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MIDI Note to Program Change Transposing using mfxConvert

Reader ajp did a beautiful demo jam of the new mfxConvert, which he won here on discchord in the release contest. Here he's converting MIDI notes to Program Changes, for remote control of Fugue Machine. Captions are provided throughout the whole video, to explain the process in detail.

I cannot overstate how nice this sounds for what is essentially just supposed to be a tech demo!

Video Description:

A quick demo of using MIDI Notes converted to Program Change messages to simulate remote control of transposition in Fugue Machine.

From this thread (https://forum.audiob.us/discussion/co...) on the Audiobus forum there were a few requests for how to have remote control of Fugue Machine (FM) transposition. Unfortunately, FM only responds to Program Changes (PC) to select patterns. However, it’s possible to fake transposing by setting up a bunch of patterns with different transpositions in advance and then triggering those by PC.

The trick here is using MIDI notes that are converted to Program Change messages so you're not limited to just devices and apps that can send Program Changes. Since it is just notes, this means you can use anything that sends notes to control it; including sequencers, arpeggiators, even Fugue Machine itself!

An extremely simple idea, but I had never gotten around to trying it; hence this demo. It works surprisingly well and provides another method of control over this very playable sequencer.

MIDI notes from the QuNexus are converted to Program Change messages by mfxConvert (thank you Audeonic and Discchord!)
Sound source are iSEM, Zeeon, Lorentz and Mersenne being controlled by Rozeta LFO and processed by Dubstation, RE-1 and Stereo Designer.
Apps hosted in Audiobus and AUM.

Reader Comments 6

There’s a kind of #PoeticJustice that someone would win an app and create a cool (and short!) demo/tutorial. Plus, it sounds like it might be a pretty neat trick which could inspire other musickers, even with other apps.

In a way, this is how we develop a community around iOS musicking. A demo, a contest, or a comment thread here, a jam or a training session there… Little things which add up to people feeling comfortable using iPads and iPhones for some of their music creation needs.

Getting a pretty good feeling about this “scene”, these days.
February 13, 2019  | favorite_border Enkerli
Nice demo. And yes, Thanks to Tim, Discchord does create a very nice community "scene".
Maybe off topic, but on my iPad Pro, the music is so friggen’ WIDE!! The stereo FX on this demo are absolutely stunning. I will assume that this is due to Stereo Designer?
February 14, 2019  | person burnalot
On February 13, 2019 - @Enkerli said:
There’s a kind of #PoeticJustice that someone would win an app and create a cool (and short!) demo/tutorial.

That was part of the intent. There were questions about remote control of Fugue Machine / bemoaning the lack of direct MIDI control of transposition and then the contest for mfxConvert happened. I decided to show a workaround solution highlighting the utility of the new app and provide a bit of content for the site.

Happy to continue doing that, I just need to keep winning new apps ; )
February 14, 2019  | favorite_border ajp
On February 14, 2019 - @burnalot said:
Maybe off topic, but on my iPad Pro, the music is so friggen’ WIDE!! The stereo FX on this demo are absolutely stunning. I will assume that this is due to Stereo Designer?

Thanks! Since the timbres I had were in a similar spectrum and the music itself if rather simple, I wanted to create more interest by creating space. There's certainly a fair amount of EQing happening, but I also used stereo placement and effects.

iSEM is the rubbery bass line played with the red playhead and it has its delay on with different times per side. It's feeding RE-1 which has odd-length delays plus panning. All of this isn't too extreme (the width in RE-1 is actually constricted), but it does create some undulations.

Zeeon is biggest contributor to the stereo wideness: It's the "synth-harpsichord" sound played by the orange and yellow playheads. It has its own, long, ping-pong delay on and goes through Stereo Designer as an insert for expanded width. It's also feeding a long ping-pong delay in Dubstation to create a complex multi-tap delay pattern that dances around the stereo field.

The lead sound played with blue playhead is a hybrid of Mersenne and Lorentz. Mersenne is the percussive hit. It is essentially mono. It has its own delays, but they're the same length per side and it feeds another Dubstation that is also "mono". Lorentz is the sine-like sustaining portion of the sound. It has ping-pong delays and the whole sound is being panned (you can see it in AUM). So the hit of the sound is centered, but the body swirls around it.
February 14, 2019  | favorite_border ajp
Fascinating stuff! Usually when I see people demoing software I am quite literally TORTURED by the garbage “music” they make, but in your case it was the complete opposite.
A note on Stereo Designer, I noticed that when collapsed to Mono, there never seems to be any phasing issues, which is really remarkable. I have found this to be very uncommon for artificial widening that the signal isn’t reduced and destroyed. The reason this matters, is when you show up to a gig to realize you’re stuck with a Mono PA system. Keep up the good work!
March 23, 2019  | person burnalot

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