MOTU USB-MIDI, MIDI Timepiece AV-USB, MIDI Express XT-USB, micro express-USB User Manual

C M Y CM MY CY CMY K

!USB Interfaces Manual Book Page 0 Tuesday, October 10, 2000 12:43 PM

Mark of the Unicorn License Agreement and Limited
Warranty on Software

TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all
the terms and conditions of this agreement before using this software package.
Using this software package indicates your acceptance of the terms and conditions
of this license agreement.

Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation.
Both the program and the documentation are protected under applicable copyright
laws. Your right to use the program and the documentation are limited to the terms
and conditions described herein.

License

YOU MAY: (a) use the enclosed program on a single computer; (b) physically
transfer the program from one computer to another provided that the program is
used on only one computer at a time and that you remove any copies of the
program from the computer from which the program is being transferred; (c) make
copies of the program solely for backup purposes. You must reproduce and include
the copyright notice on a label on any backup copy.

YOU MAY NOT: (a) distribute copies of the program or the documentation to
others; (b) rent, lease or grant sublicenses or other rights to the program; (c)
provide use of the program in a computer service business, network, time-sharing,
multiple CPU or multiple user arrangement without the prior written consent of
MOTU; (d) translate or otherwise alter the program or related documentation
without the prior written consent of MOTU.

Term

Your license to use the program and documentation will automatically terminate if
you fail to comply with the terms of this Agreement. If this license is terminated you
agree to destroy all copies of the program and documentation.

Limited Warranty

MOTU warrants to the original licensee that the disk(s) on which the program is
recorded be free from defects in materials and workmanship under normal use for
a period of ninety (90) days from the date of purchase as evidenced by a copy of
your receipt. If failure of the disk has resulted from accident, abuse or misappli­cation of the product, then MOTU shall have no responsibility to replace the disk(s)
under this Limited Warranty.

THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF,
AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH
EXPRESS AND IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES
OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE
LIABILITY OF MOTU PURSUANT TO THIS LIMITED WARRANTY SHALL BE
LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND IN NO
EVENT SHALL MOTU BE LIABLE FOR INCIDENTAL OR CONSEQUENTIAL
DAMAGES, INCLUDING BUT NOT LIMITED TO LOSS OF USE, LOSS OF
PROFITS, LOSS OF DATA OR DATA BEING RENDERED INACCURATE, OR
LOSSES SUSTAINED BY THIRD PARTIES EVEN IF MOTU HAS BEEN
ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. THIS WARRANTY
GIVES YOU SPECIFIC LEGAL RIGHTS WHICH MAY VARY FROM STATE TO
STATE. SOME STATES DO NOT ALLOW THE LIMITATION OR EXCLUSION OF
LIABILITY FOR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION
MAY NOT APPLY TO YOU.

Update Policy

In order to be eligible to obtain updates of the program, you must complete and
return the attached Mark of the Unicorn Purchaser Registration Card to MOTU.

General

This License Agreement shall be governed by the laws of the Commonwealth of
Massachusetts and shall inure to the benefit of MOTU, its successors, adminis­trators, heirs and assigns.

Copyright Notice

Copyright © 2000, 1999 by Mark of the Unicorn, Inc. All rights reserved. No part of
this publication may be reproduced, transmitted, transcribed, stored in a retrieval
system, or translated into any human or computer language, in any form or by any
means whatsoever, without express written permission of Mark of the Unicorn,
Inc., 1280 Massachusetts Avenue, Cambridge, MA, 02138, U.S.A.

Limited Warranty on Hardware

Mark of the Unicorn, Inc. and S&S Research (“MOTU/S&S”) warrant this
equipment against defects in materials and workmanship for a period of NINETY
(90) DAYS from the date of original retail purchase. This warranty applies only to
hardware products; MOTU software is licensed and warranted pursuant to
separate written statements.

If you discover a defect, first write or call Mark of the Unicorn at [phone] to
obtain a Return Merchandise Authorization Number. No service will be performed
on any product returned without prior authorization. MOTU will, at its option, repair
or replace the product at no charge to you, provided you return it during the
warranty period, with transportation charges prepaid, to Mark of the Unicorn, Inc.,
1280 Massachusetts Avenue, MA 02138. You must use the product’s original
packing material for in shipment, and insure the shipment for the value of the
product. Please include your name, address, telephone number, a description of
the problem, and the original, dated bill of sale with the returned unit and print the
Return Merchandise Authorization Number on the outside of the box below the
shipping address.

This warranty does not apply if the equipment has been damaged by accident,
abuse, misuse, or misapplication; has been modified without the written
permission of MOTU, or if the product serial number has been removed or defaced.

ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE
LIMITED IN DURATION TO NINETY (90) DAYS FROM THE DATE OF THE
ORIGINAL RETAIL PURCHASE OF THIS PRODUCT.

THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE AND
IN LIEU OF ALL OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED. No
MOTU/S&S dealer, agent, or employee is authorized to make any modification,
extension, or addition to this warranty.

MOTU/S&S ARE NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR
CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF
WARRANTY, OR UNDER ANY LEGAL THEORY, INCLUDING LOST PROFITS,
DOWNTIME, GOODWILL, DAMAGE OR REPLACEMENT OF EQUIPMENT
AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR
REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH
MOTU/S&S PRODUCTS.

Some states do not allow the exclusion or limitation of implied warranties or liability
for incidental or consequential damages, so the above limitation or exclusion may
not apply to you. This warranty gives you specific legal rights, and you may have
other rights which vary from state to state.

MIDI Timepiece, MIDI Express, micro express and Mark of the Unicorn are
trademarks of Mark of the Unicorn, Inc.

This equipment has been type tested and found to comply with the limits for a class B digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with the instruction manual,
may cause harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause interference to radio
or television equipment reception, which can be determined by turning the equipment off and on, the
user is encouraged to try to correct the interference by any combination of the following measures:

• Relocate or reorient the receiving antenna

• Increase the separation between the equipment and the receiver

• Plug the equipment into an outlet on a circuit different from that to which the receiver is connected

If necessary, you can consult a dealer or experienced radio/television technician for additional
assistance.

PLEASE NOTE: only equipment certified to comply with Class B (computer input/output devices,
terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface
cables in order to comply with the Class B FCC limits on RF emissions.

WARNING: changes or modifications to this unit not expressly approved by the party
responsible for compliance could void the user's authority to operate the equipment.

!USB Interfaces Manual Book Page 1 Tuesday, October 10, 2000 12:43 PM

MOTU USB MIDI Interfaces

User’s Guide for Windows

MIDI Timepiece AV-USB

MIDI Express XT-USB

micro express-USB

Mark of the Unicorn, Inc.

1280 Massachusetts Avenue
Cambridge, MA 02138
Business voice: [phone]
Business fax: [phone]
Tech support fax: [phone]
Tech support email: [e-mail]
Web site: http://www.motu.com

!USB Interfaces Manual Book Page 2 Tuesday, October 10, 2000 12:43 PM

SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR OTHER MOISTURE.

CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.

WARNING: DO NOT PERMIT FINGERS TO TOUCH THE TERMINALS OF PLUGS WHEN INSTALLING OR REMOVING THE PLUG TO OR FROM THE OUTLET.

WARNING: IF NOT PROPERLY GROUNDED THE MOTU USB MIDI interface COULD CAUSE AN ELECTRICAL SHOCK.

The MOTU USB MIDI interface is equipped with a three-conductor cord and grounding type plug which has a grounding prong, approved by Underwriters' Laboratories and the Canadian Standards
Association. This plug requires a mating three-conductor grounded type outlet as shown in Figure A below.

If the outlet you are planning to use for the MOTU USB MIDI interface is of the two prong type, DO NOT REMOVE OR ALTER THE GROUNDING PRONG IN ANY MANNER. Use an adapter as
shown below and always connect the grounding lug to a known ground. It is recommended that you have a qualified electrician replace the TWO prong outlet with a properly grounded THREE prong
outlet. An adapter as illustrated below in Figure B is available for connecting plugs to two-prong receptacles.

Figure A Figure B

Grounding lug

Screw

3-prong plug

3-prong plug

Make sure this is connected
to a known ground.

Grounding prong

Properly grounded 3-prong outlet

Two-prong receptacle

Adapter

WARNING: THE GREEN GROUNDING LUG EXTENDING FROM THE ADAPTER MUST BE CONNECTED TO A PERMANENT GROUND SUCH AS TO A
PROPERLY GROUNDED OUTLET BOX. NOT ALL OUTLET BOXES ARE PROPERLY GROUNDED.

If you are not sure that your outlet box is properly grounded, have it checked by a qualified electrician. NOTE: The adapter illustrated is for use only if you already have a properly grounded two-prong
receptacle. Adapter is not allowed in Canada by the Canadian Electrical Code. Use only three wire extension cords which have three-prong grounding type plugs and three-prong receptacles which
will accept the MOTU USB MIDI interface plug.

IMPORTANT SAFEGUARDS

1. Read instructions - All the safety and operating instructions should be read before operating the MOTU USB MIDI interface.

2. Retain instructions - The safety instructions and owner's manual should be retained for future reference.

3. Heed Warnings - All warnings on the MOTU USB MIDI interface and in the owner's manual should be adhered to.

4. Follow Instructions - All operating and use instructions should be followed.

5. Cleaning - Unplug the MOTU USB MIDI interface from the computer before cleaning and use a damp cloth. Do not use liquid or aerosol cleaners.

6. Overloading - Do not overload wall outlets and extension cords as this can result in a risk of fire or electrical shock.

7. Power Sources - This MOTU USB MIDI interface should be operated only from the type of power source indicated on the marking label. If you are not sure of the type of power supply to your location, consult your local power company.

8. Power-Cord Protection - Power-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them. Pay particular attention to cords and plugs, convenience receptacles, and
the point where they exit from the MOTU USB MIDI interface.

9. Lightning - For added protection for the MOTU USB MIDI interface during a lightning storm, unplug it from the wall outlet. This will prevent damage to the MOTU USB MIDI interface due to lightning and power line surges.

10. Servicing - Do not attempt to service this MOTU USB MIDI interface yourself as opening or removing covers will expose you to dangerous voltage and other hazards. Refer all servicing to qualified service personnel.

11. Damage Requiring Service - Unplug the MOTU USB MIDI interface from the computer and refer servicing to qualified service personnel under the following conditions.

a. When the power supply cord or plug is damaged.
b. If liquid has been spilled or objects have fallen into the MOTU USB MIDI interface.
c. If the MOTU USB MIDI interface has been exposed to rain or water.
d. If the MOTU USB MIDI interface does not operate normally by following the operating instructions in the owner's manual.
e. If the MOTU USB MIDI interface has been dropped or the cabinet has been damaged.
f. When the MOTU USB MIDI interface exhibits a distinct change in performance, this indicates a need for service.

12. Replacement Parts - When replacement parts are required, be sure the service technician has used replacement parts specified by the manufacturer or have the same characteristics as the original part. Unauthorized substitutions
may result in fire, electric shock or other hazards.

13. Safety Check - Upon completion of any service or repairs to this MOTU USB MIDI interface, ask the service technician to perform safety checks to determine that the product is in safe operating conditions.

ENVIRONMENT

Operating Temperature: 10°C to 40°C (50°F to 104°)

AVOID THE HAZARDS OF ELECTRICAL SHOCK AND FIRE

Do not handle the power cord with wet hands. Do not pull on the power cord when disconnecting it from an AC wall outlet. Grasp it by the plug.

INPUT

Line Voltage: 100 - 120 volts AC, RMS (US and Japan) or 220 - 250 volts AC, RMS (Europe). Frequency: 47 - 63 Hz single phase. Power: 7 watts maximum.

CAUTION: DANGER OF EXPLOSION IF BATTERY IS REPLACED. REPLACE ONLY WITH THE SAME OR EQUIVALENT TYPE RECOMMENDED BYMANUFAC­TURER. DISPOSE OF USED BATTERY ACCORDING TO MANUFACTURER’S INSTRUCTIONS.

!USB Interfaces Manual Book Page iii Tuesday, October 10, 2000 12:43 PM

CHAPTER

Contents

Part I: For All Users

Packing List and

7

Computer Requirements

Installing Your MOTU Interface

9

19

Installing the MOTU USB MIDI Driver and
Console Software

21

SMPTE Sync and MMC with a Windows
Sequencer

Part II: For XT & Micro Users

Working with Presets

27

Using Micro Express Console

31

Using MIDI Express XT Console

51

SMPTE Synchronization

71

77

MIDI Machine Control

Part III: For MTP AV Users

83

Using MIDI Timepiece AV Console

Using the Front Panel LCD

101

Synchronization with the AV

117

MIDI Machine Control with the AV

131

Synchronizing Pro Tools with the AV

137

Part IV: Appendices

141

Glossary

145

SMPTE Synchronization Basics

149

Troubleshooting and Customer Support

153

Index

III

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IV

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Part I

For All Users

All Users

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All Users

Packing list Page 7 Tuesday, August 28, 2001 4:35 PM

CHAPTER

1

Packing List and
Computer Requirements

THANK YOU FOR CHOOSING MOTU

Thank you for purchasing a MOTU USB MIDI
interface. Please read the important information in
this chapter before using it.

PLEASE REGISTER TODAY

Please send in the registration card included with
your MOTU MIDI interface. As a registered user,
you will be eligible to receive on-line technical
support email and announcements about product
enhancements as soon as they become available.
Only registered users receive these special update
notices, so please, complete and mail this
registration card!

Thank you for taking the time to register your new
Mark of the Unicorn product!

PACKING LIST

Your MOTU USB MIDI Interface is shipped with
the items listed below. If any of these items are not
present when you first open the box, please
immediately contact your dealer or Mark of the
Uni cor n.

■

MOTU USB MIDI Interface

■

Power cord

■

USB cable

■

CD with software drivers

MIDI CABLES NOT INCLUDED

To connect each of your MIDI devices to your
MOTU MIDI interface, you need MIDI cables,
purchased separately. Talk to your music dealer to
decide how many you need.

COMPUTER REQUIREMENTS

Your MOTU MIDI interface will run with any
USB-equipped PC compatible running
Windows 2000, Windows Me or Windows 98.

MIDI SOFTWARE COMPATIBILITY

Your MOTU USB MIDI Interface works with all
MIDI software that operates under Windows 2000,
Windows Me or Windows 98.

GETTING STARTED

Follow the directions in the next few chapters of
this guide to successfully install and begin using
your new MOTU USB MIDI interface.

FAMILIARITY WITH WINDOWS

This manual assumes that your are familiar with
using a Windows computer. If not, please review
your Windows User’s Guide before proceeding.

VISIT OUR WEB SITE FOR SOFTWARE
UPDATES

Driver updates are posted on our web site as soon
as they become available, so check our web site for
the latest drivers: www.motu.com

■

Manual

■

Product registration card

7

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8

PACKING LIST AND COMPUTER REQUIREMENTS

!USB Interfaces Manual Book Page 9 Tuesday, October 10, 2000 12:43 PM

CHAPTER

2

Installing Your MOTU Interface

FOR ALL MOTU INTERFACE MODELS

Connecting the power cord. . . . . . . . . . . . . . . . . . . 9

Connecting a USB computer . . . . . . . . . . . . . . . . .9

Connecting MIDI gear. . . . . . . . . . . . . . . . . . . . . . .9

MIDI connections worksheet . . . . . . . . . . . . . . . .11

SMPTE Time Code sync connections. . . . . . . . .12

Connecting a pedal or foot switch. . . . . . . . . . . .13

Connecting an audio click source . . . . . . . . . . . .13

Connecting multiple USB interfaces . . . . . . . . . .17

Connecting multiple USB interfaces . . . . . . . . . .17

FOR MIDI TIMEPIECE AV USERS

Connecting ADATs . . . . . . . . . . . . . . . . . . . . . . . . .14

Connecting Video . . . . . . . . . . . . . . . . . . . . . . . . . .14

Connecting Word clock . . . . . . . . . . . . . . . . . . . . .15

Connecting Pro Tools “SuperClock”. . . . . . . . . .15

Connecting an Alesis LRC. . . . . . . . . . . . . . . . . . .15

If you have several MOTU interfaces, see chapter 3,
“Installing Multiple Interfaces” (page 17).

The flat, “Type A” USB plug
connects to the computer.

Figure 2-1: You can plug the Type A connector into a Type A jack
directly on the computer itself, a USB keyboard connected to the
computer, or any other USB device already connected to the
computer that has an available Type A USB jack.

The square, “Type B” USB plug
connects to the MIDI interface.

Connecting a Macintosh . . . . . . . . . . . . . . . . . . . .16

CONNECTING THE POWER CORD

Plug the power cord into your MOTU MIDI
Interface and then plug the other end into a
grounded power outlet. We recommend that you
leave the interface switched off while making cable
connections during installation.

CONNECTING A USB COMPUTER

First, make sure that the interface’s power switch is
turned off. Using the USB cable included with your
MOTU MIDI interface, put the Type A plug into a
Type A USB jack on the computer, a USB hub, or
any other USB device connected to the computer
that has an available Type A USB jack. The USB
cable allows the computer to communicate with all
MIDI devices connected to your MOTU MIDI
interface.

Figure 2-2: The square Type B plug goes into your MOTU interface.

CONNECTING MIDI GEAR

Connect each MIDI device’s MIDI IN jack to a
MIDI OUT jack on your MOTU MIDI interface as
shown by Connection A below. Conversely,
connect the MIDI OUT jack on the MIDI device to
one of the MIDI IN jacks on your MOTU MIDI
interface as shown by Connection B.

9

!USB Interfaces Manual Book Page 10 Tuesday, October 10, 2000 12:43 PM

MOTU

MIDI interface

rear panel

MIDI

OUT

MIDI

Connection A

MIDI Device

cables

MIDI INMIDI

OUT

MIDI

IN

Connection B

Connecting additional gear with MIDI THRUs

If you use up all of the MIDI OUTs on your MOTU
MIDI interface, and you still have more gear to
connect, run a MIDI cable from the MIDI THRU
of a device already connected to the interface to the
MIDI IN on the additional device as shown below
in Figure 2-4. The two devices then share the same
MIDI OUT port on the MIDI interface. This means
that they share the same set of 16 MIDI channels,
so try to do this with devices that receive on only
one MIDI channel (such as effects modules) so
their receive channels don’t conflict with one
another.

Figure 2-3: Connecting a MIDI device to your MOTU MIDI interface. If
you are connecting a sound module or other device that does not
need to transmit MIDI data, you only need to make connection A
shown above. Conversely, if the device is a MIDI controller such as a
drum pad or guitar controller, you only need to make Connection B.

One-way MIDI connections

MIDI devices that do not receive MIDI data, such
as a dedicated keyboard controller, guitar
controller, or drum pad, only need Connection B
shown in Figure 2-3. Similarly, devices that never
send data, such as a sound module, only need
Connection A. However, if you plan to use editor/
librarian software with the sound module, or if you
need to get system exclusive bulk dumps from it,
make both connections. In general, make both
connections for any device that needs to both send
and receive MIDI data.

☛

MOTU MIDI interfaces do not require that
you use the same numbered MIDI IN and MIDI
OUT for each device, but experience shows that
your system will be easier to work with if you do.

MOTU

MIDI interface

rear panel

MIDI

OUT

MIDI

MIDI Device

Figure 2-4: Connecting additional devices with MIDI THRU ports.

IN

MIDI

THRU

MIDI

cable

MIDI IN

Additional device

10

INSTALLING YOUR MOTU INTERFACE

!USB Interfaces Manual Book Page 11 Tuesday, October 10, 2000 12:43 PM

MIDI CONNECTIONS WORKSHEET

Here’s a suggestion. If you have more than a few
pieces of gear connected to your MOTU MIDI
interface, jot down which device is connected to
each input and output in the worksheet below.

MIDI IN MIDI OUT

11

22

33

44

55

66

77

88

INSTALLING YOUR MOTU INTERFACE

11

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SMPTE TIME CODE SYNC CONNECTIONS

Your MOTU MIDI interface is both a SMPTE time

converter

code
locks (slaves) to incoming longitudinal SMPTE
time code (LTC) and converts it to MIDI Time
Code (MTC) and reshaped LTC. As a generator, it
produces both LTC and MTC time code, either
running under its own internal clock or while
slaved to external time code (or other time base).

When making the SMPTE time code connections
described in the following sections, do not pass the
signal through any type of signal processing
equipment. Use shielded quarter-inch audio
cables.

For a complete explanation of synchronization, see
chapter 8, “SMPTE Synchronization” (page 71) or
chapter 12, “Synchronization with the AV”
(page 117).

Connecting a SMPTE time code source

Connect any SMPTE time code
SMPTE timecode track on an analog multitrack
tape deck, to the SMPTE IN port on your MOTU
MIDI interface as shown in Figure 2-5. (For
information about recording time code tracks, see
“Striping SMPTE” on page 73.)

and

generator

. As a converter, it

source

, such as the

Connecting a SMPTE time code destination

Connect the SMPTE OUT port of your MOTU
MIDI interface to the SMPTE time code input of

destination

any

device that accepts SMPTE time
code as shown in Figure 2-6. For example, time
code can be recorded on an outside track of a
multitrack tape recorder so that everything can
subsequently be synchronized to the multitrack.
Other examples of a SMPTE time code destination
are systems that have the ability to slave to SMPTE
time code, such as stand-alone hard disk recording
systems, digital audio workstations, or automated
mixing consoles.

MOTU MIDI Interface
SMPTE OUT

Shielded, quarter-inch audio cable

SMPTE or Audio in

Examples of a SMPTE

time code destinations

Analog audio tape recorder

Video tape recorder

Analog audio tape recorder Video tape recorder

Examples of a SMPTE

time code source

Audio or SMPTE out

MOTU MIDI Interface

SMPTE IN

Figure 2-5: Connecting a SMPTE time code source.

12

Figure 2-6: Connecting a SMPTE time code destination.

Shielded, quarter-inch audio cable

INSTALLING YOUR MOTU INTERFACE

!USB Interfaces Manual Book Page 13 Tuesday, October 10, 2000 12:43 PM

CONNECTING A PEDAL OR FOOT SWITCH

If you would like to use a foot pedal or foot switch
with your MOTU MIDI interface, connect it as
shown below in Figure 2-7. For more information
about how a pedal input can be used, see the
section below that applies to you:

■

For micro express users: “Pedal window” on

page 46

■

For Express XT users: “Pedal window” on

page 66

■

For MIDI Timepiece AV users: “Programming

the pedal inputs” on page 110

For a MIDI Timepiece AV,

you can connect a pedal or foot switch to

either the Pedal A port on the rear panel or

the Pedal B port on the front panel.

CONNECTING AN AUDIO CLICK SOURCE

If you would like to convert an audio click to MIDI,
connect the audio click source to the Pedal input as
using a shielded, quarter-inch audio cable as
shown below in Figure 2-8. For more information
about converting an audio tempo source (such as a
click, bass drum, tape deck signal, or other audio
tempo source) to MIDI, see “Programming Pedal
A to convert an audio click” on page 112.

☛

On a MIDI Timepiece AV, only PEDAL A (on
the rear panel) can be used for
click-to-MIDI conversion.

Examples of

audio click sources

Shielded
quarter-inch
audio cable

Click track

Drum machine

For a MIDI Express XT-USB,
connect a pedal or foot
switch to the Pedal jack on
the front panel.

For a micro express USB, connect a pedal or foot
switch to the Pedal jack on the rear panel.

Figure 2-7: Connecting a foot switch or foot pedal.

For a MIDI Timepiece AV, connec t a pedal or foot
switch to the Pedal jack on the rear panel.

For a MIDI Express XT-USB,
connect an audio click
source to the Pedal jack on
the front panel.

For a micro express USB, connect an audio click
source to the Pedal jack on the rear panel.

