By adrian
Sat Feb 26, 2005 5:49 am
Saved by Sys-Ex
It may seem tweaky, but sys-ex is easy to learn and powerful when put to use in your studio
Gather ’round, brothers and sisters, and let’s testify about how to be saved by sys-ex! Yes, you can be saved from the hellfires of lost data and the purgatory of misplaced patches, thanks to the miracle of MIDI system exclusive (sys-ex) data.
Okay, maybe sys-ex won’t provide a religious experience — but it makes it easier to use outboard MIDI hardware with your software audio/MIDI host sequencer. Most hosts offer multiple ways to save projects, from a small file that “points” to data on your hard drive, to saving a huge file that contains everything used in the project, including samples, all audio, etc. If the latter, you can save everything related to a project by simply backing up that one file.
But once outboard hardware gets into the act — a favorite keyboard or signal processor, a digital mixer, whatever — saving becomes more complex. For example, I often like to mix a sequence through a digital mixer, by sending “stems” into 16 channels of an ADAT interface. But now the initial mixer parameters need to be saved as part of the project too. For vocals, I frequently use a hardware reverb, and for guitar, a Line 6 PODxt or DigiTech GNX4 . . . so now their parameters have to be saved, along with the parameters from my fave hardware synths. How do I do it?
SYS-EX MEETS THE HOST
As these are MIDI devices, they can dump their data as sys-ex messages that represent a snapshot of the unit’s contents, which appear at the MIDI output. Even better, you can usually record the sys-ex messages within the project itself. Simply patch a cable from the device’s MIDI out to your computer interface’s MIDI in, initiate a dump at the device or request one via the host, and record the data into a MIDI track in your host. When you want to reload the data, patch your computer interface’s MIDI out to your device’s MIDI in. The data appearing on the track plays into the device, which restores its settings.
That’s the theory; practically, matters aren’t quite that simple. So, consider the following when recording sys-ex into a host.
Size matters. Some sys-ex dumps can be huge, which may bog down your sequencer. However, most gear gives you the option to send out varying amounts of sys-ex — a single patch, all patches, only system settings, everything, etc. If you just need to change a synth patch in the middle of a song, then dump that single patch (not a complete sound bank) into the instrument’s track. It will likely be only a few kilobytes, and your sequencer will be able to burp it back into your synth without even blinking.
Now, you might think if all you need to do is send out a patch, wouldn’t it be easier to insert a program change instead? Yes, except that the program change assumes you have the same patches loaded into your keyboard that you had when you inserted the program change command. If you tweak patches often, that may not be the case. By sending sys-ex, you’re sending the actual patch data, not just something that calls up a particular memory slot.
Check your preferences. Most hosts disable sys-ex recording because unlike note data, it’s not something you record all the time. So, you’ll probably need to find a “MIDI filter” dialog box and make sure the host can record sys-ex. Sys-ex might also be disabled on your outboard device, so check that too.
Put the sys-ex on a separate track. It would make sense to include the patch data needed to set up an outboard device at the beginning of the MIDI track driving it, but that means you’ll be re-sending that sys-ex every time you start the song. This not only sends a lot of data down the MIDI stream, but may take quite a bit of time — MIDI sys-ex messages travel slowly. A more efficient approach is to record all needed “setup” sys-ex, one data file after another, into a single track. When you start a song, solo that track, and as you play the sequence it will sequentially load up all your devices with the appropriate patch information. Then, unsolo the sys-ex track and mute it. Now the sys-ex won’t keep re-loading when you play back your song.
Check for protocols. Not all sequencers work the same way. For example, Cubase SX treats sys-ex like any other MIDI data: Record it into a track, then play it back. Sonar limits sys-ex recording to 255 bytes, which is optimized for short messages like control setting changes. However, Sonar also has a sys-ex librarian that’s saved with each project, where you can store up to 8,192 banks of sys-ex data. You can insert a track event that triggers sending a bank’s contents through the MIDI out, thus accomplishing the same thing as playing sys ex from a track.
Get into the habit of saving sys-ex with a project, and next time you have to re-load it, everything should be exactly as you left it. Amazingly, sometimes technology does make life easier!
