H-Pi Instruments Tonal Plexus TPX 2s User manual
CONTENTS
1. Introduction .............................................................................................................................. 3
Checklist ............................................................................................................................ 4
Overhead Diagram ............................................................................................................ 5
Side Panel Diagram ........................................................................................................... 6
Recommended Accessories ............................................................................................... 6
2. Keyboard Layout ...................................................................................................................... 8
From Piano to Plexus ......................................................................................................... 8
Default Master Tuning ........................................................................................................ 9
Octaves and Fifths ............................................................................................................. 9
Commas and JNDs ............................................................................................................. 9
Key Diameter and Elevation ............................................................................................... 10
3. Tuning Tables ........................................................................................................................... 11
MIDI Mapping .................................................................................................................... 11
Untuned Output Mode ....................................................................................................... 12
Duplicate Keys ................................................................................................................... 12
Programming a Tuning ....................................................................................................... 13
4. Polyphony ................................................................................................................................ 13
5. Presets ..................................................................................................................................... 14
Storing a Table Preset ....................................................................................................... 14
Storing a Patch Preset ....................................................................................................... 14
6. Top Panel Controls and Display .............................................................................................. 15
LCD Display ....................................................................................................................... 15
Faders, Fader Opt, and Fader Opt Select Switches ........................................................... 15
Local Control Switch .......................................................................................................... 17
Octave Buttons ................................................................................................................. 17
7. External MIDI Devices .............................................................................................................. 17
Controllers ......................................................................................................................... 17
Standard Synthesizers nd Samplers .................................................................................. 17
Natively Microtonal Synthesizers and Samplers .................................................................. 18
Startup Sequence ............................................................................................................. 18
8. Sequencer / MIDI Footswitch Control ....................................................................................... 18
Patch Changes .................................................................................................................. 19
Bank Select ....................................................................................................................... 19
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Tuning Table Changes ....................................................................................................... 19
9. DIP Switches ............................................................................................................................ 20
Bank Select Format ........................................................................................................... 20
Velocity Randomization Bandwidth .................................................................................... 21
Pitch Bend Response Timing ............................................................................................. 21
Sysex Retransmission ....................................................................................................... 22
Global Pitch Bend Mode ................................................................................................... 22
Sustain Pedal Polarity ........................................................................................................ 23
Sysex Recovery Timing ...................................................................................................... 24
APPENDIX .................................................................................................................................... 25
General MIDI Patch List ..................................................................................................... 25
MIDI Implementation Chart ................................................................................................. 27
System Exclusive Messages .............................................................................................. 28
Troubleshooting ................................................................................................................. 29
Technical Specification ....................................................................................................... 31
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1. Introduction
The H-Pi Instruments Tonal Plexus TPX2s/4s/6 is a hand-made instrument designed to be
lightweight, easy to use, and compatible with the widest range of existing MIDI hardware and
software, allowing easy exploration of the limitless universe of alternative tunings. Please refer to this
manual to get the most out of your keyboard.
Your input is appreciated. If you have a question or comment about something in this manual, or
something which is not addressed in this manual, please contact H-Pi Instruments via email at
PDF download from the H-Pi Instruments website at www.h-pi.com/downloads.html.
This manual was uploaded July 17, 2008 and supersedes all previous TPX2s/4s/6 manuals. This
manual may be replaced at any time by another manual.
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Checklist
TPX2s/4s/6
Every TPX2s/4s/6 unit is built by hand. Please do not be alarmed by any small blemishes you may
find. Always handle the unit with care.
International 12V 4.5A Power Supply
The power supply runs on 100 - 240V, 50 - 60Hz, and will work in most countries around the world –
just plug in a locally supported grounded cable (US standard cable shown above, left) or adapter.
Two MIDI cables (optional)
Having these items, you are ready to begin.
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Overhead Diagram
GM Patch List
TPX/2s/4s units
include a patch list
for the built-in
GM/GS
Synthesizer.
