMONIC TUBA (HARMONIC CLARION)
86. 3.02 4' CHALUMEAU (ROHR SCHALMEI)
87. 3.03 4' OBOE (FAGOT, HAUTBOIS)
88. 3.04 2 2/3' NAZARD
89. 3.05 2' SPITZ FLUTE (SPITZ PRINCIPAL)
90. 3.06 2' HARMONIC PICCOLO
91. 3.07 1' SIFFLOTE (FIFE)
92. 3.08 CYMBAL
93. 3.09 CORNET
94. 3.10 SEPTERZ
95. 3.11 32' CONTRA BOURDON
96. 3.12 16' OPEN DIAPASON (DIAPHONIC DIAPASON, FLUTE OUVERTE)
97. 3.13 16' GEMSHORN (SPITZFLUTE)
98. 3.14 16' GAMBA
99. 3.15 16' QUINTATON (ROHR BOURDON)
100. 3.16 10 2/3' GROSS QUINTE
101. 3.17 ZIMBELSTERN
102. 3.18 16' MIDI C
103. 3.19 16' MIDI D
104. 3.20 8' MIDI C
105. 3.21 8' MIDI D
106. 3.22 4' MIDI C
107. 3.23 4' MIDI D
108. 3.24 16' VOX HUMANA
109. 3.25 16' RESULTANT
110. 3.26 4' GEIGEN OCTAVE
111. 3.27
112. 3.28
113. 4.01 8' STENTORPHONE (GRAND DIAPASON, DIAPHONIC DIAPASON)
114. 4.02 8' FLAUTO DOLCE (ERZAHLER)
115. 4.03 8' FLUTE CELESTE (ERZAHLER CELESTE)
116. 4.04 8' UNDA MARIS (AEOLINE CELESTE)
117. 4.05 8' ENGLISH HORN (COR D' ANGLAIS)
118. 4.06 8' TROMPETTEENCHAMADE (TROMPETTE REAL, FANFARE TRUMPET)
119. 4.07 5 1/3' QUINT TROMPETTE
120. 4.08 4' FUGARA (VIOLINA)
121. 4.09 4' CELESTE
122. 4.10 4' CELESTINA
123. 4.11 4' CELESTE
124. 4.12 4' TROMPETTE EN CHAMADE
125. 4.13 3 1/5' GROSS TIERCE
126. 4.14 2' KORNET
127. 4.15 1 1/7' SEPTIEME
128. 4.16 16' CONTRE BASS
129. 4.17 16' VIOLONE
130. 4.18 16' BOMBARDE (OPHECLIEDE)
131. 4.19 16' TROMBONE (POSAUNE, DIAPHONE)
132. 4.20 16' DULZIAN (CLARINET)
133. 4.21 16' TROMPETTEENCHAMADE
134. 4.22 32' CONTRA FAGOTTO
135. 4.23 32' CONTRA BOMBARDE (DIAPHONE)
136. 4.24 32' CONTRA VIOLONE
137. 4.25 16' TUBA
138. 4.26
139. 4.27
140. 4.28
141. 5.01 32' PRINCIPAL
142. 5.02 32' OPEN DIAPASON (FLUTE OUVERTE)
143. 5.03 64' GRAVISSIMA
144. 5.04 2/3' QUINT
145. 5.05 HARMONICS
146. 5.06 FULL MIXTURE
147. 5.07 ACUTA
148. 5.08 TREMULANT IISLOW
149. 5.09 HARP
150. 5.10 CELESTA
151. 5.11 CARILLON
152. 5.12 ECHO ON X
153. 5.13 ANTIPHONAL ON X
154. 5.14 POSITIV ON X
155. 5.15 MANUAL TRANSFER
156. 5.16 ALL SWELLS TO SWELL
157. 5.17 BASS COUPLER
158. 5.18 MELODY COUPLER
159. 5.19 8' ENGLISH POST HORN
160. 5.20 8' KRUMMET
161. 5.21 8' SERPENT
162. 5.22 8' MUSETTE
163. 5.23 8' SOLO VOX HUMANA
164. 5.24 8' SAXOPHONE (BRASS SAXOPHONE)
165. 5.25 8' KINURA
166. 5.26
167. 5.27
168. 5.28
169. 6.01 PIZZICATO COUPLER
170. 6.02 SOSTENUTO
171. 6.03 TREMULANT MAIN A
172. 6.04 TREMULANT MAIN B
173. 6.05 TREMULANT TIBIA
174. 6.06 TREMULANT VOX
175. 6.07 TREMULANT BRASS
176. 6.08 TREMULANT REEDS
177. 6.09 MARIMBA HARP
178. 6.10 CHRYSOLGLOTT
179. 6.11 XYLOPHONE
180. 6.12 GLOCKENSPIEL
