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ChromaTalk Archives: October 2012

Stand for Chroma

Norman Fay

I have recently been redecorating/refurbishing my music room, and when I put all of the stuff back in I'm planning to move it all around a bit. Till now, I have had the Chroma sitting on a large loudspeaker cab that I have had for years. I want to get rid of the cab (it is big, heavy and ugly & does not quite put the Chroma at the right height) and get a proper stand for it. My experience of even stronger x-frame stands is that they are too weak, I have an old Apex stand, but I would need to get a pair of longer arms for it (if these are even available) and in any case, one of the PITAs of the apex is that you can't place the sustain and control pedals somewhere where they are comfprtable to use. Many years ago I had an aluminium A-frame stand, it was a pretty decent one but I can still remember putting the Chroma on it, tightening up the clamps on the bar it was standing on and then watching it slowly slide down the side pieces!

What do list users use to stand their Chromas on? I would like it to be at piano keyboard height, so I can play it sitting down is the only stipulation....

Chris Ryan [21030691]

See the thread Chroma Spotting (Herbie Hancock), February 2006, including a picture of the very solid stand I have.

rolandstand

Don Tillman

The Quiklok WS-550 is fantastic. Sturdy, solid, the right size, adjustable height, folds up somewhat compactly.

Jack Colburne [21030142+]

That is an Ultimate Support VersiTable. It can also be seen on the Keyboard cover of Hancock's home setup. I still have mine, but am also planning on replacing it with the QuikLok WS-550. Much smaller footprint and sturdy.

Ben Vehorn [21030757]

An A-frame stand can work pretty well but you need to set it up so that the back of the Chroma is supported by one of the rear cross braces of the stand.

This best thing I've found is one of those Ikea shelves that were popular with synth fans back in the late 90s/early 2000s that has one big desktop with adjustable height upper shelves. I forget the name, but here's a link to a picture of mine with my Chroma:

21030757

Chris Smalt [21010280+]

My favorite keyboard stand is the base of this IKEA table.

It has a square frame about 120 by 40 in centimeters, on telescopic legs with a minimum height of about 60 centimeters, max around 90, maximum load around 240 kilos. Each leg can be individually adjusted - great if your floor isn't level. I found the 4 telescopic legs with the frame for next to nothing on Craigslist. It's indestructible, and totally stable, unlike any keyboard or DJ stand that I've seen. I use it (without the table top) with 88-key wooden keyboards, and the mere fact that they sit absolutely still makes them feel so much more piano-like. It also works fine with the Chroma - I just let it stick out front and back, with room on the sides for other stuff.

This shorter version with its 80 by 60 cm table top would fit the Chroma better: At US$105, I think it's a good deal.

Marais

Quick lok Z stand (Z716L) with workbench wood top here. The stand can be found for about $100 or less (or with a second tier for about $150) and I had the wood around. Not only looks cool, but stable and solid as hell which i believe is important for the aging Chroma. I also like Standtastic especially with other keyboard tiers, but having an Enabler with the Chroma I went this route. I found the QL WS-550 a tad wobbly. Photo attached.

IMG_0650

Marais

This best thing I've found is one of those Ikea shelves that were popular with synth fans back in the late 90s/early 2000s that has one big desktop with adjustable height upper shelves. I forget the name [...]

That's the famous Ikea Jerker (there is a Jerker shrine on the net actually). I think they stopped making it for a bit but it's back now, although not quite the same I have ben told.

Leon van der Sangen [21010301]

Great picture of THE chroma, enabler and iPad. Thanks for using my editor. At THE moment i have no time nor space to improve the iPad editor (rebuilding my attic for the synths, so it's à mess in my house).

THE Jaspers stand is lightwight and sollid and big enough to put THE chroma on.

leonstand

Rick Reed

I used the USS single A frame on stage for several years. Secret is to use 2 cross arms: have one cross arm on the rear leg, other on the front leg. The Chroma is just too heavy for a single cross arm. If you want, contact me directly, I'll find and scan a pic to send you.

In my studio, I'm still using most of that A frame, but with a few modifications, and a lot of extra pieces. Photos are on my Facebook page.

Rick Reed

I'll respectfully disagree with many on the USS table. I still have mine. It carried a Kustom 88 piano and my Chroma for a couple of years. I'm disappointed the table still isn't on the market, frankly. I love it!

