The unit comes in a 2U 19" rack, and there is a standard IEC mains socket on the back. If you wish to use VITC you will still need a VITC to LTC (or MTC) convertor, such as the MOTU Video Time Piece. It also allows an audio trigger to be used as a sync source when working with Opcode's Vision sequencer.
#Max midikeys code#
The Studio 5 can also split, transpose, modify and map MIDI data in many useful ways.Īs a SMPTE reader/generator, the Studio 5 will rewrite fresh SMPTE when locked to an incoming signal ('jam sync'), and it will 'freewheel' for short distances if the code disappears, remaining locked despite dropouts or other short SMPTE errors. With OMS or MTP-compatible software, the Studio 5's 15 MIDI ports can be addressed separately, thereby supporting 240 distinct MIDI channels.
#Max midikeys Patch#
It has 15 MIDI In ports and 15 MIDI Out ports, with 128 internal patch locations for storing MIDI routing and processing configurations. Thankfully, it is highly compatible with the MIDI Time Piece, even to the extent of offering a full-blown MTP-emulation mode, so that it can operate in an identical manner with Performer or Cubase, and even lets you use the MTP 'Fast' communication speed and MOTU's proprietary 'enhanced Direct Timelock alternative to MTC.īesides operating as a MIDI interface, the Studio 5 is a MIDI patchbay, MIDI processor, and SMPTE-to-MIDI convertor. Now from Opcode comes the Studio 5 interface, which does everything the MTP does, but has almost double the number of inputs and outputs, and several more MIDI processing features, for just about twice the price. The MTP also features SMPTE read/write facilities, will read an audio click when running with Performer, offers event muting (also called MIDI filtering), and has a MIDI channel remapping facility. You can even link two or four MTPs together for 16x16 or 16x32-way operation. To cater for such needs Mark of the Unicorn brought out their MIDI Time Piece (MTP), a Mac MIDI interface which lets sequencer programs such as Performer and Cubase address eight independent sets of MIDI In and Out sockets, thereby effectively giving you access to 128 MIDI channels. Practically speaking, this means that to use these to the max you are going to need more than 16 channels of MIDI. Many multi-timbral sound modules now offer up to 16 parts, each of which requires a separate MIDI channel, and many MIDI users have at least a couple of 8 or 9-part multi-timbral units in their rigs.
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