Behringer BCR2000 manual Midi standard, Midi connections, Midi format

B-CONTROL FADER BCF2000/B-CONTROL ROTARY BCR2000

sset filter frequency to CC 05

sset filter resonance to CC 06 (receive)

sset volume to CC 07 (receive)

To get detailed information on how to assign them, please refer to chapter 4.3.2 “Programming in the EDIT mode” on page 13.

Now, define in the B-CONTROL the control elements that will control these 3 parameters. You can either use the LEARN function if the software synthesizer gives you the option to send its CC data via MIDI, or you can implement the following settings manually:

sAssign the push encoder 1 CC 05 to filter frequency control via dial rotation.

sAssign the push encoder 2 CC 06 to filter resonance control via dial rotation.

sAssign the push encoder 3 CC 07 to volume control via dial rotation.

How do I wire the B-CONTROL?

Several classic examples can be found in the explanations of different operating modes (see chapter 4.1 “The Operating Modes”). Basically, the following applies:

sIf you want to control hardware MIDI equipment, use the MIDI connectors.

sTo control software MIDI equipment, you can either use the MIDI connectors on your B-CONTROL – provided your computer has a MIDI interface – or you can use a USB connection.

sTo remotely control both hardware and software equipment, several combination modes are available. These are explained in chapter 4.1.

What kinds of equipment can I control with the B-CONTROL? You can basically control any device supporting the MIDI format.

Both hardware and software MIDI devices are controlled exactly the same. The only difference is in the wiring.

Here are a couple of suggestions on how you can use your B-CONTROL:

sEditing sound parameters of (virtual) synthesizers, sound samplers, GM/GS/XG sound generators

sControlling parameters on effects equipment/software plug-ins such as effects processors, reverbs, compressors, equalizers etc.

sRemotely controlling software mixers (volume, panorama, equalizers etc.)

sRemotely controlling transport functions (playback, forward, stop etc.) on sequencers, hard disk recorders, drum computers etc.

sUsing BCF2000 faders as drawbar control for virtual or digital organ expanders

sControlling MIDI-enabled lighting equipment

sLive control of volume and sound parameters on expanders

sTriggering (i.e. playing live) short samples, drum loops, shouts, effects etc.

sRemotely controlling groove boxes, step sequencers, MIDI generators (such as arpeggiators etc.), DJ software and other “live” software

sProgram changes and volume control on sound generators (just like on a master keyboard)

sLikewise, applicable to band keyboardists, solo entertainers, organists, electronic music performers, DJs, sound engineers, home/project studio owners, theater technicians etc.

2.2 The MIDI standard

The MIDI standard (Musical Instruments Digital Interface) was developed in the early ’80s to make communication between equipment from different manufacturers possible. Over the years, the MIDI interface has become hugely popular; it has become a matter of fact that complete studios can be connected via MIDI.

At the center of any such network is at least one computer that controls peripheral equipment. You can use the B-CONTROL in such a studio to control your sequencer or other software tools running on your computer (e.g. software mixers, VST instruments, effect plug-ins). But even if you don’t use a computer, you can use the B-CONTROL as a central control surface in your studio for comfortably editing your rack synthesizers, GM/GS/XG sound generators and effects equipment.

2.3 MIDI connections

The MIDI connections in the back of your B-CONTROL feature the standard 5-pin DIN connectors. You will require MIDI cables to connect your B-CONTROL to other MIDI equipment. In general, commercially available ready-to-use cables can and should be used. Their length should not exceed 15 m (50 ft.).

MIDI IN: Used for receiving MIDI data (parameter feedback, SysEx data), or to mix MIDI signals with the B-CONTROL signals (merge function).

MIDI OUT A/B: Data for controlling other MIDI equipment can be sent through the MIDI outputs.

+The B-CONTROL has two MIDI outputs. MIDI OUT B can be configured as MIDI THRU, so that the incoming data at MIDI IN can be passed through unaffected.

2.4 The MIDI format

Although your B-CONTROL is very easy to use, it still makes sense to review some information about this data format. Each MIDI command, also called message, consists of a status byte and up to two data bytes. The status byte defines the command type, and the data bytes contain the corresponding values. Different types of MIDI messages used by the B-CONTROL are explained next:

Note messages:

Among keyboard hotshots, Note On and Note Off messages are among the essential MIDI messages. Playing MIDI instruments from a master keyboard or computer is only possible with these messages. The B-CONTROL can also send Note Messages; however, this is not absolutely necessary to play music. This way, note events are also used to trigger drumloops or individual notes from a sampler. Many effects processors also allow rhythmic entering of delay times or song tempos with note commands.

Note On and Note Off messages have the following data format:

	Status Byte	Data Byte 1	Data Byte 2
Note Off	&8n (n = channel #)	Note #	Velocity
Note On	&9n (n = channel #)	Note #	Velocity

Table 2.1: Data format of Note On and Note Off messages

The value range for channel numbers is between 1 and 16; for data bytes it is 0 to 127. Even though Note Off messages are not really used by keyboarders anymore, the B-CONTROLs support sending this status information.

Velocity corresponds to the key pressure, and therefore to the volume of a touch-sensitive keyboard (piano). Since the B-CONTROL does not feature touch-sensitive keys, the velocity value is transmitted with a fixed value that can be set during programming.

+A note command can only be assigned to keys, footswitches and push functions of the encoder.

2. INTRODUCTION TO MIDI 5