Rick Reed

On Stage stands are also quite sturdy.

Peter-Jan Kleevens [21010014]

The Quiklok WS-550 is fantastic. Sturdy, solid, the right size, adjustable height, folds up somewhat compactly.

Yep, that's the one I use. For the Chroma as well as for my cut down Hammond. Super stand.

Norman Fay

Thanks everyone for the tips. I'm going to see if I can order a WS550 from the msuic store when I'm in town next week.

Enrico Dibennardo [21030494]

I remind you that ws 540 is even stronger if compared to 550 but I never saw one in the flesh (while I have a 550) so you should probably check specs and dimensions. They look very much the same, though.

Jack Colburne [21030142+]

The WS540 is "for small live mixers" for widths from 17" to 26" (43.2 to 66cm).

The WS550 is a bit wider for 30" to 60" (76 to 152cm) wide mixers, The arms look longer on the 550 (greater depth), so it might give better support underneath the beast.

The WS550 supports 250lbs, the WS540 300lbs.

Marais

I tried the 550 in several scenario's, it fit the Chroma well (the 540 looks to small), worked good, but a little awkward and wobbly and with the rubber pieces on the bars that support the equipment you end up have 4 points near the corners that all the weight is sitting on. I believe a flatter more rigid surface is a better choice for the aging and sometimes fragile Chroma.

Don Tillman

I tried the 550 in several scenario's, it fit the Chroma well (the 540 looks to small), worked good, but a little awkward and wobbly and with the rubber pieces on the bars that support the equipment you end up have 4 points near the corners that all the weight is sitting on. I believe a flatter more rigid surface is a better choice for the aging and sometimes fragile Chroma.

Those rubber pieces are movable.

And at least on mine, the height of the rubber pieces is exactly the same as the height of the Chroma's rubber feet.

So I'm getting a solid 12-point support; 4 angled out lines of rubber-piece/Chroma-foot/rubber-piece.

--------

One more note for this discussion; whether you want to use the stand for gigging or not should probably be an important factor in one's choice.

Peter-Jan Kleevens [21010014]

each bar has 2 rubber pieces (at least mine have...) which totals to 8. So you can distribute the weight evenly. You can even set the front legs 1 click higher then the hind legs so the instrument is slanted towards the player. The rubber pieces provide enough resistance preventing the instrument from sliding down.

Chris Ryan [21030691]

In my initial reply to this post I probably under-sold the Roland stand. I have two of these; only one of them is labelled Roland. I have never seen as solid a stand. My keyboards feel like pianos when sitting on them; there is no movement in any direction when playing. Each leg is height adjustable, and they fold up very small. Here are a couple of better pictures:

rolandcollapsed

rolandsetup

Hans Wurrrst

even if i dont own a chroma yet i made good experince with other heavy synths (eg synthex) with this stand: TABLE-STYLE KEYBOARD STAND-18950-000-78. (i was a bit surprised nobody mentioned it already) it also has an additional stacker which is great for putting eg. your mini on it

Chris Smalt [21010280+]

In my initial reply to this post I probably under-sold the Roland stand. I have two of these; only one of them is labelled Roland.

It's a Roland KS-12. Nice floor, BTW.

I'm confused however by the dimensions as listed online (in millimeters): 582 - 907 (W) x 208 (D) x 645 - 875 (H). That suggests that its depth is little over 8 inches.

Chris Ryan [21030691]

Measuring my stand, the depth of the bars that hold the keyboard is 30cm. The legs are angled out and are 48cm front to back at the floor.

Syntech/Chroma Cult MIDI Interface on eBay

Chris Ryan [21030691]

Item #190735084075, starting bid USD$10.00, no bids yet, ends October 11. From the description: "The interfaces I have for sale are new. This is the remainder of the last production run so these will be the last new ones that will ever be available. I am the designer and builder of these with over 600 units sold over the years. If you have a Chroma or Expander still without MIDI, now is probably the last chance to get one of these new." Ken Ypparila [21030229], obviously. See Syntech/Chroma Cult/KMX at the site.

eBay190735084075

Enrico Dibennardo [21030494]

Well.. surely the best thing available for our beioved instruments before "modern era" and before cc+ yet, since I purchased one from Ken years ago, I could experience that Ken Ypparilla is a true gentleman.

