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6 B-CONTROL FADER BCF2000/ROTARY BCR2000 User Manual
What settings do I have to make? Where? How?
Often, you can assign MIDI control data numbers, the so-called control change
or CC numbers, to individual MIDI parameters. That’s particularly the case with
music software such as software sequencers, mixers and sound generators as
well as the so-called “plug-ins” (eect units or sound generators integrated
into the software).
Basically, you have 2 options:
You either set the desired control numbers at the B-CONTROL and transmit
them to the software you are controlling, or you can set the desired control data
directly on your MIDI device and let the B-CONTROL receive the information about
number assignment using the LEARN procedure.
Example:
On a software synthesizer, you want to control lter frequency, lter resonance
and volume using the MIDI controllers 5, 6 and 7.
To receive MIDI data, you’ll need to perform the following settings on your
software synthesizer:
• set lter frequency to CC 05
• set lter resonance to CC 06 (receive)
• set 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, dene 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:
• Assign the push encoder 1 CC 05 to lter frequency control via dial rotation
• Assign the push encoder 2 CC 06 to lter resonance control via dial rotation
• Assign 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 dierent operating
modes (see chapter 4.1 “The Operating Modes”). Basically, the following applies:
• If you want to control hardware MIDI equipment, use the MIDI connectors
• To 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
• To 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 dierence is
in the wiring.
Here are a couple of suggestions on how you can use
your B-CONTROL:
• Editing sound parameters of (virtual) synthesizers, sound samplers,
GM/GS/XG sound generators
• Controlling parameters on eects equipment / software plug-ins such as
eects processors, reverbs, compressors, equalizers etc.
• Remotely controlling software mixers (volume, panorama, equalizers etc.)
• Remotely controlling transport functions (playback, forward, stop etc.)
on sequencers, hard disk recorders, drum computers etc.
• Using BCF2000 faders as drawbar control for virtual or digital
organ expanders
• Controlling MIDI-enabled lighting equipment
• Live control of volume and sound parameters on expanders
• Triggering (i.e. playing live) short samples, drum loops, shouts, eects etc.
• Remotely controlling groove boxes, step sequencers, MIDI generators
(such as arpeggiators etc.), DJ software and other “live” software
• Program changes and volume control on sound generators (just like on a
master keyboard)
• Likewise, 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 dierent
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, eect 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
eects 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
denes the command type, and the data bytes contain the corresponding values.
Dierent types of MIDI messages used by the B-CONTROL are explained next:
Note messages:
Among keyboard hotshots, Note On and Note O 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 eects processors also allow rhythmic entering of delay times or
song tempos with note commands.