CONTENTS
1. Introduction .............................................................................................................................. 3
Checklist ............................................................................................................................ 4
Overhead Diagram ............................................................................................................ 5
Side Panel Diagram ........................................................................................................... 6
Recommended Accessories ............................................................................................... 6
2. Keyboard Layout ...................................................................................................................... 8
From Piano to Plexus ......................................................................................................... 8
Default Master Tuning ........................................................................................................ 9
Octaves and Fifths ............................................................................................................. 9
Commas and JNDs ............................................................................................................. 9
Key Diameter and Elevation ............................................................................................... 10
3. Tuning Tables ........................................................................................................................... 11
MIDI Mapping .................................................................................................................... 11
Untuned Output Mode ....................................................................................................... 12
Duplicate Keys ................................................................................................................... 12
Programming a Tuning ....................................................................................................... 13
4. Polyphony ................................................................................................................................ 13
5. Presets ..................................................................................................................................... 14
Storing a Table Preset ....................................................................................................... 14
Storing a Patch Preset ....................................................................................................... 14
6. Top Panel Controls and Display .............................................................................................. 15
LCD Display ....................................................................................................................... 15
Faders, Fader Opt, and Fader Opt Select Switches ........................................................... 15
Local Control Switch .......................................................................................................... 17
Octave Buttons ................................................................................................................. 17
7. External MIDI Devices .............................................................................................................. 17
Controllers ......................................................................................................................... 17
Standard Synthesizers nd Samplers .................................................................................. 17
Natively Microtonal Synthesizers and Samplers .................................................................. 18
Startup Sequence ............................................................................................................. 18
8. Sequencer / MIDI Footswitch Control ....................................................................................... 18
Patch Changes .................................................................................................................. 19
Bank Select ....................................................................................................................... 19
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Tuning Table Changes ....................................................................................................... 19
9. DIP Switches ............................................................................................................................ 20
Bank Select Format ........................................................................................................... 20
Velocity Randomization Bandwidth .................................................................................... 21
Pitch Bend Response Timing ............................................................................................. 21
Sysex Retransmission ....................................................................................................... 22
Global Pitch Bend Mode ................................................................................................... 22
Sustain Pedal Polarity ........................................................................................................ 23
Sysex Recovery Timing ...................................................................................................... 24
APPENDIX .................................................................................................................................... 25
General MIDI Patch List ..................................................................................................... 25
MIDI Implementation Chart ................................................................................................. 27
System Exclusive Messages .............................................................................................. 28
Troubleshooting ................................................................................................................. 29
Technical Specification ....................................................................................................... 31
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 2
1. Introduction
The H-Pi Instruments Tonal Plexus TPX2s/4s/6 is a hand-made instrument designed to be
lightweight, easy to use, and compatible with the widest range of existing MIDI hardware and
software, allowing easy exploration of the limitless universe of alternative tunings. Please refer to this
manual to get the most out of your keyboard.
Your input is appreciated. If you have a question or comment about something in this manual, or
something which is not addressed in this manual, please contact H-Pi Instruments via email at
contact@h-pi.com. In response to your input, this manual may be updated and made available for
PDF download from the H-Pi Instruments website at www.h-pi.com/downloads.html.
This manual was uploaded July 17, 2008 and supersedes all previous TPX2s/4s/6 manuals. This
manual may be replaced at any time by another manual.
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Checklist
TPX2s/4s/6
Every TPX2s/4s/6 unit is built by hand. Please do not be alarmed by any small blemishes you may
find. Always handle the unit with care.
International 12V 4.5A Power Supply
The power supply runs on 100 - 240V, 50 - 60Hz, and will work in most countries around the world –
just plug in a locally supported grounded cable (US standard cable shown above, left) or adapter.
Two MIDI cables (optional)
Having these items, you are ready to begin.
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Overhead Diagram
GM Patch List
TPX/2s/4s units
include a patch list
for the built-in
GM/GS
Synthesizer.
MOD, VOL, and VEL Faders
Sends MIDI Modulation (Controller
number 1), MIDI Volume (Controler
number 7) and MIDI Note Velocity
on all selected channels. NOTE:
side panel Volume and Velocity
pedal inputs override these faders.
2 x 20 Character LCD
Displays the currently
selected preset tuning
table, bank, patch,
preset, and polyphony.
16 Channel Switches
Use these switches to
control polyphony –
which channels receive
retuned MIDI output.
16 Patch Presets
Press these buttons
to recall a preset
banks and patches.
Tuning Resolution
Toggles between HI (14-bit) and
LO (7-bit) MIDI Pitch Bend format
for tuned output. If the
synthesizer connected to MIDI
OUT (TUNED) does not support
14-bit Pitch Bend, change this
switch to LO.
Programmer
When pushed and released, the currently selected preset tuning or patch
and bank can be programmed. First, a tuning preset or patch preset is
chosen to program, then a table is chosen or a bank and patch is chosen.
When pushed and held for 4 seconds, the currently selected tuning table is
sent to MIDI OUT. Use this for sharing tunings or uploading tunings to a
computer.
16 Tuning Presets
Press these buttons
to recall a preset
tuning tables.
Local Control Switch
When Local Control is OFF, the
blue LED lights up, and only MIDI
received at MIDI IN travels to the
internal synthesizer, which can be
useful when working with
sequencing and notation
software.
PANNING Fader
Sends MIDI Panning
(Controller number
10) on all selected
channels.
Octave Up / Down Switches
Navigates the currently selected
tuning table by table octaves. NOTE:
In the default Master Tuning, this
corresponds to transposition by
octaves; however, the pitches stored
in user tables may correspond to
anything, so shifting by table octaves
does not necessarily require shifting
by octaves in terms of pitch.
Sustain Pedal polarity
Allows for the use of any sustain
pedal, by selecting normally open
or normally closed switch type.
Volume Pedal Direction
Allows for the use of any Lo-Z
(20kOhm) volume pedal, by
selecting the pedal direction
(wiring scheme).
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Side Panel Diagram
MIDI IN
Connect
another MIDI
controller to
this jack, also
used for
uploading
tuning tables
to the
keyboard.