Chris Ryan [21030691]

Sold for USD$46.00. Four now available at USD$48.00 as item #190738807105.

Re: What do people actually like about the Chroma?

Go to previous messages in thread, September 2012

Chris Smalt [21010280+]

Sales volume is irrelevant to iOS as a platform choice for pro apps, because most people view the devices as consumer products.

All sound professionals I work with are massively into the iPad as a remote, measurement device etc. - haven't seen any with tablets of other brands.

Ken Ypparila [21030229]

Which MIDI interface is most popular for the iPad? In my business I see iPad and iPhone being used as a remote to the Mac with it doing all the work. Seems like an expensive remote control used that way.

Marais

I use the Alesis I/O docks for my iPad 1 & 2 for a variety of tasks with great success, just over $100 beans. There are cheaper alternatives though, I would hazard a guess the usb camera kit with cheap a midi breakout cable is the most popular option worldwide.

Marais

I recently began using my iPads as a portable field recorder, for example with great success. The new Wolfgang Palm PPG app is beautiful and basically a Waveterm for 2012 for $20.

Chris Smalt [21010280+]

Which MIDI interface is most popular for the iPad? In my business I see iPad and iPhone being used as a remote to the Mac with it doing all the work. Seems like an expensive remote control used that way.

Many use midi over wifi with programmable environments like Lemur or TouchOSC.

Paul DeRocco [21030230]

Are those two systems compatible with each other? That is, do they use UDP for a transport in exactly the same way, so that a Lemur can talk to a TouchOSC-enabled computer, or vice versa? I ask because there is no official MIDI standard for communicating over UDP or TCP, so in the past everyone has invented their own ad hoc standard for it.

Ken Ypparila [21030229]

These applications all seem to be remote controls for other devices that are actually doing the work. I wonder if there is enough processing power left in the iPad after servicing its user interface. I would like to be able run my application on the tablet but it requires real time processing and a decent amount of steaming output. I'd hate to spend the time and money just to find that out. Maybe there are some processor benchmarks I can look at but it concerns me that it's being used more as a remote than as a final product.

Ken Ypparila [21030229]

[...] there is no official MIDI standard for communicating over UDP or TCP, so in the past everyone has invented their own ad hoc standard for it.

The stage lighting world has settled on a standard for this, I'm surprised MIDI hasn't.

Chris Smalt [21010280+]

I wonder if there is enough processing power left in the iPad after servicing it's user interface.

Apple's Garageband should give a fair indication - 8 tracks of virtual instruments, not too bad! Studio Six Digital has a single channel of Smaart running as a module of their AudioTools suite (also on iPhone). Their iPad info page is here: iPad Compatibility.

it concerns me that it's being used more as a remote than as a final product.

It's designed as a handheld device, and is less convenient to use when there are wires hanging off of it - or even a device like: iAudioInterface2. Fortunately it has a locking dock connector on the fairly short cable, but it's still awkward.

Stephan Vladimir Bugaj [21030860]

Apple's Garageband should give a fair indication - 8 tracks of virtual instruments, not too bad! Studio Six Digital has a single channel of Smaart running as a module of their AudioTools suite (also on iPhone). Their iPad info page is here: iPad Compatibility.

Do note though that iPads can currently only output 16bit audio, in case that matters to any of your applications.

It's designed as a handheld device, and is less convenient to use when there are wires hanging off of it - or even a device like: iAudioInterface2. Fortunately it has a locking dock connector on the fairly short cable, but it's still awkward.

Wireless remote OSC seems to be the application of choice for iPads.

And tablets will always be less powerful than desktop machines so long as desktop machines are still being produced, because whatever you can put into a small form factor, you can simply just go and put more of those into a larger form factor. The A5X is about 1GHZ dual core, with 1GB RAM, and 4 graphics cores. See CPU And GPU Performance: All About Graphics : Apple's iPad 3, Part 1: The Complete Retina Display And A5X Review.

Optimizing the code, you can do some real work with that, but it's still peanuts compared to a $3000 Windows or Mac desktop machine.

Also, a screen as small as the iPad is fine for a remote control or (certain kinds of) live performance surface, but as the display for a multitrack DAW it sucks compared to even a 15" LCD (never mind a 30" one...) That's another reason besides CPU load that you see remote applications more often.