Figure 2-8: Connecting an audio click input. Only the Pedal A input
on the rear panel of the MIDI Timepiece AV can be used as a click
input.

INSTALLING YOUR MOTU INTERFACE

13

!USB Interfaces Manual Book Page 14 Tuesday, October 10, 2000 12:43 PM

CONNECTING ADATS

(For the MIDI Timepiece AV only)

The MIDI Timepiece AV can serve as an ADAT
sync master device, providing sample-accurate
address and phase lock to one or more ADATs (or
other ADAT sync-compatible devices). ADAT sync
provides sample-accurate synchronizing and
locating between the MTP AV and all devices on
the ADAT sync chain.

Using the ADAT sync cable supplied with your
ADAT, connect the ADAT SYNC OUT of the MIDI
Timepiece AV to the SYNC IN port of the ADAT as
shown below in Figure 2-9. Don’t worry about
setting the ADAT device ID: the MTP AV sets it
automatically.

MIDI Timepiece AV

ADAT

sync cable

SYNC

IN

ADAT

CONNECTING VIDEO

(For the MIDI Timepiece AV only)

The MIDI Timepiece AV can synchronize to any
incoming video signal, from a standard video tape
recorder (VTR) to distributed house sync
(blackburst). If your video source is a VTR of some
kind, the video signal from the VTR will need to be
distributed to both the MIDI Timepiece AV and
your video monitor. This can be accomplished
with the video thru jack found on some types of
video monitors as shown in Figure 2-11.

Video out

Video tape recorder

Video monitor

Video in

Video thru

Shielded BNC cables

Video sync in

Figure 2-9: Connecting an Alesis ADAT.

If you have several ADATs, you can chain the rest of
them to the one connected to the MIDI
Timepiece AV as shown below in Figure 2-10.

MIDI Timepiece AV

ADAT

sync cable

ADAT

Figure 2-10: Connecting multiple ADATs.

SYNC

IN

Sync In

Sync Out

Sync In

Sync Out

Sync In

Sync Out

etc.

ADAT

ADAT

SYNC OUT

port

ADAT

sync cables

MIDI Timepiece AV

Figure 2-11: Connecting video via the video thru of a video monitor.

If your video monitor does not support video thru,
use a video distribution amplifier to distribute the
source video signal to both the Timepiece AV and
the monitor as shown in Figure 2-12.

Video monitor

Video out

Video tape recorder

Video distribution amp

MIDI Timepiece AV

Figure 2-12: Connecting video via a video distribution amplifier.

Video in
Video out
Video out

Video in

Video sync in

14

INSTALLING YOUR MOTU INTERFACE

!USB Interfaces Manual Book Page 15 Tuesday, October 10, 2000 12:43 PM

CONNECTING WORD CLOCK

(For the MIDI Timepiece AV only)

The MIDI Timepiece AV can serve as a word clock
sync master device, providing sample-accurate
phase lock for any standard word clock device.
Word clock allows you to resolve hard disk
recorders, digital tape decks, digital mixers and
other digital audio devices to video, SMPTE time
code, MIDI time code, or the MIDI Timepiece AV’s
internal audio clock.

In most situations, you’ll want to slave your word
clock device to the MIDI Timepiece AV with both
the word clock and SMPTE time code connections
shown below in Figure 2-13. In this scenario, the
word clock device follows the MIDI Timepiece AV
for transport control.

Word SYNC OUT SMPTE OUT

CONNECTING PRO TOOLS “SUPERCLOCK”

(For the MIDI Timepiece AV only)

The MIDI Timepiece AV can serve as a Digidesign
Pro Tools “superclock” (256x word clock) sync
master device, providing sample-accurate phase
lock for any Pro Tools system. Like word clock,
super clock allows you to resolve Pro Tools to
video, SMPTE time code, MIDI time code, or the
MIDI Timepiece AV’s internal audio clock.

To slave your Pro Tools hardware to the MTP AV,
make the word sync connection shown below in
Figure 2-13.

MIDI Timepiece AV

WORD SYNC OUT

Shielded BNC cable

“SLAVE CLOCK’ IN or
SUPERCLOCK’ IN

Shielded BNC cable

Word clock IN SMPTE IN

Figure 2-13: Connecting a word clock device.

Shielded

audio cable

In the above example, if you wanted to use the
Yamaha 02R as the transport master, you would
reverse the SMPTE time code connection, feeding
SMPTE OUT of the mixer to SMPTE IN on the
MIDI Timepiece AV.

INSTALLING YOUR MOTU INTERFACE

Pro Tools audio interface

Figure 2-14: Connecting a word clock device.

CONNECTING AN ALESIS LRC

(For the MIDI Timepiece AV only)

The Pedal B jack on the front panel of the MIDI
Timepiece AV can serve as an input for the
Alesis LRC™ remote controller, or any device that
emulates the LRC, such as the Fostex Model 8312™
controller. Doing so gives you control of the MIDI
Timepiece AV (and all devices slaving to it) from
the LRC transport controls.

Alesis LRC

or similar device

Figure 2-15: Connecting an Alesis LRC remote controller (or any LRC­compatible MMC controller) to a MIDI Timepiece AV.

15

!USB Interfaces Manual Book Page 16 Tuesday, October 10, 2000 12:43 PM

CONNECTING A MACINTOSH

(For the MIDI Timepiece AV only)

The MIDI Timepiece AV-USB has two serial ports
for connection to serial-port equipped Macintosh
computers. If you would like to connect a serial
Macintosh to the MIDI Timepiece AV-USB at the
same time as your Windows PC, you can connect it
to the ‘NET’ serial port, as shown below in
Figure 2-16. Both computers have access to all
MIDI devices connected to the MIDI Timepiece
AV-USB. MIDI software can run on both
computers at the same time, and both programs
can send and receive MIDI data to the MIDI
Timepiece at the same time.

USB-equipped

computer

USB

cable

MIDI Timepiece AV-USB

Making the ‘NET’ port setting

After you have connected the Macintosh, you need
to tell the MIDI Timepiece AV that a Mac is
connected to its NET port. To do so:

1

Switch on the MTP AV.

When you switch on the MTP AV for the first time,
you’ll see the following in it’s LCD:

BASE-SETUP 1
BaseSetup 1 YE

Figure 2-17

2

Turn the WINDOW knob clockwise two clicks
to the right, or if necessary, turn it back and forth
until you see what is shown below in Figure 2-18.

GLOBAL HARDWARE

SETUP E

NET port

serial port

Figure 2-16: Adding a serial-port equipped Macintosh to the NET
port.

☛

Be sure to choose “MAC” instead of “MTP”
for the NET port setting in the MIDI
Timepiece AV’s front panel LCD display. For
details, see the next section.

16

AppleTalk

Cable

Figure 2-18

3

Once you see Figure 2-18 in the display, turn the
CURSOR knob clockwise three clicks, or until you
see what is shown below in Figure 2-19. The phrase
“MAC” will blink to indicate that it can be changed
with the VALUE knob.

THIS BOX ID 1-8

D NET PORT=MAC E

Figure 2-19

4

Turn the VALUE KNOB until the NET PORT
setting = MAC.

INSTALLING YOUR MOTU INTERFACE

!USB Interfaces Manual Book Page 17 Tuesday, October 10, 2000 12:43 PM

CONNECTING MULTIPLE USB INTERFACES

The USB (
you to connect multiple MOTU interfaces to a
single PC. You can mix and match any combination
of MOTU USB interfaces to suit your needs.

The USB (
many USB devices — theoretically up to 127 — to
be connected to a single computer. However, many
USB devices, including all MOTU USB interfaces,
reserve USB bandwidth, so the theoretical and
practical limits for MOTU interfaces are
considerably fewer. In theory, the maximum
number of MOTU USB interfaces you can connect
to one computer is just over 30 interfaces.
Practically speaking, regardless of how slow or fast
your USB-equipped computer is, you should be
able to connect upwards of 10 or more MOTU USB
MIDI interfaces to the computer and still enjoy just
as much performance from each one as if it were
the only one connected. Just don’t try to run your
USB scanner or digital camera while playing back
and recording MIDI!

Universal Serial Bus

Universal Serial Bus

) specification allows

) specification allows

The flat, “Type A” USB plug on the
USB cable from each MOTU interface
connects to the USB hub.

Standard USB Hub

USB

cables

Figure 2-20: An in ex pensive, standard USB hub, such as the
machub4U™ shown above from Entrega, allows you to connect
multiple MOTU USB MIDI interfaces. You can even mix and match
different models of MOTU interfaces, using the combination that best
suites your needs for synchronization, number of MIDI ports, etc.

WHAT NEXT?

You’re ready to install software. Turn to chapter 3,
“Installing the MOTU USB MIDI Driver and
Console Software” (page 19).

For further details about USB, visit www.usb.org.

To connect multiple MOTU interfaces to a
computer, you’ll need an inexpensive device called

USB Hub

a

(purchased separately from your
computer peripherals dealer). A USB Hub has
multiple Type A ports on it, usually between 4 and
7 ports, to which you connect multiple USB MIDI
interfaces as shown in Figure 2-20. Connect them
to the hub in the standard fashion, as if you were
connecting them directly to the computer. If
needed, you can connect multiple hubs to each
other to get enough USB ports for your multiple
MOTU USB interfaces.

INSTALLING YOUR MOTU INTERFACE

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18

INSTALLING YOUR MOTU INTERFACE

Installing Software Page 19 Tuesday, August 28, 2001 4:55 PM

CHAPTER

3

Installing the MOTU USB MIDI Driver
and Console Software

Software installation will go a little more smoothly
if you turn off your interface before switching on
your computer. Don’t worry, however, if you’ve
already done so. Just follow the directions below.

To install the MOTU USB MIDI software:

1

Turn on your computer (if you haven’t already

done so).

2

If the Windows
during startup, do not proceed and exit from the
Wizard.

Instead of installing the MOTU USB MIDI drivers
manually via the Wizard, you will run the MOTU
USB software installer.

3

Insert the MOTU USB software installer CD in
the computer’s CD drive (if you haven’t already).

Add Hardware Wizard

appears

WHERE TO GO NEXT

Where you go next depends, of course, on what
you would like to do.

If you want to learn the front panel controls...

Turn to the chapter below that applies to you:

■

For the MIDI Express XT or micro express, see

chapter 5, “Working with Presets” (page 27).

■

For the MIDI Timepiece AV, see chapter 11,

“Using the Front Panel LCD” (page 101).

If you want to start using MIDI software with
your new MOTU interface...

All MOTU interfaces have factory default settings
that allow any MIDI software to communicate with
all MIDI devices connected to the interface. So
from here, you can turn to your software
documentation to get started.

4

If the MOTU USB software installer program
does not automatically begin running, double­click SETUP.EXE on the installer CD to launch it.

5

Follow the directions the installer gives you.

That’s it!

WHAT GETS INSTALLED?

The MOTU USB software installer installs drivers
for your MOTU USB MIDI interface, as well as a
Console application that gives you access to many
of your interface’s features, including synchroni­zation, MIDI processing and preset management.

You can find the console application in the
Windows Start menu under

Programs>MOTU

.

If you want to program your interface...

Your MOTU interface console software is the “front
end” for the features in your MOTU interface. It
allows you to configure and program the powerful
MIDI routing and processing features in the
interface. You can graphically make direct routings
from inputs and outputs, stripe SMPTE time code,

setups

create and save interface
the entire internal configuration of the interface),
set up the pedal inputs, or other tasks.For details,
turn to the chapter that applies to you:

■

chapter 6, “Using Micro Express Console”

(page 31)

■

chapter 7, “Using MIDI Express XT Console”

(page 51)

■

chapter 10, “Using MIDI Timepiece AV

Console” (page 83)

(which consist of

19

Installing Software Page 20 Tuesday, August 28, 2001 4:55 PM

20

INSTALLING THE MOTU USB MIDI DRIVER AND CONSOLE SOFTWARE

!USB Interfaces Manual Book Page 21 Tuesday, October 10, 2000 12:43 PM

CHAPTER

4 SMPTE Sync and MMC with a

Windows Sequencer

There are only a few simple preparations you need
to make to take advantage of the powerful MIDI
routing, SMPTE synchronization and MIDI
Machine Control (MMC) features of a MOTU
MIDI interface and any Windows sequencing
software that supports SMPTE synchronization
and MMC.

Using MOTU USB MIDI ports. . . . . . . . . . . . . . .21

Slaving a Sequencer to SMPTE. . . . . . . . . . . . . . .22

Your Sequencer as a MMC controller . . . . . . . . .22

MMC control of record functions . . . . . . . . . . . .23

Routing Time Code to Other Devices. . . . . . . . .23

For further information. . . . . . . . . . . . . . . . . . . . .23

USING MOTU USB MIDI PORTS

Once you have installed the MOTU USB MIDI
driver, you’ll notice that all MIDI inputs and
outputs are available to your MIDI programs. The
port names are abbreviated as shown below in
Figure 4-1.

Figure 4-1: MOTU interface ports in Cakewalk Pro™. This example
shows the ports for the MIDI Express XT.

MDI IN

Event filtering Event filtering

Figure 4-2: Th e path that MIDI data takes
through a MOTU USB interface data.

Channel

mapping

The MIDI data path

As for MIDI data arriving and leaving your
computer via the MOTU USB MIDI driver,
imagine it coming and going from the MOTU

MOTU

MIDI Interface

data bus

Windows MIDI Ports

(Computer)

Channel
mapping

MDI OUT

21

!USB Interfaces Manual Book Page 22 Tuesday, October 10, 2000 12:43 PM

interface as shown below in Figure 4-2. All
channelizing and filtering is applied before the
input data arrives at any software input port and
after it is sent from any software output port. This
is a great advantage as it frees up your computer
and MIDI software from having to deal with the
mundane (and time-consuming) chore of such
processing. Just configure your MOTU interface
and let it do all the work!

Figure 4-3: Slaving to the Sync port for SMPTE synchronization via
MIDI Time Code (MTC).

Sync Port

You’ll also see several other special MIDI ports in
addition to the regular MIDI ports. The first is the
“Sync” input port where all MIDI real time and
MIDI Time Code messages will arrive, regardless
of the physical MIDI input jack from which the
MOTU interface receives them. All other received
data will arrive at its input port as appropriate.

Out All port

You’ll also see a port called “Out All”. This port also
appears in your MIDI programs, allowing you to
send the same MIDI data out all MIDI output ports
at once.

MIDI ports and the console software

You do not need to have the MOTU interface
console software running in Windows to use the
MOTU interface with your sequencer. Also, as the
console does not compete with other MIDI
applications for the Windows MIDI ports, you can
freely open and close the console to make
adjustments or simply check the current settings
during your Windows session.

YOUR SEQUENCER AS A MMC CONTROLLER

If your sequencer supports MIDI Machine Control
(MMC), then it has the ability to serve as a MIDI
Machine Control transport master for any MMC
device in your studio, allowing you to play, stop,
and the device directly from your sequencer’s main
transport controls.

Your MOTU MIDI interface has the ability to serve
as a MMC transport slave, while at the same time
generating time code for other devices in your
studio. In doing so, the MOTU interface becomes a
central, stable time code “hub” for all of the devices
in your studio, allowing you play, stop, and cue
them all directly from your sequencer.

Cakewalk Pro or any other Windows
sequencer that support SMPTE sync and MMC

MIDI Time Code (MTC)

MIDI Machine Control

(MMC)

MOTU MIDI interface

SLAVING A SEQUENCER TO SMPTE

To slave a sequencer to SMPTE time code via a
MOTU MIDI interface, just connect the sequencer
to the Sync port, as demonstrated below in
Figure 4-3 for the Express XT and CakeWalk Pro™:

22

SMPTE (LTC)

Examples of

devices that can

slave to time code

Akai DR8

Figure 4-4: Your MOTU interface (a MIDI Express XT in this example)
can serve as a time code “hub” while you control it from your
sequencer via MMC transport commands.

SMPTE SYNC AND MMC WITH A WINDOWS SEQUENCER

MIDI Time Code (MTC)

Roland VS-880

!USB Interfaces Manual Book Page 23 Tuesday, October 10, 2000 12:43 PM

The first step is to slave your sequencer to MIDI
Time Code as described in the previous section
(and shown in Figure 4-3).

The next step is to establish MMC transport
control of the MOTU interface from your
sequencer. To do so, make sure your sequencer
knows the MMC Device ID of the MOTU
interface. The factory default ID of the MOTU
interface is 20. (If necessary, you can change it in
the console software.)

MMC CONTROL OF RECORD FUNCTIONS

Some sequencers provide MMC remote control of
record features, such as record-arming tracks,
setting automatic punch-in and punch-out points,
punching in on the fly, and so forth. The MOTU
interface’s MMC capabilities, however, do not
come into play with record functions such as these.
It only handles MMC transport functions like
playing, stopping, and locating. For MMC record
functions, the MOTU interface serves only a means

of passing on MMC record commands from your
sequencer and the MMC device. Just send them
directly to the appropriate Windows MIDI port.

ROUTING TIME CODE TO OTHER DEVICES

Once you have successfully established MMC
control of the MOTU interface from your
sequencer as described in this chapter, you can
route MIDI Time Code (MTC) from the MOTU
interface to other devices in your studio to control
them remotely from your sequencer, as shown in
Figure 4-4. For more information, see “Sync
routing” on page 63.

FOR FURTHER INFORMATION

For further details about using SMPTE sync and
MMC, see the appropriate chapter below:

■ chapter 6, “Using Micro Express Console”

(page 31)

■ chapter 7, “Using MIDI Express XT Console”

(page 51)

■ chapter 10, “Using MIDI Timepiece AV

Console” (page 83)

SMPTE SYNC AND MMC WITH A WINDOWS SEQUENCER

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24

SMPTE SYNC AND MMC WITH A WINDOWS SEQUENCER

!USB Interfaces Manual Book Page 25 Tuesday, October 10, 2000 12:43 PM

Part II

For XT & Micro Users

XT& Micro Users

!USB Interfaces Manual Book Page 26 Tuesday, October 10, 2000 12:43 PM

XT& Micro Users

!USB Interfaces Manual Book Page 27 Tuesday, October 10, 2000 12:43 PM

CHAPTER

5 Working with Presets

OVERVIEW

This chapter describes your MOTU Express
interface’s eight factory presets and explains how
to:

■ Select a factory preset or one of eight user presets

from the front panel

■ Create your own user presets

■ Work with presets in the Express Console

software

■ Select presets using patch changes from any

MIDI source (such as a keyboard controller or
sequencer)

Factory versus user presets . . . . . . . . . . . . . . . . . .27

Selecting a preset on an Express XT . . . . . . . . . .27

Selecting a preset on a micro express . . . . . . . . .27

Factory Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

The eight user presets can be configured any way
you wish, and they can be stored in the interface
hardware itself for later recall.

SELECTING A PRESET ON AN EXPRESS XT

To select a preset from the front panel:

1 If you have a MIDI Express XT, press the BANK
button as needed to choose either the factory
preset bank or user preset bank. The Factory Preset
or User Preset LED will become lit.

2 Repeatedly press the SELECT button until the
LED below the program you want lights up.

As you repeatedly press the button, the LED cycles
through the eight programs.

SELECTING A PRESET ON A MICRO EXPRESS

To select a preset from the front panel:

User Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Working with presets in Express Console . . . . .30

FACTORY VERSUS USER PRESETS

Your Express interface provides eight factory
presets and eight more user presets. Factory presets
are “hard-wired” and cannot be permanently
changed. If a factory preset is the current preset,
changes you make to your Express interface’s
settings will not be remembered unless you save
them to one of its eight user presets.

1 Repeatedly press the SELECT button until the
LED for the program you want lights up.

2 The SELECT button cycles through both the
factory and user presets, as indicated by the red
Use r LED and the green Factory LED.

FACTORY PRESETS

The eight factory presets provide you with
optimum cable routing, SMPTE, and other settings
for various common situations in which you will
use your Express interface. The eight factory preset
settings are listed on the front panel as shown
below:

27

!USB Interfaces Manual Book Page 28 Tuesday, October 10, 2000 12:43 PM

MIDI Express XT front panel preset controls

micro express front panel preset controls

Figure 5-1: The eight factory presets on the front panel of the
Express XT and micro express.

Each factory preset is described in the following
sections, including situations in which you would
find it useful.

Sequencer 30 fps

This preset is designed for MIDI software,
especially sequencing software, that supports
multi-cable interfaces such as your Express
interface.

This preset connects all inputs and outputs to the
computer. In addition, it sets the SMPTE sync
settings for lockup and striping at 30 frames per
second (fps).

Sequencer 25 fps

This preset is identical to the Sequencer 30 fps
above except that the frame rate is set to 25 frames
per second (fps) for converting and striping at
25 fps.

Live Keyboards

Use this preset when you want to route any
controller connected to a MIDI IN to all MIDI
outputs. This preset is ideal for quickly routing a
controller to a sound module and for using a MIDI
controller without a computer. If you have
connected both the MIDI IN and MIDI OUT of
your keybo ard controller to your Express interface,

it is best to match the input/output MIDI port
numbers on your MOTU interface. For example, if
the controller is connected to MIDI IN port 3,
connect it to MIDI OUT port 3 as well. If you do so,
this preset prevents troublesome MIDI feedback
loops, which happen when the controller sends
data back to itself via your Express interface. This
preset avoids this problem by not sending data to
the port that has the same number. For example,
MIDI IN port 3 routes data to all MIDI OUT ports
except MIDI OUT number 3.

Merge All

With this preset, any device connected to a MIDI
IN will send data to all devices connected to your
Express interface outputs, including the computer.
This preset is ideal for troubleshooting because it
routes everything to everywhere; any incoming
data will be sent to all outputs. For example, if you
are not getting sound from a sound module when
you play notes on your controller, you can
eliminate MIDI routing as the cause of the problem
by temporarily using this preset. You can rest
assured that your Express interface is routing the
data to the module correctly, and you can then
focus your efforts on other possible causes, such as
bad MIDI cables, volume settings, etc.

Use this troubleshooting technique if you cannot
successfully record data into your sequencer on the
computer.

Merge Some

The Merge Some preset is similar to the Merge All
preset, except that it divides the inputs into two
groups: inputs 1-4 (1-2 on the micro express) are
routed to the computer only, while inputs 5-8 (3-4
on the micro express) are routed directly to all
outputs (but not the computer).

Dual Split

The Dual Split preset is similar to the Live
Keyboards preset, except that it splits the interface
into two sets of inputs and outputs.

28

WORKING WITH PRESETS

!USB Interfaces Manual Book Page 29 Tuesday, October 10, 2000 12:43 PM

For the micro express, input 1 is routed to outputs
1-3. Input 3 is routed to outputs 4-6.

For the Express XT, i

nput 1 is routed to outputs

1-4. Input 5 is routed to outputs 5-8.

MIDI Machine/for the Express XT

This preset provides MIDI data, time code, and
MIDI Machine Control settings for using MIDI
Machine Control between devices without a
computer.

Inputs 1-4 are reserved for non-MMC devices
being routed to outputs 1-5, as well as the
computer.

Input 5 is also routed to the computer but not to
any of the MIDI outputs.

MIDI outputs 6, 7 and 8 are reserved for MIDI
Machine devices, as these ports are programmed
to receive MIDI Time Code and MMC transport
commands from the MIDI Express XT.

MIDI outputs 5 and 6 are reserved for MIDI
Machine devices, as these ports are programmed
to receive MIDI Time Code and MMC transport
commands from the micro express.

MIDI inputs 3 and 4 are intended for MMC
controller devices, and they are each programmed
slightly differently to accommodate several
different scenarios. Input 3 routes MMC to the
micro express only. Input 4 routes MIDI data only
to output 6.

