![]() On the other hand, small buffers are likely to overflow and lose data, especially when doing a SysEx bulk dump to a computer. If you use large buffers, these have to fill up before MIDI data can be passed on which incurs delays. ONE WORRY WHEN using an eight way merger is that of timing accuracy (ask any good British comedian). As long as any "soft" MIDI Thrus on the modules (which merge the data on MIDI In with any being generated internally) are turned off, there shouldn't be a problem with MIDI loops. When you consider that a ten-way MIDI Thru box costs around £35 (Philip Rees V10), it makes sense to use one).īy expanding the system in the diagram, you could include up to seven modules, some of which could be samplers or drum machines. With more modules, data corruption can occur. (This arrangement is commonly known as a "daisy chain" and is adequate when only one MIDI Thru is being used. The Thru box is optional because you could use the MIDI Thru on one module to feed the MIDI In on the next. Keyboard and module MIDI Outs go to the Studio Merge, while the computer MIDI Out makes its way back to the MIDI In on both modules. Using an additional Thru box (see diagram) you can set up the system to cater for both of the above situations. The latter requires a handshaking MIDI connection, which involves using two MIDI cables. There are two jobs required here: being able to play the modules from the keyboard whether the sequencer is being used or not, and dumping and loading banks of sounds from each module to a librarian on the computer. Let's say that you have a master keyboard, two modules and a computer with sequencing software. However, there are other uses for the Studio Merge, especially in the recording studio. And this could well be one direction for the future - MIDI modules with high polyphony and advanced MIDI merging technology. You could link in a sequencer by routing the MIDI Out from the Studio Merge into the MIDI In of the sequencer and the MIDI Out from this into the MIDI In of the module. The setup is as straightforward as for less sophisticated merge boxes: the MIDI Outs from each controller plug into the MIDI Ins on the Studio Merge whose MIDI Out goes to the MIDI In of the module. A couple of keyboards, drum pads and a guitar synth or two could all be playing the same multitimbral synth (especially the latest ones which have 30 notes and more for polyphony - Roland's U220, for instance, will let you play six parts and a rhythm section) through this unit. THE FIRST USE of the Studio Merge is likely to be as a standard merger. In fact, Anatek appear to have had custom micro-processors designed and built for them. All inputs are opto-isolated using Sharp 6N139s, and the latest surface-mount technology has been used for nearly all components. There really should be a reset button somewhere on the unit itself. Many PSUs have an internal fuse which cannot be changed - blow it and throw it. ![]() However, Studio Merge has no on/off power switch which means that should the unit need resetting, you have to either pull the mains plug or the PSU plug on the rear of the unit. This is a great idea, since you no longer have to worry about matching the PSU to the unit - and it only takes an extra couple of components. The power input will accept any PSU from 9-18 volts AC or DC. The rear panel has eight sets of MIDI Ins and Thrus, along with one MIDI Out. The red LED shows that the unit is powered up and the green indicates the absence of a MIDI signal - it stays on unless MIDI information is being received in which case it darkens. Fortunately, Anatek - those clever "pocket effect" people from Canada - have come up with another innovative idea: how about a MIDI merger with eight MIDI Ins and Thrus and a single MIDI Out? That's the Studio Merge.ĮNCASED IN A 1U-high black rackmount, the front panel of the Studio Merge simply has two LEDs. If you need more inputs than this, you have to stop looking at relatively cheap merge boxes and start looking at MIDI patchbays with MIDI processing facilities - and these tend to be expensive. The main restriction of most MIDI mergers is that they only have two inputs. ![]() ![]() Whether you're playing a single multitimbral module from two different keyboards, or editing the parameters on an expander or sampler from a computer and auditioning sounds with a MIDI keyboard, a merger will save you the frustration of endless lead swapping. THE VIRTUES OF using a MIDI merge box should be fairly familiar to anyone more than passingly acquainted with MIDI. ![]()
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