MOD, VOL, and VEL Faders
Sends MIDI Modulation (Controller
number 1), MIDI Volume (Controler
number 7) and MIDI Note Velocity
on all selected channels. NOTE:
side panel Volume and Velocity
pedal inputs override these faders.
2 x 20 Character LCD
Displays the currently
selected preset tuning
table, bank, patch,
preset, and polyphony.
16 Channel Switches
Use these switches to
control polyphony –
which channels receive
retuned MIDI output.
16 Patch Presets
Press these buttons
to recall a preset
banks and patches.
Tuning Resolution
Toggles between HI (14-bit) and
LO (7-bit) MIDI Pitch Bend format
for tuned output. If the
synthesizer connected to MIDI
OUT (TUNED) does not support
14-bit Pitch Bend, change this
switch to LO.
Programmer
When pushed and released, the currently selected preset tuning or patch
and bank can be programmed. First, a tuning preset or patch preset is
chosen to program, then a table is chosen or a bank and patch is chosen.
When pushed and held for 4 seconds, the currently selected tuning table is
sent to MIDI OUT. Use this for sharing tunings or uploading tunings to a
computer.
16 Tuning Presets
Press these buttons
to recall a preset
tuning tables.
Local Control Switch
When Local Control is OFF, the
blue LED lights up, and only MIDI
received at MIDI IN travels to the
internal synthesizer, which can be
useful when working with
sequencing and notation
software.
PANNING Fader
Sends MIDI Panning
(Controller number
10) on all selected
channels.
Octave Up / Down Switches
Navigates the currently selected
tuning table by table octaves. NOTE:
In the default Master Tuning, this
corresponds to transposition by
octaves; however, the pitches stored
in user tables may correspond to
anything, so shifting by table octaves
does not necessarily require shifting
by octaves in terms of pitch.
Sustain Pedal polarity
Allows for the use of any sustain
pedal, by selecting normally open
or normally closed switch type.
Volume Pedal Direction
Allows for the use of any Lo-Z
(20kOhm) volume pedal, by
selecting the pedal direction
(wiring scheme).
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Side Panel Diagram
MIDI IN
Connect
another MIDI
controller to
this jack, also
used for
uploading
tuning tables
to the
keyboard.
MIDI THRU
This output
sends MIDI
data received
at MIDI IN
through
unmodified to
another MIDI
device.
MIDI OUT
Connect a
synthesizer,
sampler or MIDI
interface to this
jack to receive
retuned or raw
MIDI data on
selected MIDI
channels.
12V DC Input
TPX2s/4s/6
require at least
2.5 Amps.
Power switch
provided.
LINE IN
Input a line level
audio signal from
any other source
directly to the
internal amplifier
using this 1/4”
jack. NOTE: This
input turns off
internal audio.
LINE OUT
Output line level
audio from the
internal amplifier
to an external
device such as
a mixer or
amplifier using
this 1/4” jack.
Stereo Headphones
Connecting headphones
to this attenuated stereo
output turns off speaker
output.
Volume
Control the amplifier output
to either the speakers or the
headphones with this knob.
SUSTAIN
Connect a
sustain (a.k.a.
Damper)
pedal
to this 1/4”
jack.
Volume Pedals
Connect Lo-Z (20 kOhm)
volume pedals to these 1/4”
jacks to control MIDI Volume
and Key Velocity (these inputs
override top panel faders)
DIP Switches
Control Global
parameters at
startup using
these nine DIP
switches (see
Appendix)
Recommended Accessories
Sustain Pedal
Because TPX2s/4s/6 has a sustain pedal polarity switch, all sustain pedals are compatible.
