Behringer B-Control Fader BCF2000-WH 用户手册

B-CONTROL FADER BCF2000/B-CONTROL ROTARY BCR2000

set filter frequency to CC 05

set filter resonance to CC 06 (receive)

set volume to CC 07 (receive)

To get detailed information on how to assign them, please refer

to chapter 4.3.2 Programming in the EDIT mode on page 13.

Now, define in the B-CONTROL the control elements that will

control these 3 parameters. You can either use the LEARN

function if the software synthesizer gives you the option to send

its CC data via MIDI, or you can implement the following settings

manually:
s

Assign the push encoder 1 CC 05 to filter frequency control

via dial rotation.

Assign the push encoder 2 CC 06 to filter resonance control

via dial rotation.

Assign the push encoder 3 CC 07 to volume control

via dial rotation.

How do I wire the B-CONTROL?

Several classic examples can be found in the explanations of

different operating modes (see chapter 4.1 The Operating

Modes). Basically, the following applies:
s

If you want to control hardware MIDI equipment, use the

MIDI connectors.

To control software MIDI equipment, you can either use the

MIDI connectors on your B-CONTROL provided your

computer has a MIDI interface or you can use a USB

connection.

To remotely control both hardware and software equipment,

several combination modes are available. These are

explained in chapter 4.1.

What kinds of equipment can I control with the B-CONTROL?

You can basically control any device supporting the MIDI format.

Both hardware and software MIDI devices are controlled exactly

the same. The only difference is in the wiring.
Here are a couple of suggestions on how you can use your

B-CONTROL:

Editing sound parameters of (virtual) synthesizers, sound

samplers, GM/GS/XG sound generators

Controlling parameters on effects equipment/software

plug-ins such as effects processors, reverbs, compressors,

equalizers etc.

Remotely controlling software mixers (volume, panorama,

equalizers etc.)

Remotely controlling transport functions (playback, forward,

stop etc.) on sequencers, hard disk recorders, drum

computers etc.

Using BCF2000 faders as

drawbar

control for virtual or digital

organ expanders

Controlling MIDI-enabled lighting equipment

Live control of volume and sound parameters on expanders

Triggering (i.e. playing live) short samples, drum loops,

shouts, effects etc.

Remotely controlling groove boxes, step sequencers, MIDI

generators (such as arpeggiators etc.), DJ software and

other live software

Program changes and volume control on sound generators

(just like on a master keyboard)

Likewise, applicable to band keyboardists, solo entertainers,

organists, electronic music performers, DJs, sound

engineers, home/project studio owners, theater technicians

etc.

2.2 The MIDI standard

The MIDI standard (Musical Instruments Digital Interface) was

developed in the early 80s to make communication between

equipment from different manufacturers possible. Over the years,

the MIDI interface has become hugely popular; it has become a

matter of fact that complete studios can be connected via MIDI.

At the center of any such network is at least one computer that

controls peripheral equipment. You can use the B-CONTROL in

such a studio to control your sequencer or other software tools

running on your computer (e.g. software mixers, VST instruments,

effect plug-ins). But even if you dont use a computer, you can

use the B-CONTROL as a central control surface in your studio

for comfortably editing your rack synthesizers, GM/GS/XG sound

generators and effects equipment.

2.3 MIDI connections

The MIDI connections in the back of your B-CONTROL feature

the standard 5-pin DIN connectors. You will require MIDI cables

to connect your B-CONTROL to other MIDI equipment. In general,

commercially available ready-to-use cables can and should be

used. Their length should not exceed 15 m (50 ft.).

MIDI IN: Used for receiving MIDI data (parameter feedback,

SysEx data), or to mix MIDI signals with the B-CONTROL signals

(merge function).

MIDI OUT A/B: Data for controlling other MIDI equipment can

be sent through the MIDI outputs.

The B-CONTROL has two MIDI outputs. MIDI

OUT B can be configured as MIDI THRU, so that the

incoming data at MIDI IN can be passed through

unaffected.

2.4 The MIDI format

Although your B-CONTROL is very easy to use, it still makes

sense to review some information about this data format. Each

MIDI command, also called message, consists of a status byte

and up to two data bytes. The status byte defines the command

type, and the data bytes contain the corresponding values.

Different types of MIDI messages used by the B-CONTROL are

explained next:
Note messages:

Among keyboard hotshots, Note On and Note Off messages are

among the essential MIDI messages. Playing MIDI instruments

from a master keyboard or computer is only possible with these

messages. The B-CONTROL can also send Note Messages;

however, this is not absolutely necessary to play music. This way,

note events are also used to trigger drumloops or individual notes

from a sampler.

Many effects processors also allow rhythmic

entering of delay times or song tempos with note commands.

Note On and Note Off messages have the following data format:

Status Byte

Data Byte 1

Data Byte 2

Note Off

&8n (n = channel #)

Note #

Velocity

Note On

&9n (n = channel #)

Note #

Velocity

Table 2.1: Data format of Note On and Note Off messages

The value range for channel numbers is between 1 and 16; for

data bytes it is 0 to 127. Even though Note Off messages are not

really used by keyboarders anymore, the B-CONTROLs support

sending this status information.

Velocity corresponds to the key pressure, and therefore to the

volume of a touch-sensitive keyboard (piano). Since the

B-CONTROL does not feature touch-sensitive keys, the velocity

value is transmitted with a fixed value that can be set during

programming.

A note command can only be assigned to keys,

footswitches and push functions of the encoder.

2. INTRODUCTION TO MIDI