MIDI THRU
This output
sends MIDI
data received
at MIDI IN
through
unmodified to
another MIDI
device.
MIDI OUT
Connect a
synthesizer,
sampler or MIDI
interface to this
jack to receive
retuned or raw
MIDI data on
selected MIDI
channels.
12V DC Input
TPX2s/4s/6
require at least
2.5 Amps.
Power switch
provided.
LINE IN
Input a line level
audio signal from
any other source
directly to the
internal amplifier
using this 1/4”
jack. NOTE: This
input turns off
internal audio.
LINE OUT
Output line level
audio from the
internal amplifier
to an external
device such as
a mixer or
amplifier using
this 1/4” jack.
Stereo Headphones
Connecting headphones
to this attenuated stereo
output turns off speaker
output.
Volume
Control the amplifier output
to either the speakers or the
headphones with this knob.
SUSTAIN
Connect a
sustain (a.k.a.
Damper)
pedal
to this 1/4”
jack.
Volume Pedals
Connect Lo-Z (20 kOhm)
volume pedals to these 1/4”
jacks to control MIDI Volume
and Key Velocity (these inputs
override top panel faders)
DIP Switches
Control Global
parameters at
startup using
these nine DIP
switches (see
Appendix)
Recommended Accessories
Sustain Pedal
Because TPX2s/4s/6 has a sustain pedal polarity switch, all sustain pedals are compatible.
Volume Pedals
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Volume pedals may be used to control MIDI key velocity and MIDI volume, overriding the top panel
faders. The pedal should be 20KOhm. High impedance guitar volume pedals will work, but not very
well. The volume pedal we recommend is made by in Italy by bespeco, and is available to European
customers as the VM16L and in the US as Quiklok VP16. This pedal is nice because it has the cable
built in; however, it is no longer readily available in the US. A slightly different pedal in stereo
configuration with the handy addition of a lowest-volume control pot is also available from bespeco as
the VM14L, and fortunately this pedal is available in the US from Zzounds as the Quiklok VP15. With
this pedal, you will need to get a cable which is 1/4'' Stereo plug to 2 1/4'' Mono plugs (a.k.a a
standard Send / Return Insert Cable), and we recommend the STP-200 from Hosa.
Having an internal synthesizer and amplifier, a TPX2s/4s/6 keyboard is a standalone performance
instrument. However, if sounds other than those of the internal synthesizer are needed, the internal
amplifier of TPX2s/4s/6 can be used with external sources by connecting External Source LINE OUT
to TPX2s/4s/6 LINE IN. To save space, TPX2s/4s/6 uses a Stereo (TRS) 1/4” jack for LINE IN, so
that a cable adapter may be needed to connect external sources having other types of output jacks.
Adapter cables are available from HOSA, shown below: a 1/4" Male Stereo to 2 Female Mono 1/4"
Cable, a 1/4" Male Stereo Phone to 2 RCA Female Cable, and a 1/4” Stereo to Stereo Mini Cable.
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2. Keyboard Layout
The Tonal Plexus keyboard geometry was designed in 2002 by Aaron Andrew Hunt. This particular
geometry is unique in the history of the musical keyboard, although it bears resemblance to previous
inventions known as generalized keyboards, early examples of which are found in the work of Paul
Von Janko (1875) and R.H.M. Bosanquet (1877).
From Piano To Plexus
The Tonal Plexus keyboard layout is based on the traditional piano keyboard pattern of 7 white and
5 black keys, with standard fifths-based note names as shown below, piano keys carrying multiple
names as shown.
• 7 naturals
• 7 sharps
• 7 flats
• 7 double-sharps
• 7 double-flats
All standard note names correspond to unique, non-dulpicate keys on the Tonal Plexus. Extended
fifths-based note naming leads to a new set of enharmonics.
• 6 triple-sharps
• 6 triple-flats
These 12 new enharmonic keys are shown at the top and bottom edges of the layout, the blue keys
in the images above and Figure 1 below.
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Figure 1
Default Master Tuning 205ET
The master tuning of the Tonal Plexus was determined by way of thorough research in music theory,
music notation, and pitch perception. The result is a system which allows the free exploration of all
possible pitch combinations in a coherent way, according to reasonable limits of human perception.
A few main concepts behind the master tuning are given below. Further information about the master
tuning will be made available in a separate document.
Octaves and fifths
Octaves and fifths define the basis of Western music theory and notation. Hence, these intervals
form the basis of the master tuning. Octaves are tuned purely, and fifths are tuned virtually purely,
with a deviation of less than half of one cent. These two intervals provide a reference for pitch
ordering and naming relative to which all other intervals are defined.
Commas and JNDs
The master tuning is designed around the comma as a basic interval. The comma used is just under
30 cents in size, forming the basis of a key layout in which one octave contains 41 commas. To
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maximize pitch control and expressivity, each comma is broken into 5 JNDs, so that the smallest steps
on the keyboard are just under 6 cents in size. Each octave contains 205 JNDs. Using JND fine
tuning, any interval can be played with a maximum tuning deviation of less than 3 cents. Though
under certain conditions such small mistunings can be heard, in practice the errors are so small that
they are not noticeable; other natural variables such as timbre and duration introduce similar small
margins of error. The master tuning is thus able to produce all pitches and intervals in a managable
way.
Key Diameter and Elevation
Tonal Plexus keytops vary in diameter and elevation, arranged symmetrically in 41 regions per
octave. The center key of each region has a concave surface and is the largest in diameter. The
other keys are smaller and have flat tops. These variations of diameter and elevation provide a tactile
terrain for navigation of the keyboard by touch. In the default Master Tuning, the variations
correspond to JND inflections of a given letter name, allowing harmonic intervals to be easily found by
touch alone.
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3. Tuning Tables
Each tuning table provides a simple 1 to 1 correspondence between raw MIDI Notes played and
retuned MIDI Notes output. Any MIDI Note input can be retuned to any pitch output, in any register
with any frequency, limited only by the internal or external synthesizer.
