Instrument to MIDI POLY — instrument to MIDI converter, “polyphonic”

Rather than being truly polyphonic, this version of the patch allows you to set up to four voices that are derived from a single, monophonic output. I also ripped out the “strum” engine from my Strum patches and tossed it in, so that each of the voices can be delayed, allowing for layering pads, arpeggios, etc.; when the delay is not applied, a single note can be used to play chords on an external synthesizer.

I’m going to highlight a few important differences:

— While the audio signal analyzed to produce MIDI will pass through ZOIA from left input to left output, there is no longer a mix control or an audio path for feeding the synth voice back into ZOIA’s right channel.

A few reasons for that: first and foremost, it was a CPU casualty, but also, most polyphonic synths have stereo outputs, which the ZOIA doesn’t have enough inputs to support, and because of the CPU required for the patch, there is no headroom for applying effects, thus diminishing the value of routing the synth back into ZOIA.

— The MIDI looper has also been removed. In part, again, a CPU casualty, but it was also something of a novelty in the original patch.

Also, for the sake of… writing a lot, I’m going to skim over explanations that are available elsewhere (in the Strum patch notes and the original Instru. to MIDI patch notes).

A special thanks to my patrons on Patreon for their support: Rob Flax, Stepan Grammatik, brockstar, Mats Unnerholm, D Sing, Will Scott, drew batchelor, Miguel, Steve Bragg, Joab Eastley, Tomi Kokki, Mitch Lantz, Ben Norland, Daniel Morris, Roman Jakobej, Mark Crosbie, Steve Codling, Timothy Cleary, Soren Made, Ken Luke, Mike Ryan, Vilis Klavins, Nick, Eric Peterson, Joseph August, Jonathan Carp, and Liam Britten!

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Left stompswitch, latching — MIDI sustain

Expression — mod wheel (CC1)

Front page:

Top row is the same as in Strum and pertains to the Strum part of the engine.

With one important distinction: You can either set a key, as described in the Strum patch, or you can enable “Pitch-tracking,” which will automatically change the key to the incoming audio’s note (the scale will remain unchanged; perhaps best used with the “chromatic” scale in conjunction with the “set note” option described below. But you do you.)

Below this:

The four voices are represented in color-coordination, with:

A mute switch for each voice; a pixel to indicate if a voice’s gate output is active.

There are also pitch controls, and a button called “Set notes.” If active, the patch will use the notes set by these controls (as intervals related to the input audio’s pitch, e.g. a setting of A1 will be one octave above the input audio’s pitch, a setting of D1 a fourth, or five semitones above the input audio’s pitch); when inactive, pitch will be determined by the strum section’s “note range.”

There is no pitch control for the first voice, which corresponds directly with the audio input; instead, there is a “transpose” pushbutton that will change color as you move from no transposition, to an octave down, to no transposition, to an octave up (and then repeat the cycle).

There is a “master gate” control, which slaves the gates of each voice to the gate of first voice (i.e. the one that most directly corresponds to what you play); when you stop playing, all the voices will silence, even if using the strum controls to build layers

The sensitivity, legato, and velocity off controls from the original patch remain unchanged.

On the second page, you will find the MIDI note out modules used (for changing channels) as well as the left input and output for audio, and the other peripherals (expression, left stompswitch)

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  • Modified: 2 months ago
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