Chroma for sale

Ken Ypparila [21030229]

I have a nice clean low mileage Chroma that I am selling. I am the original owner, serial #21030229. Everything is working, it has the 4X memory expansion and a built in MIDI interface. I've owned a half dozen Chromas and several Expanders and this one has never shown any problems. I thought I would leave it up here for a while before putting it on Ebay so that it might go to a good home. $3000 plus the shipping cost. I will personally deliver it for free as long as it's a reasonable distance from Los Angeles.

SN21030229

Sold for USD $3,350.00 in November 2012.

CC+ firmware release 217: User-defined MIDI Velocity Mapping, Auto-send of Patch Parameters and more

David Clarke [21030085++]

Thank you all for your ongoing participation in the Chroma CPU Plus (CC+) project.

Firmware Release 217 has just been made available.

Based on user requests, the newly released version of firmware adds the following items:

  • Native support for the SparkFun serial LCD controller
  • Autotune failure information display [Set Split 40]
  • User-defined MIDI velocity mapping
  • Auto-send of patch parameters with a Program Change
Two elements are also changed in this release:

Details and other notes are below:


Support for SparkFun LCD Controller

Previous firmware versions exclusively supported the Parallax 27979 LCD display.

Some users have asked for more flexibility when choosing LCD display units, such as having an option for red-on-black (not supported by the Parallax 27979).

An alternate controller put forward for consideration by group members was the SparkFun serial-to-LCD unit.

Support for this controller is added in firmware release 217. Specifically, the Serial Display Type can be chosen by going into the Configuration Interface [Set Split][36] and selecting parameter 27 [P27].

The user has the following two choices:

  • PArL = Parallax
  • SFun = SparkFun

The setting becomes fully effective after leaving the Configuration Interface mode and power cycling the Chroma.

NOTES:

The ASCII messages used to decode Parameter 1 [Patch Type] previously used the “||” characters to signify ‘parallel’. As some special control sequences recognized by the SparkFun controller use the || character string, the display abbreviation of "||" has changed to "//".

The SparkFun controller is generic, and will support many different types/sizes of displays and run at different baud rates. That said, the CC+ firmware is written to expect:

  • a 4-line x 20-character display
  • 19,200 baud communications

Any display unit chosen for use with the SparkFun controller should be able to support 4x20 characters. As well, the SparkFun controller will have to be configured appropriately before use with the CC+.

Per the SparkFun documentation, at least 3 commands will need to be sent to the SparkFun controller before use with the CC+:

  • ASCII character 124 + CTRL-c [sets 20 character mode]
  • ASCII character 124 + CTRL-e [sets 4 line mode]
  • ASCII character 124 + CTRL-o [sets to 19200 baud rate]

Autotune Failure Diag. Info

At present, when a channel fails during auto-tune, a single number will appear in the DATA READOUT display on the Chroma’s panel. While that number will identify which dual-channel board has failed during auto-tune, it does not tell you which of the two channels on that board had problems nor does it provide any information as to what the actual failure was.

For those of us who work on our own electronics, it is often helpful if we can understand ‘why’ the auto-tune believed there was a failure, which channel it affected and which portion of that channel had a problem.

While some CC+ users had already been provided with an unofficial ‘voice card debug’ version of firmware, starting with firmware 217 this capability has been made part of the standard release.

The CC+ now internally keeps track of what failed on which channels during auto-tune. That failure information can be viewed after-the-fact to determine the nature of the failure.

Specifically, issuing [Set Split][40] tells the CC+ to print details of any auto-tune failures to the Alphanumeric Display.

The information printed to the display consists of individual messages of the form:

CnEm

where “n” represents the hexadecimal channel number (e.g., 0 -> f for channels 0 -> 15) and “m” represents one of the 10 different error locations, as below:

  • 0 = Oscillator scale factor high end measurement
  • 1 = Oscillator scale factor low end measurement
  • 2 = Oscillator scale factor computation
  • 3 = Oscillator offset measurement
  • 4 = Oscillator offset computation
  • 5 = Filter scale factor high end measurement
  • 6 = Filter scale factor low end measurement
  • 7 = Filter scale factor computation
  • 8 = Filter offset measurement
  • 9 = Filter offset computation

The amount of data captured will depend on the type of auto-tune performed.

For a standard auto-tune (the type you get with the Auto-tune button or a power-up), you will only receive information on the first error caught on a channel.