MIDI
Note
played
Tuning
Table
lookup
Tuned
MIDI
Note
OUT
There are 32 memory locations, numbered 0 - 31, available for storing tuning tables. There are 16
preprogrammed default tuning tables, including the Master Tuning 205ET. The default tuning tables
may be overwritten, and there are no protected memory locations. Each table is given a 16-character
name. The name and number of the currently selected tuning table is displayed on the top row of the
LCD. For each MIDI Note, there are three values stored in the tuning table: MIDI Note, Pitch Bend
MSB and Pitch Bend LSB. When a MIDI Note ON message is received, these values are looked up
and immediately transmitted to MIDI OUT in the following order: Pitch Bend MSB, Pitch Bend LSB,
MIDI Note ON.
MIDI Mapping
Each octave of a Tonal Plexus keyboard uses two MIDI Channels, each assigned to six columns of
keys. These two MIDI Channels are shown as CHANNEL A and CHANNEL B in Figure 2 (next page).
The MIDI Note numbers are the same in each octave, and the MIDI Channels are fixed according to
the size of the keyboard. The chart below shows MIDI Channel assignments for TPX2s and TPX4s.
These MIDI Notes and Channels should be sent from external devices connected to MIDI IN.
OCTAVE
CHANNEL A
CHANNEL B
TPX4s
TPX2s
1234567813579111315246810121416XXXXX
X
MIDI Notes 0-104 are used from Channel A and MIDI Notes 0-105 are used from Channel B. This
leaves 22 MIDI Notes (105-127) unused on Channel A and 21 MIDI Notes (106-127) unused on
Channel B. These 43 unused MIDI Notes correspond to 43 unused Tuning Table Registers for each
Tonal Plexus octave. Although these free memory registers are ignored by the keys of a Tonal
Plexus keyboard, they may be accessed from an external keyboard by sending the correct MIDI
Notes on the correct MIDI Channels to MIDI IN.
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Untuned Output Mode
The Tonal Plexus keyboard normally sends tuned output corresponding to MIDI Note and Pitch Bend
data stored in a Tuning Table; however, when the top panel TUNED OUTPUT switch is set to OFF,
the raw MIDI Note and Channel data shown above is sent to MIDI OUT. This data can then be
received by an external processor such as a software sampler to result in retuned output.
Duplicate Keys
In the default Master Tuning, the following pairs of keys are tuned to the same pitch: Channel A 17 &
18, 68 & 69, 104 & Channel B 0. Channel B 35 & 36, 51 & 52, 87 & 88. These are the keys referred
to as duplicate keys in TPXE software, the large blue keys in Figure 2 below. These keys are not
hard-wired as duplicates; custom user tunings can have any key mapped to any pitch.
Figure 2
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Programming a Tuning Table
Programming a tuning table means storing it in one of the 32 possible memory locations. Tables are
programmed using Tonal Plexus Editor (TPXE) software. Please see the software documentation for
information on creating and programming tuning tables.
4. Polyphony
TPX2s/4s/6 achieves microtonal polyphony through a MIDI channel assignment system, called a
dynamic channel allocation algorithm. Each retuned MIDI Note requires its own MIDI channel.
Therefore, polyphony is limited to 16 voices according to the present MIDI standard.
Octave 1
Octave 2
Octave 3
Octave 4
Tuned
MIDI
Notes
OUT
Channels 1, 2
Channels 3, 4
Channels 5, 6
Channels 7, 8
MIDI
Notes
played
Tuning
Table
lookup
Channel 1
Channel 2
Channel 3
Channel 4
Channel 5
Channel 6
Channel 7
Channel 8
Channel 9
Channel 10
Channel 11
Channel 12
Channel 13
Channel 14
Channel 15
Channel 16
Channels 9, 10
Channels 11, 12
Channels 13, 14
Channels 15, 16
Octave 5
Octave 6
Octave 7
Octave 8
TPX4s
TPX2s
Dynamic
Channel
Allocation
You control which channels receive retuned MIDI output with the 16 channel switches. For example,
if channels 3, 4, 5 and 6 are engaged and all other channels are disengaged, MIDI Notes will only be
sent on channels 3, 4, 5, and 6. Such control is particularly useful for sequencing multitimbral music.
Octave 4
Tuned
MIDI
Notes
OUT
Channels 7, 8
MIDI
Notes
played
Tuning
Table
lookup
Channel 4
Channel 5
Channel 6
Channel 3
Dynamic
Channel
Allocation
NOTE: MIDI channel 10 is reserved for percussion sounds on General MIDI
synthesizers. To remind you of this, the channel 10 button is colored gray rather than
black, and the number is underlined. If you hear a percussion sound every few notes,
then you need to disengage channel 10.
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5. Presets
The TPX2s/4s/6 has 16 table presets and 16 patch presets. Each table preset allows a tuning table
to be recalled at the touch of a button without affecting the current bank and patch. Each patch
preset consists of a bank and patch to be recalled at the touch of a button without affecting the
current tuning table.
Pressing the knob initiates the preset programming or browsing process. Browse parameters by
turning the knob, and choose values by pressing the knob. While browsing a parameter, that
parameter flashes on the display.
Storing a Table Preset
To store a table preset, follow these steps:
(1) Push the PROGRAMMER knob. The table preset number and patch preset number flash.
(2) Push the table preset button you wish to program
(3) Turn the knob to find the desired tuning table.
(4) Select a tuning table by pressing the knob. The table preset is stored
Storing a Patch Preset
To store a patch preset, follow these steps:
(1) Push the PROGRAMMER knob. The table preset number and patch preset number flash.
(2) Push the patch preset button you wish to program.
(3) The bank number flashes.
(4) Turn the knob to find a desired bank.
(5) Select a bank by pressing the programmer knob. The patch number flashes.
(6) Turn the knob to find a desired patch.
(7) Select a patch by pressing the knob. The patch preset is stored.
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The process above may be canceled at any moment by pressing any preset button. In this case the
display stops flashing and preset programming stops. Programming may be initiated again according
to the steps above.