Volume Pedals
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Volume pedals may be used to control MIDI key velocity and MIDI volume, overriding the top panel
faders. The pedal should be 20KOhm. High impedance guitar volume pedals will work, but not very
well. The volume pedal we recommend is made by in Italy by bespeco, and is available to European
customers as the VM16L and in the US as Quiklok VP16. This pedal is nice because it has the cable
built in; however, it is no longer readily available in the US. A slightly different pedal in stereo
configuration with the handy addition of a lowest-volume control pot is also available from bespeco as
the VM14L, and fortunately this pedal is available in the US from Zzounds as the Quiklok VP15. With
this pedal, you will need to get a cable which is 1/4'' Stereo plug to 2 1/4'' Mono plugs (a.k.a a
standard Send / Return Insert Cable), and we recommend the STP-200 from Hosa.
Having an internal synthesizer and amplifier, a TPX2s/4s/6 keyboard is a standalone performance
instrument. However, if sounds other than those of the internal synthesizer are needed, the internal
amplifier of TPX2s/4s/6 can be used with external sources by connecting External Source LINE OUT
to TPX2s/4s/6 LINE IN. To save space, TPX2s/4s/6 uses a Stereo (TRS) 1/4” jack for LINE IN, so
that a cable adapter may be needed to connect external sources having other types of output jacks.
Adapter cables are available from HOSA, shown below: a 1/4" Male Stereo to 2 Female Mono 1/4"
Cable, a 1/4" Male Stereo Phone to 2 RCA Female Cable, and a 1/4” Stereo to Stereo Mini Cable.
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2. Keyboard Layout
The Tonal Plexus keyboard geometry was designed in 2002 by Aaron Andrew Hunt. This particular
geometry is unique in the history of the musical keyboard, although it bears resemblance to previous
inventions known as generalized keyboards, early examples of which are found in the work of Paul
Von Janko (1875) and R.H.M. Bosanquet (1877).
From Piano To Plexus
The Tonal Plexus keyboard layout is based on the traditional piano keyboard pattern of 7 white and
5 black keys, with standard fifths-based note names as shown below, piano keys carrying multiple
names as shown.
• 7 naturals
• 7 sharps
• 7 flats
• 7 double-sharps
• 7 double-flats
All standard note names correspond to unique, non-dulpicate keys on the Tonal Plexus. Extended
fifths-based note naming leads to a new set of enharmonics.
• 6 triple-sharps
• 6 triple-flats
These 12 new enharmonic keys are shown at the top and bottom edges of the layout, the blue keys
in the images above and Figure 1 below.
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Figure 1
Default Master Tuning 205ET
The master tuning of the Tonal Plexus was determined by way of thorough research in music theory,
music notation, and pitch perception. The result is a system which allows the free exploration of all
possible pitch combinations in a coherent way, according to reasonable limits of human perception.
A few main concepts behind the master tuning are given below. Further information about the master
tuning will be made available in a separate document.
Octaves and fifths
Octaves and fifths define the basis of Western music theory and notation. Hence, these intervals
form the basis of the master tuning. Octaves are tuned purely, and fifths are tuned virtually purely,
with a deviation of less than half of one cent. These two intervals provide a reference for pitch
ordering and naming relative to which all other intervals are defined.
Commas and JNDs
The master tuning is designed around the comma as a basic interval. The comma used is just under
30 cents in size, forming the basis of a key layout in which one octave contains 41 commas. To
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maximize pitch control and expressivity, each comma is broken into 5 JNDs, so that the smallest steps
on the keyboard are just under 6 cents in size. Each octave contains 205 JNDs. Using JND fine
tuning, any interval can be played with a maximum tuning deviation of less than 3 cents. Though
under certain conditions such small mistunings can be heard, in practice the errors are so small that
they are not noticeable; other natural variables such as timbre and duration introduce similar small
margins of error. The master tuning is thus able to produce all pitches and intervals in a managable
way.