If [Set Split][31] is used to tune the Chroma, then all elements of the channel cards are checked and all captured failures will be logged.

Examples:

  • Channel Board 5 with VCO (chip Z3) missing
    • Normal Auto-Tune LCD Output: CbE0
    • Set Split 31 LCD Output: CbE0 CbE1 CbE3
  • Channel Board 7 missing
    • Normal Auto-Tune LCD Output: CeE0
    • Set Split 31 LCD Output:
      • CeE0 CeE1 CeE3 CeE5
      • CeE6 CeE7 CeE8 CfE0
      • CfE1 CfE3 CfE5 CfE6
      • CfE7 CfE8

Further background on these error locations is generally presented in How the Chroma Tunes Itself.

NOTES:

  1. The output only goes to the alphanumeric display. That means it is necessary to have a display installed and operational before you can take advantage of this feature.
  2. As each message takes 5 characters, and the display supports 80 characters, at present a maximum of 16 failure messages (the first 16 errors logged) can be shown.
  3. If there are no auto-tune errors detected, pressing [Set Split][40] will display a blank screen.

User-defined MIDI Transmit Velocity Mapping

As discussed in the ChromaTalk mailing list, there is a desire to be able to modify the MIDI velocity mapping from the Chroma:

Firmware release 217 now allows a user to specify and use a custom MIDI transmit velocity map.

The user can choose the desired MIDI Tx Velocity lookup table by going into the Configuration Interface [Set Split 36] and selecting parameter 29 [P29].

The user has the following two choices:

  • int = Internal CC+ velocity map (normal CC+ behaviour)
  • CUSt = Custom (user-defined) velocity map

The first selection will choose the default internal CC+ MIDI velocity map - the one which is used for all CC+ units with version 216 or earlier firmware.

The second selection will chose a custom velocity map stored inside the Chroma by a user (sent via MIDI SYSEX).

To send a custom map to the Chroma, a MIDI SYSEX message like the following would be used:

F0 08 00 4B 59 7F 39 dd dd dd .... F7

where dd = 32 bytes, corresponding to the desired 32-position table for MIDI Tx values (from 0 to 127)

You can also request the current custom map to be sent back to you from the CC+ you via SYSEX. That would be done with a MIDI Tx Velocity lookup table dump request, as below:

F0 08 00 4B 59 00 39 F7

The user specifies what their desired mapping is between the Chroma’s internal 32-levels of velocity and what corresponding MIDI velocity they would like the CC+ to generate for that.

For instance, the default mapping table is shown below:

Chroma Velocity MIDI Velocity
0 1
1 4
2 8
3 12
4 16
5 20
6 24
7 28
8 32
9 36
10 40
11 44
12 48
13 52
14 56
15 60
16 64
17 68
18 72
19 76
20 80
21 84
22 88
23 92
24 96
25 100
26 104
27 108
28 112
29 116
30 120
31 124

The Chroma will always attempt to automatically create an inverse mapping table and store that for lookup purposes, to help ensure that the Chroma will respond appropriately when recorded velocity is sent back to it. The inverse table is created when a new Custom Velocity Transmit Table is received via SYSEX.

In order to ensure that the reverse mapping is really an inverse of the forward mapping, the specified MIDI velocity values should be unique. If they are not unique, then you won’t necessarily get a 1:1 mapping in both directions.

For instance, consider if a user was to create a MIDI Tx mapping that had a MIDI velocity of 127 for Chroma Velocity 24, 25 and 26, as below:

Chroma Velocity MIDI Velocity
...
24 127
25 127
26 127
...

If you then attempt to create a reverse mapping (e.g., what Chroma Velocity should be created for a given MIDI Velocity), then as you can see, a MIDI velocity of 127 could only produce one of those Chroma Velocity values (24, 25 or 26).

To handle cases like this, the reverse mapping will use the lowest Chroma value. In the case of the “127” MIDI velocity example above, that would mean a MIDI velocity of 127 would correspond to a Chroma velocity of 24.

To facilitate experimentation with this feature, a series of velocity mappings have been created and are available on the Rhodes Chroma site (The Chroma CPU Plus (CC+): MIDI Velocity Maps).