NOTE: Bank Select messages are handled differently by different manufacturers.
TPX2s/4s/6 includes DIP switches for selecting the correct format for your
synthesizer. Consult the Appendix for more information on Bank Select DIP
switch settings.
6. Top Panel Controls and Display
This section discusses the control switches and buttons on the top panel and how they relate
to the LCD display, excluding the PROGRAMMER knob and PRESET buttons, the functions
of which are discussed in section 5.
LCD Display
The 2 x 20 character backlit LCD normal display is shown below.
This display changes format in the following situations:
1. when Tuning Table data is being programmed
2. when the FADER OPT switch is engaged
3. when the FADER OPT SELECT switch is engaged
4. when the TUNED OUTPUT switch is set to OFF
Faders, Fader Opt and Fader Opt Select Switches
The three vertical faders are multifunctional controls. Each fader controls three parameters, as shown
by the labels from left to right: M·A·L, V·D·M, and V·R·H; each group of three letters stands for the
three functions given to each fader. These functions change according to the states of the FADER
OPT and FADER OPT SELECT switches, as shown below.
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M · A · L
V · D · M
V · R · H
Middle Frequency Equalizer
Low Frequency Equalizer
High Frequency Equalizer
Modulation
Volume
Velocity
Release
Attack
Decay
FADER
FADER OPT SELECT
ON
FADER OPT
OFF
FADER OPT
ON
1.2.3.
1 2 3
As shown above, in addition to standard MIDI controllers, the faders can be used to control the
waveform envelope as well as relative synthesizer frequency amplitudes. When the FADER OPT and
FADER OPT SELECT switches are engaged or disengaged to change the functions of the faders,
the faders must be moved in order to send new data controlling the new parameter. If the fader is left
stationary, no data should be sent, but occasionally there may be data sent from a fader at rest, due
to electromagnetic interference or acoustic vibration causing small movement of the fader control.
The following messages are sent by faders 1, 2, and 3 when FADER OPT is OFF (MVV):
CC Bnh 01h Modulation
CC Bnh 07h Volume
CC Bnh 3Fh (to signal change of Key Velocity, sent only when TUNED OUTPUT is OFF)
The following messages are sent when FADER OPT is ON and FADER OPT SELECT is OFF (ADR):
NRPN 0163h Envelope Attack Time (40h = no modification)
NRPN 0164h Envelope Decay Time (40h = no modification)
NRPN 0166h Envelope Release Time (40h = no modification)
The following messages are sent when FADER OPT and FADER OPT SELECT are both ON (LMH):
NRPN 3700h Low Frequency Equalizer (bass) 0 = -12 dB, 40h = 0 dB, 7Fh = +12 dB
NRPN 3701h and 3702h Middle Frequency Equalizer 0 = -12 dB, 40h = 0 dB, 7Fh = +12 dB
NRPN 3703h High Frequency Equalizer (treble) 0 = -12dB, 40h = 0dB, 7Fh = +12 dB
NOTE: the fader option parameters (ADR and LMH) are global, affecting all patches,
and are not stored in memory. The Modulation function of fader 1 may control either
MIDI Modulation or Global Pitch Bend, according to the setting of DIP switch 7 (see
section 9).
The horizontal fader marked PANNING always sends CC Bnh 0Ah.
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Local Control Switch
The switch called LOCAL CONTROL on TPX2s/4s/6 provides a way to disconnect MIDI traffic coming
from the keyboard. This setting should be used when you wish to control the synthesizer from an
external source such as a sequencer. When LOCAL CONTROL is set to OFF, the blue LED lights up
and the keyboard no longer generates MIDI data; however, incoming MIDI data is still sent to the
internal synthesizer. This function is unlike standard LOCAL OFF control, where MIDI data is still sent
from the keyboard. The reason for this is that MIDI channel control may possibly be in conflict if MIDI
data input and MIDI output are both allowed to directly control the internal synthesizer when
bypassing the internal dynamic channel allocation algorithm.
Octave Buttons
The octave buttons do not simply transpose MIDI Notes by octaves. Instead, they control which
tuning table registers are accessed by the MIDI Notes played. So, the word “octave” in this case
should be understood to mean a tuning table MIDI map octave as described in section 3.
7. External MIDI Devices
This section gives some basic information about using external MIDI controllers and tone modules
with TPX2s/4s. Information on working with a sequencer will be made available in a separate
document.
Controllers
All MIDI controllers connected to MIDI IN will be compatible with TPX2s/4s, including keyboard
controllers, ribbon controllers, breath controllers, wind controllers, MIDI guitars, etc.
Standard Synthesizers and Samplers
Synthesizers and samplers connected to MIDI OUT should be MULTITIMBRAL. Check the MIDI
Implementation Chart of any unit you will be connecting. The following parameters must be there:
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YOUR SYNTHESIZER’S MIDI IMPLEMENTATION CHART
FUNCTION
TRANSMITTED
RECOGNIZED
REMARKS
Pitch Bend
(X or O)
O
Channels 1-16
Control Change
(X or O)
O
Data Entry MSB
6
100, 101
(X or O)
O
RPN MSB, LSB
MODE 1: OMNI ON, POLY X = No O = Yes
There may be some menu settings on the external unit which you will need to configure to satisfy the
requirements outlined above.
NOTE: If MIDI Pitch Bend messages are not recognized, the external device
connected to MIDI OUT with TUNED OUTPUT switched ON will not be retuned!
Natively Microtonal Synthesizers and Samplers
Hardware or software synthesizers and samplers which already have native microtonal support can
be controlled by TPX2s/4s/6 using either MIDI THRU or MIDI OUT with TUNED OUTPUT switched to
OFF. In each case, TPX2s/4/s/6 will send standard MIDI Note messages and the retuning will take
place in the external unit.
Startup Sequence
The following startup sequence should always be used with TPX2s/4s/6 and anything connected to
it:
1. Turn on any external units connected to MIDI OUT or MIDI THRU
2. Turn on TPX2s/4s
3. Turn on any external controller connected to MIDI IN
NOTE: TPX2s/4s/6 will do nothing in response to an Active Sensing external
controller if the controller is turned on before TPX2s/4s.
