lylehaze Posted May 12, 2009 Report Share Posted May 12, 2009 I am adding IR remote control support for the MBMixer. The format of IR remote signals are basically a bunch of "Volume Up" and/or "Volume Down" commands, just keep them coming until you reach the correct level. It is not generally possible for the remote to know or care what the absolute position of the setting is.After looking over the MIDI standard, it would appear that the "Data Increment" and "Data Decrement" messages are exactly what I need. at the first remote key press, I would need to send the RPN or NRPN prefix to indicate that the following increments and decrements are intended to be volume controls.First bad news, there appears to be no RPN for "Volume Control". I can use an NRPN, but then my method will only work with MBMixer boards.Especially since the IR to MIDI receiver will be a separate module, it would be a lot more useful if it could work with other equipment too. I don 't have enough experience with studio mixing boards to know if there is already some standard out there for this. If there is already a "normal" way of doing this, I'll go along with that. Creating a private NRPN is the last choice.I suppose another way out would be to use SysEx to poll the mixer for the current levels, and manage a absolute settings from there. But that assumes that there is a standard way to poll for level settings.So my question: Is there a common/standard/manufacturer specific way to manage this? If so, where can I get more information? Is there one brand of MIDI-automated mixer that is considered the "Standard"?I can make it work "my way", but the more compatible I am with the rest of the world, the better.Thanks,LyleHaze Quote Link to comment Share on other sites More sharing options...
Imp Posted May 13, 2009 Report Share Posted May 13, 2009 I have a B*hringer CM8000 VCA mixer, which may have been (semi)pro-equipment in the last century...Its stupid software controls it via Rs232, but since those units can be daisychained via midi, the unit itself ouputs the following, when faders are moved in the software: TIMESTAMP IN PORT STATUS DATA1 DATA2 CHAN NOTE EVENT 001EC457 4 -- 98 00 01 9 C -1 Note On 001EC47E 4 -- 98 00 02 9 C -1 Note On 001EC4B7 4 -- 98 00 03 9 C -1 Note On 001EC4EE 4 -- 98 00 04 9 C -1 Note On 001EC50F 4 -- 98 00 05 9 C -1 Note On 001EC517 4 -- 98 00 06 9 C -1 Note On 001EC52E 4 -- 98 00 07 9 C -1 Note On 001EC547 4 -- 98 00 09 9 C -1 Note On 001EC556 4 -- 98 00 0A 9 C -1 Note On 001EC55E 4 -- 98 00 0B 9 C -1 Note On 001EC56E 4 -- 98 00 0C 9 C -1 Note On 001EC586 4 -- 98 00 0D 9 C -1 Note On 001EC58F 4 -- 98 00 0E 9 C -1 Note On 001EC59F 4 -- 98 00 0F 9 C -1 Note On 001EC5A7 4 -- 98 00 10 9 C -1 Note On 001EC5B6 4 -- 98 00 11 9 C -1 Note On 001EC5CF 4 -- 98 00 12 9 C -1 Note On 001EC5DF 4 -- 98 00 13 9 C -1 Note On 001EC5E7 4 -- 98 00 15 9 C -1 Note On 001EC5FE 4 -- 98 00 17 9 C -1 Note On 001EC60E 4 -- 98 00 18 9 C -1 Note On 001EC616 4 -- 98 00 19 9 C -1 Note On 001EC626 4 -- 98 00 1C 9 C -1 Note On 001EC62F 4 -- 98 00 1D 9 C -1 Note On 001EC63E 4 -- 98 00 20 9 C -1 Note On 001EC647 4 -- 98 00 23 9 C -1 Note On 001EC656 4 -- 98 00 25 9 C -1 Note On 001EC65F 4 -- 98 00 28 9 C -1 Note On 001EC66F 4 -- 98 00 2A 9 C -1 Note On 001EC678 4 -- 98 00 2D 9 C -1 Note On 001EC686 4 -- 98 00 30 9 C -1 Note On 001EC68E 4 -- 98 00 31 9 C -1 Note On 001EC69E 4 -- 98 00 34 9 C -1 Note On 001EC6AE 4 -- 98 00 35 9 C -1 Note On 001EC6B7 4 -- 98 00 38 9 C -1 Note On 001EC6C7 4 -- 98 00 39 9 C -1 Note On 001EC6CE 4 -- 98 00 3A 9 C -1 Note On 001EC6DE 4 -- 98 00 3B 9 C -1 Note On 001EC6E6 4 -- 98 00 3C 9 C -1 Note On 001EC6FF 4 -- 98 00 3D 9 C -1 Note On 001EC70E 4 -- 98 00 3E 9 C -1 Note On 001EC717 4 -- 98 00 3F 9 C -1 Note On 001EC72E 4 -- 98 00 41 9 C -1 Note On 001EC73E 4 -- 98 00 42 9 C -1 Note On 001EC756 4 -- 98 00 43 9 C -1 Note On 001EC76E 4 -- 98 00 44 9 C -1 Note On 001EC77E 4 -- 