Key Diameter and Elevation
Tonal Plexus keytops vary in diameter and elevation, arranged symmetrically in 41 regions per
octave. The center key of each region has a concave surface and is the largest in diameter. The
other keys are smaller and have flat tops. These variations of diameter and elevation provide a tactile
terrain for navigation of the keyboard by touch. In the default Master Tuning, the variations
correspond to JND inflections of a given letter name, allowing harmonic intervals to be easily found by
touch alone.
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3. Tuning Tables
Each tuning table provides a simple 1 to 1 correspondence between raw MIDI Notes played and
retuned MIDI Notes output. Any MIDI Note input can be retuned to any pitch output, in any register
with any frequency, limited only by the internal or external synthesizer.
MIDI
Note
played
Tuning
Table
lookup
Tuned
MIDI
Note
OUT
There are 32 memory locations, numbered 0 - 31, available for storing tuning tables. There are 16
preprogrammed default tuning tables, including the Master Tuning 205ET. The default tuning tables
may be overwritten, and there are no protected memory locations. Each table is given a 16-character
name. The name and number of the currently selected tuning table is displayed on the top row of the
LCD. For each MIDI Note, there are three values stored in the tuning table: MIDI Note, Pitch Bend
MSB and Pitch Bend LSB. When a MIDI Note ON message is received, these values are looked up
and immediately transmitted to MIDI OUT in the following order: Pitch Bend MSB, Pitch Bend LSB,
MIDI Note ON.
MIDI Mapping
Each octave of a Tonal Plexus keyboard uses two MIDI Channels, each assigned to six columns of
keys. These two MIDI Channels are shown as CHANNEL A and CHANNEL B in Figure 2 (next page).
The MIDI Note numbers are the same in each octave, and the MIDI Channels are fixed according to
the size of the keyboard. The chart below shows MIDI Channel assignments for TPX2s and TPX4s.
These MIDI Notes and Channels should be sent from external devices connected to MIDI IN.
OCTAVE
CHANNEL A
CHANNEL B
TPX4s
TPX2s
1
2
3
4
5
6
7
8
1
3
5
7
9
11
13
15
2
4
6
8
10
12
14
16
X
X
X
X
X
X
MIDI Notes 0-104 are used from Channel A and MIDI Notes 0-105 are used from Channel B. This
leaves 22 MIDI Notes (105-127) unused on Channel A and 21 MIDI Notes (106-127) unused on
Channel B. These 43 unused MIDI Notes correspond to 43 unused Tuning Table Registers for each
Tonal Plexus octave. Although these free memory registers are ignored by the keys of a Tonal
Plexus keyboard, they may be accessed from an external keyboard by sending the correct MIDI
Notes on the correct MIDI Channels to MIDI IN.
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Untuned Output Mode
The Tonal Plexus keyboard normally sends tuned output corresponding to MIDI Note and Pitch Bend
data stored in a Tuning Table; however, when the top panel TUNED OUTPUT switch is set to OFF,
the raw MIDI Note and Channel data shown above is sent to MIDI OUT. This data can then be
received by an external processor such as a software sampler to result in retuned output.
Duplicate Keys
In the default Master Tuning, the following pairs of keys are tuned to the same pitch: Channel A 17 &
18, 68 & 69, 104 & Channel B 0. Channel B 35 & 36, 51 & 52, 87 & 88. These are the keys referred
to as duplicate keys in TPXE software, the large blue keys in Figure 2 below. These keys are not
hard-wired as duplicates; custom user tunings can have any key mapped to any pitch.
Figure 2
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Programming a Tuning Table
Programming a tuning table means storing it in one of the 32 possible memory locations. Tables are
programmed using Tonal Plexus Editor (TPXE) software. Please see the software documentation for
information on creating and programming tuning tables.
4. Polyphony
TPX2s/4s/6 achieves microtonal polyphony through a MIDI channel assignment system, called a
dynamic channel allocation algorithm. Each retuned MIDI Note requires its own MIDI channel.
Therefore, polyphony is limited to 16 voices according to the present MIDI standard.