Direct

This preset causes your Express interface to
function like a simple 1 IN/8 OUT or 1 IN/ 6 OUT
MIDI interface, respectively. All of the extra
routing, merging, muting, rechannelizing, and
running status features are disabled. Your Express
interface applies no processing whatsoever to
MIDI data as it is sent to and from the computer.
This mode is referred to as Direct Connect mode
through this manual.

MIDI inputs 6, 7 and 8 are intended for MMC
controller devices, and they are each programmed
slightly differently to accommodate three different
scenarios. Input 6 routes MIDI data only to outputs
6, 7 and 8. Input 7 routes MMC to the MIDI
Express XT only. Input 8 does a combination of
inputs 6 and 7.

MIDI Machine/for the micro express

This preset provides MIDI data, time code, and
MIDI Machine Control settings for using MIDI
Machine Control between devices without a
computer.

Inputs 1-2 are reserved for non-MMC devices
being routed to outputs 1-4, as well as the
computer.

Input 3 is also routed to the computer but not to
any of the MIDI outputs.

Input 1 connects to the computer, and the
computer connects to all 8 (or 6) outputs. But none
of the inputs are connected directly to the outputs.

This preset can be used effectively to solve
problems with non-standard MIDI data transfers.
For example, some samplers transmit sample
dumps in a way that won’t work when your Express
interface’s MIDI processing features are enabled.
This mode disables the processing features, which
solves the problem. If you experience trouble with
sysex, try this preset.

☛ Express Console cannot communicate with

your Express interface when it is in Direct mode.
To restore communications, use the front panel
controls to choose another preset.

WORKING WITH PRESETS

29

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USER PRESETS

Your Express interface provides eight user presets,
which you can configure any way you wish. From
the factory, these eight user presets match the eight
Factory presets described earlier in this chapter. To
change one of the eight user presets, use the
Express Console software as described in the next
section to modify and save the user preset in your
Express interface itself. Optionally, you can also
save it on your computer hard disk.

WORKING WITH PRESETS IN EXPRESS
CONSOLE

The Express Console software allows you to
program user presets (called setups in the
software). For details, turn to the page below that
applies to you:

■ For micro express users: “Working with Setups”

on page 45.

■ For Express XT users: “Working with Setups” on

page 65

30

WORKING WITH PRESETS

!USB Interfaces Manual Book Page 31 Tuesday, October 10, 2000 12:43 PM

CHAPTER

6 Using Micro Express Console

About Micro Express console

Micro Express Console serves as a “control center”
for the Micro Express. For example, you can make
changes to the synchronization settings, filter some
data on a particular input or output, or route MIDI
data from any MIDI device to any other MIDI
device connected to the Micro Express.

This chapter takes you through the process of
opening Micro Express console for the first time.

When do you need to use the console?

The only time you need to use the Micro Express
console program is when you would like to make
changes to the settings in the Micro Express. If you
just want to use it with a MIDI sequencer, all you
need to do is run your sequencer. You don’t need to
run the console at all in this case. You only need to
use the console if you want to program user presets
to suit your specific needs.

Familiarity with Windows®

In explaining how to use Micro Express console,
this chapter assumes that you are already familiar
with the standard Windows interface conventions,
such as how to select options using check boxes
and radio buttons, how to type and edit text, and so
forth.

Opening Micro Express console

The primary “command centers” of Micro Express
console are the toolbar (along the top of the main
window) and the MIDI Routing window. The
toolbar gives you quick access to important
Console functions while the MIDI Routing
window displays current MIDI processing configu­ration. (See Figure 6-1.)

Figure 6-1: The M icro E xpr ess console main window, with the
toolbar and MIDI Routing window visible.

31

!USB Interfaces Manual Book Page 32 Tuesday, October 10, 2000 12:43 PM

THE TOOLBAR

Before covering some of the other main elements of
the toolbar, we’ll quickly define the functions of
each of the buttons, or “tools”, along the bottom.
These functions will be covered in greater detail in
the following sections. You may activate one of
these functions by simply clicking its associated
tool (shown above), or by choosing its equivalent
menu command as shown below.

Toolbar Item Corresponding Menu Command

Open Setup or bank File|Open Setup or bank...

Save Setup File|Save Setup...

Exit File|Exit

Read Setup Interface|Read Setup

Write Setup Interface|Write Setup

Auto-write Interface|Auto-write

Reset interface Interface|Reset

Tile windows Window|Tile

☛ Hint: You can quickly “shrink” the Console

window down to just show the toolbar by using the
menu selection Shrink to toolbar, located in the
main window’s system menu. Shrinking the
Console to just show the toolbar can be useful
when you want to leave the Console open for
monitoring the Micro Express console and SMPTE
conditions from your computer.

The Setup list

The Setup combobox on the toolbar always
indicates the currently selected Setup in the Micro
Express. Clicking on the combobox drops down
the list of other available Setups. Alternately, you
may press Alt+P to activate the list and display the
other Setups.

Cascade windows Window|Cascade

Load Setup file Save Setup file

Figure 6-2: The toolbar tools and associated functions.

Read Setup

Write Setup

Figure 6-3: The Setup list dropped down to show the other available
Setups. Factory Setup 1, “Sequencer 30 fps”, is currently selected.

Auto-write

Reset interface

Cascade

windows

Tile windows

Sync display

Exit

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The Setup list will always contain the eight user
Setups followed by the eight factory Setups.
Selecting a Setup from the list with the mouse will
cause the Micro Express to change to the selected
Setup. You can also use the keyboard up and down
arrow keys to scroll through the list, pressing Enter
to select the desired Setup. Alternately, you may use
the Micro Express’s front panel buttons to change
Setups. At all times, the Console should remain “in
sync” with your Micro Express, accurately
displaying the current Setup configuration.

The SMPTE readout

To the right of the Setup list is the SMPTE readout.
The SMPTE readout always gives a real time,
running update of the current frame time and
frame rate when your Micro Express is converting
or generating SMPTE timecode.

hours minutes seconds frames

SMPTE frame rate

Figure 6-4: The SMPTE readout in the toolbar sync display.

ExpressHelp

You’ll also notice a bar along the bottom of the
main Console window. This is the status bar where
notification and progress messages will be
displayed from time to time while the Console
performs its various functions. In addition,
another feature of the Console uses this area for
displaying “ExpressHelp”. ExpressHelp consists of
short, informative messages that change
depending on which Console control (button, list,
etc.) the on-screen mouse cursor is on top of.
ExpressHelp will also update if you shift the control
focus using the Windows keyboard interface (using
the Tab key in a console window, for example)
instead of using the mouse.

ExpressHelp is enabled by default to aid you in
getting familiar with the Console, but you may
disable it with the Options menu selection.

MICRO EXPRESS MIDI PROCESSING

Before going any further, it is important to
understand how the Micro Express performs its
MIDI processing, specifically the order in which
each type of processing is applied. Figure 6-5
illustrates how the Micro Express processes MIDI
data as it travels from one interface input port to
one interface output port.

Below the SMPTE readout is the SMPTE error list.
This list will display any “dropouts” and MIDI
errors encountered while converting incoming
SMPTE. Each dropout will be shown with the last
valid SMPTE time converted before the dropout
occurred and the number of frames missing after
that time. The list will be cleared each time new
timecode begins. Hopefully, you will not see too
many entries appear in this list. However, if you do,
the Micro Express has a flexible SMPTE free­wheeling (“jam-syncing”) capability to smooth out
problem sync tracks (you can also use the Micro
Express as a SMPTE regenerator/reshaper to re­record or extend sync tracks).

USING MICRO EXPRESS CONSOLE

First, data is received from an input port, where it is
immediately filtered (events that are filtered are
removed). Next, the remaining events are
channelized (“mapped”) to different channels (the
default is no channelizing) and then they are sent to
the “data bus”. The data bus is where port-to-port
routing takes place, sending MIDI data from each
input to any combination of outputs. When the
data finally reaches its destination output port(s), it
is channelized and filtered again before leaving the
Micro Express. All of this processing power is
completely configurable from the Console.

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WINDOWS MIDI PORTS

As for data arriving and leaving your computer via
the included Windows MIDI driver, imagine it
coming a going from the Micro Express data bus as
shown in Figure 6-5. All channelizing and filtering
is applied before the input data arrives at any
software input port and after it is sent from any
software output port. This is a great advantage as it
frees up your computer and MIDI software from
having to deal with the mundane (and time­consuming) chore of such processing. Just
configure your Micro Express and let it do all the
work!

Once you get the Micro Express Windows MIDI
driver installed, you’ll notice that all four Micro
Express inputs and outputs are available to your
MIDI programs.

Figure 6-6: Micro Express ports in Cakewalk Pro.

Sync Port

You’ll also see several other special Micro Express
ports in addition to its regular MIDI ports. The
first is the “Sync” input port where all MIDI real
time and MIDI Time Code messages will arrive,
regardless of where the Micro Express received
them from. All other received data will arrive at the
other input ports as appropriate.

☛ At no time will MIDI real time or MIDI Time

Code messages arrive on any of other Micro
Express Windows input port besides the special
“sync port”.

Out All port

You’ll also see a port called “Out All”. This port will
also appear in your MIDI programs, allowing you
to send the same MIDI data out all the Micro
Express’s output ports at once.

MIDI ports and the Micro Express console

You do not need to have the Console running in
Windows to use the Micro Express with your other
MIDI software. Also, as the Console does not
compete with other MIDI applications for the
Windows MIDI ports, you can freely open and
close the Console to make adjustments or simply
check the current settings.

MDI IN

Event filtering Event filtering

Figure 6-5: Mic ro Exp ress internal MIDI data
processing sequence.

34

Channel

mapping

Micro Express

data bus

Windows MIDI Ports

(Computer)

MDI OUT

Channel

mapping

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MIDI ROUTING WINDOW

The MIDI Routing window is the control center for
routing and processing MIDI data with your Micro
Express. Although your computer will always be
able to receive MIDI data from the four inputs and
send data to the six outputs with your Windows
MIDI sequencing software, the Console has the
ability to configure the Micro Express to internally
route MIDI data from any input to any
combination of outputs. The MIDI Routing
window also allows you to route MIDI Time Code
(converted from incoming SMPTE or generated
“fresh”) to any of the six outputs. Additionally, you
can individually rechannelize and filter (apply an
event filter) any type of incoming or outgoing
MIDI data on each input and output.

input

filter

button

input

channel map

button

MIDI

“data bus”

The processing sequence described Figure 6-5 on
page 34 is conveniently represented in the layout of
the MIDI Routing window. The MIDI data flow
proceeds from left to right. MIDI inputs, or sources,
are represented on the left by the input port and
clock (for MIDI Time Code converted from
SMPTE) icons. MIDI outputs, or destinations, are
represented on the right by the output port icons.
Port-to-port routings are represented by extended
arrows going from sources to destinations. The
processing options (filtering and channelizing) are
represented by the four buttons along the top of the
window. You can clearly see the logical processing
order with this layout as shown in Figure 6-7.

output

channel map

button

output

filter

button

advanced

MIDI settings

Figure 6-7: The MIDI Routing window with a source and
destination selected.

USING MICRO EXPRESS CONSOLE

source icons routing connections destination

icons

channels

being routed

deletes all current connections

or any source connections

drag-and-dropped to it

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Naming ports

Naming the MIDI input and output ports is easy.
Simply select the desired port and press Enter or
directly click on the current name with the mouse.
A pop-up edit field will appear containing the
current name. Edit the name and either press Enter
again to save it or Esc to abort the changes. The
names you enter for the ports will be displayed and
remembered in the Console.

MIDI routing

Routing is as simple as dragging a source icon with
the mouse and dropping it on a destination icon.
When making port-to-port connections, the
Console will route all 16 MIDI channels from the
source to the destination (as is the case in
Figure 6-7 on page 35). You can freely edit the
routed channels later by altering the Channels
routed check boxes while the source and
destination are selected (see “Selecting individual
sources and destinations” on page 36).

☛ Note, however, that channel routing, as well as

event filtering and channel mapping, only apply to
the MIDI input port sources and not the Sync or
Transport sources.

☛ When routing with the mouse, the connected

source and destination will automatically become
selected allowing you to instantly adjust the routed
channels or access the other windows.

You can also quickly route a single source to more
than one destination. Do this by holding down the
Shift key while you drag. Each destination you
move the mouse over will automatically be
connected with the dragged source. The last
connected source and destination will remain
selected.

Selecting individual sources and destinations

To select a source, click on it using the mouse. You
may also select a source by pressing keys 1 through
4, S, P or T. To select a destination, click on it using
the mouse while holding down the Ctrl key (you
can also simply click with the right mouse button
instead of using Ctrl). You can also select a
destination by holding down the Alt key and
pressing keys 1 through 6, Alt+S, or Alt+T. When a
source and destination are selected, the routing
connection between them, if any, will become
highlighted. The examples in Figure 6-8 illustrate
the various source/destination selection possibil­ities.

Note that when you use the keyboard interface for
source and destination selection, selecting a source
and then a destination that are not connected
automatically connects them. Selecting and source
and destination that are already connected simply
allows you to edit the Channels routed check boxes
or to completely remove the routing.

A selected source. A selected destination. An isolated source/destination

Figure 6-8: Working with routings in the MIDI Routing window.

36

connection.

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Removing routings

To “unroute” a routing, you first must select its
source and destination. The isolated routing
connection will be shown bolder than the other
routings (as in the right-most example in
Figure 6-8). Pressing Delete or Backspace will
remove the routing. You can also drag source icons
to the Clear icon to remove all their routings.

Routing and unrouting specific MIDI channels

You may also use the source/destination selection
procedure to isolate a routing connection in order
to alter the Channels routed check boxes.
Unchecking all the check boxes for a particular
routing is equivalent to removing the routing, and
so the on-screen connection will disappear if you
do this. Likewise, routing a single channel from a
source to a destination constitutes a connection
and this will be reflected on-screen as well.

Removing all routings

If you wish to remove all routings from a single
source or to a single destination, select only the
desired source or destination by clicking on it. All
the connections for the source or destination will
be highlighted (as in the left-most example in
Figure 6-8). Pressing Delete or Backspace will
remove all highlighted routings. Alternately, you
can remove all routings from a source by dragging
it to the Clear icon. This is equivalent to selecting
only a source and then pressing Delete or
Backspace.

To remove all routings between all sources and
destinations, click the Clear button in the lower
right-hand corner of the window. Alternately, you
can double-click between all the source and
destination icons (meaning, within the “routing
area”) while holding down the Shift key.

output ports 1 through 6. No port-to-port routing
whatsoever is required to use the Micro Express as
a multi-port MIDI interface. Port-to-port routing is
strictly internal to the Micro Express and is in
addition to any routing performed by your MIDI
software.

The effect of muting and filtering on software

When using your MIDI software, the event filtering
and channelizing on each port always applies and is
in addition any filtering and channelizing
performed by your MIDI software.

Accessing the Sync and Advanced MIDI
windows

To open the Sync or Advanced MIDI window, just
double-click on the Sync or Transport source
icons. Alternately, when the Sync or Transport is
selected, pressing Enter will bring up the
appropriate window (Sync and Transport settings
will be covered shortly).

You can also open the Advanced MIDI window by
clicking the Advanced button in the lower left­hand corner of the window as shown in Figure 6-7
on page 35.

Accessing the Filter and Channel Map windows

When an input port source is selected, the filter and
channelize buttons will become available and
pressing them will open a Filter or Channel Map
window for the selected port (event filtering and
channelizing will be covered shortly). As with the
sources, you may access the destination Filter and
Channel Map windows for each selected
destination port. You may open as many Filter and
Channel Map windows as you wish, but there will
always be only one Filter and one Channel Map
window for each port.

Routing to and from the computer

MIDI data received on inputs 1 through 4 will
always show up at Micro Express’s MIDI driver
input ports and you can always send MIDI data to

USING MICRO EXPRESS CONSOLE

For example, if you open the Filter window for
input 3 and then it becomes hidden behind other
windows, selecting input 3 in the routing window
and pressing the filter button again will cause the

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appropriate window to be “brought to the top”-­another one will not be opened. Alternately, the
Window menu will always contain a list of all the
open Console windows from which you can select
one to activate.

The Sync In and Sync Out icons

The Sync In and Sync Out connectors represent
MIDI Time Code (MTC) routing to and from the
Micro Express itself. If you would like to send MIDI
Time Code from the Micro Express to devices
connected to its MIDI Out ports, create a
connection from the Sync Out icon to the desired
devices, as shown in Figure 6-9.

The Transport Out and Transport In icons

The Transport Out and Transport In icons provide
routing of MIDI Machine Control (MMC)
transport commands to and from the Micro
Express itself. For example, if you would like to
send MMC transport commands generated by (or
redistributed by) the Micro Express itself to other
devices, create a connection from the Transport
Out icon to the desired devices as shown below in
Figure 6-10. This connection is not necessary,
however, if you intend to send MMC transport
commands directly from computer software (or a
MMC hardware device) to a MMC device.

Figure 6-9: To send MIDI Time Code (MTC) generated by the Micro
Express to other devices in your network, make a connection from the
Sync Out icon to the desired devices as shown here. In this example,
MTC is being sent to the Akai DR8 and Roland VS-880 hard disk
recorders, as well as a JL Cooper CuePoint MMC controller.

Routing MTC to the Micro Express

If you would like to slave the Micro Express to
MIDI Time Code generated by another device,
make a connection from the device’s source cable
to the Sync In icon. You’ll also need to set the Micro
Express master sync mode to MTC. (Please note
that MTC mode is not recommended because
other forms of SMPTE provide a more stable time
base.)

38

Figure 6-10: When you want to control other MMC devices with the
Micro Express, or if you want the Micro Express to redistribute MMC
transport commands from your sequencer, connect the Transport
Out icon to any devices you wish to control. Note that these MMC
connections involve MMC transport commands only. For MMC
record functions (play-enable, punch-in, etc.), use the regular MIDI
routings and, for MMC software, use the appropriate Windows MIDI
driver output icons.

Transport In and Transport Out icon connections
only involve MMC transport commands; they do
not route MMC record functions, such as record­enable or auto punch-in/out. To route MMC
record functions, make connections between the
MIDI Routing window’s MIDI icons as needed.

Routing MMC to the Micro Express

The Transport In icon in the MIDI Routing
window represents MIDI Machine Control input to
the Micro Express itself. In other words, the Micro

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Express “listens” to MMC transport commands
from any devices (or computer software)
connected to this icon.

For MMC transport control of the Micro Express
from the computer, enable the transport master
option as shown Figure 6-18 on page 45. Doing so
makes the Micro Express follow MMC transport
commands sent from software.

Connecting a MMC controller to the Micro
Express

If you would like to control the Micro Express from
a MMC controller connected to one of the Micro
Express’s MIDI inputs, connect the device’s input
cable to the Transport In icon as demonstrated
below in Figure 6-11.

MIDI messages (those that are not sent on a
particular channel, such as “System Exclusive”
messages).

Figure 6-12: The Filter window for the input named “K2500”.

Changing a filter setting

To filter MIDI messages for a particular port:

Figure 6-11: To control the Micro Express from a MMC controller such
as JLCooper’s CuePoint, connect the device to the Transport In icon as
shown here.

FILTER WINDOW

The Filter window is used to filter unwanted MIDI
data passing through the ports of the Micro
Express. Both inputs and outputs have filter
settings and each port’s settings is independent of
the others. A port’s Filter window is divided into
two sections. The upper section contains filter
settings for “channelized” MIDI messages (those
that are sent on a particular MIDI channel, such as
“note” or “Pitch Bend” messages) and the lower
part contains filter settings for “non-channelized”

1 Click on the port’s icon in the MIDI Routing
window.

2 With the port selected, click on the “filter”
button above the selected port (or just double-click
the icon).

3 Now, with the port’s Filter window open, adjust
the message check boxes so the Micro Express
performs your desired message filtering as
explained below in Figure 6-13.

Figure 6-13: A red “X” means data will be filtered. A green check mark
means the data will not be filtered. A “hatched out” box indicates that
data is both filtered on one or more channels and not filtered on one
or more channels. The non-channelized filters will never show the
hatched-out box, since they apply to all channels.

USING MICRO EXPRESS CONSOLE

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Filtering channelized messages

Each channel in the Channelized section has its
own filtering settings. Think of the channel
selection as letting you step through the 16
different filter combinations on each channel on a
particular port (as conceptualized in Figure 6-14).

Figure 6-14: The channel settings in the Filter window lets you have
“layers” of filtering. Each channel has its own filter settings.

☛ When “All” is selected as the channel,

adjusting the message check boxes affects the
filtering of the messages on every channel. Under
this circumstance, the check boxes have a third
state (a “hatched-out” box as shown in Figure 6-13)
to indicate that a message is both filtered on one or
more channels and not filtered on one of more
channels. When the check box contains an “X”, the
message is filtered on all channels and when it
contains a “check” the message is not filtered on any
channel. You may cycle through the “all not
filtered”, “all filtered” and “combination filtered”
states by adjusting the check box from “check” to
“X” to “box” and back.

Clock messages are from a general class of MIDI
messages called “real time” messages. All real time
messages are from the even more general class of
“non-channelized” messages. So, first, you would
access the Filter window for the input 1 (see
“Changing a filter setting” on page 39). In the Non­Channelized section, click the check box next to
Real time so a red “X” appears. This setting will
prevent MIDI Timing Clock messages from
passing through the port. The overall effect of this
setting will prevent Timing Clocks from being
routed to any outputs connected to input 1 or being
received by any MIDI software using “In 1”.

CHANNEL MAP WINDOW

The Channel Map window allows you to change
the MIDI channel of all messages passing through
an input or output port. You can “remap” the
channels in any way you wish. Remap only one
particular channel, any combination or all
channels. As with the filter settings, each port can
be configured to have independent channel
remapping settings. The Micro Express defaults to
no channel remapping (meaning channel 1 maps
to channel 1, channel 2 maps to channel 2, etc.),
and in most cases, this should be the desired
default.

Original
channel

Remapped

channel

You can use the + and - keys to scan up and down
through the 16 channels at any time in the Filter
window. This makes it easy to adjust the filter
setting for a particular type of message at one time
without having to shift focus between the channel
setting and the filter setting.

For example, suppose you wanted to filter the
MIDI Timing Clock messages being generated by a
drum machine connected to input 1. MIDI Timing

40

Figure 6-15: The Channel Map window for the input named “K2500”
showing channel 1 being mapped to channel 3.

Making a channel map setting

To remap channels of MIDI messages for a
particular port:

1 Click on the port’s icon in the MIDI Routing
window.

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2 With the port selected, click on the channel map
button above the selected port as shown in
Figure 6-7 on page 35.

3 Now, with the Channel Map window open,
select the channel you wish to remap on the left
side and enter the new (remapped) channel on the
right side.

You may make a remap setting for all 16 MIDI
channels.

You can use the + and - keys to scan up and down
through the 16 original channels at any time in the
Channel Map window. This makes it easy to enter a
number of remap channels at one time without
having to shift focus between the original channel
setting and the remap channel setting.

For example, you may want to use a keyboard that
transmits only on channel 1 to control a sound
module set to receive on some other channel, say 5.
Suppose the keyboard is connected to input 1 of
the Micro Express and the sound module is
connected to output 3. First, you would route input
1 to output 3 using the MIDI Routing window (see
“MIDI routing” on page 36). Next, you would
access the Channel Map window for input 1 in a
manner similar to accessing a Filter window. In the
Channel Map window, set the left channel selection
(the “original” channel) to “1” and type “5” into the
remap channel field on the right. This will cause
the Micro Express to change all events being
received from input 1 on channel 1 to channel 5.
Since this remapping happens before the routing to
output 3 (see “Micro Express MIDI processing” on
page 33.) the messages received by the sound
module will be on channel 5 even though the
keyboard originally transmitted them on
channel 1.