8. Sequencer / MIDI Footswitch Control
TPX2s/4s/6 can receive MIDI instructions remotely from many kinds of controllers, including
sequencers, notation programs and MIDI footswitches. In addition to NOTE ON and NOTE OFF
messages, TPX2s/4s/6 responds to other MIDI messages which can be used to control the currently
selected bank, patch, and tuning table independent of TPX2s/4s/6 physical controls. This way, MIDI
sequences and live performances can employ a number of different patches and tunings without
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ever having to touch the controls on TPX2s/4s. For this reason we will refer to such control as
Remote (not to be confused with wireless control).
Patch Changes
TPX2s/4s/6 responds to remote messages received on any channel. One simple message
recognized is Patch Change, which is Status byte 192-208 for channels 1-16. The Status byte
should be followed by one Data byte. The MIDI message format for this message is shown below.
Patch Change on Channel (192 - 208 = 1 - 16), Patch (0-127)
Bank Select
TPX2s/4s/6 responds to several MIDI Continuous Controller (CC) messages. Controller messages are
MIDI Status bytes 176-190 for channels 1-16. The Status byte should be followed by a Controller ID
byte and then a Data byte. Bank Select MSB and LSB messages are both recognized.
Controller on Channel (176 - 190 = 1 - 16), Bank Select MSB, LSB (0, 32), Bank (0-127)
TPX2s/4s/6 must be configured to send Bank Select messages in the format recognized by your
synthesizer, and this format is used by TPX2s/4s/6 for both sending and receiving Bank Select
messages. For more information, see the Appendix: Bank Select DIP Switch.
Tuning Table Changes
Other controller messages allow remote selection of TPX2s/4s/6 tuning tables. Three messages are
available which differ in the way that held notes are handled. These are Undefined Controllers,
numbers 116-118 (formerly 80-82). A Controller Status byte is followed by an ID byte and Data byte.
Controller on Channel (176 - 190 = 1 - 16), Controller ID (116-118), Tuning Table (0-127)
If notes are sustaining in one tuning and you want them to remain sounding in that tuning even after
the tuning table has been changed, use Controller ID number 116. If instead you want held notes to
change immediately to a new tuning, you have two options. The first is Controller ID number 117 in
which notes currently sounding are restruck with pitches in the new tuning. Controller ID number 118
shifts (bends) currently held notes to new pitches without restriking, but the changes in pitch for each
note are limited within the range of a 12ET halfstep.
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 19
9. DIP Switches
987654321
BANK
FORMAT
SYSEX
ON / OFF
BEND /
MOD
VELOCITY
BANDWIDTH
BEND
TIMING
SYSEX
TIMING
SUSTAIN
POLARITY
DIPs 1 & 2: Bank Select Format
According to the MIDI Specification, manufacturers may use Bank Select messages CC0 or CC32, or
both. TPX2s/4s/6 sends Bank Select messages to MIDI OUT, and also recognizes Bank Select
messages received at MIDI IN. If you find that bank switching is not being handled correctly, the
TPX2s/4s/6 DIP switches should be adjusted. Only switches 1 and 2 are used for the Bank Select
message. With only 4 possible combinations, trial and error may be faster than digging for information
in your synthesizer manual.
Default: Bank Select CC0
Option: Bank Select CC32
Option: Bank Select CC0, CC32
Option: Bank Select CC32, CC0
1 OFF : One byte message
2 OFF : Message is CC0
1 OFF : One byte message
2 ON : Message is CC32
1 ON : Two byte message
2 OFF : Message is CC0, CC32
1 ON : Two byte message
2 ON : Message is CC32, CC0
12432121212
1
To change the bank select format, turn the unit OFF, change the position of DIP switches 1 and 2,
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 20
and turn the unit back ON.
DIP 3: Pitch Bend Response Timing
Synthesizers from various manufacturers respond differently to Pitch Bend messages in terms of
timing. In order to produce pitches always sounding properly tuned, such that the Pitch Bend is not
audible after a note has begun sounding, TPX2s/4s/6 sends MIDI Pitch Bend messages before MIDI
Note messages with a default timing gap of less than 5 milliseconds between the two messages. This
gap is well below the average perceptual threshold (some sources place this threshold as high as 35
ms). In some cases, a synthesizer or sequencer might quantize the timings of incoming MIDI data
such that the default gap is not enough, and a pitch may bend audibly after it is sounding, even
though the Pitch Bend message was sent in advance of the Note message. In this case, the Pitch
Bend Response Timing DIP switch should be adjusted. Switch 3 is used for this purpose. Timing may
be adjusted from the default of less than 5 ms to 15 ms, as shown below.
ON
Default: 0 ms
Option: ~ 10 ms
3 OFF : 0 ms
3 ON : ~10 ms
123
3
To change the pitch bend response timing, turn the unit OFF, change the position of DIP
switch 3, and turn the unit back ON.
DIP 4: Sysex Retransmission
By default, TPX2s/4s/6 ignores all sysex messages which are not table programming messages;
however, you may want TPX2s/4s/6 to retransmit other sysex messages which it receives. Switch 4 is
used for this purpose. A 120 ms recovery timing gap is controlled by DIP switch 9, for compatibility
with older equipment. To change the sysex retransmission function, turn the unit OFF, change the
position of DIP switch 4, and turn the unit back ON. NOTE: Switching DIP 4 ON may cause tuning
errors! Always turn 4 OFF before sending tuning tables.
Default: Sysex Retransmit OFF
Option: Sysex Retransmit ON
4 OFF : Sysex is not retransmitted
4 ON : Sysex is retransmitted
1
2
ON
442
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 21
DIPs 5 & 6: Velocity Randomization Bandwidth
The keys of TPX2s/4s/6 are not velocity sensing, which means that the MIDI NOTE messages will be
sent from the unit with a constant velocity value. In some situations, constant velocity is preferable,
such as when controlling organ or harpsichord sounds; however, many patches will sound more
natural with some variation in the output velocities. To achieve more natural sounding output without
velocity sensing keys, a velocity randomization function may be used. DIP switches 5 and 6 control
the bandwidth of this randomization, from ± 0 to ± 15.
