![]() If you select a number then all that is relayed to the connected output is the MIDI information coming in on that particular MIDI input. Here you can set the input from 1 to 6 or choose from A, B and M. ![]() Pressing the Function button calls up the next screen, which shows how the Ins and Outs are configured. Figure 1 shows a map of the various function screens. The main screen displays the number of the current setup (1-50) and its 10-digit name, which you can define yourself. In other words, each different patch can have the processors working in different ways on different inputs and outputs.Įach function of the MX8 has its own screen (shown in the 32-character backlit LCD window) and, depending on the selection, you can move the cursor around the screen with the cursor keys and set values using the No/-1 and Yes/+1 buttons. in/out patch configuration) for each memory location. These two processors can be routed to read any input (including the same one) and their functions are stored along with the MIDI matrix (ie. It means you can have two keyboards controlling the same one (or more) expander, or you can combine a sequencer with a keyboard allowing you to sequence and also play along on the same destination device. These two processors can also be merged together, which is an important feature. In its most basic form you can route any input to any output just as with any MIDI matrix, but more than that, there are two separate and independent MIDI processors (A and B) which not only carry MIDI information but can change it or even add to it. The MX8 has six MIDI inputs, eight MIDI outputs, and 50 memory locations. And I must say, I am very impressed with it. He told me about the MX8 from Digital Music Corp, but it was so popular in the States that I couldn't even find one in a shop! Now, nine months later, UK distribution of the unit has been picked up by Exile Music and I've managed to secure one for review. Last year, while on tour in the States, I was talking to an American keyboard roadie about how I'd like a device where I could just press a button on my master keyboard and the device would then send out any necessary program changes to connected expanders, re-configure my MIDI matrix, and maybe automatically split my keyboard into defined zones. Highly desirable in a studio but also vital to the live keyboardist who is often at the centre of a dozen or so sound producing devices and with little time to control and change them all between and during songs in a live show. With the proliferation of cheap MIDI devices, what is needed is a powerful tool with which to control all aspects of a particular MIDI system. Yamaha later released the MJC4, which was a MIDI processor as well as patchbay, but with only two inputs and four outputs it didn't easily cater for large equipment set-ups. Neither of these products had any onboard 'processing' power, they purely re-routed MIDI signals. Soon after this came the Yamaha MJC8 offering 50 memories, eight ins and outs but no remote changing (no wonder it died a death). The Akai unit had only 15 memories, four inputs and eight outputs, but could recall patch memories remotely on receipt of a suitable MIDI program change number. Hence the patchbay started to go up in price as many MIDI studios started to install them. ![]() By and by, musicians caught on to the fact that a MIDI patchbay was becoming more and more indispensable. When the Akai ME30P MIDI patchbay was released, it came as part of a range of MIDI products that retailed for £99 and seemed to falter for a while as people tried to work out how they could be of real use. Unusually, in a world where technology's cutting edge was changing beyond recognition every six months or so, MIDI processing devices were remarkably slow to keep up. Then came a 1-In/4-Thru box from Roland that's almost prehistoric when judged against today's needs but served well enough to cope with the growing tide of drum machines and keyboards that had MIDI In and Out but no MIDI Thru. The number of MIDI leads required was minimal and the provision of MIDI Thru was more than enough to cater for those lucky enough to own two DX7s or more. ![]() I remember in 1984 that virtually the only keyboard with MIDI was the DX7, drum machines ran 'free' or from a clock pulse, and 'expanders' were the springy things you used to build chest muscles like Charles Atlas. ![]()
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