The Chroma


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Contact support. Email us. Buy Now. If set to "on", the converter will translate parameter changes to MIDI continuous controller commands. Unfortunately there weren't enough MIDI controller numbers available to cover all one hundred Chroma parameter numbers, so only the Chroma parameters you would most likely want to change while recording are translated.

Any others will be ignored. Consult table 1 in the back of this manual for which ones are implemented and which MIDI controller numbers are assigned to them. If you examine table 1 you will see that the most commonly used Chroma parameters are assigned MIDI controller numbers 8 through You may also notice that some of the undefined MIDI controller numbers were borrowed to cover some of the lesser used Chroma parameters. This allows you to change the Chroma parameters that are bi-polar plus and minus.


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Any values that the MIDI controller's slider sends to the Chroma that are outside the range of that particular Chroma parameter will be limited. See the next parameter description for more on how the converter handles contention for MIDI controller numbers. The selections are "off", "ptch", and a number from 0 to See table 2 in the back of this manual for a list of some of the more commonly used MIDI controller numbers. The first time you power up the converter box, lever 1 is set to MIDI controller 1. This is the MIDI standard for mod wheel. This assignment corresponds to most of the Chroma factory sounds, which use lever 1 as a modulation control.

This may cause them to conflict if you were operating both Chroma controls simultaneously. The priority from highest to lowest is as follows: lever 1, lever 2, pedal 1, pedal 2, volume link balance not volume pedal , parameter change. This is how most of the Chroma factory sounds are programmed. This setting is set to "PULL" the first time you power up your converter box. Like all of the other MIDI parameter settings it will be saved if you decide to change it. This does not necessarily mean that pedal one is set to control volume on every one of your Chroma programs though.

This depends on how that particular program was programmed. The selections for pedal one select are "off" or one of 32 MIDI continuous controller numbers. The M. Not all of your Chroma sounds may be set up to control volume from pedal 1. The selections are the same as those of MIDI parameter When recording with a MIDI sequencer, set pedal two to any controller number that does not conflict with any other number you may have assigned to another Chroma control.

Since the Chroma has no equivalent command for MIDI channel pressure global aftertouch , it is sent to the Chroma as pedal 2 commands. This feature is fixed, so you should be aware that if you assign pedal 2 to a MIDI controller, it will contend with channel pressure if you try to send the Chroma both channel pressure and MIDI controller information that is destined for pedal two at the same time.

If you intend to send channel pressure to a Chroma or Expander, the safest thing would be to set this to "off". This can be assigned to any of the MIDI switch numbers 64 - Upon receiving whichever MIDI switch you select for footswitch two, the Chroma will react as if you pressed or released the latch pedal.

The Chroma will send volume commands whenever you move the link balance parameter. Note: There is a bug in the Chromas that have the Rev 12 Eproms, where the volume sent out over the computer interface is all messed up, another good reason to get the Rev 14 Eproms for your Chroma. This selection is most useful when you want to control the volume of the Chroma from another source like a MIDI keyboard controller.

This will allow you to send parameter slider moves as MIDI controller changes, regardless of what Chroma parameter is in the parameter window at the time. This essentially turns the parameter slider into an extra MIDI continuous controller. You could, for instance, set the controller number to 1 mod wheel and have a Chroma parameter in the parameter window such as filter tuning.

Then whenever you changed the filter tuning on the Chroma, you would be sending mod wheel commands to a MIDI instrument at the same time. This determines whether you want to transmit the pressure as poly key pressure or as channel pressure. Most keyboards only recognize channel pressure. The selections are "pol" and "chnl". Connect the "out" on the MIDI converter to the "in" on you're sequencer. Connect the "out" of the sequencer to the "in" of the MIDI converter.

In through mode, the Chroma only listens to the MIDI in port and plays information on the channels that it's set to listen to. Here's a very useful setup, especially in a live performance situation where the sequencer is only used for playback, the Chroma is the master keyboard, and you have several other MIDI instruments as slaves. Connect any other MIDI instruments via the through port of the second instrument or to the outputs of the through box.

So now, whenever you want the sequencer to play the Chroma and the slaves, you would set MIDI parameter 3 to "thru" and the sequencer will be the source of the MIDI data. You can still play along on the Chroma keyboard, although it won't be transmitting MIDI to any of the slaves, the sequencer will.

