Backstage

Wav-Flac-Mp3

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always the current status
Backstage on 432 Hertz Band

Physical Modeling

It is important to distinguish digital instruments by type of sound generation.
I prefer instruments with physical modeling and certain synthesizers.

Only these are real live instruments. Samplers work on the basis of preserved frequencies that are artificially brought back to life. This can sometimes be necessary.
But a sampler can never develop the vitality of a real instrument.

Physical modeling instruments are always played in real time, just like an analog instrument.
Samplers always sound static from the past. One always tries to artificially breathe life into the samples, for example through modulation effects.

In addition, the samples are always sampled in 440 hertz and changing other frequencies to 432 hertz will result in a loss of sound.

Here are my favourite Instruments.
All these instruments can be played in the just intonation.
Therefore they are suitable for Natural Tuning.

Modartt Pianoteq
Modartt Organteq
Steinberg HALion
Swam – various
U-He Zebra2
U-He Repro 1
Korg Wavestation
Korg M1
Steinberg Groove Agent
AAS – various
Reaktor
Predator

More digital instruments with professional tuning options:

Native Instruments:
Kontakt, Absynth, FM8

Digital Instruments

Gig Performer for Live Performance

Cubase and Wavelab for Production

Cubase and Wavelab are my favourite tools for production.

Streaming

ATEM Mini Pro

Monitor and ATEM Software Control

Resources for Microtonal Music

Scala Home Page (huygens-fokker.org)
U-He Tuning Table Generator
How to create a .tun file in scala
Scale Workshop