SYNC WINDOW

The Sync window is used to configure the Micro
Express’s many synchronization features. The
SMPTE stripe start time, frame rate, and audio
output level settings are made in this window.
Additionally, jam-sync (“free-wheeling”) settings
can also be made for the rare cases when you
encounter drop-outs while reading SMPTE.

Figure 6-16: The Sync window showing stripe settings of 30 fps from
01:33:01:17 at a medium signal level.

Converting SMPTE time code

The Micro Express will always convert received
SMPTE into MIDI Time Code (MTC). Converted
MTC is can be received by MIDI applications via
the “Sync” MIDI input port.

If you are new to SMPTE synchronization

If you are not familiar with the process of
synchronizing with SMPTE time code, see
Appendix B, “SMPTE Synchronization Basics”
page (145) before reading this section. It provides a
definition of SMPTE time code and an explanation
of how it is used for synchronizing MIDI devices to
audio and video equipment.

Source

The Source setting determines the time base and
time code master source. For a complete
explanation, see chapter 8, “SMPTE Synchroni­zation” (page 71).

USING MICRO EXPRESS CONSOLE

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Frame lock

The Frame lock check box is only available when
LTC or MTC is chosen as the master sync source. It
is not available when you are using internal mode
or LTC QuikLock mode.

To understand the Frame lock option, you first
need to know that the Micro Express continuously
monitors the time code to which it is locked (either
LTC or MTC) to detect any possible discontinuity
in the frame times as they advance. If the Micro
Express detects more than five frames in a row that
are not continuous with respect to previous frames
received, then it does one of two things, depending
on whether the Frame lock option is turned on
(checked) or off (unchecked).

If the Frame lock option is turned on (checked),
and the Micro Express detects more than five
frames in a row that are not continuous with
respect to previous frames received, then it will
stop converting altogether.

If the Frame lock option is turned off (unchecked),
and the Micro Express detects more than five
frames in a row that are not continuous with
respect to previous frames received, then it begins
to perform a kind of “pseudo jam sync”. In this
mode, it continues to convert an uninterrupted
stream of continuous time code, while at the same
time clocking off of the incoming LTC or MTC.
Even though the frames it is generating no longer
match the frames it is reading, it will continue to
remain in sync with the incoming time code.

In other words, when the Frame lock option is off,
the Micro Express will ignore discontinuous jumps
in the time encoded in the incoming time code by
clocking itself off of the incoming time code
without stopping (or pausing) and continuing to
convert a continuous, uninterrupted stream of
frame times based on the time code to which it first
locked.

Turn on Frame lock when you want the Micro
Express’s frame times to match incoming frame
times, and you want to stop converting altogether if
there are jumps in incoming time code.

Turning off Frame lock can be a life saver if you find
yourself in a situation where you have time code on
tape (or other source) but the frame locations jump
around to different times (because of overlapping
SMPTE striping, edits, or whatever). By turning off
Frame lock, you can sync continuously to this type
of timecode without glitching or stopping. If the
SMPTE on your tape jumps around as described,
you are likely to experience brief drop-outs at the
points where it jumps. If so, just increase the Micro
Express’s freewheeling to cruise past them.

Jam for

The “Jam for” setting determines how many frames
the Micro Express will run on its own when it
encounters a drop-out in incoming time code. For
details, see “Freewheeling to avoid time code
dropouts” on page 72.

When you choose Jam for infinity, the Micro
Express begins generating time code on its own
indefinitely as soon as it stops receiving incoming
time code. And it will continue to do so until you
either stop it with the STRIPE button on the front
panel or by changing the source (or “Jam for”
amount) in the Sync window.

Still-frame sensitivity

The Still-frame sensitivity option applies to
situations in which you are feeding time code
(most likely LTC) to the Micro Express, and the
time code continues (the same frame over and over
again) even when its source is parked on a frame.
For example, you might be using a VITC-to-LTC
converter that continuously sends time code when
video is paused.

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This slider lets you control how many frames in a
row the Micro Express needs to receive to consider
incoming SMPTE as being parked on a single
frame. While lowering this value makes the Micro
Express more responsive when you park on a
frame with your video deck, it is also more likely to
misinterpret ordinary transport shuttling. So make
this value as low as you can, but raise it if you start
getting improper frame locations when shuttling
your deck.

Offset/start time

Start time is the SMPTE frame at which you would
like to begin striping time code. You can type in the
desired time here. Notice also that there are two
buttons to the right of the offset for starting and
stopping striping. For details about striping, see
“Striping SMPTE” on page 73.

The Sync window displays an offset time when the
master source mode is MIDI Time Code, LT C
(SMPTE), or LTC QuikLock modes in which tape
striping is not possible. You can only start striping
when the master source is set to Internal.

Take care when using Offset/start time

The LTC start setting in the Micro Express serves as
the start frame when striping, but also as the offset
when reading. If you stripe at 1 hour (1:00:00/00)
and then lock to the time code you just striped —
without readjusting the star/offset setting back to
0:00:00/00, then the Micro Express converts
starting at 2 hours (2:00:00/00).

Transport buttons (Internal mode only)

These buttons make the Micro Express start and
stop generating time code (both MTC and LTC)
when the unit is in Internal mode. When you click
the green triangle, time code will begin at the
frame entered in the Start time field.

LTC output

These options control the SMPTE time code (LTC)
output from the SMTPE jack on the rear panel of
the Micro Express. The frame Format options (24,
25, 29.97, 30, and drop) determine the frame rate
that will be generated. These option are grayed if
any master mode other than Internal is chosen.
This is because in all other cases, the Micro Express
is merely reading and matching the timecode being
received from an external source.

The Signal Level options let you adjust the volume
of the SMPTE output from the Micro Express. It is
grayed in LTC QuikLock mode.

The “Continuous Signal” option applies to
situations in which you are feeding time code
(most likely LTC) to the Micro Express, and the
time co de continues even when its source is parked
on a frame. For example, you might be using a
VITC-to-LTC converter that continuously sends
time code when video is paused. In this situation,
you can enable the Continuous signal option to
make the Micro Express continue to output time
code (both LTC and MTC) as well. This option is
grayed in Internal sync mode.

Sync routing

The Sync source (which is basically any MTC
converted or generated by the Micro Express) can
be routed to any destination port (see “MIDI
routing” on page 36). This can be useful if you
encounter cases where need to transmit MTC to
some other destination besides the computer
connected to the Micro Express. For example, you
may want to synchronize a drum machine or
another computer to the same SMPTE signal. In
this case, you would just connect a “MIDI OUT” of
the Micro Express to the “MIDI IN” of the
destination device and route Sync to the
appropriate destination port the MIDI Routing
window as shown in Figure 6-11 on page 39.

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TOOLBAR SYNC DISPLAY

The toolbar Sync display provides detailed
information about what state the Micro Express is
in as a synchronizer. The following sections
provide a brief explanation of each term.

time base source

Needs time base

Figure 6-17: The toolbar Sync display.

play/stop

Needs Time base

The flashing yellow “X” status indicator means that
the Micro Express is waiting to receive incoming
signal (LTC or MTC) from which it will derive a
time base. When it successfully achieves lockup,
the yellow X dims and the stable and play indicators
light up.

Stable

This status indicator means that the Micro Express
has established a stable time base. You’ll see this
indicator when one of the following is true:

time base

measurement

time base status

Stop (red box)

This status indicator means that the Micro Express
is not currently converting or generating time code
or is parked on a still frame.

Time base source

This indicator displays either internal or external
time base.

Time base measurement

This status indicator measures how fast or slow the
current time base is. When the Micro Express
master sync mode is set to Internal, this readout
will always read zero because of the Micro Express’s
highly accurate timing circuitry.

When the Micro Express master sync mode is set to
an external source (LTC or MTC), the readout will
display in percent how fast or slow the incoming
time code is. This readout allows you to measure
the accuracy of external time base sources.

The time base measurement indicator is not active
in LTC QuikLock mode.

■ The Micro Express is set to Internal mode

■ The Micro Express is set to either MTC or LTC

mode and it has successfully locked up to either
MTC or LTC

This indicator is not active in LTC QuikLock mode.

Locked

This status indicator means that the Micro Express
is successfully locked to a time base (internal, LTC
or MTC) and that it is also successfully converting
SMPTE time code.

Play (green arrow)

This status indicator means that the Micro Express
is generating or converting SMPTE time code.

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THE ADVANCED MIDI WINDOW

The Advanced MIDI window, shown in
Figure 6-18, has several settings that are explained
in the following sections.

Figure 6-18: The Advanced MIDI window.

MIDI Machine Control

This option turns on and off the MIDI Machine
Control features of the Micro Express. Most of the
time, you’ll want to control the transports of all
your gear from the computer. So leave the
“Transport master” option checked. In this
scenario, the computer is a synchronization slave
in most cases, as it slaves to MIDI Time Code
(MTC) generated by the Micro Express. So leave
the “Synchronization slave” option checked as well.

MIDI Machine Identification options

If you are using MIDI Machine Control, each
MMC device requires a unique MMC device ID,
including the Micro Express itself. The factory
default ID of the Micro Express is 20. You can
change this default if you’d like in the Advanced
MIDI window.

MMC software running on the computer,
regardless of the MMC device the messages are
intended for (as determined by the MMC device
ID embedded in the messages). If you want to
control a MMC device from your computer, you
have two choices:

1. bypass the Micro Express’s MMC features,

2. or send the MMC transport commands to the
Micro Express instead and have it redistribute
them to the other MMC device(s)

If you would like to bypass the Micro Express and
control a MMC device directly from your
computer software (choice #1 above), uncheck the
transport master option shown in Figure 6-18.

If you plan to use choice #2 above, leave the
transport master option checked, and also make
the type of connections shown in Figure 6-10
(which routes the Micro Express’s Transport Out
port to other MMC devices).

Choice #2 is better in many situations because the
Micro Express can serve as a central, stable “sync
hub” that distributes time code to one or more
other devices. This scenario is demonstrated in
Figure 4-4 on page 22 and described in “Your
Sequencer as a MMC controller” on page 22.

WORKING WITH SETUPS

The Micro Express provides eight factory Setups
and eight more user Setups (called presets on the
front panel of the Micro Express). Factory Setups
are “hard-wired” and cannot be permanently
changed. If a factory Setup is the current Setup,
changes you make to the Micro Express’s settings
will not be remembered unless you save them to
one of the Micro Express’s eight user Setups.

Direct MMC versus redistributed MMC

When you enable the transport master option
shown in Figure 6-18, the Micro Express
“swallows” all MMC transport commands sent by

USING MICRO EXPRESS CONSOLE

The eight user Setups can be configure any way you
wish, and they can be stored for later recall.

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Modifying a user Setup

To modify a user Setup:

1 Select one of the eight factory or user Setups
from the Setup list in the toolbar.

2 Make any changes you like in the MIDI Routing
window, Filter window, Channel Map window,
Sync window, or Advanced MIDI windows.

After you make your first change to a user Setup,
the Console software indicates this interim state by
displaying the phrase “Modified” in parentheses
next to the user Setup name in the Setup list.

Saving a user Setup in the Micro Express

Once you have modified a user Setup, you can save
the Setup in the Micro Express in one of several
ways.

■ Choose Write Setup from the Interface menu

■ Click the Write Setup button in the toolbar (see

Figure 6-2 on page 32)

■ Turn on Auto-write, which automatically writes

the user Setup to the Micro Express when you
either switch to a different Setup or exit the console
software

Saving user Setups and banks to disk

Use the commands in the File menu to save a single
Setup or a Setup bank (all eight user Setups) as a
file on disk. Just choose Save Setup or Save Bank
from the menu, type in a name, and click OK. To
load the user Setup or bank from disk, use the Load
bank or Setup command in the File menu.

PEDAL WINDOW

Pedal-to-MIDI and click-to-MIDI are powerful
functions of the Micro Express. The pedal-to­MIDI function allows you to configure a foot
switch or momentary pedal (connected to the
“PEDAL” jack on the Micro Express’s front panel)
to generate any type of MIDI message or to trigger
a series of MIDI messages. The Click-to-MIDI
function can similarly translate an audio click to a
MIDI message. Both the capabilities open up many
musical and practical possibilities, but we will
cover a couple basic examples and leave the rest up
to your imagination. Here are a few examples:

■ Generate MIDI data, such as notes, controllers,

patch changes, pitch bend, and system exclusive
data using a foot switch

■ Use the foot switch to step through a series of

MIDI data events (or groups of events)

Figure 6-19: Writing a Setup so that changes to it are remembered.

Renaming a user Setup

To rename a user Setup, choose the Interface|Write
Setup menu command or by clicking the Write
Setup button in the toolbar. Type in the new name
and click Write.

46

■ Convert an audio tempo source (such as a click

track) into MIDI data to slave MIDI hardware or
software to the audio tempo source

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Opening the Pedal window

To open the Pedal window, double-click the Pedal
icon in the MIDI Routing window.

Figure 6-20: The Pedal window showing the pedal input configured
to trigger some MIDI note messages.

Making pedal settings

A pedal or foot switch connected to the Micro
Express can be configured to generate virtually any
type of MIDI message. You can use any standard
momentary foot switch. Note, however, that the
Micro Express does not support damper/sustain
(“expression”) foot pedals, which generate a
continuous stream of data.

As an example, suppose you wanted to configure a
foot switch to send a series of note-on and note-off
messages to a drum module connected to output 5.
So, in the MIDI Routing window:

1 Route the Pedal to the desired output as
demonstrated below.

3 Check the “Reverse polarity” option
appropriately for your pedal.

4 Adjust the settings in the Event data section of
the window to show the desired note-on and
note-off data settings.

5 Press the “Add” button to insert the note-on and
note-off events into the event sequence.

6 Repeat from the fourth step until all desired
messages have been inserted into the list.

Now, each time the Micro Express senses the pedal
being depressed, it will send messages on output 5
causing the connected drum module to play. Each
message in the list will be sent out in succession
with each pedal press until the end of the list, when
the Micro Express will cycle back to the first
message.

While in the Pedal window, pressing the “Add”
button inserts the current Event data settings into
the event sequence before the currently selected
sequence item. You can remove the selected item by
pressing the Remove button. You can transfer the
selected sequence item’s settings (without
removing it from the sequence) into the Event data
section by double-clicking it.

☛ As messages are entered into the event list, the

percent display in the Pedal window will reflect
how much room is left in the Micro Express for
additional messages. A total of 47 bytes of down
messages and 47 bytes of up messages can be
entered.

Figure 6-21: Routing the pedal output to a device.

2 Access the Pedal window by double-clicking on
the Pedal icon and set Input type to “Pedal”.

USING MICRO EXPRESS CONSOLE

The ups and downs of pedal events

Clicking on an item’s icon will cause it to change
from being triggered when the pedal is released
(indicated with an “up” arrow) instead of when the
pedal is depressed (indicated with a “down”
arrow). There is also a third state (indicated with a
“line” to the previous message) that causes the

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message to be sent immediately following the
previous message in the list. This allows a group of
messages to be sent at once with a single up or
down movement of the pedal.

Figure 6-22: The pedal event sequence. Clicking the icon of an event
(inset) toggles its up/down status.

☛ Tip: you don’t have to always start the event

sequence with a “down” event. You can place an
“up” event as the first in the sequence, if you like.

example, you could send the signal from a
microphone into the “PEDAL” jack of the Micro
Express and mic a live snare drum. Using the click­to-MIDI function of the Micro Express, the snare
drum signal can be converted into a MIDI note
message used to trigger another percussion sound
in a drum machine or sampler. This feature can be
used for many other purposes, too. Here are a few
ideas:

■ Recording the click’s tempo map into a

sequencer

■ Slaving a sequencer to an audio click track

■ Triggering drum samples

To make a click-to-MIDI setting:

1 Route the Pedal icon in the MIDI Routing
window to the desired output(s) (as demonstrated
in Figure 6-21 on page 47.

2 Access the Pedal window by double-clicking on
the Pedal icon and set Input type to “Click”.

For example, in the pedal event list shown above,
the following would occur when the pedal is used:

Pedal Action Result

Pedal down Program #57 gets called up on channel 1.

Pedal up Note C 3 is silenced and program #3 is called

etc. etc.

The volume gets set to 50 and then a note,
C3, begins to sustain.

up, the volume is turned up and an E3 plays.

MAKING CLICK-TO-MIDI SETTINGS

The click settings are similar to the pedal settings
except that only a single MIDI message can be
triggered. Also, there is no notion of “up” or “down”
since a click-to-MIDI message is triggered by an
audio source as opposed to a pedal input. For

48

Figure 6-23: The click settings, including the decay and threshold
settings.

3 Set an appropriate decay and threshold in the
Input settings section.

Decay is meant to prevent doubled attacks. The
decay is the amount of time the Micro Express will
wait before it begins scanning for another click. Set
the decay as high (long) as possible to prevent false

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attacks, but low (short) enough so that it won’t miss
the next true click. Fast tempos require a low decay;
you can afford to use a longer decay for slow
tempos. The Threshold setting can also be used to
help fine-tune the Micro Express’s response to the
click input.

4 Adjust the settings in the Event section of the
window to show the desired message.

5 Check to make sure that the Micro Express is
successfully reading the click.

Observe the green MIDI OUT LED’s on the front
panel to see if they flash in sync with the click. If
they miss a beat, or if they seem to flicker or stutter
with a doubled attack, try adjusting the input level
of the click; also try adjusting the decay and
threshold.

That's all there is to it! When an audio click occurs,
the Micro Express will send the specified message
to the destination outputs connected to the Pedal
source in the MIDI Routing window.

Click input hints

If the Micro Express reads the audio click
erratically, such as generating doubled attacks, try
adjusting the decay value. If you still have trouble,
try attenuating the audio signal, as well as the
threshold slider (low/high) in the Pedal window.
The click input is purposefully sensitive so that it
can detect a low-amplitude signal.

If you are creating the click that the Micro Express
will convert, set the audio level fairly high (at
around 0 dB). Also, record a short, transient click
sound with no reverb or other effects. A short and
precise click sound will produce the best, most
reliable results.

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CHAPTER

7 Using MIDI Express XT Console

About MIDI Express XT Console

MIDI Express XT Console serves as a “control
center” for the MIDI Express XT. For example, you
can make changes to the synchronization settings,
filter some data on a particular input or output, or
route MIDI data from any MIDI device to any
other MIDI device connected to the MIDI
Express XT.

This chapter takes you through the process of
opening MIDI Express XT Console for the first
time.

When do you need to use the console?

The only time you need to use the MIDI
Express XT Console program is when you would
like to make changes to the settings in the MIDI
Express XT. If you just want to use it with a MIDI
sequencer, all you need to do is choose the
Sequencer 30 fps preset from the front panel, which
allows sequencing software to individually access

any of the input or output ports on the MIDI
Express XT. Just run your sequencer. You don’t
need to run the console at all in this case.

You only need to use the console if you want to
program user presets to suit your specific needs.

Familiarity with Windows

®

In explaining how to use MIDI Express XT
Console, this chapter assumes that you are already
familiar with the standard Windows interface
conventions, such as how to select options using
check boxes and radio buttons, how to type and
edit text, and so forth.

Opening MIDI Express XT Console

The primary “command centers” of MIDI
Express XT Console are the toolbar (along the top
of the main window) and the MIDI Routing
window. The toolbar gives you quick access to
important Console functions while the MIDI
Routing window displays current MIDI processing
configuration. (See Figure 7-1.)

Figure 7-1: The MIDI Express XT Console main window, with the
toolbar and MIDI Routing window visible.

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THE TOOLBAR

Before covering some of the other main elements of
the toolbar, we’ll quickly define the functions of
each of the buttons, or “tools”, along the bottom.
These functions will be covered in greater detail in
the following sections. You may activate one of
these functions by simply clicking its associated
tool (shown above), or by choosing its equivalent
menu command as shown below.

Toolbar Item Corresponding Menu Command

Open Setup or bank File|Open Setup or bank...

Save Setup File|Save Setup...

Exit File|Exit

Read Setup Interface|Read Setup

Write Setup Interface|Write Setup

Auto-write Interface|Auto-write

Reset interface Interface|Reset

Tile windows Window|Tile

Cascade windows Window|Cascade

☛ Hint: You can quickly “shrink” the Console

window down to just show the toolbar by using the
menu selection Shrink to toolbar, located in the

main window’s system menu. Shrinking the
Console to just show the toolbar can be useful
when you want to leave the Console open for
monitoring the MIDI Express XT Console and
SMPTE conditions from your computer.

The Setup list

The Setup combobox on the toolbar always
indicates the currently selected Setup in the MIDI
Express XT. Clicking on the combobox drops
down the list of other available Setups. Alternately,
you may press Alt+P to activate the list and display
the other Setups.

Figure 7-3: The Setup list dropped down to show the other available
Setups. Factory Setup 1, “Sequencer 30 fps”, is currently selected.

The Setup list will always contain the eight user
Setups followed by the eight factory Setups.
Selecting a Setup from the list with the mouse will
cause the MIDI Express XT to change to the

Load Setup file Save Setup file

Figure 7-2: The toolbar tools and associated functions.

52

Read Setup

Write Setup

Auto-write

Sync display

Reset interface

Tile windows

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Cascade

windows

Exit

!USB Interfaces Manual Book Page 53 Tuesday, October 10, 2000 12:43 PM

selected Setup. You can also use the keyboard up
and down arrow keys to scroll through the list,
pressing Enter to select the desired Setup.
Alternately, you may use the MIDI Express XT’s
front panel buttons to change Setups. At all times,
the Console should remain “in sync” with your
MIDI Express XT, accurately displaying the
current Setup configuration.

The SMPTE readout

To the right of the Setup list is the SMPTE readout.
The SMPTE readout always gives a real time,
running update of the current frame time and
frame rate when your MIDI Express XT is
converting or generating SMPTE timecode.

hours minutes seconds frames

SMPTE frame rate

Figure 7-4: The SMPTE readout in the toolbar sync display.

Below the SMPTE readout is the SMPTE error list.
This list will display any “dropouts” and MIDI
errors encountered while converting incoming
SMPTE. Each dropout will be shown with the last
valid SMPTE time converted before the dropout
occurred and the number of frames missing after
that time. The list will be cleared each time new
timecode begins. Hopefully, you will not see too
many entries appear in this list. However, if you do,
the MIDI Express XT has a flexible SMPTE free­wheeling (“jam-syncing”) capability to smooth out
problem sync tracks (you can also use the MIDI
Express XT as a SMPTE regenerator/reshaper to
re-record or extend sync tracks).

ExpressHelp

You’ll also notice a bar along the bottom of the
main Console window. This is the status bar where
notification and progress messages will be
displayed from time to time while the Console
performs its various functions. In addition,
another feature of the Console uses this area for
displaying “ExpressHelp”. ExpressHelp consists of
short, informative messages that change
depending on which Console control (button, list,
etc.) the on-screen mouse cursor is on top of.
ExpressHelp will also update if you shift the control
focus using the Windows keyboard interface (using
the Tab key in a console window, for example)
instead of using the mouse.

ExpressHelp is enabled by default to aid you in
getting familiar with the Console, but you may
disable it with the Options menu selection.

MIDI EXPRESS XT MIDI PROCESSING

Before going any further, it is important to
understand how the MIDI Express XT performs its
MIDI processing, specifically the order in which
each type of processing is applied. Figure 7-5
illustrates how the Express XT processes MIDI
data as it travels from one interface input port to
one interface output port.

First, data is received from an input port, where it is
immediately filtered (events that are filtered are
removed). Next, the remaining events are
channelized (“mapped”) to different channels (the
default is no channelizing) and then they are sent to
the “data bus”. The data bus is where port-to-port
routing takes place, sending MIDI data from each
input to any combination of outputs. When the
data finally reaches its destination output port(s), it
is channelized and filtered again before leaving the
MIDI Express XT. All of this processing power is
completely configurable from the Console.