The Chroma Incident

Then when you want to go back to having the Chroma keyboard as the master controller, set MIDI parameter 3 to "out". The sequencer will be disconnected from the slave instruments and the Chroma will generate the MIDI data. You may recall that the eight Chroma instruments are numbered 0 through 7 and that the "main" is always instrument 0 and the link is always instrument 1. If omni is on, the "main" and "link" will receive on all MIDI channels indiscriminately and instruments 2 through 7 will be inaccessible.

Don't confuse Chroma instruments with voices. The Chroma has eight voices as well as eight instruments but the voices are divided up amongst however many instruments you are using at the time.

The Chroma Incident | js13kGames

If you are using two instruments, each gets four voices to play. This is obvious when you are in one of the link modes on the Chroma. One exception to this voice dividing scheme is when the Chroma program you have selected for an instrument is programmed with a "mono" keyboard algorithm. In that case it will eat only one voice.

Chroma Gin Range

You program a mono keyboard algorithm by setting Chroma parameter 3 to one of the values between 5 and That way if you are using two instruments and one of them is a mono program, the mono one will get one voice and the poly one will get seven to play with. The same holds true when you start to define more and more instruments inside the Chroma.

As you start adding more timbres to your sequence you will have fewer voices available to play the parts. That's why it's a good idea to use mono programs on the Chroma whenever possible, especially for bass parts and any other parts that require only one note to be played at a time. Just remember that if you have a link, it will send and receive on its own channel if omni is off. If you want to access the upper instruments 2 through 7 , you must first set several of the MIDI parameters. Set the base channel to whatever channel you want to record from, the Chroma keyboard's "main" instrument will transmit from this channel.

It's a good idea to record your tracks from a Chroma program that has no link. That way you are only transmitting data on one channel and not duplicating data, as you would be if you were in "link unison". The link can always be edited into the sequence by copying tracks and channelizing, but more on that later.

CS:GO - The Chroma 2 Case Opening #10

Set omni MIDI parameter 2 to "off". Set MIDI parameter 4 program changes to "on". This requires further explanation. Normally the "main" instrument 0 inside the Chroma is always defined. It is defined to the last program that you have selected from the Chroma front panel, the number that's in the display. The "link" instrument 1 may also be defined if you have a program selected that is linked.

So to set up more than just these two sounds in the Chroma you need to "define" more instruments instruments 2 - 7. If you had the base channel set to 1 this would be MIDI channel 8. So from this you can see that you must record a MIDI change program command at the beginning of a track on your MIDI sequence if that track is to play any of the upper instruments This is done by simply selecting the Chroma program from the Chroma panel which in turn outputs a MIDI program change command, before you start to play.

You can also edit the program change into the beginning of the sequence after you have recorded the part. NOTE: When selecting a program from the panel of the Chroma, the number in the display must be one that is different from the one you want to select. You may recall that if you press the same number as the one that's in the program display, the Chroma calls up the previous program. The opposite of a "define" command for the Chroma, is an "undefine" command. When received, a Chroma will essentially turn the particular instrument that received the undefine, off, and relinquish the voices that were allocated to it.

The converter box uses MIDI program change 0 commands as undefine commands. So from this you can see that it's desirable to record a MIDI program change 0 command at the end of a track. The purpose of this parameter is to tell the converter box how many Chroma instruments you intend to address. This is necessary to prevent Chroma instruments from being defined and played unintentionally.


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  6. If you intend to address all eight of the Chroma instruments, you would set this MIDI parameter to 7. This tells the converter box that you want to be able to address instruments 0 through 7. If for instance, you set instruments available to 3, this would tell the converter to only recognize MIDI data destined for Chroma instruments 0 through 3, thus giving you four instruments and likewise four timbres to work with. If the Chroma is the only device connected to your sequencer, you can go ahead and just set instruments available to 7, giving you access to all instruments, if you decide to use them.

    The remainder of the MIDI parameters should be set according to your needs. If for instance you are recording a track from the Chroma keyboard that will later be played by a DX-7 , set pedal one select MIDI parameter 11 to 7 if you want to record volume pedal changes. If lever one is set to MIDI controller 1 mod wheel , any lever one moves you record from the Chroma will be interpreted as mod wheel commands by another MIDI instrument playing that recorded part.

    This can be confusing, especially if the Chroma program you are recording from uses lever one for pitch changes instead of modulation changes. Also remember to set the MIDI polarity of your levers to the same polarity as the program in your Chroma.

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