Midi Controller Numbers


Midi CC Number	Midi CC Purpose

MIDI CC 0	Bank Select	Allows user to switch bank for patch selection. Program change used with Bank Select. MIDI can access 16,384 patches per MIDI channel.
MIDI CC 1	Modulation	Generally this CC controls a vibrato effect (pitch, loudness, brighness). What is modulated is based on the patch.
MIDI CC 2	Breath Controller	Often times associated with aftertouch messages. It was originally intended for use with a breath MIDI controller in which blowing harder produced higher MIDI control values. It can be used for modulation as well.
MIDI CC 3	Undefined
MIDI CC 4	Foot Controller	Often used with aftertouch messages. It can send a continuous stream of values based on how the pedal is used.
MIDI CC 5	Portamento Time	Controls portamento rate to slide between 2 notes played subsequently.
MIDI CC 6	Data Entry Most Significant Bit(MSB)	Controls Value for NRPN or RPN parameters.
MIDI CC 7	Volume	Control the volume of the channel
MIDI CC 8	Balance	Controls the left and right balance, generally for stereo patches. 0 = hard left, 64 = center, 127 = hard right
MIDI CC 9	Undefined
MIDI CC 10	Pan	Controls the left and right balance, generally for mono patches. 0 = hard left, 64 = center, 127 = hard right
MIDI CC 11	Expression	Expression is a percentage of volume (CC7).
MIDI CC 12	Effect Controller 1	Usually used to control a parameter of an effect within the synth/workstation.
MIDI CC 13	Effect Controller 2	Usually used to control a parameter of an effect within the synth/workstation.
MIDI CC 14	Undefined
MIDI CC 15	Undefined
MIDI CC 16 – 19	General Purpose
MIDI CC 20 – 31	Undefined
MIDI CC 32 – 63	Controller 0-31 Least Significant Bit (LSB)
MIDI CC 64	Damper Pedal / Sustain Pedal	On/Off switch that controls sustain. (See also Sostenuto CC 66). 0 to 63 = Off, 64 to 127 = On
MIDI CC 65	Portamento On/Off Switch	On/Off switch – 0 to 63 = Off, 64 to 127 = On
MIDI CC 66	Sostenuto On/Off Switch	On/Off switch – Like the Sustain controller (CC 64), However it only holds notes that were “On” when the pedal was pressed. People use it to “hold” chords” and play melodies over the held chord. 0 to 63 = Off, 64 to 127 = On
MIDI CC 67	Soft Pedal On/Off Switch	On/Off switch – Lowers the volume of notes played. 0 to 63 = Off, 64 to 127 = On
MIDI CC 68	Legato FootSwitch	On/Off switch – Turns Legato effect between 2 subsequent notes On or Off. 0 to 63 = Off, 64 to 127 = On
MIDI CC 69	Hold 2	Another way to “hold notes” (see MIDI CC 64 and MIDI CC 66). However notes fade out according to their release parameter rather than when the pedal is released.
MIDI CC 70	Sound Controller 1	Usually controls the way a sound is produced. Default = Sound Variation.
MIDI CC 71	Sound Controller 2	Allows shaping the Voltage Controlled Filter (VCF). Default = Resonance ->also(Timbre or Harmonics)
MIDI CC 72	Sound Controller 3	Controls release time of the Voltage controlled Amplifier (VCA). Default = Release Time.
MIDI CC 73	Sound Controller 4	Controls the “Attack’ of a sound. The attack is the amount of time it takes forthe sound to reach maximum amplitude.
MIDI CC 74	Sound Controller 5	Controls VCFs cutoff frequency of the filter.
MIDI CC 75	Sound Controller 6	Generic – Some manufacturers may use to further shave their sounds.
MIDI CC 76	Sound Controller 7	Generic – Some manufacturers may use to further shave their sounds.
MIDI CC 77	Sound Controller 8	Generic – Some manufacturers may use to further shave their sounds.
MIDI CC 78	Sound Controller 9	Generic – Some manufacturers may use to further shave their sounds.
MIDI CC 79	Sound Controller 10	Generic – Some manufacturers may use to further shave their sounds.
MIDI CC 80	General Purpose> MIDI CC Controller	Generic> On/Off switch> 0 to 63 = Off, 64 to 127 = On
MIDI CC 81	General Purpose MIDI CC Controller	Generic> On/Off switch> 0 to 63 = Off, 64 to 127 = On
MIDI CC 82	General Purpose> MIDI CC Controller	Generic> On/Off switch>0 to 63 = Off, 64 to 127 = On
MIDI CC 83	General Purpose MIDI CC Controller	Generic> On/Off switch>0 to 63 = Off, 64 to 127 = On
MIDI CC 84	Portamento CC Control	Controls the amount of Portamento.
MIDI CC 85 – 90	Undefined
MIDI CC 91	Effect 1 Depth	Usually controls reverb send amount
MIDI CC 92	Effect 2 Depth	Usually controls tremolo amount
MIDI CC 93	Effect 3 Depth	Usually controls chorus amount
MIDI CC 94	Effect 4 Depth	Usually controls detune amount
MIDI CC 95	Effect 5 Depth	Usually controls phaser amount
MIDI CC 96	(+1) Data Increment	Usually used to increment data for RPN and NRPN messages.
MIDI CC 97	(-1) Data Decrement	Usually used to decrement data for RPN and NRPN messages.
MIDI CC 98	Non-Registered Parameter Number LSB (NRPN)	For controllers 6, 38, 96, and 97, it selects the NRPN parameter.
MIDI CC 99	Non-Registered Parameter Number MSB (NRPN)	For controllers 6, 38, 96, and 97, it selects the NRPN parameter.
MIDI CC 100	Registered Parameter Number LSB (RPN)	For controllers 6, 38, 96, and 97, it selects the RPN parameter.
MIDI CC 101	Registered Parameter Number MSB (RPN)	For controllers 6, 38, 96, and 97, it selects the RPN parameter.
MIDI CC 102 – 119	Undefined
MIDI CC 120	All Sound Off	Mutes all sounding notes. It does so regardless of release time or sustain. (See MIDI CC 123)
MIDI CC 121	Reset All Controllers	It will reset all controllers to their default.
MIDI CC 122	Local On/Off Switch	Turns internal connection of a MIDI keyboard/workstation, etc. On or Off. If you use a computer, you will most likely want local control off to avoid notes being played twice. Once locally and twice whent the note is sent back from the computer to your keyboard.
MIDI CC 123	All Notes Off	Mutes all sounding notes.Release time will still be maintained, and notes held by sustain will not turn off until sustain pedal is depressed.
MIDI CC 124	Omni Mode Off	Sets to “Omni Off” mode.
MIDI CC 125	Omni Mode On	Sets to “Omni On” mode.
MIDI CC 126	Mono Mode	Sets device mode to Monophonic.
MIDI CC 127	Poly Mode	Sets device mode to Polyphonic.