98 00 45 9 C -1 Note On 001EC786 4 -- 98 00 46 9 C -1 Note On 001EC79E 4 -- 98 00 47 9 C -1 Note On 001EC7AE 4 -- 98 00 49 9 C -1 Note On 001EC7B7 4 -- 98 00 4A 9 C -1 Note On 001EC7CE 4 -- 98 00 4C 9 C -1 Note On 001EC7DE 4 -- 98 00 4D 9 C -1 Note On 001EC7F6 4 -- 98 00 4E 9 C -1 Note On 001EC7FE 4 -- 98 00 4F 9 C -1 Note On 001EC80E 4 -- 98 00 51 9 C -1 Note On 001EC826 4 -- 98 00 52 9 C -1 Note On 001EC836 4 -- 98 00 53 9 C -1 Note On 001EC83E 4 -- 98 00 54 9 C -1 Note On 001EC84E 4 -- 98 00 55 9 C -1 Note On 001EC856 4 -- 98 00 56 9 C -1 Note On 001EC866 4 -- 98 00 57 9 C -1 Note On 001EC87E 4 -- 98 00 58 9 C -1 Note On 001EC896 4 -- 98 00 59 9 C -1 Note On 001EC8AE 4 -- 98 00 5A 9 C -1 Note On 001EC8B6 4 -- 98 00 5B 9 C -1 Note On 001EC8CE 4 -- 98 00 5C 9 C -1 Note On 001EC8E6 4 -- 98 00 5D 9 C -1 Note On 001EC8F6 4 -- 98 00 5E 9 C -1 Note On 001EC8FE 4 -- 98 00 5F 9 C -1 Note On 001EC90E 4 -- 98 00 60 9 C -1 Note On 001EC926 4 -- 98 00 61 9 C -1 Note On 001EC936 4 -- 98 00 62 9 C -1 Note On 001EC93E 4 -- 98 00 63 9 C -1 Note On 001EC957 4 -- 98 00 64 9 C -1 Note On 001EC966 4 -- 98 00 65 9 C -1 Note On 001EC96E 4 -- 98 00 66 9 C -1 Note On 001EC986 4 -- 98 00 67 9 C -1 Note On 001EC996 4 -- 98 00 68 9 C -1 Note On 001EC99F 4 -- 98 00 69 9 C -1 Note On 001EC9AE 4 -- 98 00 6A 9 C -1 Note On 001EC9C6 4 -- 98 00 6B 9 C -1 Note On 001EC9D6 4 -- 98 00 6C 9 C -1 Note On 001EC9EF 4 -- 98 00 6D 9 C -1 Note On 001ECA06 4 -- 98 00 6E 9 C -1 Note On 001ECA1E 4 -- 98 00 6F 9 C -1 Note On 001ECA27 4 -- 98 00 70 9 C -1 Note On 001ECA3E 4 -- 98 00 71 9 C -1 Note On 001ECA56 4 -- 98 00 72 9 C -1 Note On 001ECA6F 4 -- 98 00 73 9 C -1 Note On 001ECA7E 4 -- 98 00 74 9 C -1 Note On 001ECA96 4 -- 98 00 75 9 C -1 Note On 001ECAAE 4 -- 98 00 76 9 C -1 Note On 001ECAC6 4 -- 98 00 77 9 C -1 Note On 001ECADE 4 -- 98 00 78 9 C -1 Note On 001ECB06 4 -- 98 00 79 9 C -1 Note On 001ECB1E 4 -- 98 00 7A 9 C -1 Note On 001ECB4E 4 -- 98 00 7B 9 C -1 Note On 001ECB7E 4 -- 98 00 7C 9 C -1 Note On 001ECBA6 4 -- 98 00 7D 9 C -1 Note On 001ECBD6 4 -- 98 00 7E 9 C -1 Note On 001ECBDF 4 -- 98 00 7F 9 C -1 Note On 001F7417 4 -- 88 00 7F 9 C -1 Note Off 001F7707 4 -- 98 00 7F 9 C -1 Note On This is fader #33 (the unit has 32channels, so its the first of the second chained unit)The fader was set to highest level when i started monitoring (via midi-ox), then i pulled it down all the way...then muted/unmuted..I don't know if this helps though...edit: i forgot to mention: the next channel is the same, but on a different note ( C# -1 ) Quote Link to comment Share on other sites More sharing options...
lylehaze Posted May 13, 2009 Author Report Share Posted May 13, 2009 Yes, that helps, Thank You.Interesting to see, as a few people have asked about more than 16 channels of mixer, and my software has been "stuck" in what I thought was the proper way to do it.What you showed me is certainly one way around the 16 channel limit. It's still "absolute", but it gives me a better idea about how others are getting around it.For now, I think my remote control to MIDI receiver will have to use NRPNs to work, and it will only work for MBMixer boards. As before when I made the mixer, it will be enough to suit my own needs.It is a shame that the standard doesn't work for so many "standard" needs, especially where audio mixers are concerned.Thanks Again,LyleHaze Quote Link to comment Share on other sites More sharing options...
stryd_one Posted May 15, 2009 Report Share Posted May 15, 2009 The later Behringer DDX3216 uses CCs, in a similar fashion.. See section 18.2 of the manual (this one: www.behringerdownload.de/DDX3216/DDX3216_ENG_Rev_B.pdf)Of course you only need one channel of CCs to control up to 128 faders... Personally I'd reserve further channels for other stuff like aux send levels etc... Quote Link to comment Share on other sites More sharing options...
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