User`s guide

Real-Time Automation 47

ProMix 01 Getting Started Guide

• When recalling a mix scene during a mix, try to choose a point

when the parameters to be changed aren’t being used. For exam-

ple, turn channels ON before the sound source starts, and turn

them OFF when it has ﬁnished. Also try to adjust fader levels

before a sound starts. Nothing sounds worse than abrupt level

changes halfway through a guitar solo, or the sudden disappear-

ance of a fading guitar solo due to premature muting. For mix

scenes that recall effects programs, try to recall them when no

sound is actually being processed by Effect1 or Effect2.

• If you only want to change one effects parameter, instead of using

a mix scene, record the parameter change in real time as Control

Change data.

• For effects, mix scenes store only the current program numbers

and parameter settings for Effect1 and Effect2. They do not store

all 40 available effects programs. Likewise for the dynamics pro-

cessors, only the current program numbers and parameter set-

tings of COMP1, COMP2, and COMP3 are stored. For EQ, all EQ

settings are stored, but the EQ library of 50 programs is not.

• To ensure that only Program Changes are recorded, you could ﬁl-

ter all other MIDI data types.

Real-Time Automation

To record and playback mix moves in real time you need to:

• Set the CONTROL Tx and Rx parameters on the MIDI SETUP

LCD function to ON.

• Set the MIDI Tx and Rx Channels. Note that this setting is affected

by the Control Change mode explained next.

• Set the Control Change mode on the CONTROL CHANGE

ASSIGN LCD function to either Channel or Register. These modes

are explained in full in the User’s Guide. In Channel mode, Control

Changes are transmitted on several MIDI Channels. Con: with 96

parameters at most on each MIDI Channel, this will use at least

six MIDI Channels. Pro: If you assign these MIDI Channels to six

sequencer tracks, you have a better chance of being able to edit the

data since it’s spread across six tracks. You could reassign param-

eters so, for example, all ON/OFF Control Changes are in one

bank on one MIDI Channel, further simplifying data editing.

Some sequencers allow you to record data from several MIDI

Channels into one track. In this case, you could record the data

from all six MIDI Channels into any track.

In Register mode, all Control Changes are transmitted on the same

MIDI Channel and Control Change #98 (Non-Registered Param-

eter LSB) is used to specify the bank. Con: all Control Change data

is recorded to one track, so editing is more complicated. Pro: only

one MIDI Channel is used.