Octave 1
Octave 2
Octave 3
Octave 4
Tuned
MIDI
Notes
OUT
Channels 1, 2
Channels 3, 4
Channels 5, 6
Channels 7, 8
MIDI
Notes
played
Tuning
Table
lookup
Channel 1
Channel 2
Channel 3
Channel 4
Channel 5
Channel 6
Channel 7
Channel 8
Channel 9
Channel 10
Channel 11
Channel 12
Channel 13
Channel 14
Channel 15
Channel 16
Channels 9, 10
Channels 11, 12
Channels 13, 14
Channels 15, 16
Octave 5
Octave 6
Octave 7
Octave 8
TPX4s
TPX2s
Dynamic
Channel
Allocation
You control which channels receive retuned MIDI output with the 16 channel switches. For example,
if channels 3, 4, 5 and 6 are engaged and all other channels are disengaged, MIDI Notes will only be
sent on channels 3, 4, 5, and 6. Such control is particularly useful for sequencing multitimbral music.
Octave 4
Tuned
MIDI
Notes
OUT
Channels 7, 8
MIDI
Notes
played
Tuning
Table
lookup
Channel 4
Channel 5
Channel 6
Channel 3
Dynamic
Channel
Allocation
NOTE: MIDI channel 10 is reserved for percussion sounds on General MIDI
synthesizers. To remind you of this, the channel 10 button is colored gray rather than
black, and the number is underlined. If you hear a percussion sound every few notes,
then you need to disengage channel 10.
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5. Presets
The TPX2s/4s/6 has 16 table presets and 16 patch presets. Each table preset allows a tuning table
to be recalled at the touch of a button without affecting the current bank and patch. Each patch
preset consists of a bank and patch to be recalled at the touch of a button without affecting the
current tuning table.
Pressing the knob initiates the preset programming or browsing process. Browse parameters by
turning the knob, and choose values by pressing the knob. While browsing a parameter, that
parameter flashes on the display.
Storing a Table Preset
To store a table preset, follow these steps:
(1) Push the PROGRAMMER knob. The table preset number and patch preset number flash.
(2) Push the table preset button you wish to program
(3) Turn the knob to find the desired tuning table.
(4) Select a tuning table by pressing the knob. The table preset is stored
Storing a Patch Preset
To store a patch preset, follow these steps:
(1) Push the PROGRAMMER knob. The table preset number and patch preset number flash.
(2) Push the patch preset button you wish to program.
(3) The bank number flashes.
(4) Turn the knob to find a desired bank.
(5) Select a bank by pressing the programmer knob. The patch number flashes.
(6) Turn the knob to find a desired patch.
(7) Select a patch by pressing the knob. The patch preset is stored.
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The process above may be canceled at any moment by pressing any preset button. In this case the
display stops flashing and preset programming stops. Programming may be initiated again according
to the steps above.
NOTE: Bank Select messages are handled differently by different manufacturers.
TPX2s/4s/6 includes DIP switches for selecting the correct format for your
synthesizer. Consult the Appendix for more information on Bank Select DIP
switch settings.
6. Top Panel Controls and Display
This section discusses the control switches and buttons on the top panel and how they relate
to the LCD display, excluding the PROGRAMMER knob and PRESET buttons, the functions
of which are discussed in section 5.
LCD Display
The 2 x 20 character backlit LCD normal display is shown below.
This display changes format in the following situations:
1. when Tuning Table data is being programmed
2. when the FADER OPT switch is engaged
3. when the FADER OPT SELECT switch is engaged
4. when the TUNED OUTPUT switch is set to OFF
Faders, Fader Opt and Fader Opt Select Switches
The three vertical faders are multifunctional controls. Each fader controls three parameters, as shown
by the labels from left to right: M·A·L, V·D·M, and V·R·H; each group of three letters stands for the
three functions given to each fader. These functions change according to the states of the FADER
OPT and FADER OPT SELECT switches, as shown below.
