17B-CONTROL FADER BCF2000/ROTARY BCR2000 User Manual

Qual

(Quality Q) has the opposite effect from spread: the LED circle lights

 

up gradually when you decrease the value. This setting is used for

 

indicating filter quality with parametric equalizers.

Cut

Cutoff is optimal for controlling the cutoff frequency of a low-pass filter,

 

for example on a synthesizer. When the value is 0, all LEDs light up.

 

The LEDs go out successively as you increase the value.

Damp

Damping: used for damping filters. When the value is 0, the outer right

 

LED lights up. If the values are increased, the LED circle fans out from

 

right to left until all LEDs light up. This way, increasing damping is best

 

represented when a value goes up.

Encoder LED display (BCR2000):

1d (1 digit): Only one LED lights up at a time (standard setting).

1d- The LED circle operates similar to “1d”, but when the value is 0, no LED lights up.

Fader functions (BCF2000):

Move

If you move the fader by hand, it sends a new value directly. In doing so,

 

jumps in the parameter value may occur if the current value doesn’t

 

correspond to the fader position. This can sometimes happen because in

 

this mode parameter feedback doesn’t cause fader movement.

P-UP

Pick up: The fader ignores the parameter feedback. However,

 

value jumps are avoided because the fader only sends values if the

 

current value (different from the fader setting) is exceeded.

Mot

Motor: With parameter feedback, the motorized fader engages

 

automatically and always indicates the current value.

Foot controller function:

Move

The pedal immediately sends value changes. Value jumps may result.

P-UP

Pick-Up: The foot pedal become active and sends values only if the set

 

value is exceeded.

SWITCH-type elements:

Switch-type control elements have three different modes: “Toggle On”, “Toggle Off” and “Increment”. Toggle On is similar to a switching function (e.g. a light switch). Each time you press the switch, the value sent alternates between the “on” value (set by encoder 4) and the “off” value (set by encoder 5). This setting is perfect for triggering drum loops from a sampler (press once = start, press again = stop).

The Toggle Off mode corresponds to a momentary-contact button, comparable to the switch of an electric door opener. The “on” value is sent only as long as the button is pressed. After releasing the button, the “off” value is sent. Use this control type to trigger short sound FX or samples (similar to using a keyboard) by sending Note On and Offs.

The Increment option only works for buttons, and only on CC, NRPN and after touch command types. This mode lets you gradually increase the controller value with each new keystroke. Set up increment size using encoder 7. If you repeatedly press a button, the value sent will be increased each time by the preset amount selected here. If increment size is set to “10,” values 0, 10, 20, 30 ...

110, 120, 0, 10 and so on will be successively sent one after another. You can also enter negative values (e.g. -10) to achieve a gradual decrease in the value. If you use encoders 4 and 5 to delineate the lowest and the highest value that are to be sent, the values always stay within that range here as well. With this function, you have the option to use your B-CONTROL to control software buttons with more than two switch positions.

The value display activated using Push Encoder 8 is identical for switch and continuous elements. If this value display is active, the current value is indicated in the four-digit display when you actuate a control element. The display shows the preset number again as soon as you release the control element.

4.4 MIDI messages

Program Change:

With the encoders 3 and 4 you can select bank numbers. If a MIDI device contains more than 128 presets / programs, first a bank change command has to be sent. Even though this is a controller command, it has to be sent before the program change (and is therefore adjustable) since it is linked to the preset change.

If the bank select message is not needed, simply select “off”.

Encoder 5 selects the program number. If the selected control element is a control dial (continuous type), the program number is directly selected when turning the dial. Pressing the switch directly selects the assigned program number. This can be useful if you always want to start from the same preset.

Control Change CC:

A control change consists of a controller number and its respective value. Encoder 3 sets the controller number. With buttons, different values can be sent when pressing and releasing (to be set with encoders 4 and 5). This function is useful if fixed parameter settings are to be sent.

With faders and control dials (continuous type), the value range can be determined by using encoders 4 (minimum value) and 5 (maximum value).

◊Alternatively, you can invert the value scale by assigning 127 as the minimum value and 0 as maximum value (scale inversion).

A classic application is the draw bar control of virtual or digital organs or organ expanders. If assigning controller 7 (volume) to the faders of the BCF2000 this way, the signal becomes quieter when moving up the fader. Moving down the fader is similar to moving out the draw bars, and the volume increases.

NRPN:

A NRPN is needed if none of the 127 standardized controller numbers are available for a certain function.

Encoder 3 selects the parameter number. For assigning mixer faders,

we recommend the high resolution (“Absolute 14 bit”), provided that the control hardware / software supports it.

Note:

Of course, a note can only be assigned to one SWITCH element. The note is set with encoder 3. Note C3 (C key) corresponds with note number 60. Encoder 4 sets the note velocity (note volume).

Pitch Bend:

Pitch bend is assignable to only one CONTINUOUS element. Since this is a type of command with its own status byte, selecting a MIDI channel (Encoder 2) and Range (Encoder 4) is sufficient.

After Touch:

Normally, “ALL” is selected here. This means that After Touch affects all notes equally (“Channel Pressure”). If you want to use a polyphonic After Touch (“Key Pressure”), the single note on which After Touch should have an effect can be selected using encoder 3. Since this process is only supported by a few tone generators, channel After Touch will be best most of the time. When a switch element has been selected, an “on” and “off” value can also be set (release dynamic). Therefore, you can limit the modulation range (FX depth) using After Touch.