Keyboard magazine
It may seem tweaky, but sys-ex is easy to learn and powerful when put to use in your studio
Gather ’round, brothers and sisters, and let’s testify about how to be saved by sys-ex! Yes, you can be saved from the hellfires of lost data and the purgatory of misplaced patches, thanks to the miracle of MIDI system exclusive (sys-ex) data.
Okay, maybe sys-ex won’t provide a religious experience — but it makes it easier to use outboard MIDI hardware with your software audio/MIDI host sequencer. Most hosts offer multiple ways to save projects, from a small file that “points” to data on your hard drive, to saving a huge file that contains everything used in the project, including samples, all audio, etc. If the latter, you can save everything related to a project by simply backing up that one file.
But once outboard hardware gets into the act — a favorite keyboard or signal processor, a digital mixer, whatever — saving becomes more complex. For example, I often like to mix a sequence through a digital mixer, by sending “stems” into 16 channels of an ADAT interface. But now the initial mixer parameters need to be saved as part of the project too. For vocals, I frequently use a hardware reverb, and for guitar, a Line 6 PODxt or DigiTech GNX4 . . . so now their parameters have to be saved, along with the parameters from my fave hardware synths. How do I do it?
SYS-EX MEETS THE HOST
As these are MIDI devices, they can dump their data as sys-ex messages that represent a snapshot of the unit’s contents, which appear at the MIDI output. Even better, you can usually record the sys-ex messages within the project itself. Simply patch a cable from the device’s MIDI out to your computer interface’s MIDI in, initiate a dump at the device or request one via the host, and record the data into a MIDI track in your host. When you want to reload the data, patch your computer interface’s MIDI out to your device’s MIDI in. The data appearing on the track plays into the device, which restores its settings.
That’s the theory; practically, matters aren’t quite that simple. So, consider the following when recording sys-ex into a host.
Size matters. Some sys-ex dumps can be huge, which may bog down your sequencer. However, most gear gives you the option to send out varying amounts of sys-ex — a single patch, all patches, only system settings, everything, etc. If you just need to change a synth patch in the middle of a song, then dump that single patch (not a complete sound bank) into the instrument’s track. It will likely be only a few kilobytes, and your sequencer will be able to burp it back into your synth without even blinking.
Now, you might think if all you need to do is send out a patch, wouldn’t it be easier to insert a program change instead? Yes, except that the program change assumes you have the same patches loaded into your keyboard that you had when you inserted the program change command. If you tweak patches often, that may not be the case. By sending sys-ex, you’re sending the actual patch data, not just something that calls up a particular memory slot.
Check your preferences. Most hosts disable sys-ex recording because unlike note data, it’s not something you record all the time. So, you’ll probably need to find a “MIDI filter” dialog box and make sure the host can record sys-ex. Sys-ex might also be disabled on your outboard device, so check that too.
Put the sys-ex on a separate track. It would make sense to include the patch data needed to set up an outboard device at the beginning of the MIDI track driving it, but that means you’ll be re-sending that sys-ex every time you start the song. This not only sends a lot of data down the MIDI stream, but may take quite a bit of time — MIDI sys-ex messages travel slowly. A more efficient approach is to record all needed “setup” sys-ex, one data file after another, into a single track. When you start a song, solo that track, and as you play the sequence it will sequentially load up all your devices with the appropriate patch information. Then, unsolo the sys-ex track and mute it. Now the sys-ex won’t keep re-loading when you play back your song.
Check for protocols. Not all sequencers work the same way. For example, Cubase SX treats sys-ex like any other MIDI data: Record it into a track, then play it back. Sonar limits sys-ex recording to 255 bytes, which is optimized for short messages like control setting changes. However, Sonar also has a sys-ex librarian that’s saved with each project, where you can store up to 8,192 banks of sys-ex data. You can insert a track event that triggers sending a bank’s contents through the MIDI out, thus accomplishing the same thing as playing sys ex from a track.
Get into the habit of saving sys-ex with a project, and next time you have to re-load it, everything should be exactly as you left it. Amazingly, sometimes technology does make life easier!
Keyboard magazine
, but I can offer