Default: Velocity Bandwidth = 0
Option: Velocity Bandwidth = 10
5 OFF : ± 0
6 OFF : ± 0
5 OFF : ± 0
6 ON : ± 5
5 ON : ± 10
6 OFF : ± 0
5 ON : ± 10
6 ON : ± 5
12436565656
5
Default: Velocity Bandwidth = 20
Default: Velocity Bandwidth = 30
The velocity fader or pedal control is used to vary the overall velocity output. When either DIP
switches 5 or 6 are ON, the velocity fader value serves as the center of a randomized velocity band.
For example, if the velocity fader is located around the value 80, and setting 2 above is used (where
DIP switch 6 is ON), the velocity values in the output will vary randomly between 75 and 85. To
change the velocity randomization settings, turn the unit OFF, change the positions of DIP switches 5
and 6 to the desired function, and turn the unit back ON.
DIP 7: Global Pitch Bend Mode
Because the Tonal Plexus uses MIDI Pitch Bend to retune pitches, the conventional expectation of
Pitch Bend control is lost. However, the internal synthesizer allows global pitch to be altered using a
special MIDI Modulation Pitch mode, which is part of the Roland GS standard. Using a combination of
MIDI messages to initialize global transposition and Modulation parameters at startup, the
conventional Pitch Bend function can be imitated, in which the MOD Fader controls global pitch. In
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 22
this mode, the center position of the MOD fader gives unmodified pitch, the top position bends pitch
up a 12ET wholestep, and the bottom position bends the pitch down a 12ET wholestep. To engage
this mode, turn the unit OFF and switch DIP switch 7 to the ON position, and then turn the unit back
ON.
Default: Pitch Bend Mode OFF
Option: Pitch Bend Mode ON
7 OFF : MOD Fader Controls Modulation
7 ON : MOD Fader Controls Global Pitch
12772
When DIP switch 7 is ON, the following MIDI sysex messages are sent to the internal synthesizer at
startup:
Global transposition set down one 12ET wholestep:
FOh 41h 00h 42h 12h 40h 00h 05h 3Eh 00h F7h
Modulation Pitch Range set to a 12ET Major 3rd: (n = all channels)
FOh 41h 00h 42h 12h 40h 2nh 00h 44h 00h F7h
Modulation LFO Amplitude set to Null: (n = all channels)
FOh 41h 00h 42h 12h 40h 2nh 04h 00h 00h F7h
NOTE: DIP 7 ON will affect the internal synthesizer only, and may confuse external
MIDI gear unless that gear recognizes Roland GS sysex messages.
DIP 8: Sustain Pedal Polarity
Sustain pedals are simple switches which may be either normally open (NO) or normally closed (NC).
If you find that your sustain pedal gives reversed results (notes sustain when the pedal is UP) then
turn the unit OFF, change the position of DIP switch 8, and turn the unit back ON.
Default: SUSTAIN POLARITY -
Option: SUSTAIN POLARITY +
8 OFF : Sus Pedal is an NO switch
8 ON : Sus Pedal is an NC switch
12882
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 23
DIP 9: Sysex Recovery Timing
When using DIP 4 ON to retransmit sysex data, you may need to use DIP switch 9 to add a
short delay to the retransmission, particularly if your unit is older.
Default: Sysex Recovery OFF
Option: Sysex Recovery ON
9 OFF : Sysex is retransmitted immediately
9 ON : Sysex retransmission is delayed 20ms
12992
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 24
APPENDIX
General MIDI Patch List
BANK 000
000 Grand Piano
001 Bright Piano
002 Electric Piano
003 Honkytonk Piano
004 Rhodes Piano
005 Cheezy Piano
006 Harpsichord
007 Clavichord
008 Celesta
009 Glockenspiel
010 Music Box
011 Vibraphone
012 Marimba
013 Xylophone
014 Tubular Bells
015 Dulcimer
016 Draw Organ
017 Percussive Organ
018 Rock Organ
019 Church Organ
020 Reed Organ
021 Accordion
022 Harmonica
023 Tango Accordian
024 Nylon Guitar
025 Steel Guitar
026 Jazz Guitar
027 Clean Guitar
028 Muted Guitar
029 Overdrve Guitar
030 Distorted Guitar
031 Harmonics
032 Acoustic Bass
033 Upright Bass
034 Picked Bass
035 Fretless Bass
036 Slap Bass
037 Bright Bass
038 Synth Bass
039 Synth Upright
040 Violin
041 Viola
042 Cello
043 Contrabass
044 Tremolo Strings
045 Pizzicato
046 Harp
047 Timpani
048 String Ensemble
049 Cheezy Ensemble
050 Synth Strings
051 Mod Synth
052 Choir Aahs
053 Voice Doos
054 Synth Voice
055 Orchestral Hit
056 Trumpet
057 Trombone
058 Tuba
059 Harmon Trumpet
060 Horn
061 Synth Trumpet
062 Mod Brass 1
063 Mod Brass 2
064 Soprano Sax
065 Alto Sax
066 Tenor Sax
067 Baritone Sax
068 Oboe
069 English Horn
070 Bassoon
071 Clarinet
072 Piccolo
073 Flute
074 Recorder
075 Chiff Flute
076 Glass Flute
077 Cheezy Flute
078 Whistle
079 Blockflöte
080 Square Lead
081 Saw Lead
082 Calliope
083 Bendup Lead
084 Electric Lead
085 Voice Lead
086 Mod Fifths
087 Fat Lead
088 Vibe Pad
089 Warm Pad
090 Polysynth Pad
091 Choir Pad
092 Glassy Pad
093 Steel Wool
094 Partial Sweep
095 Sweeping Pad
096 Synth Rain FX
097 Synth Fifths
098 Synth Chimes
099 Plucky Synth
100 Bright Aahs