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M · A · L
V · D · M
V · R · H
Middle Frequency Equalizer
Low Frequency Equalizer
High Frequency Equalizer
Modulation
Volume
Velocity
Release
Attack
Decay
FADER
FADER OPT SELECT
ON
FADER OPT
OFF
FADER OPT
ON
1.
2.
3.
1 2 3
As shown above, in addition to standard MIDI controllers, the faders can be used to control the
waveform envelope as well as relative synthesizer frequency amplitudes. When the FADER OPT and
FADER OPT SELECT switches are engaged or disengaged to change the functions of the faders,
the faders must be moved in order to send new data controlling the new parameter. If the fader is left
stationary, no data should be sent, but occasionally there may be data sent from a fader at rest, due
to electromagnetic interference or acoustic vibration causing small movement of the fader control.
The following messages are sent by faders 1, 2, and 3 when FADER OPT is OFF (MVV):
CC Bnh 01h Modulation
CC Bnh 07h Volume
CC Bnh 3Fh (to signal change of Key Velocity, sent only when TUNED OUTPUT is OFF)
The following messages are sent when FADER OPT is ON and FADER OPT SELECT is OFF (ADR):
NRPN 0163h Envelope Attack Time (40h = no modification)
NRPN 0164h Envelope Decay Time (40h = no modification)
NRPN 0166h Envelope Release Time (40h = no modification)
The following messages are sent when FADER OPT and FADER OPT SELECT are both ON (LMH):
NRPN 3700h Low Frequency Equalizer (bass) 0 = -12 dB, 40h = 0 dB, 7Fh = +12 dB
NRPN 3701h and 3702h Middle Frequency Equalizer 0 = -12 dB, 40h = 0 dB, 7Fh = +12 dB
NRPN 3703h High Frequency Equalizer (treble) 0 = -12dB, 40h = 0dB, 7Fh = +12 dB
NOTE: the fader option parameters (ADR and LMH) are global, affecting all patches,
and are not stored in memory. The Modulation function of fader 1 may control either
MIDI Modulation or Global Pitch Bend, according to the setting of DIP switch 7 (see
section 9).
The horizontal fader marked PANNING always sends CC Bnh 0Ah.
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Local Control Switch
The switch called LOCAL CONTROL on TPX2s/4s/6 provides a way to disconnect MIDI traffic coming
from the keyboard. This setting should be used when you wish to control the synthesizer from an
external source such as a sequencer. When LOCAL CONTROL is set to OFF, the blue LED lights up
and the keyboard no longer generates MIDI data; however, incoming MIDI data is still sent to the
internal synthesizer. This function is unlike standard LOCAL OFF control, where MIDI data is still sent
from the keyboard. The reason for this is that MIDI channel control may possibly be in conflict if MIDI
data input and MIDI output are both allowed to directly control the internal synthesizer when
bypassing the internal dynamic channel allocation algorithm.
Octave Buttons
The octave buttons do not simply transpose MIDI Notes by octaves. Instead, they control which
tuning table registers are accessed by the MIDI Notes played. So, the word “octave” in this case
should be understood to mean a tuning table MIDI map octave as described in section 3.
7. External MIDI Devices
This section gives some basic information about using external MIDI controllers and tone modules
with TPX2s/4s. Information on working with a sequencer will be made available in a separate
document.
Controllers
All MIDI controllers connected to MIDI IN will be compatible with TPX2s/4s, including keyboard
controllers, ribbon controllers, breath controllers, wind controllers, MIDI guitars, etc.