181. 6.13 16' PIANO
182. 6.14 8' PIANO
183. 6.15 4' PIANO
184. 6.16 PIANO SUSTAIN
185. 6.17 TOWER CHIMES
186. 6.18 TUNED SLEIGH BELLS
187. 6.19 GLOCK REIT
188. 6.20 XYLO REIT
189. 6.21 MARIMBA REIT
190. 6.22 SIREN
191. 6.23 GONG
192. 6.24 TRIANGLE
193. 6.25 5 1/3' QUINT COUPLER
194. 6.26 5 1/3' SOLO TO X
195. 6.27
196. 6.28
197. 7.01 STEAMBOAT WHISTLE
198. 7.02 BIRD WHISTLE
199. 7.03 BASS DRUM
200. 7.04 CRASH CYMBAL
201. 7.05 TAP CYMBAL
202. 7.06 BRUSH CYMBAL
203. 7.07 SNARE DRUM
204. 7.08 SNARE DRUM ROLL
205. 7.09 TOM TOM
206. 7.10 TYMPANI
207. 7.11 TAMBOURINE
208. 7.12 CASTANETS
209. 7.13 CHINESE BLOCK
210. 7.14 WOOD BLOCK
211. 7.15 SAND BLOCK
212. 7.16 SLEIGH BELLS
213. 7.17 GLADSTONE AFTERBEAT
214. 7.18 FINGER CYMBAL
215. 7.19 REMOTE ORGAN ON/OFF
216. 7.20 REMOTE CONSOLE ON/OFF
217. 7.21 LOCAL ORGAN ON/OFF
218. 7.22 LOCAL CONSOLE ON/OFF
219. 7.23 16' SAXOPHONE
220. 7.24 16' BRASS TRUMPET
221. 7.25 16' ENGLISH POST HORN
222. 7.26 PEDAL TO X
223. 7.27
224. 7.28
225. 8.01 SWELL SHADE 1
226. 8.02 SWELL SHADE 2
227. 8.03 SWELL SHADE 3
228. 8.04 SWELL SHADE 4
229. 8.05 SWELL SHADE 5
230. 8.06 SWELL SHADE 6
231. 8.07 SWELL SHADE 7
232. 8.08 SWELL SHADE 8
233. 8.09 SWELL SHADE 9
234. 8.10 SWELL SHADE 10
235. 8.11 SWELL SHADE 11
236. 8.12 SWELL SHADE 12
237. 8.13 SWELL SHADE 13
238. 8.14 SWELL SHADE 14
239. 8.15 SWELL SHADE 15
240. 8.16 SWELL SHADE 16
241. 8.17 SWELL SHADE 17
242. 8.18 SWELL SHADE 18
243. 8.19 SWELL SHADE 19
244. 8.20 SWELL SHADE 20
245. 8.21 SWELL SHADE 21
246. 8.22 SWELL SHADE 22
247. 8.23 SWELL SHADE 23
248. 8.24 SWELL SHADE 24
249. 8.25 SWELL SHADE 25
250. 8.26 SWELL SHADE 26
251. 8.27 SWELL SHADE 27
252. 8.28 SWELL SHADE 28
253. thru 448. UN-ASSIGNED
DEFINITIONS (Glossary of terms)
ANO (All Notes Off) - MIDI command(s) that transmits note off data.
Bank (Memory Bank) - Memory (data) storage area.
Basic Channel - MIDI channel that receives Mode Messages.
Channel (MIDI Channel) - One of 16 multiplexed data communication paths.
Control Change - MIDI command(s) that affect a voice module's or synthesizer's control parameters.
Controller - Device that transmits (sends) control commands.
Default - Vaules or parameters used in the absence of user input.
EOX (End of Exclusive) - Returns data handling from a manufacturers exclusive format to standard MIDI format.
File - Arrangement of related memory data in storage or on disk.
Format - Specific type of processing used.
Layer - One of several levels of information (data).
MAP - Detailed arrangement (placement) of data.
