Christian wrote: An option that can regulate the number of the aftertouch events that are send is useful. Some sequencers have an option to reduce the amount of recorded aftertouch events, but not every sequencer is able to do it. Using aftertouch sometimes produce too many unneeded data, that can become a problem. Ralf

Rui Nuno Capela wrote: I never had a keyboard supporting "poly pressure" ($An), they only supported "channel pressure" ($Dn), n is for the channel. Even the common "channel pressure" for some keyboards can cause a lot of unneeded data, while played by keyboarders with shaky fingers ;). Let's say you want to reach an aftertouch level of 120 ($78), this can result in a huge amount of $Dn $78, $Dn $77, $Dn $79 etc., running status won't reduce a lot of bytes, while there will be data for other channels on the same MIDI port. Another point is, at what value aftertouch should start with level 1. Internal a keyboard there should be a resolution of more than 127 steps. There should be settings that start aftertouch at soft pressure and other settings to start aftertouch at hard pressure. When using several MIDI ports even a lot of SysEx can be sent real-time, but using only one MIDI port even aftertouch can cause timing problems. It would be good if there would be some features for the master keyboard, instead of using filters or editing functions by a sequencer. Ralf

Jens M Andreasen wrote: When interrupted it's 2 bytes, one byte only when running status can take effect. To be honest, I don't know if aftertouch will be interrupted by applications and devices by default. Is this MIDI standard? And to be honest, much more data is produced by the pitch wheel, because of the low and high byte. I never had any timing issues because of aftertouch and pitch bend, but I noticed that they produce much more traffic than real-time SysEx for filters. IIRC I had 4 MIDI outputs for the Atari ST, I guess using just one MIDI output can cause trouble for pure MIDI music. Ralf

I would not put too much emphasis on the ms delays and traffic volume generated by these messages. It has been generally agreed that the bandwidth of MIDI would have killed it a long time ago had it not been for 'integrated' systems that passed MIDI internally hence had no bandwidth limitations and that MIDI/USB is keeping it alive today. The device you are talking about has a USB connector which can be used at a later date when you need bandwidth so perhaps concentrate on functionality for now? Just a suggestion. A bigger problem regarding pressure is whether the device can support either channel or poly pressure. There are surprisingly few that support poly pressure as the hardware required to do it (sensors under each key) is still exorbitantly expensive and also pretty heavy. OK, it can be done cheaply as well however the cheaper hardware gives two problems that make it's use difficult: a. it can be overly sensitive so difficult to control b. it is generally low resolution so you hear each step in pressure change Velocity sensing by contrast typically just uses two space separate contacts and some high speed key scanning - very cheap and cheerful. And portable. Any hardware that can do velocity sensing for note on can also do it for note off events if suitable software coding is done. Whether a synth can track the note off velocity is variable and there are naturally good and bad targets for note-off velocity: Bad targets: Volume/gain, filter cutoff, FX depths, : All of these might be normal for note-on velocity but are very bad selections for note-off. They cause pops and clicks when key-on velocity is very different from key-off velocity. Potentially good targets: ADSR release rate. Exceptional processing (bv. piano damping effects). LFO speeds I think one of the reasons that many synths have avoided doing anything with note-off velocity is that the typical targets are not the same as with note-on velocity hence there are some semantic issues associated with how they need to be directed. Most synths have 'velocity sensitivity', but if it is so glib that both values control the same parameter then the results will not be what you are probably expecting: they should vary rarely be directed to the same synth parameter. Kind regards, nick. "we have to make sure the old choice [Windows] doesn't disappear”. Jim Wong, president of IT products, Acer _________________________________________________________________ More than messages–check out the rest of the Windows Live™. http://www.microsoft.com/windows/windowslive/

I wrote: Pardon, I'm wrong. But I've got an idea for a master keyboard. A master keyboard could have an option that could calculate a selectable ratio between note on and note of velocity, so that the difference won't be to extreme for those targets.