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WINDOWS MIDI PORTS

As for data arriving and leaving your computer via
the included Windows MIDI driver, imagine it
coming a going from the MIDI Express XT data
bus as shown in Figure 7-5. All channelizing and
filtering is applied before the input data arrives at
any software input port and after it is sent from any
software output port. This is a great advantage as it
frees up your computer and MIDI software from
having to deal with the mundane (and time­consuming) chore of such processing. Just
configure your MIDI Express XT and let it do all
the work!

Once you get the MIDI Express XT Windows MIDI
driver installed, you’ll notice that all eight MIDI
Express XT inputs and outputs are available to
your MIDI programs.

Figure 7-6: MIDI Express XT ports in Cakewalk Pro.

Sync Port

You’ll also see several other special MIDI
Express XT ports in addition to its regular MIDI
ports. The first is the “Sync” input port where all
MIDI real time and MIDI Time Code messages will
arrive, regardless of where the MIDI Express XT
received them from. All other received data will
arrive at the other input ports as appropriate.

☛ At no time will MIDI real time or MIDI Time

Code messages arrive on any of other MIDI
Express XT Windows input port besides the special
“sync port”.

Out All port

You’ll also see a port called “Out All”. This port will
also appear in your MIDI programs, allowing you
to send the same MIDI data out all the MIDI
Express XT’s output ports at once.

MIDI ports and the Express XT Console

You do not need to have the Console running in
Windows to use the MIDI Express XT with your
other MIDI software. Also, as the Console does not
compete with other MIDI applications for the
Windows MIDI ports, you can freely open and
close the Console to make adjustments or simply
check the current settings.

MDI IN

Event filtering Event filtering

Figure 7-5: MIDI Express XT internal MIDI data
processing sequence.

54

Channel

mapping

MIDI Express XT

data bus

Windows MIDI Ports

(Computer)

MDI OUT

Channel

mapping

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MIDI ROUTING WINDOW

The MIDI Routing window is the control center for
routing and processing MIDI data with your MIDI
Express XT. Although your computer will always
be able to receive MIDI data from the eight inputs
and send data to the eight outputs with your
Windows MIDI sequencing software, the Console
has the ability to configure the MIDI Express XT to
internally route MIDI data from any input to any
combination of outputs. The MIDI Routing
window also allows you to route MIDI Time Code
(converted from incoming SMPTE or generated
“fresh”) to any of the eight outputs. Additionally,
you can individually rechannelize and filter (apply
an event filter) any type of incoming or outgoing
MIDI data on each input and output.

input

filter

button

input

channel map

button

MIDI

“data bus”

The processing sequence described Figure 7-5 on
page 54 is conveniently represented in the layout of
the MIDI Routing window. The MIDI data flow
proceeds from left to right. MIDI inputs, or sources,
are represented on the left by the input port and
clock (for MIDI Time Code converted from
SMPTE) icons. MIDI outputs, or destinations, are
represented on the right by the output port icons.
Port-to-port routings are represented by extended
arrows going from sources to destinations. The
processing options (filtering and channelizing) are
represented by the four buttons along the top of the
window. You can clearly see the logical processing
order with this layout as shown in Figure 7-7.

output

channel map

button

output

filter

button

advanced

MIDI settings

Figure 7-7: The MIDI Routing window with a source and
destination selected.

USING MIDI EXPRESS XT CONSOLE

source icons routing connections destination

icons

channels

being routed

deletes all current connections

or any source connections

drag-and-dropped to it

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Naming ports

Naming the MIDI input and output ports is easy.
Simply select the desired port and press Enter or
directly click on the current name with the mouse.
A pop-up edit field will appear containing the
current name. Edit the name and either press Enter
again to save it or Esc to abort the changes. The
names you enter for the ports will be displayed and
remembered in the Console.

MIDI routing

Routing is as simple as dragging a source icon with
the mouse and dropping it on a destination icon.
When making port-to-port connections, the
Console will route all 16 MIDI channels from the
source to the destination (as is the case in
Figure 7-7 on page 55). You can freely edit the
routed channels later by altering the Channels
routed check boxes while the source and
destination are selected (see “Selecting individual
sources and destinations” on page 56).

☛ Note, however, that channel routing, as well as

event filtering and channel mapping, only apply to
the MIDI input port sources and not the Sync or
Transport sources.

☛ When routing with the mouse, the connected

source and destination will automatically become
selected allowing you to instantly adjust the routed
channels or access the other windows.

You can also quickly route a single source to more
than one destination. Do this by holding down the
Shift key while you drag. Each destination you
move the mouse over will automatically be
connected with the dragged source. The last
connected source and destination will remain
selected.

Selecting individual sources and destinations

To select a source, click on it using the mouse. You
may also select a source by pressing keys 1 through
8, S, P or T. To select a destination, click on it using
the mouse while holding down the Ctrl key (you
can also simply click with the right mouse button
instead of using Ctrl). You can also select a
destination by holding down the Alt key and
pressing keys 1 through 8, Alt+S, or Alt+T. When a
source and destination are selected, the routing
connection between them, if any, will become
highlighted. The examples in Figure 7-8 illustrate
the various source/destination selection possibil­ities.

Note that when you use the keyboard interface for
source and destination selection, selecting a source
and then a destination that are not connected
automatically connects them. Selecting and source
and destination that are already connected simply
allows you to edit the Channels routed check boxes
or to completely remove the routing.

A selected source. A selected destination. An isolated source/destination

Figure 7-8: Working with routings in the MIDI Routing window.

56

connection.

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Removing routings

To “unroute” a routing, you first must select its
source and destination. The isolated routing
connection will be shown bolder than the other
routings (as in the right-most example in
Figure 7-8). Pressing Delete or Backspace will
remove the routing. You can also drag source icons
to the Clear icon to remove all their routings.

Routing and unrouting specific MIDI channels

You may also use the source/destination selection
procedure to isolate a routing connection in order
to alter the Channels routed check boxes.
Unchecking all the check boxes for a particular
routing is equivalent to removing the routing, and
so the on-screen connection will disappear if you
do this. Likewise, routing a single channel from a
source to a destination constitutes a connection
and this will be reflected on-screen as well.

Removing all routings

If you wish to remove all routings from a single
source or to a single destination, select only the
desired source or destination by clicking on it. All
the connections for the source or destination will
be highlighted (as in the left-most example in
Figure 7-8). Pressing Delete or Backspace will
remove all highlighted routings. Alternately, you
can remove all routings from a source by dragging
it to the Clear icon. This is equivalent to selecting
only a source and then pressing Delete or
Backspace.

To remove all routings between all sources and
destinations, click the Clear button in the lower
right-hand corner of the window. Alternately, you
can double-click between all the source and
destination icons (meaning, within the “routing
area”) while holding down the Shift key.

output ports 1 through 8. No port-to-port routing
whatsoever is required to use the MIDI Express XT
as a multi-port MIDI interface. Port-to-port routing
is strictly internal to the MIDI Express XT and is in
addition to any routing performed by your MIDI
software.

The effect of muting and filtering on software

When using your MIDI software, the event filtering
and channelizing on each port always applies and is
in addition any filtering and channelizing
performed by your MIDI software.

Accessing the Sync and Advanced MIDI
windows

To open the Sync or Advanced MIDI window, just
double-click on the Sync or Transport source
icons. Alternately, when the Sync or Transport is
selected, pressing Enter will bring up the
appropriate window (Sync and Transport settings
will be covered shortly).

You can also open the Advanced MIDI window by
clicking the Advanced button in the lower left­hand corner of the window as shown in Figure 7-7
on page 55.

Accessing the Filter and Channel Map windows

When an input port source is selected, the filter and
channelize buttons will become available and
pressing them will open a Filter or Channel Map
window for the selected port (event filtering and
channelizing will be covered shortly). As with the
sources, you may access the destination Filter and
Channel Map windows for each selected
destination port. You may open as many Filter and
Channel Map windows as you wish, but there will
always be only one Filter and one Channel Map
window for each port.

Routing to and from the computer

MIDI data received on inputs 1 through 8 will
always show up at MIDI Express XT’s MIDI driver
input ports and you can always send MIDI data to

USING MIDI EXPRESS XT CONSOLE

For example, if you open the Filter window for
input 3 and then it becomes hidden behind other
windows, selecting input 3 in the routing window
and pressing the filter button again will cause the

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appropriate window to be “brought to the top”-­another one will not be opened. Alternately, the
Window menu will always contain a list of all the
open Console windows from which you can select
one to activate.

The Sync In and Sync Out icons

The Sync In and Sync Out connectors represent
MIDI Time Code (MTC) routing to and from the
MIDI Express XT itself. If you would like to send
MIDI Time Code from the MIDI Express XT to
devices connected to its MIDI Out ports, create a
connection from the Sync Out icon to the desired
devices, as shown in Figure 7-9.

The Transport Out and Transport In icons

The Transport Out and Transport In icons provide
routing of MIDI Machine Control (MMC)
transport commands to and from the MIDI
Express XT itself. For example, if you would like to
send MMC transport commands generated by (or
redistributed by) the MIDI Express XT itself to
other devices, create a connection from the
Transport Out icon to the desired devices as shown
below in Figure 7-10. This connection is not
necessary, however, if you intend to send MMC
transport commands directly from computer
software (or a MMC hardware device) to a MMC
device.

Figure 7-9: To send MIDI Time Code (MTC) generated by the MIDI
Express XT to other devices in your network, make a connection from
the Sync Out icon to the desired devices as shown here. In this
example, MTC is being sent to the Akai DR8 and Roland VS-880 hard
disk recorders, as well as a JL Cooper CuePoint MMC controller.

Routing MTC to the MIDI Express XT

If you would like to slave the MIDI Express XT to
MIDI Time Code generated by another device,
make a connection from the device’s source cable
to the Sync In icon. You’ll also need to set the MIDI
Express XT master sync mode to MTC. (Please
note that MTC mode is not recommended because
other forms of SMPTE provide a more stable time
base.)

58

Figure 7-10: When you want to control other MMC devices with the
MIDI Express XT, or if you want the MIDI Express XT to redistribute
MMC transport commands from your sequencer, connect the Trans­port Out icon to any devices you wish to control. Note that these
MMC connections involve MMC transport commands only. For MMC
record functions (play-enable, punch-in, etc.), use the regular MIDI
routings and, for MMC software, use the appropriate Windows MIDI
driver output icons.

Transport In and Transport Out icon connections
only involve MMC transport commands; they do
not route MMC record functions, such as record­enable or auto punch-in/out. To route MMC
record functions, make connections between the
MIDI Routing Window’s MIDI icons as needed.

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Routing MMC to the Express XT

The Transport In icon in the MIDI Routing
window represents MIDI Machine Control input to
the MIDI Express XT itself. In other words, the
MIDI Express XT “listens” to MMC transport
commands from any devices (or computer
software) connected to this icon.

For MMC transport control of the Express XT
from the computer, enable the transport master
option as shown Figure 7-18 on page 65. Doing so
makes the MIDI Express XT follow MMC
transport commands sent from software.

Connecting a MMC controller to the Express XT

If you would like to control the MIDI Express XT
from a MMC controller connected to one of the
MIDI Express XT’s MIDI inputs, connect the
device’s input cable to the Transport In icon as
demonstrated below in Figure 7-11.

two sections. The upper section contains filter
settings for “channelized” MIDI messages (those
that are sent on a particular MIDI channel, such as
“note” or “Pitch Bend” messages) and the lower
part contains filter settings for “non-channelized”
MIDI messages (those that are not sent on a
particular channel, such as “System Exclusive”
messages).

Figure 7-11: To control the MIDI Express XT from a MMC controller
such as JLCooper’s CuePoint, connect the device to the Transport In
icon as shown here.

FILTER WINDOW

The Filter window is used to filter unwanted MIDI
data passing through the ports of the MIDI
Express XT. Both inputs and outputs have filter
settings and each port’s settings is independent of
the others. A port’s Filter window is divided into

Figure 7-12: The Filter window for the input named “K2500”.

Changing a filter setting

To filter MIDI messages for a particular port:

1 Click on the port’s icon in the MIDI Routing
window.

2 With the port selected, click on the “filter”
button above the selected port (or just double-click
the icon).

3 Now, with the port’s Filter window open, adjust
the message check boxes so the MIDI Express XT
performs your desired message filtering as
explained below in Figure 7-13.

Figure 7-13: A red “X” means data will be filtered. A green check mark
means the data will not be filtered. A “hatched out” box indicates that
data is both filtered on one or more channels and not filtered on one
or more channels. The non-channelized filters will never show the
hatched-out box, since they apply to all channels.

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Filtering channelized messages

Each channel in the Channelized section has its
own filtering settings. Think of the channel
selection as letting you step through the 16
different filter combinations on each channel on a
particular port (as conceptualized in Figure 7-14).

Figure 7-14: The channel settings in the Filter window lets you have
“layers” of filtering. Each channel has its own filter settings.

☛ When “All” is selected as the channel,

adjusting the message check boxes affects the
filtering of the messages on every channel. Under
this circumstance, the check boxes have a third
state (a “hatched-out” box as shown in Figure 7-13)
to indicate that a message is both filtered on one or
more channels and not filtered on one of more
channels. When the check box contains an “X”, the
message is filtered on all channels and when it
contains a “check” the message is not filtered on any
channel. You may cycle through the “all not
filtered”, “all filtered” and “combination filtered”
states by adjusting the check box from “check” to
“X” to “box” and back.

Clock messages are from a general class of MIDI
messages called “real time” messages. All real time
messages are from the even more general class of
“non-channelized” messages. So, first, you would
access the Filter window for the input 1 (see
“Changing a filter setting” on page 59). In the Non­Channelized section, click the check box next to
Real time so a red “X” appears. This setting will
prevent MIDI Timing Clock messages from
passing through the port. The overall effect of this
setting will prevent Timing Clocks from being
routed to any outputs connected to input 1 or being
received by any MIDI software using In 1.

CHANNEL MAP WINDOW

The Channel Map window allows you to change
the MIDI channel of all messages passing through
an input or output port. You can “remap” the
channels in any way you wish. Remap only one
particular channel, any combination or all
channels. As with the filter settings, each port can
be configured to have independent channel
remapping settings. The MIDI Express XT defaults
to no channel remapping (meaning channel 1
maps to channel 1, channel 2 maps to channel 2,
etc.), and in most cases, this should be the desired
default.

Original
channel

Remapped

channel

You can use the + and - keys to scan up and down
through the 16 channels at any time in the Filter
window. This makes it easy to adjust the filter
setting for a particular type of message at one time
without having to shift focus between the channel
setting and the filter setting.

For example, suppose you wanted to filter the
MIDI Timing Clock messages being generated by a
drum machine connected to input 1. MIDI Timing

60

Figure 7-15: The Channel Map window for the input named “K2500”
showing channel 1 being mapped to channel 3.

Making a channel map setting

To remap channels of MIDI messages for a
particular port:

1 Click on the port’s icon in the MIDI Routing
window.

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2 With the port selected, click on the channel map
button above the selected port as shown in
Figure 7-7 on page 55.

3 Now, with the Channel Map window open,
select the channel you wish to remap on the left
side and enter the new (remapped) channel on the
right side.

You may make a remap setting for all 16 MIDI
channels.

You can use the + and - keys to scan up and down
through the 16 original channels at any time in the
Channel Map window. This makes it easy to enter a
number of remap channels at one time without
having to shift focus between the original channel
setting and the remap channel setting.

For example, you may want to use a keyboard that
transmits only on channel 1 to control a sound
module set to receive on some other channel, say 5.
Suppose the keyboard is connected to input 1 of
the MIDI Express XT and the sound module is
connected to output 3. First, you would route input
1 to output 3 using the MIDI Routing window (see
“MIDI routing” on page 56). Next, you would
access the Channel Map window for input 1 in a
manner similar to accessing a Filter window. In the
Channel Map window, set the left channel selection
(the “original” channel) to “1” and type “5” into the
remap channel field on the right. This will cause
the MIDI Express XT to change all events being
received from input 1 on channel 1 to channel 5.
Since this remapping happens before the routing to
output 3 (see “MIDI Express XT MIDI processing”
on page 53.) the messages received by the sound
module will be on channel 5 even though the
keyboard originally transmitted them on
channel 1.

SYNC WINDOW

The Sync window is used to configure the MIDI
Express XT’s many synchronization features. The
SMPTE stripe start time, frame rate, and audio
output level settings are made in this window.
Additionally, jam-sync (“free-wheeling”) settings
can also be made for the rare cases when you
encounter drop-outs while reading SMPTE.

Figure 7-16: The Sync window showing stripe settings of 30 fps from
01:33:01:17 at a medium signal level.

Converting SMPTE time code

The MIDI Express XT will always convert received
SMPTE into MIDI Time Code (MTC). Converted
MTC is can be received by MIDI applications via
the “Sync” MIDI input port.

If you are new to SMPTE synchronization

If you are not familiar with the process of
synchronizing with SMPTE time code, see
Appendix B, “SMPTE Synchronization Basics”
page (145) before reading this section. It provides a
definition of SMPTE time code and an explanation
of how it is used for synchronizing MIDI devices to
audio and video equipment.

Source

The Source setting determines the time base and
time code master source. For a complete
explanation, see chapter 8, “SMPTE Synchroni­zation” (page 71).

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Frame lock

The Frame lock check box is only available when
LTC or MTC is chosen as the master sync source. It
is not available when you are using internal mode
or LTC QuikLock mode.

To understand the Frame lock option, you first
need to know that the MIDI Express XT
continuously monitors the time code to which it is
locked (either LTC or MTC) to detect any possible
discontinuity in the frame times as they advance. If
the MIDI Express XT detects more than five frames
in a row that are not continuous with respect to
previous frames received, then it does one of two
things, depending on whether the Frame lock
option is turned on (checked) or off (unchecked).

If the Frame lock option is turned on (checked),
and the MIDI Express XT detects more than five
frames in a row that are not continuous with
respect to previous frames received, then it will
stop converting altogether.

If the Frame lock option is turned off (unchecked),
and the MIDI Express XT detects more than five
frames in a row that are not continuous with
respect to previous frames received, then it begins
to perform a kind of “pseudo jam sync”. In this
mode, it continues to convert an uninterrupted
stream of continuous time code, while at the same
time clocking off of the incoming LTC or MTC.
Even though the frames it is generating no longer
match the frames it is reading, it will continue to
remain in sync with the incoming time code.

In other words, when the Frame lock option is off,
the MIDI Express XT will ignore discontinuous
jumps in the time encoded in the incoming time
code by clocking itself off of the incoming time
code without stopping (or pausing) and
continuing to convert a continuous, uninterrupted
stream of frame times based on the time code to
which it first locked.

Turn on Frame lock when you want the MIDI
Express XT’s frame times to match incoming frame
times, and you want to stop converting altogether if
there are jumps in incoming time code.

Turning off Frame lock can be a life saver if you find
yourself in a situation where you have time code on
tape (or other source) but the frame locations jump
around to different times (because of overlapping
SMPTE striping, edits, or whatever). By turning off
Frame lock, you can sync continuously to this type
of timecode without glitching or stopping. If the
SMPTE on your tape jumps around as described,
you are likely to experience brief drop-outs at the
points where it jumps. If so, just increase the MIDI
Express XT’s freewheeling to cruise past them.

Jam for

The “Jam for” setting determines how many frames
the MIDI Express XT will run on its own when it
encounters a drop-out in incoming time code. For
details, see “Freewheeling to avoid time code
dropouts” on page 72.

When you choose Jam for infinity, the MIDI
Express XT begins generating time code on its own
indefinitely as soon as it stops receiving incoming
time code. And it will continue to do so until you
either stop it with the STRIPE button on the front
panel or by changing the source (or “Jam for”
amount) in the Sync window.

Still-frame sensitivity

The Still-frame sensitivity option applies to
situations in which you are feeding time code
(most likely LTC) to the MIDI Express XT, and the
time code continues (the same frame over and over
again) even when its source is parked on a frame.
For example, you might be using a VITC-to-LTC
converter that continuously sends time code when
video is paused.

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This slider lets you control how many frames in a
row the MIDI Express XT needs to receive to
consider incoming SMPTE as being parked on a
single frame. While lowering this value makes the
MIDI Express XT more responsive when you park
on a frame with your video deck, it is also more
likely to misinterpret ordinary transport shuttling.
So make this value as low as you can, but raise it if
you start getting improper frame locations when
shuttling your deck.

Offset/start time

Start time is the SMPTE frame at which you would
like to begin striping time code. You can type in the
desired time here. Notice also that there are two
buttons to the right of the offset for starting and
stopping striping. For details about striping, see
“Striping SMPTE” on page 73.

The Sync window displays an offset time when the
master source mode is MIDI Time Code, LT C
(SMPTE), or LTC QuikLock modes in which tape
striping is not possible. You can only start striping
when the master source is set to Internal.

Take care when using Offset/start time

The LTC start setting in the MIDI Express XT
serves as the start frame when striping, but also as
the offset when reading. If you stripe at 1 hour
(1:00:00/00) and then lock to the time code you
just striped — without readjusting the star/offset
setting back to 0:00:00/00, then the Express XT
converts starting at 2 hours (2:00:00/00).

Transport buttons (Internal mode only)

These buttons make the MIDI Express XT start
and stop generating time code (both MTC and
LTC) when the unit is in Internal mode. When you
click the green triangle, time code will begin at the
frame entered in the Start time field.

LTC output

These options control the SMPTE time code (LTC)
output from the SMTPE jack on the rear panel of
the MIDI Express XT. The frame Format options
(24, 25, 29.97, 30, and drop) determine the frame
rate that w ill be generated. These option are grayed
if any master mode other than Internal is chosen.
This is because in all other cases, the MIDI
Express XT is merely reading and matching the
timecode being received from an external source.

The Signal Level options let you adjust the volume
of the SMPTE output from the MIDI Express XT. It
is grayed in LTC QuikLock mode.

The “Continuous Signal” option applies to
situations in which you are feeding time code
(most likely LTC) to the MIDI Express XT, and the
time co de continues even when its source is parked
on a frame. For example, you might be using a
VITC-to-LTC converter that continuously sends
time code when video is paused. In this situation,
you can enable the Continuous signal option to
make the MIDI Express XT continue to output
time code (both LTC and MTC) as well. This
option is grayed in Internal sync mode.

Sync routing

The Sync source (which is basically any MTC
converted or generated by the MIDI Express XT)
can be routed to any destination port (see “MIDI
routing” on page 56). This can be useful if you
encounter cases where need to transmit MTC to
some other destination besides the computer
connected to the MIDI Express XT. For example,
you may want to synchronize a drum machine or
another computer to the same SMPTE signal. In
this case, you would just connect a “MIDI OUT” of
the MIDI Express XT to the “MIDI IN” of the
destination device and route Sync to the
appropriate destination port the MIDI Routing
window as shown in Figure 7-11 on page 59.

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TOOLBAR SYNC DISPLAY

The toolbar Sync display provides detailed
information about what state the MIDI Express XT
is in as a synchronizer. The following sections
provide a brief explanation of each term.

time base source

Needs time base

Figure 7-17: The toolbar Sync display.

play/stop

Needs Time base

The flashing yellow “X” status indicator means that
the MIDI Express XT is waiting to receive
incoming signal (LTC or MTC) from which it will
derive a time base. When it successfully achieves
lockup, the yellow X dims and the stable and play
indicators light up.

Stable

This status indicator means that the MIDI
Express XT has established a stable time base.
You’ll see this indicator when one of the following is
true:

■ The MIDI Express XT is set to Internal mode

time base

measurement

time base status

Play (green arrow)

This status indicator means that the MIDI
Express XT is generating or converting SMPTE
time code.