101 Synth Goblin
102 Oi
103 Harsh Synth
104 Bendup Sitar
105 Banjo
106 Shamisen
107 Koto
108 Kalimba
109 Bagpipe
110 Fiddle
111 Regal
112 Bells
113 Agogo
114 Twangy Tines
115 Woodblock
116 Taiko Drum
117 Melodic Tom
118 Synth Drum
119 Reverse Cymbal
120 Guitar Fret Noise
121 Bad Breath
122 Seashore
123 Tweety Bird
124 Telephone
125 Helicopter
126 Applause
127 Gunshot
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 25
General MIDI Patch List
BANK 127
000 GrandPiano
001 BrightPiano1
002 BrightPiano2
003 ElectricPno1
004 ElectricPno2
005 ElecTines1
006 ElecTines2
007 HonkeyTonk
008 FlutterOrgan
009 DrawbarOrgan
010 TonewheelOrg
011 ChorusOrgan
012 FullOrgan1
013 FullOrgan2
014 FullOrgan3
015 Accordian
016 Harpsichord1
017 Hrapsichord2
018 Hrapsichord3
019 Clavichord1
020 Clavichord2
021 Clavichord3
022 Celesta1
023 Celesta2
024 SynthBrass
025 SlowBrass
026 SynthBrass2
027 SlowBrass2
028 SynBass1
029 SynthBass1
030 SynBass2
031 SynthBass2
032 CheezElectrc
033 HurdyGurdy
034 SynthAHHs
035 BowedGlass
036 ModFifths
037 PluckySynth
038 SynthChimes
039 Bagpipes
040 Bells
041 RainFX
042 Oboe
043 ChiffFlute
044 Sawtooth
045 HarshSynth
046 TubularBells
047 SquareWave
048 SynthStrings
049 TremoloStrng
050 SlowStrings
051 Pizzicato
052 Violin
053 Viola
054 Cello1
055 Cello2
056 Contrabass
057 Harp1
058 Harp2
059 NyolonGuitar
060 SteelString
061 CleanGuitar
062 FunkyGuitar
063 BendUpSitar
064 AcousticBass
065 UprightBass
066 PluckedBass
067 Fretless1
068 SlapBass1
069 SlapBass2
070 Fretless2
071 Fretless3
072 Flute1
073 Flute2
074 Piccolo1
075 Piccolo2
076 Recorder
077 PanFlute
078 SopranoSax
079 AltoSax
080 TenorSax
081 BaritoneSax
082 Clarinet1
083 Clarinet2
084 Oboe
085 EnglishHorn
086 Bassoon
087 Harmonica
088 Trumpet
089 HarmonTrmpt
090 Trombone1
091 Trombone2
092 Horn1
093 Horn2
094 Tuba
095 ModBrass1
096 ModBrass2
097 Vibes1
098 Vibes2
099 Kalimba
100 OrchBells
101 Glockenspiel
102 TubularBells
103 Xylophone
104 Marimba
105 Koto
106 TaishoKoto
107 Shakuhachi
108 Whistle1
109 Whistle2
110 Bottles
111 WeakFlute
112 Timpani
113 TomToms
114 BassDrum
115 SynthTom1
116 SynthTom2
117 TaikoDrum1
118 TaikoDrum2
119 ReversCymbal
120 BrakeDrum1
121 BrakeDrum2
122 OrchHit
123 Telephone
124 Birdy
125 Helicopter
126 Shimmering
127 UselessRain
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 26
MIDI Implementation Chart
FUNCTION
TRANSMITTED
RECOGNIZED
REMARKS
Pitch Bend
O
X
Channels 1-16
14-bit
MSB, LSB
Control Change
Aux
O
See p. _
X = No O = Yes
X
Active Sensing
O
O
O
O
O
O
O
Bank Select MSB
Bank Select LSB
Data Entry MSB
Data Entry LSB
Sustain
RPN MSB, LSB
See 1 below
0
32
6
38
64
100, 101
0 - 115, 119-127
Velocity
O
O
Channels 1-16
Note OFF
O
O
Channels 1-16
Note ON
O
O
Channels 1-16
1. Effects of Received Messages: (Presets are not altered by these messages)
Bank Select: changes the bank.
Program Change: changes the patch.
Controller 116: changes the tuning table, held keys remain sounding old pitches
Controller 117: changes the tuning table, held keys restrike with new pitches
Controller 118: changes the tuning table, held keys bend into new pitches
NOTE: Pitch bending without restriking is limited to the range of a 12ET halfstep.
All other controller messages are retransmitted on all currently engaged channels.
2. Sysex retransmission is controlled by DIP switch 4, recovery timing by DIP switch 9.
Program Change
O
O
Channels 1-16
System Exclusive
O3O
2
See p. _
O1O1O1O1O
1
O
1
O
1
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 27
System Exclusive Messages
Programming a tuning table note (24 bytes)
F0 - SysEx start
00 - first ID
21 - second ID
7F - third ID
01 - Device ID
00 - Message ID
tt - tuning table number (0..127 / 00..7F)
ll - octave channel number* (0..16 / 00..0F)
kk - channel note number (0..127 / 00..7F)
nn - MIDI note (0..127 / 00..7F)
pp - Pitch Bend MSB (0..127 / 00..7F)
pp - Pitch Bend LSB (0..127 / 00..7F)
00 - not used
00 - not used
00 - not used
00 - not used
00 - not used
00 - not used
00 - not used
00 - not used
00 - not used
00 - not used
00 - not used
F7 - SysEx end
TPX2s/4s/6 responds with Key Record Dump:
F0 - SysEx start
nn - Note number (0-127)
pp - Pitch Coarse value (0-127)
pp - Pitch Fine value (0-127)
00 - not used
F7 - SysEx end
Programming a tuning table name (24 bytes)
F0 - SysEx start
00 - first ID
21 - second ID
7F - third ID
01 - Device ID
01 - Message ID
tt - tuning table number (0..127 / 00..7F)
cc - name, character 1
cc - name, character 2
cc - name, character 3
cc - name, character 4
cc - name, character 5
cc - name, character 6
cc - name, character 7
cc - name, character 8
cc - name, character 9
cc - name, character 10
cc - name, character 11
cc - name, character 12
cc - name, character 13
cc - name, character 14
cc - name, character 15
cc - name, character 16
F7 - SysEx end
NOTE: characters must be in ASCII format.