Memory Dump - Downloading (transferring) data from memory.
Merge(r) - Combining of data from two or more sources.
MIDI (Musical Instrument Digital Interface) - Equipment designed for exchanging information (musical notes, voice changes, expression, etc.) between different musical instruments.
MIDI Thru - Output that provides the same data as received in MIDI In.
Mode - A manner of usage.
Omni - A MIDI mode in which all channels are interpreted as one.
Patch - Means of producing or bringing together various parameters.
Pitch Bend - Method of altering the pitch (frequency) of a tone generating device.
Port - Term for data inputs and outputs.
Program Change - Synonymous with voice or registration change.
Real Time - Happening in actual true time, not delayed or altered in time from it's occurrence.
Running Status - Repeating of status messages is not required thus reducing transmitted data.
Sequencer - Device that records and replays (data) events for the purpose of reproducing a performance.
Sound Module/Synthesizer - Device that generates tones in response to MIDI data (musical notes, voice changes, expression, etc.).
Sysex (System Exclusive)
- Format exclusively used by a manufacturer to handle NON-MIDI
data/functions.
The MIDI Resource System software (firmware) and
documentation are owned by PETERSON ELECTRO MUSICAL PRODUCTS,
Inc. and are protected by United States copyright laws and international
treaty provisions. Therefore, you must treat the MIDI Resource
System software (firmware) like any other copyrighted material.
You must not copy the software or written materials
accompanying the software. The software (firmware) must not be
used in any device other than the MIDI Resource System hardware
that it was intended for. You may not reverse engineer, decompile,
or disassemble the MIDI Resource System software (firmware).
Peterson Electro-Musical Products, Inc. grants the
use of it's MIDI Resource System software (firmware) in the MIDI
Resource System hardware that it was supplied with.
Peterson Electro-Musical Products, Inc. warrants
the physical media (EPROM) in which the MIDI Resource System software
is contained to be free from defects and shall replace any such
defective media free of charge.
Peterson Electro-Musical Products, Inc. further agrees
to provide any licensee of it's MIDI Resource System software
(firmware) with any updated version(s) of the MIDI Resource System
software for a period of one year. This upgrade agreement applies
to the software (firmware) only and does not include shipping
or installation costs and further requires the return of the software
(firmware) that is being replaced.
WARRANTY
Effective October 1, 1987
Peterson warrants the equipment that it manufactures
to be free from defects in material or workmanship under normal
use for a period of ten(10) years from the date of the original
shipment to the buyer unless otherwise specified in writing.
(See exceptions to 10 Year Warranty). Peterson's sole obligation
under this warranty shall be that upon the return of goods to
the Peterson factory, transportation charges prepaid, Peterson
will, at its option repair or replace any equipment which it deems
to contain defective material or workmanship and will return the
repaired or replaced equipment to buyer, transportation charges
prepaid. Peterson shall have the sole right upon inspection of
any item of equipment or part thereof, to determine whether or
not the defect is covered by the terms of this warranty.
Peterson will also warrant all of its equipment in
a particular installation against indirect lightning strikes.
If the installation is considered as a high risk to lightning
strikes it is required that certain precautionary installation
procedures be followed. These procedures will be specified in
writing by Peterson. It is the responsibility of the buyer to
check with Peterson prior to the installation as to whether the
installation is considered a high risk. This warranty is not
valid in the case of direct lightning strikes. Peterson considers
a direct strike when the building is physically damaged by the
lightning strike. By electrical system damage Peterson is referring
to electrical wiring, electrical panel, motors,etc., not other
electronic equipment in the building. Peterson reserves the right
to inspect the installation site, and Peterson's determination
as to whether the proper installation procedures were followed
will be final. Peterson's sole obligation under this warranty
will be the same as listed above in its standard warranty.
This warranty shall not apply to any equipment, or
part thereof, which has been repaired by others in such a manner
that does not conform with the Peterson standard for quality and/or
workmanship, or which has been improperly used, abused, altered,
damaged, subjected to accident, flood, fire or acts of God; or
on which any serial numbers have been altered, defaced or removed.
Peterson will not be responsible for any dismantling, reassembly
or reinstallation charges. This warranty is in lieu of any other
warranties expressed or implied, including, without limitations,
warranty for merchant-ability and fitness for particular purpose
as well as all other representations made to the purchaser. No
person is authorized to give any other warranties or to assume
any other liabilities on behalf of Peterson unless made or assumed
by Peterson in writing. Peterson will not be liable for any special,
indirect, incidental or consequential damages claimed in connection
with any rescission of the agreement by the buyer.