Midi Note Numbers

Midi Note No	KeyNo Organ	KeyNo Piano	Note name (EN)	Note names (DE)
top of MIDI tuning range			G#9/Ab9	gis’’’’’’/ges’’’’’’
127			G9	g’’’’’’
126			F#9/Gb9	fis’’’’’’/ges’’’’’’
125			F9	f’’’’’’
124			E9	e’’’’’’
123			D#9/Eb9	dis’’’’’’/es’’’’’’
122			D9	d’’’’’’
121			C#9/Db9	cis’’’’’’/des’’’’’’
120			C9	c’’’’’’
119			B8	h’’’’’
118			A#8/Bb8	ais’’’’’/b’’’’’
117			A8	a’’’’’
116			G#8/Ab8	gis’’’’’/ges’’’’’
115			G8	g’’’’’
114			F#8/Gb8	fis’’’’’/ges’’’’’
113			F8	f’’’’’
112			E8	e’’’’’
111			D#8/Eb8	dis’’’’’/es’’’’’
110			D8	d’’’’’
109			C#8/Db8	cis’’’’’/des’’’’’
108		88	C8	c’’’’’
107		87	B7	h’’’’
106		86	A#7/Bb7	ais’’’’/b’’’’
105		85	A7	a’’’’
104		84	G#7/Ab7	gis’’’’/ges’’’’
103		83	G7	g’’’’
102		82	F#7/Gb7	fis’’’’/ges’’’’
101		81	F7	f’’’’
100		80	E7	e’’’’
99		79	D#7/Eb7	dis’’’’/es’’’’
98		78	D7	d’’’’
97		77	C#7/Db7	cis’’’’/des’’’’
96	61	76	C7	c’’’’
95	60	75	B6	h’’’
94	59	74	A#6/Bb6	ais’’’/b’’’
93	58	73	A6	a’’’
92	57	72	G#6/Ab6	gis’’’/as’’’
91	56	71	G6	g’’’
90	55	70	F#6/Gb6	fis’’’/ges’’’
89	54	69	F6	f’’’
88	53	68	E6	e’’’
87	52	67	D#6/Eb6	dis’’’/es’’’
86	51	66	D6	d’’’
85	50	65	C#6/Db6	cis’’’/des’’’
84	49	64	C6	c’’’
83	48	63	B5	h’’
82	47	62	A#5/Bb5	ais’’/b’’
81	46	61	A5	a’’
80	45	60	G#5/Ab5	gis’’/as’’
79	44	59	G5	g’’
78	43	58	F#5/Gb5	fis’’/ges’’
77	42	57	F5	f’’
76	41	56	E5	e’’
75	40	55	D#5/Eb5	dis’’/es’’
74	39	54	D5	d’’
73	38	53	C#5/Db5	cis’’/des’’
72	37	52	C5	c’’
71	36	51	B4	h’
70	35	50	A#4/Bb4	ais’/b’
69	34	49	A4 concert pitch	a’ Kammerton
68	33	48	G#4/Ab4	gis’/as’
67	32	47	G4	g’
66	31	46	F#4/Gb4	fis’/ges’
65	30	45	F4	f’
64	29	44	E4	e’
63	28	43	D#4/Eb4	dis’/es’
62	27	42	D4	d’
61	26	41	C#4/Db4	cis’/des’
60	25	40	C4 (middle C)	c’ (Schloss-C)
59	24	39	B3	h
58	23	38	A#3/Bb3	ais/b
57	22	37	A3	a
56	21	36	G#3/Ab3	gis/as
55	20	35	G3	g
54	19	34	F#3/Gb3	fis/ges
53	18	33	F3	f
52	17	32	E3	e
51	16	31	D#3/Eb3	dis/es
50	15	30	D3	d
49	14	29	C#3/Db3	cis/des
48	13	28	C3	c
47	12	27	B2	H
46	11	26	A#2/Bb2	Ais/B
45	10	25	A2	A
44	9	24	G#2/Ab2	Gis/As
43	8	23	G2	G
42	7	22	F#2/Gb2	Fis/Ges
41	6	21	F2	F
40	5	20	E2	E
39	4	19	D#2/Eb2	Dis/Es
38	3	18	D2	D
37	2	17	C#2/Db2	Cis/Des
36	1	16	C2	C
35		15	B1	H1
34		14	A#1/Bb1	Ais1/b1
33		13	A1	A1
32		12	G#1/Ab1	Gis1/As1
31		11	G1	G1
30		10	F#1/Gb1	Fis1/Ges1
29		9	F1	F1
28		8	E1	E1
27		7	D#1/Eb1	Dis1/Es1
26		6	D1	D1
25		5	C#1/Db1	Cis1/Des1
24		4	C1	C1
23		3	B0	H2
22		2	A#0/Bb0	Ais2/B2
21		1	A0	A2