The initial SYSEX files are as follows:

  • default (a copy of the native CC+ mapping)
  • linear/saturated curve (allow higher MIDI velocities to more easily occur - meaning you can get to a MIDI velocity of 127 without having to hit the keys as hard)
  • convex curve (greater control over louder notes)
  • concave curve (greater control over softer notes)
  • experimental (non-uniform handling of velocity)

To use one of these, send the chosen SYSEX file to the Chroma, and set [Set Split 36][P29] to CUSt.

If you wish to go back to the original mapping, select ‘int’ from [Set Split 36][P29].

The last received custom map is remembered inside the CC+, and so the past custom map can be reselected at any time (without needing to send the SYSEX for it back to the CC+).

NOTES:

  1. A MIDI note velocity of 0 is a special case to also mean "Note off" - and so for expected behaviour, you likely want to avoid using that value in the mapping table.
  2. Before concluding that the velocity response of your keyboard needs to be corrected, please ensure that the Damper Bar and Stack Switch Adjustments are performed, as these can affect velocity performance:
  3. No 'default custom' map is programmed into the firmware - so one will need to be loaded via SYSEX to prior to initial use of the Custom mapping feature.

Auto-send of Patch Parameters (MIDI ‘Talkback’)

Starting with Firmware 215, a SYSEX message was added to remotely request the Chroma to send the contents of its current panel program as a dump of MIDI Continuous Controller messages.

While this ‘on demand’ capability is present, users have indicated that it would be useful to be able to have the CC+ automatically send all parameters of the current patch as MIDI CC commands as soon as a new patch is chosen/selected:

CC+ Remote Control

In that way, any attached editor device would be able to adjust its faders/pots/virtual displays automatically to reflect the settings in the current patch (without that external device having to request the parameters.)

Starting with firmware 217, an optional “Auto-Send MIDI CC” feature has been added.

This feature can be chosen by going into the Configuration Interface [Set Split 36] and selecting parameter 30 [P30].

The user has two choices, as below:

  • Off = Don’t auto-send patch contents (normal CC+ behaviour)
  • On = Automatically send patch settings via MIDI CC

This feature is configured so that patch settings are sent via MIDI CC’s only via 'front panel' program changes from the Chroma (e.g., by pressing a Program button - or pressing the Sequence footswitch). MIDI program changes won't cause a MIDI CC dump EXCEPT if the CC+ is configured for ‘PLAY’ mode ([Set Split 36][P2] = PLAY) because in that mode a MIDI Program Change behaves just like a front panel change.

Automatic LCD decoding of MIDI Continuous Controller Data

It is noted on the BCR2000 setup page that “...If you use the Alphanumeric display with the Chroma, and if the Chroma’s current parameter is the one being edited via the BCR2000, then the LCD display will similarly decode the values seen from the BCR2000.”

In other words, this says that the LCD display will automatically decode and show the significance of the CC changes sent from external editors (like the BCR2000 - and presumably the Enabler and iPad editors) if the Chroma’s panel has already selected that parameter.

For instance, if the Chroma’s panel is displaying “A Parameter 9” in the DATA READOUT display - then sending an external request to modify “A Parameter 9” will automatically be decoded and displayed on the LCD. If the parameter being edited is not currently being display on the Chroma - then the LCD does not decode any incoming MIDI CC commands.

This is consistent with the idea of having the LCD display and decode what the Chroma is currently seeing for Program 0.

That said - users with external control interfaces have requested the CC+ be able to automatically decode those parameters they’re editing - such that (for instance) no matter which parameter was edited via the BCR2000, the Chroma’s LCD would decode the values and show appropriate information.

Starting with firmware 217 a change has been made to the operation of the ‘Prog’ mode of selection of the ‘MIDI Continuous Controller Mode’ choices.

As before, the Continuous Controller Mode can be chosen by going into the Configuration Interface [Set Split 36] and selecting parameter 24 [P24].

The user still has two choices, as below:

  • InSt = MIDI CC’s affect the ‘instrument’ and don’t affect Program 0
  • ProG = MIDI CC’s change values in Program 0

"Inst" mode works as it always did.

A change has been made in ‘Prog’ mode such that:

If a MIDI CC is received on the MIDI base channel:

  • Change the Panel Mode to Edit A or Edit B, to match the received CC parameter
  • Change the Panel Parameter Number to match the received CC parameter
  • Make change in Prog 0 definition, as before.

Any CC’s received on MIDI channels other than the base channel will behave as in InSt mode.

