Taming the MIDI Beast: MIDI Routing Devices

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There is a ton of work that goes into wiring an electronic production studio, but there are two channels of communication that must be wired correctly in order for a production studio to function.

We have spent a good deal of time discussing the obvious network, audio, but today we are going to get into the other crucial network: MIDI.

What is MIDI?

MIDI (Musical Instrument Digital Interface) is a means by which electronic instruments can sync up and interact with each other. For a more detailed look at what MIDI is, where it came from, and where it is going, check out my piece on MIDI in the Modern Age of Computing.

MIDI is a crude protocol that has withstood the test of time because it is simple, versatile, and most importantly it has been adopted by manufacturers as the industry standard for inter-machine communication. It has been improved upon slightly by implementing it for use with USB cables, but many machines even today still sport the familiar 5-pin DIN connections, and this is the type of connection we will be working with today.

MIDI Routing Basics

Like analog audio signals, MIDI signals are one-way. On a small scale, this is very easy to manage – connect the OUT port on the master machine to the IN port on the slave machine. This simple two-machine system is most often used to send tempo or performance information to a second machine.

A Simple Example

Think of a three-machine system. Let’s say a Korg Electribe EMX-2, a Roland TR-8 (current version: TR-8S), and a Novation Bass Station 2. The TR-8 (master) sends clock information to the Electribe. The Electribe sends performance data to the Bass Station. Note that the Electribe will NOT send clock information — a normal IN port does not forward MIDI information.

A Little More Advanced Example

This system is slightly more complex, as it will utilize a special MIDI port called a THRU. A THRU port functions like an IN port, with the exception that it will also relay any MIDI data it receives. Not all machines include a dedicated THRU port, but some, such as Roland’s TR-8 and TR-8S feature an IN port that can be repurposed as a THRU.

So let’s take our three-machine system from the previous example. We will wire it the same way, but with an additional cable: from Bass Station 2’s OUT port to the TR-8’s IN port (which needs to be switched to behave as a THRU port – done by accessing the infamous TR-8 “Hidden Menu.”)

Here is the neat part: Using basic routing principles, I am able to write sequences – complete with motion data – directly from the Bass Station to the Electribe. I can then play back that sequence on my Bass Station from the Electribe. This is done by sending MIDI from Bass Station to Electribe via TR-8’s THRU port, which relays the Bass Station performance data along with the clock signal. The performance data is recorded by the Electribe, and sent back to the Bass Station when the loop restarts.

Routers, Mergers, and THRUs

These devices do exactly what you might expect them to do. They are a godsend for complex electronic ecosystems because they allow us to manipulate the rigid MIDI signal flow in our systems.

A merger, such as the one depicted from my own studio, will take multiple MIDI signals and splice them together into a single signal.

The merger in my studio combines incoming MIDI from my MOTU 828X audio interface, and my Electribe to send them both into my Bass Station. This configuration allows me to sequence the Bass Station from my DAW or from my Electribe without unplugging anything; perfect for instances where I want to write or jam without a computer.

A THRU Box is equally handy. It will take an incoming MIDI signal and clone it, allowing a user to send the same MIDI signal to multiple devices. Perfect for sending clock information to an array of machines. A great example is the Kenton THRU-5, which clones an incoming signal up to 4 additional times.

A router is probably the handiest of them all. A router, such as the Midiman device wired into my studio, allows you to send multiple MIDI signals into it, and send each signal individually to any other device connected at the outputs. My Midiman router was a huge find in the used section of my local music store. They don’t make these anymore, and this one came from a studio producer who sadly passed away.

Conclusion

MIDI is a finicky, often frustrating component of the modern project studio, but it is vital — particularly in electronic music. Finding ways to make it a little more manageable is both a time-saver and a huge workflow enhancement.

Until next time,
-AudioMunk