Stop (red box)

This status indicator means that the MIDI
Express XT is not currently converting or
generating time code or is parked on a still frame.

Time base source

This indicator displays either internal or external
time base.

Time base measurement

This status indicator measures how fast or slow the
current time base is. When the MIDI Express XT
master sync mode is set to Internal, this readout
will always read zero because of the XT’s highly
accurate timing circuitry.

When the MIDI Express XT master sync mode is
set to an external source (LTC or MTC), the
readout will display in percent how fast or slow the
incoming time code is. This readout allows you to
measure the accuracy of external time base
sources.

The time base measurement indicator is not active
in LTC QuikLock mode.

■ The MIDI Express XT is set to either MTC or

LTC mode and it has successfully locked up to
either MTC or LTC

This indicator is not active in LTC QuikLock mode.

Locked

This status indicator means that the MIDI
Express XT is successfully locked to a time base
(internal, LTC or MTC) and that it is also
successfully converting SMPTE time code.

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THE ADVANCED MIDI WINDOW

The Advanced MIDI window, shown in
Figure 7-18, has several settings that are explained
in the following sections.

Figure 7-18: The Advanced MIDI window.

MIDI Machine Control

This option turns on and off the MIDI Machine
Control features of the MIDI Express XT. Most of
the time, you’ll want to control the transports of all
your gear from the computer. So leave the
“Transport master” option checked. In this
scenario, the computer is a synchronization slave
in most cases, as it slaves to MIDI Time Code
(MTC) generated by the MIDI Express XT. So leave
the “Synchronization slave” option checked as well.

MIDI Machine Identification options

If you are using MIDI Machine Control, each
MMC device requires a unique MMC device ID,
including the MIDI Express XT itself. The factory
default ID of the MIDI Express XT is 20. You can
change this default if you’d like in the Advanced
MIDI window.

MMC software running on the computer,
regardless of the MMC device the messages are
intended for (as determined by the MMC device
ID embedded in the messages). If you want to
control a MMC device from your computer, you
have two choices:

1. bypass the MIDI Express XT’s MMC features,

2. or send the MMC transport commands to the
MIDI Express XT instead and have it redistribute
them to the other MMC device(s)

If you would like to bypass the MIDI Express XT
and control a MMC device directly from your
computer software (choice #1 above), uncheck the
transport master option shown in Figure 7-18.

If you plan to use choice #2 above, leave the
transport master option checked, and also make
connection shown in Figure 7-10 (which routes the
MIDI Express XT’s Transport Out port to the other
MMC device).

Choice #2 is better in many situations because the
MIDI Express XT can serve as a central, stable
“sync hub” that distributes time code to one or
more other devices. This scenario is demonstrated
in Figure 4-4 on page 22 and described in “Your
Sequencer as a MMC controller” on page 22.

WORKING WITH SETUPS

The MIDI Express XT provides eight factory
Setups and eight more user Setups (called presets
on the front panel of the Express XT). Factory
Setups are “hard-wired” and cannot be
permanently changed. If a factory Setup is the
current Setup, changes you make to the
Express XT’s settings will not be remembered
unless you save them to one of the Express XT’s
eight user Setups.

Direct MMC versus redistributed MMC

When you enable the transport master option
shown in Figure 7-18, the MIDI Express XT
“swallows” all MMC transport commands sent by

USING MIDI EXPRESS XT CONSOLE

The eight user Setups can be configure any way you
wish, and they can be stored for later recall.

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Modifying a user Setup

To modify a user Setup:

1 Select one of the eight user Setups from the
Setup list in the toolbar.

2 Make any changes you like in the MIDI Routing
window, Filter window, Channel Map window,
Sync window, or Advanced MIDI windows.

After you make your first change to a user Setup,
the Console software indicates this interim state by
displaying the phrase “Modified” in parentheses
next to the user Setup name in the Setup list.

Saving a user Setup in the MIDI Express XT

Once you have modified a user Setup, you can save
the Setup in the MIDI Express XT in one of several
ways.

■ Choose Write Setup from the Interface menu

■ Click the Write Setup button in the toolbar (see

Figure 7-2 on page 52)

■ Turn on Auto-write, which automatically writes

the user Setup to the MIDI Express XT when you
either switch to a different Setup or exit the console
software

Saving user Setups and banks to disk

Use the commands in the File menu to save a single
Setup or a Setup bank (all eight user Setups) as a
file on disk. Just choose Save Setup or Save Bank
from the menu, type in a name, and click OK. To
load the user Setup or bank from disk, use the Load
bank or Setup command in the File menu.

PEDAL WINDOW

Pedal-to-MIDI and click-to-MIDI are powerful
functions of the MIDI Express XT. The pedal-to­MIDI function allows you to configure a foot
switch or momentary pedal (connected to the
“PEDAL” jack on the MIDI Express XT’s front
panel) to generate any type of MIDI message or to
trigger a series of MIDI messages. The Click-to­MIDI function can similarly translate an audio
click to a MIDI message. Both the capabilities open
up many musical and practical possibilities, but we
will cover a couple basic examples and leave the
rest up to your imagination. Here are a few
examples:

■ Generate MIDI data, such as notes, controllers,

patch changes, pitch bend, and system exclusive
data using a foot switch

■ Use the foot switch to step through a series of

MIDI data events (or groups of events)

Figure 7-19: Writing a Setup so that changes to it are remembered.

Renaming a user Setup

To rename a user Setup, choose the Interface|Write
Setup menu command or by clicking the Write
Setup button in the toolbar. Type in the new name
and click Write.

66

■ Convert an audio tempo source (such as a click

track) into MIDI data to slave MIDI hardware or
software to the audio tempo source

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Opening the Pedal window

To open the Pedal window, double-click the Pedal
icon in the MIDI Routing window.

Figure 7-20: The Pedal window showing the pedal input configured
to trigger some MIDI note messages.

Making pedal settings

A pedal or foot switch connected to the MIDI
Express XT can be configured to generate virtually
any type of MIDI message. You can use any
standard momentary foot switch. Note, however,
that the MIDI Express XT does not support
damper/sustain (“expression”) foot pedals, which
generate a continuous stream of data.

As an example, suppose you wanted to configure a
foot switch to send a series of note-on and note-off
messages to a drum module connected to output 7.
So, in the MIDI Routing window:

1 Route the Pedal to the desired output as
demonstrated below.

3 Check the “Reverse polarity” option
appropriately for your pedal.

4 Adjust the settings in the Event data section of
the window to show the desired note-on and
note-off data settings.

5 Press the “Add” button to insert the note-on and
note-off events into the event sequence.

6 Repeat from the fourth step until all desired
messages have been inserted into the list.

Now, each time the MIDI Express XT senses the
pedal being depressed, it will send messages on
output 7 causing the connected drum module to
play. Each message in the list will be sent out in
succession with each pedal press until the end of
the list, when the MIDI Express XT will cycle back
to the first message.

While in the Pedal window, pressing the “Add”
button inserts the current Event data settings into
the event sequence before the currently selected
sequence item. You can remove the selected item by
pressing the Remove button. You can transfer the
selected sequence item’s settings (without
removing it from the sequence) into the Event data
section by double-clicking it.

☛ As messages are entered into the event list, the

percent display in the Pedal window will reflect
how much room is left in the MIDI Express XT for
additional messages. A total of 47 bytes of down
messages and 47 bytes of up messages can be
entered.

Figure 7-21: Routing the pedal output to a device.

2 Access the Pedal window by double-clicking on
the Pedal icon and set Input type to “Pedal”.

USING MIDI EXPRESS XT CONSOLE

The ups and downs of pedal events

Clicking on an item’s icon will cause it to change
from being triggered when the pedal is released
(indicated with an “up” arrow) instead of when the
pedal is depressed (indicated with a “down”
arrow). There is also a third state (indicated with a
“line” to the previous message) that causes the

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message to be sent immediately following the
previous message in the list. This allows a group of
messages to be sent at once with a single up or
down movement of the pedal.

Figure 7-22: The pedal event sequence. Clicking the icon of an event
(inset) toggles its up/down status.

☛ Tip: you don’t have to always start the event

sequence with a “down” event. You can place an
“up” event as the first in the sequence, if you like.

example, you could send the signal from a
microphone into the “PEDAL” jack of the MIDI
Express XT and mic a live snare drum. Using the
click-to-MIDI function of the MIDI Express XT,
the snare drum signal can be converted into a
MIDI note message used to trigger another
percussion sound in a drum machine or sampler.
This feature can be used for many other purposes,
too. Here are a few ideas:

■ Recording the click’s tempo map into a

sequencer

■ Slaving a sequencer to an audio click track

■ Triggering drum samples

To make a click-to-MIDI setting:

1 Route the Pedal icon in the MIDI Routing
window to the desired output(s) (as demonstrated
in Figure 7-21 on page 67.

2 Access the Pedal window by double-clicking on
the Pedal icon and set Input type to “Click”.

For example, in the pedal event list shown above,
the following would occur when the pedal is used:

Pedal Action Result

Pedal down Program #57 gets called up on channel 1.

Pedal up Note C 3 is silenced and program #3 is called

etc. etc.

The volume gets set to 50 and then a note,
C3, begins to sustain.

up, the volume is turned up and an E3 plays.

MAKING CLICK-TO-MIDI SETTINGS

The click settings are similar to the pedal settings
except that only a single MIDI message can be
triggered. Also, there is no notion of “up” or “down”
since a click-to-MIDI message is triggered by an
audio source as opposed to a pedal input. For

68

Figure 7-23: The click settings, including the decay and threshold
settings.

3 Set an appropriate decay and threshold in the
Input settings section.

Decay is meant to prevent doubled attacks. The
decay is the amount of time the MIDI Express XT
will wait before it begins scanning for another
click. Set the decay as high (long) as possible to

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prevent false attacks, but low (short) enough so
that it won’t miss the next true click. Fast tempos
require a low decay; you can afford to use a longer
decay for slow tempos. The Threshold setting can
also be used to help fine-tune the Express XT’s
response to the click input.

4 Adjust the settings in the Event section of the
window to show the desired message.

5 Check to make sure that the MIDI Express XT is
successfully reading the click.

Observe the green MIDI OUT LED’s on the front
panel to see if they flash in sync with the click. If
they miss a beat, or if they seem to flicker or stutter
with a doubled attack, try adjusting the input level
of the click; also try adjusting the decay and
threshold.

That's all there is to it! When an audio click occurs,
the MIDI Express XT will send the specified
message to the destination outputs connected to
the Pedal source in the MIDI Routing window.

Click input hints

If the MIDI Express XT reads the audio click
erratically, such as generating doubled attacks, try
adjusting the decay value. If you still have trouble,
try attenuating the audio signal, as well as the
threshold slider (low/high) in the Pedal window.
The click input is purposefully sensitive so that it
can detect a low-amplitude signal.

If you are creating the click that the MIDI
Express XT will convert, set the audio level fairly
high (at around 0 dB). Also, record a short,
transient click sound with no reverb or other
effects. A short and precise click sound will
produce the best, most reliable results.

USING MIDI EXPRESS XT CONSOLE

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CHAPTER

8 SMPTE Synchronization

OVERVIEW

This chapter explains how to use your MOTU
Express interface to synchronize computer
software and other devices to an audio tape
recorder (ATR), video tape recorder (VTR), or
other time code sources using SMPTE time code. It
also explains how to generate SMPTE (a process
commonly referred to as striping).

This chapter also explains how to:

■ Slave your Express interface and other devices to

MIDI Time Code

■ Measure incoming time code to see how fast or

slow it is

■ Solve various SMPTE synchronization problems

If you are new to SMPTE Sync . . . . . . . . . . . . . . .71

Accessing SMPTE settings. . . . . . . . . . . . . . . . . . .71

LOcking your Express interface to SMPTE . . . .71

Striping SMPTE. . . . . . . . . . . . . . . . . . . . . . . . . . . .73

LTC mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

MTC Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

IF YOU ARE NEW TO SMPTE SYNC

If you are not familiar with the process of
synchronizing with SMPTE time code, see
Appendix B, “SMPTE Synchronization Basics”
page (145)before reading this chapter. It provides a
definition of SMPTE time code and an explanation
of how it is used for synchronizing MIDI devices to
audio and video equipment.

ACCESSING SMPTE SETTINGS

You can access the sync settings in your MOTU
interface via Express Console software. See
chapter 6, “Using Micro Express Console”
(page 31) or chapter 7, “Using MIDI Express XT
Console” (page 51) for details.

LOCKING YOUR EXPRESS INTERFACE TO
SMPTE

Your Express interface ships from the factory ready
to lock the computer to SMPTE time code as soon
as it receives SMPTE time code via pre
programmed MIDI Time Code (MTC) routing
from the MTP/Express to the computer. The MIDI
Express XT will send MIDI Time Code to the
computer as soon as it locks up. Any software
running on the computer can then slave to the time
code. Make sure the software is set up properly as
described in chapter 4, “SMPTE Sync and MMC
with a Windows Sequencer” (page 21).

When your Express interface locks to the time
code, the green “LOCK” LED on the front panel
glows steadily and the red “TACH” LED blinks
regularly. In addition, the green computer OUT
LED glows steadily, indicating that MIDI time code
(MTC) is being sent to the computer.

Red TACH light

Green

computer OUT

light

Figure 8-1: Con verting time code. When your Express interface
converts incoming time code, the red TACH light blinks, the green
LOCK light glows steadily, and the green computer OUT light glows

Green

LOCK light

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steadily as well. For the micro express, the lights on the front panel
are arranged slightly differently than what is show here on the XT, but
they perform in an identical fashion.

If the LOCK and TACH lights do not behave as
described, your Express interface is not
successfully locking to the SMPTE time code. This
could be a problem with the audio connections
between the tape deck and your Express interface.
It could also be that the SMPTE level is not high
enough. See Appendix C, “Troubleshooting and
Customer Support” page (149).

The SMPTE display in the Express XT Console
Toolbar

When the Express XT is shipped from the factory,
it is set up so that the MIDI Express XT Console
Toolbar SMPTE display will provide a running
update of the SMPTE time code being generated or
converted by the MIDI Express XT.

Routing MIDI Time Code

At times, you may need to route MIDI Time Code
to a device connected to one of the Express
interface’s MIDI OUTs. To route time code to a
MIDI OUT cable, use the MIDI Routing window in
the Express Console as described in “The Sync In
and Sync Out icons” on page 38 (for micro express
users) and “The Sync In and Sync Out icons” on
page 58 (for Express XT users). Connect the Sync
icon in the left-hand column of sources to the
desired MIDI output(s) in the right-hand column.

SMPTE Offset

When reading time code, there may be times when
you need to offset your Express interface a certain
amount from the time code you are feeding it. See
“Offset/start time” on page 43 (for micro express
users) or “Offset/start time” on page 63 (for
Express XT users) for details.

Freewheeling to avoid time code dropouts

When your Express interface encounters a drop­out —a series of missing or unreadable frames—in
the SMPTE time code, it “freewheels” past them,
pretending that they were not missing by briefly

generating its own code to make up for the missing
frames. The default freewheel value is 4 frames.
This means that your Express interface will
continue to generate time code for four more
frames after it stops receiving time code. If it does
not receive any more time code after four frames, it
will stop converting.

The factory default base setups have the
freewheeling feature set to 4 frames for fastest
response when you stop the tape deck. The
Freewheel amount can be adjusted up to 32 frames.
This allows your Express interface to maintain
lockup even over lengthy SMPTE drop outs.

If you encounter a time code drop out that causes
your Express interface to stop converting for a
moment, try increasing the “Jam for” amount in
the Sync window. Try adding just a few frames at a
time when adjusting the amount. (For details on
the “one time jam sync” option, see “Regenerating
fresh time code (‘jam syncing’)” on page 74.)

your Express interface freewheels at the frame rate
it is reading at the time it begins freewheeling —
except for 29.97 drop and non-drop. If you intend
on reading 29.97 SMPTE, be sure to manually set
the SMPTE format to 29.97 so that freewheeling
will occur at the proper rate.

When you increase the “Jam for” amount, you also
increase the amount of time that your Express
interface keeps converting when you stop tape. To
make your Express interface as responsive as
possible, only raise the “Jam for” amount as high as
necessary to overcome the drop-out(s) you are
encountering.

Synchronizing to discontinuous time code

Your Express interface has the ability to stay in sync
with discontinuous time code — that is, time code
that has no gaps in it but does have jumps in its
frame locations. For details about how to do this,

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see “Frame lock” on page 42 (for micro express
users) or “Frame lock” on page 62 (for Express XT
users).

Slaving a sequencer to your Express interface

To slave a sequencer to your Express interface:

1 In your sequencer, make your sequencer look
for MIDI time code from the “Sync” input. This is
the virtual input from which MIDI Time Code is
received from the MIDI Express interface.

2 Set the frame rate in your sequencer to match
the frame rate in the Express.

3 Set the SMPTE “offset” (starting frame) — the
frame at which you want the sequence to start.

4 Put your sequencer into “slave mode” such that
it is waiting for external time code.

5 To start the sequencer, start the external time
code source.

STRIPING SMPTE

Along with its other capabilities, your Express
interface is a SMPTE time code generator. It
generates an audio form of SMPTE time code
called Longitudinal Time Code (LTC).

Use the procedure below to generate new code
from scratch:

1 Make the audio cable connections shown in
Figure 2-6 on page 12.

We recommend that you do not pass the time code
output from your Express interface through a
mixer or any form of signal processor. If you must
go through a mixer, be sure equalization is flat.

3 Set the master sync mode in the Sync window to
Internal.

4 If you are recording time code on a tape deck,
and your tape deck has dbx noise reduction, be
sure to defeat the noise reduction on the track you
are recording time code.

5 Enter a SMPTE start time in the Sync window.

6 Choose the necessary frame rate.

7 Adjust the SMPTE output volume.

The goal when striping SMPTE is to get the VU
meter on the tape deck to read approximately –3.
You can adjust your Express interface’s SMPTE
volume output level by using the SMPTE VOLUME
OUT setting in the SMPTE/SYNC menu in the
front panel LCD. Or you can use the Output Level
meter in the Sync window (visible when the master
mode is set to Internal). If you want to test the level,
set the Master sync mode to Internal and use the
Start and Stop buttons to make your Express
interface emit time code, and then meter it with
your mixer.

8 Roll tape.

9 Click Start.

Striping will begin at the frame shown in the Start
Time box. The SMPTE Reader will begin to roll.
While striping, you can close the Sync window, and
you can even switch to another application or Quit
your Express interface software.

10 To stop striping, click Stop.

You can stop striping at any time.

2 Open the Sync window in the MTP AV Console
software.

SMPTE SYNCHRONIZATION

Of course, if you want to stripe a tape and
meanwhile get on with other work, you can quit
Express Console. Striping will proceed in the
background.

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Take care after using the offset/start time

The LTC Start setting in the Express interface
serves as the start frame when striping, but also as
the offset when reading. If you stripe at 1 hour
(1:00:00/00) and then lock to the time code you
just striped — without readjusting the offset/stripe
setting back to zero (0:00:00/00), then the
Express interface converts starting at 2 hours
(2:00:00/00).

Striping SMPTE on a multitrack tape deck

The goal when striping SMPTE time code is to
generate an error-free signal strong enough for
reliable lockup, but not so strong that the SMPTE
bleeds through to adjacent tracks.

There are several ways to handle this. One way is to
leave an empty track on your multi-track tape deck
as a buffer between the SMPTE and other tracks.
With a buffer track, SMPTE can be recorded at
very strong (“hot”) levels (above 0 VU) without
risk of bleedthrough.

■ Measures incoming ti me co de w ith an ext remely

accurate internal clock to see how fast or slow it is
running and displays the results in the SMPTE
Reader window in Express Console

Because LTC mode employs a sophisticated phase­lock synchronization engine in your Express
interface, the amount of time it takes to establish
lockup to incoming time code is considerably
longer than LTC QuikLock mode. On the other
hand, LTC mode offers the additional capabilities
mentioned above. These features, and how you can
use them, are discussed in the next few sections.

Regenerating fresh time code (‘jam syncing’)

SMPTE is a problem when you are copying tapes: it
degrades rapidly every time you try to copy it from
one tape to another. Often, the SMPTE signal
deteriorates so much that it will not be
recognizable by any SMPTE-to-MIDI converter,
including your Express interface, and you will no
longer be able to lock to it.

If your tape deck has no tracks to spare, a good
level at which to record is around –3 VU. That is,
the VU meter for the SMPTE track on your tape
deck should read –3 when you stripe the SMPTE.
This records SMPTE that is hot enough for reliable
lockup and weak enough so that it will not bleed
into adjacent tracks. -3 VU is only a rule of thumb,
though, so don’t hesitate to use other levels if they
work better for you.

LTC MODE

In LTC mode, your Express interface locks to
incoming SMPTE time code received on its
SMPTE IN jack. But LTC mode differs from LTC
QuikLock mode in several significant ways. In LTC
mode, your Express interface:

■ Emits regenerated LTC on its SMPTE OUT jack

■ Analyzes incoming time code and responds in

several useful ways, depending on what happens to
the incoming time code

The solution to this problem is to use your Express
interface to regenerate fresh SMPTE time code that
matches the original time code while you are
copying the tape. Some people refer to this process
as jam syncing. When your Express interface
receives a SMPTE signal on its SMPTE IN cable, it
always regenerates a fresh signal that exactly
matches the incoming signal and sends it out the
SMPTE OUT cable (except for drop-outs, which it
eliminates with freewheeling).

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Fresh SMPTE
Time code

MIDI Express XT or micro express

Original
SMPTE Time
code

To regenerate SMPTE:

1 Connect the original SMPTE track to the
SMPTE IN on your Express interface, and connect
the SMPTE OUT from your Express interface to
the destination SMPTE track (which could even be
on a different tape deck).

2 Set the “Jam for” option in the Sync window to a
high enough number of frames to cover any drop
outs that may exist in the current time code.

Try setting it to between 2 and 8 frames, unless
there is an obviously large dropout. If so, set it
more than 8 frames. This ensures that drop-outs in
the old code are not reproduced in the fresh code.

3 Roll tape and set the SMPTE volume levels.

When your Express interface is reading the old
time code, it generates fresh time code via its
SMPTE OUT jack only when it is in LTC mode; it
won’t regenerate LTC in LTC QuikLock mode.

4 When the levels are set, roll tape and convert as
normal.

your Express interface automatically creates fresh
SMPTE time code that matches the original time
code and its relation to the other tracks on the tape.
In addition, your Express interface freewheels over
drop-outs in the old time code so that the new,
clean code has none.

Lengthening a SMPTE track

If the time code on your SMPTE track ends too
early and you need to add more code, you can use
the “One time” jam sync option. To do so, feed the
original track into your Express interface and
record the fresh code onto a new track. Be sure to
start from the beginning so that you regenerate the
entire length of the original track. When your
Express interface reaches the end of the original
SMPTE track, it will begin striping on its own. To
stop striping, click the Stop button or wait until
your Express interface reaches the stop time.

And remember, your Express interface must be in
LT C mode to do this, not LTC QuikLock.

Regeneration and time code bits

Except for when it is in LTC QuikLock mode, your
Express interface always regenerates fresh time
code from its SMPTE out jack. Time code user bits
embedded in incoming LTC on its SMPTE input
are not preserved.

Measuring incoming time code

In LTC mode, your Express interface measures
incoming time code with an extremely accurate
internal clock to see how fast or slow it is running
and displays the results in the SMPTE display of
Express Console. For details, see “Time base
measurement” on page 44 (for micro express
users) or “Time base measurement” on page 64
(for Express XT users).