As the Panel information gets changed with CC messages on the base channel, the Alphanumeric LCD display will be automatically updated to decode the received parameter.

Put another way, in "ProG" mode, CC messages on the MIDI base channel will affect Program 0 and will update the alphanumeric display. CC messages on other valid MIDI channels will manipulate the Instruments, but will neither update Program 0 nor update the alphanumeric display.


While it was intended to have added a “MIDI Sweep Sync” feature (the ability to sync the Chroma's Sweep generators/arpeggiator to MIDI) to this version of firmware, we were not sufficiently satisfied with the implementation to publicly release it at this time.

Some of the support code for that feature was left in - and if you go into the Configuration Interface [Set Split 36] and select parameter 28 [P28] you can choose between:

  • int = Internal Clock (normal Chroma operation)
  • nIdi = MIDI Clock (external sync operation)

At present, this setting is deactivated, and regardless of the setting, the normal internal clock source is used.

This feature is something we still intend to add; however, due to our personal schedules we did not think we'd have time to work on this in the near-term - and so firmware 217 was released just with the features noted above.

Please continue to raise new feature ideas on the mailing list for discussion - and if there are items that users agree would be good to add, we'll certainly consider adding them.

Of course, if any problems are encountered, please also let us know.

Thank you for your continued interest.

David Clarke


Note - the following pages from the site have been updated in association with this firmware release:

Also new is an illustration of how some users have implemented their alphanumeric displays: The Chroma CPU Plus (CC+): Alphanumeric Display - User Implementations

If you have a display solution that you like, please share it with Chris Ryan [21030691] and he can be sure to add it to the site.

Marais

David n Sandro, On behalf of everyone with a CC+ thank you for your time and doing this project. Chroma = Passion.

Rhodes Chroma for Sale SN 21010240

Patrik Gudmundsäter [21010240]

21010240

Patrik Gudmundsäter, Svenska Hammond

Sold New in Sweden .We have repaired it. It works well.

Ita also has MIDI Installed. Listen here:

Listen to it Here.

USD 3.000 or SEK 19.000:-

volume pedal (wtb)

Enrico Dibennardo [21030494]

I'm aware no one would sell his/her own pedal, anyway I try. I'd like to purchase an original volume pedal for our beloved Chroma. In case anyone might have one spare sitting unused...

Chris Ryan [21030691]

There was one on eBay (Items on eBay, December 2010) that sold a couple of years back, so keep your eyes open.

Ken Ypparila [21030229]

I think any foot pedal with a linear pot in it will work for this.

Paul DeRocco [21030230]

It has to be a pot between tip and sleeve, 0 ohms when the pedal is all the way up, and 100K when the pedal is pressed all the way down. There are some 10K volume pedals out there (e.g., Roland), but they're wired differently, and even if you make an adapter, they'll only give you a fraction of the range. I don't think a Polaris pedal will work, either, because it has a 100K pot but doesn't use its entire rotation.

The Polaris was better in one regard: it had a cal procedure, so could work with lower resistance pots, because it would learn the range of the pot, and scale the readings accordingly.

Marais

I tried the Yamaha FC-7 and Roland EV-5 and they did not work, but found a Chroma original from another member.

Rhodes Chroma on Facebook!

Patrik Gudmundsäter [21010240]

I made a Group for the Chroma on Facebook! Because there where none!

Feel free to use it as you like!

Chris Ryan [21030691]

Thanks for putting this together. Always meant to but never got around to it. I do have Chroma and Polaris Twitter accounts.

Patrik Gudmundsäter [21010240]

You are most welcome Chris!:) Facebook is way much better!! But you can allways refer to Twitter and Myspace etc.

Cheers

I/O Board replacement

Daniel Rickenbach [21010172]

Hi

I'm still looking for an I/O Board replacement.

After a few work on it, we have recognized, that it's not to repair, because of the battery acid damage.

Is there anyone, who have a Chroma I/O board for replacement. A full functional I/O Board would be fine, PCB only would also be fine.

Thanks

Sustain Pedal on eBay

Chris Ryan [21030691]

Item #261116110307, starting bid USD$25.00, ends October 27, no bids yet. From the description: "For sale is a sustain pedal that outlasted my Chroma. The entire time I had my Chroma it worked so it should work for you. I believe that this pedal is original equipment."

eBay261116110307