* see MIDI channel and note number assignments per octave in Section 3: Tuning Tables
Between sending a table name and a tuning table note, there must be at least 100 ms pause. There
must be 50 ms pause between sending successive table notes.
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 28
Troubleshooting
There is no output from the internal synthesizer.
• Is the ampifier volume at or near zero?
• Are the Volume and Velocity faders at or near zero?
• Is the tuning table empty?
if you have followed these instructions and there
is still no output, please email contact@h-pi.com
I hear two pitches from an external MIDI synthesizer or sampler when I play a single key.
Your synthesizer’s LOCAL CONTROL is ON. Turn LOCAL CONTROL OFF.
YES
Boost the volume or faders, or choose a
tuning table which is not empty.
NO Reboot the unit.
• Do you have only one MIDI channel engaged on TPX2s./4s? See section 4.
• Is the synthesizer compatible? See section 7.
• Is the synthesizer in Multitimbral MIDI mode? See your synthesizer owners manual.
I hear only one pitch from an external MIDI synthesizer or sampler and it bends audibly.
• Does the synthesizer have MIDI input enabled on all selected channels? see section 4
• Is the synthesizer filtering incoming MIDI data? see your synthesizer owners manual.
Some notes do not sound on an external MIDI synthesizer or sampler.
A key is sticking.
Rotate the key. If this does not free the key, you may need to use the tip of the bade of an X-
acto knife to remove foreign material from the opening around the key. In an extreme case you
may need to use th blade to increase the size of the opening so that the key moves freely.
There is only very high pitched output from the internal synthesizer from every key.
The tuning table is empty. Use a programmed tuning table or program the tuning table.
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 29
Pitches are tuned incorrectly on a external MIDI synthesizer or sampler.
YES
• The patches you are using could be altering the
Pitch Bending response. Try some other patches.
• Check your synthesizer user manual; the
synthesizer may have a fixed Pitch Bend range; .
in which case your tuning tables must be
specially created for this range, see Tuning Box
Editor documentation.
• Turn DIP Switch 4 OFF. See section 9.
NO
• Most likely the synthesizer was
accidentally reset and this canceled
previously received Pitch Bend range
setting messages.
• The first patch you were using may alter
Pitch Bending response, try it again.
NO
Synthesizer MIDI IN must be connected
to TPX2s/4s/6 MIDI OUT.
If your synthesizer is compatible according to its MIDI Implementation chart, you have followed
these instructions and pitches are still not tuned correctly, please email contact@h-pi.com
Is MIDI IN of the synthesizer connected to TPX2s/4s/6 MIDI THRU?
YES
TPX2s/4s/6 MIDI THRU gives untuned output.
Connect the synthesizer to TPX2s/4s/6 MIDI OUT.
Are the pitches still incorrect?
Pitches of an external MIDI synthesizer or sampler are bending after they sound.
NO
The synthesizer is smoothing data
between Pitch Bend values, or it is
quantizing the timings of incoming MIDI
messages. Increase the Pitch Bend
Response Timing. See section 9:
Pitch Bend Response Timing DIP
Switches
Does the selected patch use MIDI Portamento?
YES
Pitches bending audibly is the correct result for
patches using MIDI Portamento, and will also
result when Portamento ON has been sent to a
MIDI Channel. Try a different patch or turn
Portamento OFF. Portamento is MIDI CC65, and
Portamento Time is controlled by CC5 (MSB) and
CC37 (LSB).
If pitches are still bending audibly after they begin sounding, please email contact@h-pi.com
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 30
TPX2s/4s/6 Technical Specification
Tuning Tables
Tuning Protocol
Tuning Resolution
Physical Controls
Polyphony
Display
Power
2048 notes per table, 1688 notes accessed by keyboard
32 User Programmable Tuning Tables (no protected registers)
32 x 2048 Notes = 65,536 pitches stored in nonvolatile memory
MIDI Pitch Bend using a Dynamic Channel Allocation Algorithm
with Sustain Pedal Support
Pitch Bend Resolution: 14 bit
Pitch Bend Range: ±1 semitone
98,304 steps per octave
0.01 ¢ steps
0.005 ¢ greatest error
Jog Dial / button, Local Control switch, Fader Opt Select switch,
Fader Opt switch, Tuned Output switch, 16 MIDI channel switches,
16 Tables Preset buttons, 16 Patches Preset buttons, 2 Octave
buttons, 9 DIP switches, Power switch. 4 faders.
Selectable Polyphony: 1-16 voices, monotimbral
20 x 2 LCD character display with backlight
Physical Dimensions
Weight
Accessories
MIDI
IN, OUT, THRU ports; General MIDI compatibility
Source: 12VDC Consumption: < 3 A
2: 18.5 x 9.5 x 3 in. 48 x 25 x 8 cm.
4: 30.5 x 9.5 x 3 in. 78 x 25 x 8 cm
2s: 18.5 x 13.5 x 3 in. 48 x 37 x 8 cm.
4s: 30.5 x 13.5 x 3 in. 78 x 37 x 8 cm
6: 18.5 x 9.5 x 3 in. 108 x 25 x 8 cm.
2: 7.5 lbs, 3.4 kg 2s: 7.5 lbs, 3.4 kg
4: 12 lbs, 5.4 kg 4s: 12 lbs, 5.4 kg
6: 7.5 lbs, 3.4 kg
1 Power adapter (included) MIDI cables
1 Sustain Pedal Audio Cables
2 Lo-Z (20 kOhm) Volume Pedals
Latency: less than 5 ms, Selectable 15 ms
Audio
Amplifier: 2 x 22 Watts, THD = 0.1% Low / High ƒ rolloffs = -1 dB
Speakers: Polypropylene Woofer, Mylar dome Tweeter, 4 Ohms
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 31
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