MTC MODE

Choose this synchronization mode when you want
your Express interface to slave to MIDI Time Code
(MTC) being sent from a device connected to one
of its inputs. This mode offers the least amount of
time base stability, so it is recommend that you try
to set things up so that you can use one of the other
modes.

SMPTE SYNCHRONIZATION

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When your Express interface operates in MTC
mode, it locks to any MTC coming from your
computer. In doing so, however, it also “swallows”
the MTC coming from the computer. If you
attempt to transmit MTC from your MIDI software
to a specific MIDI device in your studio, it won’t
reach the MIDI device because it will get read and
“swallowed” by your Express interface. Since
computer-generated MTC is not as stable as other
forms of time code, you are better off doing just the
opposite: send MTC from your Express interface to
the computer, and if necessary, control your

Express interface from your computer software via
MIDI Machine Control as demonstrated in
Figure 4-4 on page 22.

If you absolutely must transmit MTC from your
computer for some reason, See “Routing MTC to
the Micro Express” on page 38 (for micro express
users) or “Routing MTC to the MIDI Express XT”
on page 58 (for Express XT users) for important
information about routing MTC to your Express
interface. If you need to send MTC to other devices
as well, you can route it to them as demonstrated in
Figure 6-9 on page 38 (for micro express users) or
Figure 7-9 on page 58 (for Express XT users).

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CHAPTER

9 MIDI Machine Control

OVERVIEW

Your Express interface can serve as a MIDI
Machine Control (MMC) transport control “hub”
for all MMC-compatible devices, allowing you to
manipulate the transport controls of everything
from one master set of controls: either an MMC
hardware controller device such as JL Cooper’s
CuePoint or from MMC-compatible MIDI
software on the computer.

How MMC works . . . . . . . . . . . . . . . . . . . . . . . . . .77

Setting MMC device ID’s . . . . . . . . . . . . . . . . . . . .78

Setting up other MMC devices. . . . . . . . . . . . . . .78

Setting up your computer software . . . . . . . . . . .78

Setting up a hardware MMC controller . . . . . . .78

Computer software as an MMC controller . . . .79

source, and your computer software (or hardware
MMC controller) serves as your MMC transport
control master. The MMC controller sends play,
stop, start and locate commands to your Express
interface, and all other devices (including the
computer software) chase and lock to time code
being generated by your Express interface.

In this scenario, your Express interface serves as a
time code “hub” for all other devices as pictured in
Figure 4-4 on page 22.

Other MMC scenarios

In the recommended scenario described in the
previous section, your Express interface receives
MMC transport commands and serves as the time
code master for everything else.

MMC remote control of record functions . . . . .79

Using a third-party MMC device as a master . .79

MMC routing example . . . . . . . . . . . . . . . . . . . . . .80

HOW MMC WORKS

An MMC controller (which has transport and
cueing controls) sends transport commands (play,
stop, cue, etc.) to an MMC device that is serving as
a time code source. When the MMC device
responds to the transport commands, it generates
time code to which all other devices (and software)
chase and lock. The other devices do not need to be
MMC devices, as they sync in the usual fashion via
time code (LTC or MTC).

A recommended setup for MMC

The best scenario for MMC is to set the Master
sync mode of your Express interface to Internal.
Your Express interface serves as the time code

Alternately, you could choose another MMC
device, such as a hard disk recorder, to receive
transport commands and serve as the time code
master. For example, the device would receive
transport commands from your computer
software and generate SMPTE time code (LTC). In
this case, you would set your Express interface
master sync mode to LTC QuikLock and feed the
LTC into your Express interface, which would then
drive all other devices.

There is no advantage to doing MMC this way; in
fact, it will probably not provide as stable a time
base as your Express interface does in the
recommended scenario described in the previous
section. You should only really use this setup if you
have a MMC device that does not have the ability to
be a time code slave and therefore must be the
master.

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MMC and video

If you are working with video, and you want MMC
control of your rig from your computer software
(or MMC-compatible controller) via your Express
interface, your video deck needs to have the ability
to either:

■ Synchronize to external SMPTE time code

OR

■ Support MMC

Without either of these capabilities in your video
deck, your Express interface has no way to control
the video deck transports. You’ll instead have to use
your video deck as the transport and time code
master.

If your video deck supports the SONY 9-PIN
protocol, consider purchasing Mark of the
Uni cor n’s Digital Timepiece, which lets you control
your video deck from a computer (or other MMC
controller).

SETTING MMC DEVICE ID’S

Each MMC device requires a unique MMC device
ID, including your Express interface itself. The
factory default ID of your Express interface is 20. If
needed, you can change it as shown in Figure 6-18
on page 45 (for micro express users) or Figure 7-18
on page 65 (for Express XT users).

For most MMC devices that support being an
MMC slave, routing time code (either MTC as just
discussed or LTC) to them is all you need to do. For
some devices, you may also need to get your
Express interface to send MMC transport
commands to the device. Once again, you do this
in the MIDI Routing window: connect the MMC
Out port in the left-hand column to the
destinations in the right-hand column as
demonstrated in Figure 6-9 on page 38 (for micro
express users) or Figure 7-9 on page 58 (for
Express XT users). Then you are ready to control
your MMC device — via your Express interface —
from the computer (or a hardware MMC
controller).

SETTING UP YOUR COMPUTER SOFTWARE

Regardless of what you decide to use as your MMC
transport control master (an MMC controller
device or computer software), you need to set up
the software so that it will slave to MIDI Time Code
(MTC) generated by your Express interface. This
will ensure that your software chases and locks
with all other MMC devices. Check to make your
software is set up to the proper frame rate, and that
it is in “external sync” or “slave” mode, waiting for
MTC.

Also see “Computer software as an MMC
controller” on page 79.

SETTING UP OTHER MMC DEVICES

If you have an MMC-compatible device, you can
slave it to your Express interface. But first, you need
to make your Express interface send MTC (or LTC
for some devices). To send MTC, use Express
Console to make connections from the MTC Out
port in the left-hand column to the desired
destinations in the right-hand column as
demonstrated in Figure 6-9 on page 38 (for micro
express users) or Figure 7-9 on page 58 (for
Express XT users).

78

SETTING UP A HARDWARE MMC
CONTROLLER

To use any MMC transport controller, such as the
JL Cooper CuePoint™:

1 Connect the MIDI OUT and IN jacks on the
MMC controller to your Express interface.

2 Using Express Console, route MTC to the MIDI
OUT port that the MMC controller is connected to
as shown in Figure 6-9 on page 38 (for micro

MIDI MACHINE CONTROL

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express users) or Figure 7-9 on page 58 (for
Express XT users) so that it can receive MIDI Time
Code from your Express interface.

3 In the MMC controller device, identify the
MMC device ID for your Express interface.

From the factory, the default MMC device ID for
your Express interface is 20. If you need to, you can
change it as described in “Setting MMC device
ID’s” on page 78.

From the standpoint of achieving MMC transport
control over your Express interface, the above
preparations are all you need. There may, of course,
be other preparations necessary in the controller
itself.

COMPUTER SOFTWARE AS AN MMC
CONTROLLER

Most likely, you’ll want to make your computer
software be the MMC transport control master, so
you can control all MMC devices from your
computer.

This can be accomplished with an MMC­compatible sequencer, MMC applet, or any other
software that transmits MMC transport control
commands.

Generally speaking, once you’ve successfully
established overall MIDI communication between
your software and your Express interface, all you
have to do is tell your MMC software what the
MMC Device ID is of your Express interface. From
the factory, the default MMC device ID for your
Express interface is 20. If you need to, you can
change it as described in “Setting MMC device
ID’s” on page 78.

master sync mode is set to Internal, your Express
interface will respond to MMC commands coming
from the computer specifying its device ID. It will
start, stop, and locate to any SMPTE location you
designate from your software.

MMC REMOTE CONTROL OF RECORD
FUNCTIONS

To record-enable tracks of MMC devices
connected to your Express interface, make sure
your MIDI software sends MMC record-enable
commands using the MMC device ID’s configured
for the device. This is straightforward, one-way
MIDI communication between your MMC
software and the MMC device. Your Express
interface MMC features do not come into play here.

USING A THIRD-PARTY MMC DEVICE AS A
MASTER

We recommend trying to set up MMC as described
in “A recommended setup for MMC” on page 77.
However, you may have an MMC device, such as an
MMC-equipped reel-to-reel tape deck, that does
not have the ability to be a time code slave and
therefore needs to be the time code master. In this
case, you need to set up the Express so that it knows
that this device will be the master instead of the
computer.

If the device transmits LTC, you can simply
connect it to the Express’s SMPTE input and set the
Express’s master sync mode to LTC QuikLock.

If the device only transmits MIDI Time Code
(MTC), use the cable routing connection shown
below in Figure 9-1 and set the Express’s master
sync mode to MTC.

As long as MMC routing from the computer to
your Express interface exists (as shown in
Figure 6-18 on page 45 (for micro express users)
and Figure 7-18 on page 65 (for Express XT users)
by the synchronization master setting), and its

MIDI MACHINE CONTROL

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Figure 9-1: If you have an MMC device that can only transmit time
code (and cannot be a time code slave), then you can make it the time
code master by routing MTC to the Express interface (MTC In) as
shown here. It is better to use LTC, though, or better yet: the Express as
the time code master. Both are a more stable time base than MTC.

MMC ROUTING EXAMPLE

Below is a typical MMC routing example. The
devices involved are:

■ Cakewalk Pro Audio (or any other MMC

sequencer running on the computer)

■ JLCooper CuePoint MMC controller

■ Akai DR8 hard disk recorder

■ Roland VS-880 hard disk recorder

The Express master sync source is set to
INTERNAL. It is being shuttled by either the
CuePoint or Cakewalk Pro Audio.

Figure 9-2 and Figure 9-3 show the computer,
MTC, and MMC connections needed to control
everything from either Cakewalk Pro Audio or the
CuePoint. This setup allows you to use either one
interchangeably as your transport master controls,
without having to change any settings when
switching between them. Cakewalk Pro Audio is
slaving to MTC from the Express, while at the same
time issuing MMC transport commands to the
Express.

Figure 9-2: A typical routing configuration for MIDI Machine control.
Here, the CuePoint is being routed to the Express’s MTC In port so that
the Express XT will respond to MMC transport commands from the
CuePoint. In turn, the Express XT, which is in INTERNAL sync mode, is
redistributing MTC to the Akai DR8 and Roland VS-880 hard disk
recorders.

Figure 9-3: When the “synchronization slave” option is checked, MIDI
Time Code is being routed to the computer so that Cakewalk Pro
Audio can slave to it. The “transport master” option routes MMC from
Cakewalk Pro Audio (on the computer) to the Express.

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Part III

For MTP AV Users

MPT AV Users

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MPT AV Users

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CHAPTER

10 Using MIDI Timepiece AV Console

About MIDI Timepiece AV Console

MIDI Timepiece AV Console serves as a “control
center” for the MIDI Timepiece AV. For example,
you can make changes to the synchronization
settings, filter some data on a particular input or
output, or route MIDI data from any MIDI device
to any other MIDI device connected to the MIDI
Timepiece AV. This chapter takes you through the
process of opening MIDI Timepiece AV Console
for the first time.

When do you need to use the console
software?

The only time you need to use the MIDI
Timepiece AV Console program is when you
would like to make changes to the settings in the
MIDI Timepiece AV. If all you want to do is use it
with a MIDI sequencer, you don’t need to make any
changes at all. The factory Base Setup 1 allows
sequencing software to individually access any of
the input or output ports on the MIDI

Timepiece AV. Just run your sequencer. You don’t
need to run the console at all in this case. You only
need to use the console if you want to create your
own setups to suit your specific needs.

Familiarity with Windows

®

In explaining how to use MIDI Timepiece AV
Console, this chapter assumes that you are already
familiar with the standard Windows interface
conventions, such as how to select options using
check boxes and radio buttons, how to type and
edit text, and so forth.

Opening MIDI Timepiece AV Console

The primary “command centers” of MIDI
Timepiece AV Console are the toolbar (along the
top of the main window) and the MIDI Routing
window. The toolbar gives you quick access to
important Console functions while the MIDI
Routing window displays current MIDI processing
configuration. (See Figure 10-1.)

Figure 10-1: The MIDI Timepiece AV Console main window, with the
toolbar and MIDI Routing window visible.

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THE TOOLBAR

Before covering some of the other main elements of
the toolbar, we’ll quickly define the functions of
each of the buttons, or “tools”, along the bottom.
These functions will be covered in greater detail in
the following sections. You may activate one of
these functions by simply clicking its associated
tool (shown above), or by choosing its equivalent
menu command as shown below.

Toolbar Item Corresponding Menu Command

Open setup or bank File|Open setup or bank...

Save setup or bank File|Save setup or bank...

Exit File|Exit

Read setup Interface|Read setup

Write setup Interface|Write setup

Auto-write setup Interface|Auto-write

Reset interface Interface|Reset

Tile Window|Tile

☛ Hint: You can quickly “shrink” the Console

window down to just show the toolbar by using the
menu selection Shrink to toolbar, located in the
main window’s system menu. Shrinking the
Console to just show the toolbar can be useful
when you want to leave the Console open for
monitoring the MIDI Timepiece AV Console and
SMPTE conditions from your computer.

The Setup List

The Setup combobox on the toolbar always
indicates the currently selected Base setup in the
MIDI Timepiece AV. Clicking on the combobox
drops down the list of other available setups.
Alternately, you may press Alt-P to activate the list
and display the other setups.

Cascade Window|Cascade

Load setup file S ave setup file

Figure 10-2: The toolbar tools and associated functions.

Read setup

Write setup

Figure 10-3: The Setup list dropped down to show the other available
setups. “Base Setup 3” is currently selected.

Auto-write

Sync display

Reset interface

Tile

Cascade

Exit

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The setup list will always contain the eight factory
Base setups. Selecting a setup from the list with the
mouse will cause the MIDI Timepiece AV to
change to the selected setup. You can also use the
keyboard up and down arrow keys to scroll
through the list, pressing Enter to select the desired
setup. Alternately, you may use the MIDI
Timepiece AV’s front panel LCD controls to change
setups. At all times, the Console should remain “in
sync” with your MIDI Timepiece AV, accurately
displaying the current setup configuration.

The SMPTE readout

To the right of the Setup list is the SMPTE readout.
The SMPTE readout always gives a real time,
running update of the current frame time and
frame rate when your MIDI Timepiece AV is
converting or generating SMPTE timecode.

hours minutes seconds frames

For more information about the rest of the toolbar
Sync display, see “Toolbar sync display” on
page 97.

ExpressHelp

You’ll also notice a bar along the bottom of the
main Console window. This is the status bar where
notification and progress messages will be
displayed from time to time while the Console
performs its various functions. In addition,
another feature of the Console uses this area for
displaying “ExpressHelp”. ExpressHelp consists of
short, informative messages that change
depending on which Console control (button, list,
etc.) the on-screen mouse cursor is on top of.
ExpressHelp will also update if you shift the control
focus using the Windows keyboard interface (using
the Tab key in a console window, for example)
instead of using the mouse.

ExpressHelp is enabled by default to aid you in
getting familiar with the Console, but you may
disable it with the Options menu selection.

SMPTE frame rate

Figure 10-4: The SMPTE readout. in the toolbar Sync display.

Below the SMPTE readout is the SMPTE error list.
This list will display any “dropouts” and MIDI
errors encountered while converting incoming
SMPTE. Each dropout will be shown with the last
valid SMPTE time converted before the dropout
occurred and the number of frames missing after
that time. The list will be cleared each time new
timecode begins. Hopefully, you will not see too
many entries appear in this list. However, if you do,
the MIDI Timepiece AV has a flexible SMPTE free­wheeling (“jam-syncing”) capability to smooth out
problem sync tracks (you can also use the MIDI
Timepiece AV as a SMPTE regenerator/reshaper to
re-record or extend sync tracks).

USING MIDI TIMEPIECE AV CONSOLE

MIDI TIMEPIECE AV MIDI PROCESSING

Before going any further, it is important to
understand how the MIDI Timepiece AV performs
its MIDI processing, specifically the order in which
each type of processing is applied. The following
diagram illustrates how the Timepiece AV
processes MIDI data as it travels from one interface
input port to one interface output port.

First, data is received from an input port, where it is
immediately filtered (events that are filtered are
removed). Next, the remaining events are
channelized (“mapped”) to different channels (the
default is no channelizing) and then they are sent to
the “data bus”. The data bus is where port-to-port
routing takes place, sending MIDI data from each
input to any combination of outputs. When the
data finally reaches its destination output port(s), it

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is channelized and filtered again before leaving the
MIDI Timepiece AV. All of this processing power is
completely configurable from the Console.

WINDOWS MIDI PORTS

As for data arriving and leaving your computer via
the included Windows MIDI driver, imagine it
coming a going from the MIDI Timepiece AV data
bus as shown in the above diagram. All
channelizing and filtering is applied before the
input data arrives at any software input port and
after it is sent from any software output port. This
is a great advantage as it frees up your computer
and MIDI software from having to deal with the
mundane (and time-consuming) chore of such
processing. Just configure your MIDI
Timepiece AV and let it do all the work!

Figure 10-6: MIDI Timepiece AV ports in Cakewalk Pro.

Sync port

You’ll also see several other special sets of MIDI
Timepiece AV ports besides the normal input and
output ports. The first is the “Sync” input port
where all MIDI real time and MIDI Time Code
messages will arrive, regardless of where the MIDI
Timepiece AV received them from. All other
received data will arrive at the other input ports as
appropriate.

Once you get the Timepiece AV Windows MIDI
driver installed, you’ll notice that all eight MIDI
Timepiece AV inputs and outputs are available to
your MIDI programs.

MDI IN

Event filtering Event filtering

Channel

mapping

MIDI

Timepiece AV

data bus

☛ At no time will MIDI real time or MIDI Time

Code messages arrive on any of other MIDI
Timepiece AV Windows input port besides the
special “sync port”.

ADAT ports

The second special pair of ports is the “From
ADATs” input port, and the “To ADATs” output
port, which will allow you to send MIDI data—
particularly MIDI Machine Control (MMC)
commands—to your ADAT(s). If you have MIDI

MDI OUT

Channel

mapping

Figure 10-5: MIDI Timepiece AV internal MIDI
data processing sequence.

86

Windows MIDI Ports

(Computer)

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software that can do things like record-enable
tracks on your ADAT, set auto-record punch
points, and other MMC remote control
commands, use this port to route the MMC
commands to the ADAT(s).

“All Out” port

You’ll also see a port called “Out All”. This port will
also appear in your MIDI programs, allowing you
to send the same MIDI data out all the MIDI
Timepiece AV’s output ports at once. If your unit is
networked, the data will go out all the other unit’s
outputs as well.

MIDI ports and the MTP AV Console

You do not need to have the Console running in
Windows to use the MIDI Timepiece AV with your
other MIDI software. Also, as the Console does not

input

filter

button

input

channel map

button

MIDI

“data bus”

compete with other MIDI applications for the
Windows MIDI ports, you can freely open and
close the Console to make adjustments or simply
check the current settings during your Windows
session.

MIDI ROUTING WINDOW

The MIDI Routing window is the control center for
routing and processing MIDI data with your MIDI
Timepiece AV. Although your computer will always
be able to receive MIDI data from the eight inputs
and send data to the eight outputs with your
Windows MIDI sequencing software, the Console
has the ability to configure the MIDI Timepiece AV
to internally route MIDI data from any input to any
combination of outputs. The MIDI Routing
window also allows you to route MIDI Time Code
(converted from incoming SMPTE or generated

output

channel map

button

output

filter

button

advanced

MIDI settings

Figure 10-7: The MIDI Routing window with a source
and destination selected.

USING MIDI TIMEPIECE AV CONSOLE

source icons routing connections destination

icons

channels

being routed

deletes all current connections

or any source connections

drag-and-dropped to it

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“fresh”) to any of the eight outputs. Additionally,
you can individually rechannelize and filter (apply
an event filter) any type of incoming or outgoing
MIDI data on each input and output.

The processing sequence described Figure 10-5 on
page 86 is conveniently represented in the layout of
the MIDI Routing window. The MIDI data flow
proceeds from left to right. MIDI inputs, or sources,
are represented on the left by the input port, clock
(for MIDI Time Code converted from SMPTE)
and ADAT icons. MIDI outputs, or destinations,
are represented on the right by the output port
icons. Port-to-port routings are represented by
extended arrows going from sources to
destinations. The processing options (filtering and
channelizing) are represented by the four buttons
along the top of the window. You can clearly see the
logical processing order with this layout as shown
in Figure 10-7 on page 87.

MIDI routing

Routing is as simple as dragging a source icon with
the mouse and dropping it on a destination icon.
When making port-to-port connections, the
Console will route all 16 MIDI channels from the
source to the destination (as is the case in
Figure 10-7 on page 87). You can freely edit the
routed channels later by altering the Channels
routed check boxes while the source and
destination are selected (see “Selecting individual
sources and destinations” on page 89).

☛ Note, however, that channel routing, as well as

event filtering and channel mapping, only apply to
the input port sources and not the Sync, ADAT or
Transport sources.

☛ When routing with the mouse, the connected

source and destination will automatically become
selected allowing you to instantly adjust the routed
channels or access the other windows.

Naming ports

Naming the MIDI input and output ports is easy.
Simply select the desired port and press Enter or
directly click on the current name with the mouse.
A pop-up edit field will appear containing the
current name. Edit the name and either press Enter
again to save it or Esc to abort the changes. The
names you enter for the ports will be displayed and
remembered in the Console.

A selected source. A selected destination. An isolated source/destination

You can also quickly route a single source to more
than one destination. Do this by holding down the
Shift key while you drag. Each destination you
move the mouse over will automatically be
connected with the dragged source. The last
connected source and destination will remain
selected.

connection.

Figure 10-8: Working with routings in the MIDI Routing window.

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Selecting individual sources and destinations

To select a source, click on it using the mouse. You
may also select a source by pressing keys 1 through
8, S, A or T. To select a destination, click on it using
the mouse while holding down the Ctrl key (you
can also simply click with the right mouse button
instead of using Ctrl). You can also select a
destination by holding down the Alt key and
pressing keys 1 through 8, Alt-A, Alt-S, or Alt-T.
When a source and destination are selected, the
routing connection between them, if any, will
become highlighted. The examples in Figure 10-8
illustrate the various source/destination selection
possibilities.

Note that when you use the keyboard interface for
source and destination selection, selecting a source
and then a destination that are not connected
automatically connects them. Selecting and source
and destination that are already connected simply
allows you to edit the Channels routed check boxes
or to completely remove the routing.

Removing routings

To “unroute” a routing, you first must select its
source and destination. The isolated routing
connection will be shown in black and bolder than
the other routings (as in the right-most example in
Figure 10-8). Pressing Delete or Backspace will
remove the routing. You can also drag source icons
to the “clear” icon to remove all their routings.

Routing and unrouting specific MIDI channels

You may also use the source/destination selection
procedure to isolate a routing connection in order
to alter the Channels routed check boxes.
Unchecking all the check boxes for a particular
routing is equivalent to removing the routing, and
so the on-screen connection will disappear if you
do this. Likewise, routing a single channel from a
source to a destination constitutes a connection
and this will be reflected on-screen as well.

Removing all routings

If you wish to remove all routings from a single
source or to a single destination, select only the
desired source or destination by clicking on it. All
the connections for the source or destination will
be highlighted (as in the left-most example in
Figure 10-8). Pressing Delete or Backspace will
remove all highlighted routings. Alternately, you
can remove all routings from a source by dragging
it to the “X” (Clear) icon. This is equivalent to
selecting only a source and then pressing Delete or
Backspace.

To remove all routings between all sources and
destinations, click the “X” (Clear) in the lower
right-hand corner of the window. Alternately, you
can double-click between all the source and
destination icons (meaning, within the “routing
area”) while holding down the Shift key.