Standard Synthesizers and Samplers
Synthesizers and samplers connected to MIDI OUT should be MULTITIMBRAL. Check the MIDI
Implementation Chart of any unit you will be connecting. The following parameters must be there:
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YOUR SYNTHESIZER’S MIDI IMPLEMENTATION CHART
FUNCTION
TRANSMITTED
RECOGNIZED
REMARKS
Pitch Bend
(X or O)
O
Channels 1-16
Control Change
(X or O)
O
Data Entry MSB
6
100, 101
(X or O)
O
RPN MSB, LSB
MODE 1: OMNI ON, POLY X = No O = Yes
There may be some menu settings on the external unit which you will need to configure to satisfy the
requirements outlined above.
NOTE: If MIDI Pitch Bend messages are not recognized, the external device
connected to MIDI OUT with TUNED OUTPUT switched ON will not be retuned!
Natively Microtonal Synthesizers and Samplers
Hardware or software synthesizers and samplers which already have native microtonal support can
be controlled by TPX2s/4s/6 using either MIDI THRU or MIDI OUT with TUNED OUTPUT switched to
OFF. In each case, TPX2s/4/s/6 will send standard MIDI Note messages and the retuning will take
place in the external unit.
Startup Sequence
The following startup sequence should always be used with TPX2s/4s/6 and anything connected to
it:
1. Turn on any external units connected to MIDI OUT or MIDI THRU
2. Turn on TPX2s/4s
3. Turn on any external controller connected to MIDI IN
NOTE: TPX2s/4s/6 will do nothing in response to an Active Sensing external
controller if the controller is turned on before TPX2s/4s.
8. Sequencer / MIDI Footswitch Control
TPX2s/4s/6 can receive MIDI instructions remotely from many kinds of controllers, including
sequencers, notation programs and MIDI footswitches. In addition to NOTE ON and NOTE OFF
messages, TPX2s/4s/6 responds to other MIDI messages which can be used to control the currently
selected bank, patch, and tuning table independent of TPX2s/4s/6 physical controls. This way, MIDI
sequences and live performances can employ a number of different patches and tunings without
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ever having to touch the controls on TPX2s/4s. For this reason we will refer to such control as
Remote (not to be confused with wireless control).
Patch Changes
TPX2s/4s/6 responds to remote messages received on any channel. One simple message
recognized is Patch Change, which is Status byte 192-208 for channels 1-16. The Status byte
should be followed by one Data byte. The MIDI message format for this message is shown below.
Patch Change on Channel (192 - 208 = 1 - 16), Patch (0-127)
Bank Select
TPX2s/4s/6 responds to several MIDI Continuous Controller (CC) messages. Controller messages are
MIDI Status bytes 176-190 for channels 1-16. The Status byte should be followed by a Controller ID
byte and then a Data byte. Bank Select MSB and LSB messages are both recognized.
Controller on Channel (176 - 190 = 1 - 16), Bank Select MSB, LSB (0, 32), Bank (0-127)
TPX2s/4s/6 must be configured to send Bank Select messages in the format recognized by your
synthesizer, and this format is used by TPX2s/4s/6 for both sending and receiving Bank Select
messages. For more information, see the Appendix: Bank Select DIP Switch.
Tuning Table Changes
Other controller messages allow remote selection of TPX2s/4s/6 tuning tables. Three messages are
available which differ in the way that held notes are handled. These are Undefined Controllers,
numbers 116-118 (formerly 80-82). A Controller Status byte is followed by an ID byte and Data byte.
Controller on Channel (176 - 190 = 1 - 16), Controller ID (116-118), Tuning Table (0-127)
If notes are sustaining in one tuning and you want them to remain sounding in that tuning even after
the tuning table has been changed, use Controller ID number 116. If instead you want held notes to
change immediately to a new tuning, you have two options. The first is Controller ID number 117 in
which notes currently sounding are restruck with pitches in the new tuning. Controller ID number 118
shifts (bends) currently held notes to new pitches without restriking, but the changes in pitch for each
note are limited within the range of a 12ET halfstep.
!" INSTRUMENTS www.h-pi.com · T O N A L P L E X U S T P X 2s/4s/6 · User Manual 19
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