Peterson=s warranty does not include the Yamaha MDF2
or any other third party sequencer(s). These devices are covered
by their manufacturer=s warranty.
Peterson's warranty, as here in above set forth,
shall not be enlarged, diminished or affected by, and no obligations
or liability shall arise or grow out of Peterson's rendering of
technical advice or service in connection with buyer's order of
goods furnished hereunder. The warranty gives you specific legal
rights which may vary from state to state.
SUPPORT POLICY
Peterson Electro-Musical Products, Inc. will provide
any necessary telephone support to aid in the sales, installation,
set up/configuration, operation and service of the MIDI Resource
SystemJ. This support extends to the interface with diode
matrix relays, OrgaPlexJ relays, MSP-1000Jand Duo-SetJ
combination actions manufactured by Peterson. This also includes
software/operating questions beyond the scope of the manuals.
We are not able to support other manufacturers' equipment
which may be connected to the MIDI Resource SystemJ. To
the extent that we are familiar with another manufacturer's equipment,
we will do our best to advise on its use with our MIDI interface
system. However, due to the large number of MIDI synthesizers,
sound modules, sequencers, patch bays, etc., we cannot support
or answer questions on these devices or on their interconnection.
We recommend that you direct questions to the manufacturer or
distributor of the product of interest.
Note: The Peterson MIDI Resource SystemJ
conforms to the MIDI Manufacturers Association, MIDI 1.0 Specification,
Version 4.2 and will operate properly with other equipment that
conforms to this specification (or earlier versions). Some equipment
that conforms to this specification nevertheless may not recognize
certain MIDI messages such as "Pitch Bend", Master Volume
(expression), Sustain, Tremolo, Bank Select, etc..
TABLE OF CONTENTS
SYSTEM OVERVIEW 1
DETAILS OF MIDI Resource System™ OPERATION 2
OPTIONS AVAILABLE ON THE MAXIMUM MIDI Resource System™ 2
Expression Shoe(s) 2
Control Panel 2
DETAILS OF MIDI CONTROL PANEL DISPLAY 3
PROGRAM MODE 3
USE MODE 3
SHOW MODE 3
DETAILS OF MIDI CONTROL PANEL SWITCHES 4
1. Off/On/ANO 4
2. Prog/Use/Show 4
3. Channel Up/Down 4
4. Program Up/Down 4
5. Send/Receive 4
6. Tuning 4
7. Program Readout 4
8. Channel Readout 4
9. Manual Readout 5
PISTONS/MIDI PRESET STOPS 5
1. Setting 5
2. Recall 5
3. MIDI Cancel 6
MIDI IN/SEQUENCER OUT/INSTRUMENT OUT 6
SUSTAIN/SOSTENUTO 7
START/STOP/CONTINUE 7
TOUCH (VELOCITY) SENSITIVE CONTACTS 7
ADVANCED FEATURE CONTROL PANEL 7
Mode Select 7
Basic Channel Select 7
Start 7
Stop 7
Continue 8
Memory Select 8
Memory Level Readout 8
TRANSPOSER 8
EXTERNAL SEQUENCER 8
BANK SELECT 8
CHANNELS +8 FEATURE 8
ASSIGNING RECEIVE PROGRAM CHANGE VALUES 9
AUTO RESEND 9
DETAILS OF MIDI SEQUENCE FILES 9
Playback of pre-recorded sequence files 10
Recording or making of sequence files 10
Peterson Stop Control Format 11
Allen Organ Company Format 11
Rodgers Instrument Corporation Format 11
Stop Control Assignment 12
Advanced Sequencing 13
MIDI IMPLEMENTATION DETAILS 14
MIDI IMPLEMENTATION CHART 15
DESCRIPTION OF PETERSON SYSEX FORMAT 16
OVERVIEW 16
STOP GROUP CODE DEFINITION 16
PETERSON Universal Stop List (MAP) 17
DEFINITIONS (Glossary of terms) 26
SOFTWARE LICENSE AGREEMENT 27
WARRANTY 27
SUPPORT POLICY 28
D:\WP51\FILES\INS\MIDI_OP.INS Text Revised March 27, 1996