Routing to and from the computer

MIDI data received on inputs 1 through 8 will
always show up at MIDI Timepiece AV’s MIDI
driver input ports and you can always send MIDI
data to output ports 1 through 8. No port-to-port
routing whatsoever is required to use the MIDI
Timepiece AV as a multi-port MIDI interface. Port-

to-port routing is strictly internal to the MIDI
Timepiece AV and is in addition to any routing

performed by your MIDI software.

The effect of muting and filtering on software

When using your MIDI software, the event filtering
and channelizing on each port always applies and is
in addition any filtering and channelizing
performed by your MIDI software.

Accessing the Sync and Advanced MIDI
windows

To open the Sync or Advanced MIDI window, just
double-click on the Sync or ADAT source icons.
Alternately, when the Sync or ADAT is selected,

USING MIDI TIMEPIECE AV CONSOLE

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pressing Enter will bring up the appropriate
window (Sync and ADAT settings will be covered
shortly).

You can also open the Advanced MIDI window by
clicking the button in the lower left-hand corner of
the window as shown in Figure 10-1 on page 83.

Accessing the Filter and Channel Map windows

When an input port source is selected, the filter and
channelize buttons will become available and
pressing them will open a Filter or Channel Map
window for the selected port (event filtering and
channelizing will be covered shortly). As with the
sources, you may access the destination Filter and
Channel Map windows for each selected
destination port. You may open as many Filter and
Channel Map windows as you wish, but there will
always be only one Filter and one Channel Map
window for each port.

For example, if you open the Filter window for
input 3 and then it becomes hidden behind other
windows, selecting input 3 in the routing window
and pressing the filter button again will cause the
appropriate window to be “brought to the top”-­another one will not be opened. Alternately, the
Window menu will always contain a list of all the
open Console windows from which you can select
one to activate.

The Sync In and Sync Out icons

The Sync In and Sync Out connectors represent
MIDI Time Code (MTC) routing to and from the
MIDI Timepiece AV itself. If you would like to send
MIDI Time Code from the MIDI Timepiece AV to
devices connected to its MIDI Out ports, create a
connection from the Sync Out icon to the desired
devices, as shown in Figure 10-9.

Figure 10-9: To send MIDI Time Code (MTC) generated by the MIDI
Timepiece AV to other devices in your network, make a connection
from the Sync Out icon to the desired devices as shown here. In this
example, MTC is being sent to the Akai DR8 and Roland VS-880 hard
disk recorders, as well as a JL Cooper CuePoint MMC controller.

Routing MTC to the MIDI Timepiece AV

If you would like to slave the MIDI Timepiece AV
to MIDI Time Code generated by another device,
make a connection from the device’s source cable
to the Sync In icon. You’ll also need to set the MIDI
Timepiece AV MASTER SYNC mode to MTC or
MTC/VIDEO. (Please note that MTC mode is not
recommended because other forms of SMPTE
provide a more stable time base. For details, see
“Advice about choosing a time base master” on
page 118.)

Sync between the MIDI Timepiece AV and ADAT

Synchronization and transport control between
the MIDI Timepiece AV and ADATs connected to
its ADAT Sync Out icon is “hard-wired” and is
therefore not represented graphically in the MIDI
Routing window. The ADAT ports have no impact
on the AV’s control over ADATs.

The Transport Out and Transport In icons

The Transport Out and Transport In ports provide
routing of MIDI Machine Control (MMC)
transport commands to and from the MIDI
Timepiece AV itself. For example, if you would like
to send MMC transport commands generated by

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(or redistributed by) the MIDI Timepiece AV itself
to other devices, create a connection from the
Transport Out icon to the desired devices as shown
below in Figure 10-10. This connection is not
necessary, however, if you intend to send MMC
transport commands directly from computer
software (or a MMC hardware device) to a MMC
device.

Transport In and Transport Out icon connections
only involve MMC transport commands; they do
not route MMC record functions, such as record­enable or auto punch-in/out. To route MMC
record functions, make connections between the
MIDI Routing Window’s MIDI ports and
computer icon as needed.

It is not necessary to connect the Transport Out
icon to either ADAT icon; MIDI Timepiece AV
control over ADATs connected to its ADAT Sync
Out icon is “hard-wired” and therefore not
represented graphically in the MIDI Routing
window.

Routing MMC to the MTP AV

The Transport In icon in the MIDI Routing
window represents MIDI Machine Control input to
the MIDI Timepiece AV itself. In other words, the
MIDI Timepiece AV “listens” to MMC transport
commands from any devices (or computer
software) connected to this icon.

For MMC transport control of the AV from the
computer, enable the transport master option as
shown Figure 10-18 on page 98. Doing so makes
the MIDI Timepiece AV follow MMC transport
commands sent from software.

Connecting a MMC controller to the MTP AV

If you would like to control the MIDI
Timepiece AV from a MMC controller connected
to one of the MIDI Timepiece AV’s MIDI inputs,
connect the device’s input cable to the Transport In
icon as demonstrated below in Figure 10-11.

Figure 10-10: When you want to control other MMC devices with the
MIDI Timepiece AV, or if you want the MIDI Timepiece AV to redistrib­ute MMC transport commands from your sequencer or an Alesis LRC,
connect the Transport Out icon to any devices you wish to control.
Note that these MMC connections involve MMC transport
commands only. For MMC record functions (play-enable, punch-in,
etc.), use the regular MIDI routings and, for MMC software, use the
appropriate Windows MIDI driver output ports.

USING MIDI TIMEPIECE AV CONSOLE

Figure 10-11: To control the MIDI Timepiece AV from a MMC control­ler such as JLCooper’s CuePoint, connect the device to the Transport
In icon as shown here.

☛ The Alesis LRC controller is an exception: it

does not require any routing in the MIDI Routing
window because of its special connection to the
LRC Input on the MIDI Timepiece AV’s front

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panel. For details on setting up LRC control of the
MIDI Timepiece AV, see “Using an Alesis LRC­compatible controller” on page 133.

FILTER WINDOW

The Filter window is used to filter unwanted MIDI
data passing through the ports of the MIDI
Timepiece AV. Both inputs and outputs have filter
settings and each port’s settings is independent of
the others. A port’s Filter window is divided into
two sections. The upper section contains filter
settings for “channelized” MIDI messages (those
that are sent on a particular MIDI channel, such as
“note” or “Pitch Bend” messages) and the lower
part contains filter settings for “non-channelized”
MIDI messages (those that are not sent on a
particular channel, such as “System Exclusive”
messages).

3 Now, with the port’s Filter window open, adjust
the message check boxes so the MIDI
Timepiece AV performs your desired message
filtering as explained below in Figure 10-13.

Figure 10-13: A red “ X” means data will be filtered. A green check
mark means the data will not be filtered. A “hatched out” box
indicates that data is both filtered on one or more channels and not
filtered on one or more channels. The non-channelized filters will
never show the hatched-out box, since they apply to all channels.

Filtering channelized messages

Each channel in the Channelized section has its
own filtering settings. Think of the channel
selection as letting you step through the 16
different filter combinations on each channel on a
particular port (as conceptualized in
Figure 10-14).

Figure 10-12: The Filter window for the input named “K2500”.

Changing a filter setting

To filter MIDI messages for a particular port:

1 Click on the port’s icon in the MIDI Routing
window.

2 With the port selected, click on the “filter”
button above the selected port.

92

Figure 10-14: The channel settings in the Filter window lets you have
“layers” of filtering. Each channel has its own filter settings.

☛ When “All” is selected as the channel,

adjusting the message check boxes affects the
filtering of the messages on every channel. Under
this circumstance, the check boxes have a third
state (a “hatched-out” box as shown in
Figure 10-13) to indicate that a message is both
filtered on one or more channels and not filtered on
one of more channels. When the check box
contains an “X”, the message is filtered on all
channels and when it contains a “check” the
message is not filtered on any channel. You may

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cycle through the “all not filtered”, “all filtered” and
“combination filtered” states by adjusting the check
box from “check” to “X” to “box” and back.

You can use the + and - keys to scan up and down
through the 16 channels at any time in the Filter
window. This makes it easy to adjust the filter
setting for a particular type of message at one time
without having to shift focus from the channel
setting to the filter setting.

For example, suppose you wanted to filter the
MIDI Timing Clock messages being generated by a
drum machine connected to input 1. MIDI Timing
Clock messages are from a general class of MIDI
messages called “real time” messages. All real time
messages are from the even more general class of
“non-channelized” messages. So, first, you would
access the Filter window for the input 1 (see
“Changing a filter setting” on page 92). In the Non­Channelized section, click the check box next to
Real time so a red “X” appears. This setting will
prevent MIDI Timing Clock messages from
passing through the port. The overall effect of this
setting will prevent Timing Clocks from being
routed to any outputs connected to input 1 or being
received by any MIDI software using input 1.

Original
channel

Figure 10-15: The Channel Map window for the input named “K2500”
showing channel 1 being mapped to channel 3.

Remapped

channel

Making a channel map setting

To remap channels of MIDI messages for a
particular port:

1 Click on the port’s icon in the MIDI Routing
window.

2 With the port selected, click on the channel map
button above the selected port as shown in
Figure 10-7 on page 87.

3 Now, with the Channel Map window open,
select the channel you wish to remap on the left
side and enter the new (remapped) channel on the
right side.

You may make a remap setting for all 16 MIDI
channels.

CHANNEL MAP WINDOW

The Channel Map window allows you to change
the MIDI channel of all messages passing through
an input or output port. You can “remap” the
channels in any way you wish. Remap only one
particular channel, any combination or all
channels. As with the filter settings, each port can
be configured to have independent channel
remapping settings. The MIDI Timepiece AV
defaults to no channel remapping (meaning
channel 1 maps to channel 1, channel 2 maps to
channel 2, etc.), and in most cases, this should be
the desired default.

USING MIDI TIMEPIECE AV CONSOLE

You can use the + and - keys to scan up and down
through the 16 original channels at any time in the
Channel Map window. This makes it easy to enter a
number of remap channels at one time without
having to shift focus from the original channel
setting to the remap channel setting.

For example, you may want to use a keyboard that
transmits only on channel 1 to control a sound
module set to receive on some other channel, say 5.
Suppose the keyboard is connected to input 1 of
the MIDI Timepiece AV and the sound module is
connected to output 3. First, you would route input
1 to output 3 using the MIDI Routing window (see
“MIDI routing” on page 88). Next, you would
access the Channel Map window for input 1 in a

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manner similar to accessing a Filter window. In the
Channel Map window, set the left channel selection
(the “original” channel) to “1” and type “5” into the
remap channel field on the right. This will cause
the MIDI Timepiece AV to change all events being
received from input 1 on channel 1 to channel 5.
Since this remapping happens before the routing to
output 3 (see “MIDI Timepiece AV MIDI
processing” on page 85.) the messages received by
the sound module will be on channel 5 even
through the keyboard originally transmitted them
on channel 1.

SYNC WINDOW

The Sync window is used to configure the MIDI
Timepiece AV’s many synchronizing features. The
SMPTE stripe start time, frame rate, and audio
output level settings are made in this window.
Additionally, jam-sync (“free-wheeling”) settings
can also be made for the rare cases when you
encounter drop-outs while reading SMPTE.

If you are new to SMPTE synchronization

If you are not familiar with the process of
synchronizing with SMPTE time code, see
Appendix B, “SMPTE Synchronization Basics”
page (145) before reading this section. It provides a
definition of SMPTE time code and an explanation
of how it is used for synchronizing MIDI devices to
audio and video equipment.

Source

The Source setting determine what will be the time
base and time code master source. This is the same
as the MASTER SYNC setting in the front panel
LCD. Use this setting together with the Video Gen­lock check box for video modes as follows:

LCD setting Console setting

LTC QuikLock LTC QuikLock

INTERNAL Internal

MTC MIDI Time Code

LTC LTC

Figure 10-16: The Sync window showing stripe settings of 30 fps from
01:33:01:17 while gen-locked to video at a medium signal level.

Converging SMPTE time code

The MIDI Timepiece AV will always convert
received SMPTE into MIDI Time Code (MTC).
Converted MTC is can be received by MIDI
applications via the “Sync” MIDI input port.

INTERN/VIDEO Internal + Video gen-lock

MTC/VIDEO MIDI Time Code + Video gen-lock

LTC/VIDEO LTC + Video gen-lock

For a complete explanation, see “Choosing a
master SYNC mode” on page 118.

Video gen-lock

Check this box when you would like the MIDI
Timepiece AV to derive its time base from a video
signal present on its VIDEO IN connector.
Checking this box is equivalent to choosing one of
the three VIDEO modes in the front panel LCD.

Frame lock

The Frame lock check box is only available when
the Video gen-lock box is not checked. In other
words, the Frame lock option is only available
when the MIDI Timepiece AV is not gen-locking to
video.

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To understand the Frame lock option, you first
need to know that the MIDI Timepiece AV
continuously monitors the time code to which it is
locked (either LTC or MTC) to detect any possible
discontinuity in the frame times as they advance. If
the MIDI Timepiece AV detects more than five
frames in a row that are not continuous with
respect to previous frames received, then it does
one of two things, depending on whether the
Frame lock option is turned on (checked) or off
(unchecked).

If the Frame lock option is turned on (checked),
and the MIDI Timepiece AV detects more than five
frames in a row that are not continuous with
respect to previous frames received, then it will
stop converting altogether.

If the Frame lock option is turned off (unchecked),
and the MIDI Timepiece AV detects more than five
frames in a row that are not continuous with
respect to previous frames received, then it begins
to perform a kind of “pseudo jam sync”. In this
mode, it continues to convert an uninterrupted
stream of continuous time code, while at the same
time clocking off of the incoming LTC or MTC.
Even though the frames it is generating no longer
match the frames it is reading, it will continue to
remain in sync with the incoming time code.

In other words, when the Frame lock option is off,
the MIDI Timepiece AV will ignore discontinuous
jumps in incoming time code by clocking itself off
of the incoming time code without stopping (or
pausing) and continuing to convert a continuous,
uninterrupted stream of frame times based on the
time code to which it first locked.

Turning off Frame lock can be a life saver if you find
yourself in a situation where you have time code on
tape (or other source) but the frame locations jump
around to different times (because of overlapping
SMPTE striping, edits, or whatever). By turning off
Frame lock, you can sync continuously to this type
of timecode without glitching or stopping. If the
SMPTE on your tape jumps around as described,
you are likely to experience brief drop-outs at the
points where it jumps. If so, just increase the MIDI
Timepiece AV’s freewheeling to cruise past them.

Jam for

The “Jam for” setting determines how many frames
the MIDI Timepiece AV will run on its own when it
encounters a drop-out in incoming time code. For
details, see “Freewheeling to avoid time code
dropouts” on page 125.

When you choose Jam for infinity, the MIDI
Timepiece AV begins generating time code on its
own indefinitely as soon as it stops receiving
incoming time code. And it will continue to do so
until you either stop it with the YES/NO button on
the front panel (while displaying the offset/stripe
window in the LCD) or by changing the source (or
“Jam for” amount) in the Sync window.

Stillframe sensitivity

The Still-frame sensitivity option applies to
situations in which you are feeding time code
(most likely LTC) to the MIDI Timepiece AV, and
the time code continues (the same frame over and
over again) even when its source is parked on a
frame. For example, you might be using a VITC-to­LTC converter that continuously sends time code
when video is paused.

Turn on Frame lock when you want the MIDI
Timepiece AV’s frame times to match incoming
frame times, and you want to stop converting
altogether if there are jumps in incoming time
code.

USING MIDI TIMEPIECE AV CONSOLE

This slider lets you control how many frames in a
row the MIDI Timepiece AV needs to receive to
consider incoming SMPTE as being parked on a
single frame. While lowering this value makes the
MIDI Timepiece AV more responsive when you
park on a frame with your video deck, it is also

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more likely to misinterpret ordinary transport
shuttling. So make this value as low as you can, but
raise it if you start getting improper frame
locations when shuttling your deck.

Offset/start time

Start time is the SMPTE frame at which you would
like to begin striping time code. You can type in the
desired time here. Notice also that there are two
buttons to the right of the offset for starting and
stopping striping. For details about striping, see
“Striping SMPTE” on page 125.

The Sync window displays an offset time when the
master source mode is MIDI Time Code, LT C
(SMPTE), or LTC QuikLock modes in which tape
striping is not possible. You can only start striping
when the master source is set to Internal.

Take care when using Offset/start time

The SMPTE offset setting in the MIDI
Timepiece AV serves as the start frame when
striping, but also as the offset when reading. If you
stripe at 1 hour (1:00:00/00) and then lock to the
time code you just striped — without readjusting
the offset/stripe setting back to zero (0:00:00/00),
then the MIDI Timepiece AV converts starting at 2
hours (2:00:00/00).

Transport buttons (Internal mode only)

These buttons make the MIDI Timepiece AV start
and stop generating time code (both MTC and
LTC) when the unit is in Internal mode. When you
click the green triangle, time code will begin at the
frame entered in the Start time field.

LTC output

These options control the SMPTE time code (LTC)
output from the SMTPE jack on the rear panel of
the MIDI Timepiece AV. The frame Format options
(24, 25, 29.97, 30, and drop) determine the frame
rate that w ill be generated. These option are grayed
if any master mode other than Internal is chosen.

This is because in all other cases, the MIDI
Timepiece AV is merely reading and matching the
timecode being received from an external source.

The Signal Level options let you adjust the volume
of the SMPTE output from the MIDI
Timepiece AV.

The “Continuous Signal” option applies to
situations in which you are feeding time code
(most likely LTC) to the MIDI Timepiece AV, and
the time code continues even when its source is
parked on a frame. For example, you might be
using a VITC-to-LTC converter that continuously
sends time code when video is paused. In this
situation, you can enable the Continuous signal
option to make the MIDI Timepiece AV continue
to output time code (both LTC and MTC) as well.

Word clock output

These options determine the sample clock rate at
which the MIDI Timepiece AV will operate. The
Pull-up and Pull-down sample rate options can be
used in the standard fashion when needed for
audio being transferred to and from video. Turn on
the “Superclock” option only if you are using
Digidesign hardware (such as Session 8 for
Windows) that requires it. For all other generic
word clock devices, leave it unchecked.

Sync routing

The Sync source (which is basically any MTC
converted or generated by the MIDI
Timepiece AV) can be routed to any destination
port (see “MIDI routing” on page 88). This can be
useful if you encounter cases where need to
transmit MTC to some other destination besides
the computer connected to the MIDI
Timepiece AV. For example, you may want to
synchronize a drum machine or another computer
to the same SMPTE signal. In this case, you would
just connect a “MIDI OUT” of the MIDI
Timepiece AV to the “MIDI IN” of the destination

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device and route Sync to the appropriate
destination port the MIDI Routing window as
shown in Figure 10-11 on page 91.

TOOLBAR SYNC DISPLAY

The toolbar Sync display provides detailed
information about what state the MIDI
Timepiece AV is in as a synchronizer. The
following sections provide a brief explanation of
each term.

time base source

Needs time base

Figure 10-17: The toolbar Sync display.

Needs Time base

The flashing yellow “X” status indicator (displayed
in the MIDI Timepiece AV front panel LCD as “No
TB”) means that the MIDI Timepiece AV is waiting
to receive incoming signal (from video, LTC or
MTC) from which it will derive a time base. When
it successfully achieves lockup, the yellow X dims
and the stable indicator lights up.

Stable

This status indicator means that the MIDI
Timepiece AV has established a stable time base.
You’ll see this indicator when one of the following is
true:

■ The MIDI Timepiece AV is set to Internal mode

■ The MIDI Timepiece AV is set to one of its three

video modes and it has successfully locked onto a
video signal

■ The MIDI Timepiece AV is set to either MTC or

LTC mode and it has successfully locked up to
either MTC or LTC

sample rateplay/stop

time base status

Locked

This status indicator (displayed in the MIDI
Timepiece AV front panel LCD as the current
sample rate, e.g. 48000 or 41000) means that the
MIDI Timepiece AV is successfully locked to an
external time base (LTC, Video, or MTC) and that
it is also successfully converting SMPTE time code.

Stable but not locked

This status indicator (displayed in the MIDI
Timepiece AV front panel LCD as “JAM”) means
that the MIDI Timepiece AV has been successfully
locked to external SMPTE time code in LTC/
VIDEO mode, but that it has also detected that the
SMPTE time code has drifted out of frame-lock
with video for more than five frames in a row.

In this situation, the MIDI Timepiece AV continues
to convert time code that is frame-locked to video.
Accordingly, the stable time base indicator remains
lit up, but the locked indicator dims to alert you that
SMPTE time code on a video tape is no longer
frame-locked — that is, the time code has drifted in
relation to the actual video frames.

Here is a great way to put this feature to good use
and to ensure trouble-free video sessions: if you get
a video tape that has time code already on it, and
you have no way of verifying how the time code
was recorded, you should slave the MIDI
Timepiece AV to it (in LTC/VIDEO mode) from
start to finish once before you begin working with
it. If the locked indicator remains lit up for the
entire length of the tape, you know that the SMPTE
time code is frame-locked and does not drift in
reference to video frames. If the locked indicator
goes out, you are alerted that the SMPTE time code
is not frame-locked, and you can take appropriate
action with the MIDI Timepiece AV to fix the tape.
By connecting the video signal from your VCR to
the video-in jack on the MIDI Timepiece AV,
connecting the SMPTE-out jack to one of the audio

USING MIDI TIMEPIECE AV CONSOLE

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tracks on your video deck, and selecting
INTERNAL/VIDEO as the sync mode, you can re­stripe the tape with frame-lock accuracy.

If it doesn’t really matter to you that the time code
is not frame-locked, you can simply lock the MIDI
Timepiece AV to the SMPTE time code in LTC
mode (instead of LTC/VIDEO), which will provide
consistent, reliable sync.

Play (green arrow)

This status indicator (displayed in the MIDI
Timepiece AV front panel LCD as the current
sample rate, e.g. 48000 or 441000) means that the
MIDI Timepiece AV is generating or converting
SMPTE time code.

Stop (red box)

This status indicator means that the MIDI
Timepiece AV is not currently converting or
generating time code. On the front panel LCD, this
indicator also means that the MIDI Timepiece AV
has successfully locked to a time base.

Time base source

This indicator displays either internal or external
time base.

Sample rate

This status indicator shows the actual sample rate
being generated by the MIDI Timepiece AV based
on the current time base (either internal or
external). This display shows the number of
samples being generated per second (in kHz, e.g.

48.000 kHz). It allows you to measure how accurate
external time base sources are (such as video or
LTC). It is also affected by the sample rate settings
in the MIDI Timepiece AV, so it can help you chase
down discrepancies with pull-up and pull-down
samples rates.

THE ADVANCED MIDI WINDOW

The Advanced MIDI window, shown in
Figure 10-18, has several settings that are explained
in the following sections.

Figure 10-18: The Advanced MIDI window.

MIDI Machine Control options

These options turn on and off the MIDI Machine
Control features of the MIDI Timepiece AV. Most
of the time, you’ll want to control the transports of
all your gear from the computer. So leave the
“Transport master” option checked. In this
scenario, the computer is a synchronization slave
in most cases, as it slaves to MIDI Time Code
(MTC) generated by the MIDI Timepiece AV. So
leave the “Synchronization slave” option checked as
well.

MIDI Machine Identification options

If you are using MIDI Machine Control, each
MMC device requires a unique MMC device ID,
including the MIDI Timepiece AV itself. For
convenience, the MIDI Timepiece AV
automatically sets the device ID’s of all ADATs
chained off of its ADAT sync port. This means that
you don’t have to do anything in regard to setting
the device ID’s of your ADATs. The factory default

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