Fons Adriaensen wrote: This might be the most interesting usage. A compression ratio calculated by the note on and note off velocity to transmit a changed note of velocity might be less useful for a master keyboard, but a master keyboard should support custom velocity curves not only for note on velocity, but also for note off velocity, anything else seems not to be the task of a master keyboard, but a task for the controlled synth.

Fons Adriaensen wrote: Are velocity curves for note off a standard for master keyboards? I was searching the web for some master keyboards, but only read the seller informations. Hm, they have a lot of features, arpeggiator, faders, dynamic pads etc.. I wonder if it's possible to manufacture a master keyboard in a far smaller edition than big companies do without exceeding the price level. Developing a master keyboard and than selling it as an assembly kit might reduce coasts, but there are also some offers on the market. Btw. a friend has one of Doepfer's first master keyboards and it's a bad keyboard, while later master keyboards from Doepfer should be good once.

Fons Adriaensen wrote: For release velocity it's the same as for poly pressure, I don't know any keyboard providing this. The only unusual function provided by a keyboard I know is breath control. My Yamaha DX7 supports breath control. I don't think hat there will be a lot of receiving devices that can handle release velocity and poly pressure. A nice feature I can imagine might be to have only 3 or 4 fix velocities for each key (maybe this can be done by the "Custom velocity curves") and a fix note length (for this the keyboard needs to receive timing information by a sequencer), but both, velocity and length for each key individually and maybe the length should be set individually by the velocity of a note. Why? E.g. to control drum samples. For this it also might be interesting to have the option to split the keyboard not only in zones, but to enable to give each key a wanted, individual MIDI channel. I know that this is also something some sequencers can do by a matrix especially for drums, but it might be interesting for a master keyboard to. Ralf

Peter Nelson wrote: I also don't have a breath controller. But this issue reminded me of another feature. An option to transform MIDI controllers to SysEx controllers might be good.

Jörn Nettingsmeier wrote: OT too: This is funny, but a serious note, Fisherman's friend isn't good for vocalists. I guess cheap Whiskey and cigarettes are less bad for the voice and give the voice a more rocking nuance. Listen to Tokio Hotel, the singers voice is less rocking, because he is young and wasn't allowed to buy cheap Whiskey and cigarettes, instead he put some rawness by eating Fisherman's friend to his voice. The result of this misuse is a hair disease and still a childish voice. Kids, please only take Fisherman's friend with permission of your parents.

Fons Adriaensen wrote: I do agree, anyway it's seldom used. :) Yes, rotary encoders or just faders would be good, but with the possibility that they are easy to program for users, e.g. for SysEx, e.g. automatic SysEx checksum. If there are some unused AD channels, than input for drum pads, mics etc. might be nice, but not needed by a master keyboard. I've got one of the first DX7 (still in the metal case) and never wanted a software update for the DX7. For a synthesizer (it's not a master keyboard, even if I use it as my master keyboard) it has got the best keyboard I know (there might be other synthesizers having better keyboards). The channel aftertouch of the DX7 is very good for "normal" usage. I can't remember how Yamaha did it for the DX7 and I won't open the DX7, until the battery will be empty. It might be a problem for your keyboard because it's a weighted keyboard and the mechanics might be to complex for single keys to realize aftertouch as it can be realized for simple keyboards. OR! it's just a software problem, that's why I recommended to have different start levels for aftertouch. RTo have the feeling of a real piano for the keys could conflict with pressure for pushed keys. I could imagine that this might be a problem for weighted keyboards in general, but I don't know. Ralf

David Olofson wrote: I believe that this will be a good way to control this. Another, not perfect way, is something I mentioned some time ago. Limiting the polyphony to 5 or 6 voices can handle pad sounds in a very nice way. Release will be cut when playing, because of the limit. Some synths e.g. the Prophet 5 or Matrix-1000 have some very interesting pad sounds because of this effect. Attack also can be controlled by note on velocity. Anyway, I do agree that note off velocity will be an enrichment and it doesn't need any special hardware. Ralf