CHAPTER 52 OF 54 · REFERENCE

MIDI implementation

INK's MIDI implementation is fixed: each CC sets the same control on every engine, in every sound and project. The tables below give each message, each CC and what it sets.

Each engine receives on its MIDI In channel or MPE zone and sends on its MIDI Out. Both are Off by default in every project; set them up in MIDI in and MIDI out. A message reaches every engine whose In matches its channel.

#Implementation chart

Message	Received	Transmitted	Notes
Note On, Note Off	Yes	Yes	Chromatic, every note number; on a Chords engine, as Keys play sets. 8 voices per engine: a new note takes a free voice, else the quietest voice in its release. A note that arrives while all 8 voices are held is dropped (Voices and polyphony).
Velocity	Yes	Yes	Sets the strike and starts the note's pressure (Matrix source Prs). 127 matches INK's hardest tap at the default Touch settings.
Poly aftertouch	Yes	No	The note's pressure.
Channel pressure	Yes	Yes	Pressure of every note on the channel; on an MPE manager channel, of every finger in the zone. Out: per note on an MPE Out, the highest sounding pressure on a plain channel.
Pitch bend	Yes	Yes	Per channel. On MPE member channels per finger, plus the manager channel's bend for the whole zone.
Control Change	Yes	CC 74	Map below. Out: CC 74 carries MPE Slide and the Strings pluck brightness. Turning a knob sends no CC; to send CCs to other instruments, use INK MIDI.
RPN 0, bend range	Yes	Yes	Per channel. Default: 2 st on a plain channel, 48 st on a member channel. A Bend range other than Auto on the engine's In page overrides it, except on a manager channel. Out: before a plain channel's first bend, and on every member channel of an MPE Out.
MPE Configuration Message	Yes	Yes	RPN 6 on channel 1 (lower zone) or 16 (upper zone). Out: with an MPE Out.
Other RPN, NRPN	Ignored	No	INK reads RPN messages only for the bend range and the MPE setup. CC 6, 38 and 96 to 101 carry those messages and never move a control.
Program Change	Ignored	No	Choose sounds and projects on screen. CC 83 selects a pattern (CC map).
Clock, Start, Stop, Continue	Yes	Standalone app	Received while Receive on the Clock page is not Off; a host's tempo and transport come first. Out: Send set to Clock sends the clock; Clock and transport adds Start and Stop of INK's own transport. While following a MIDI clock, INK passes on its Start, Stop and Continue.
Song Position	Yes	Passed on	Ignored while a host gives the tempo. Sent only while INK follows an incoming clock, with Send on Clock and transport.

The Clock page is at Settings › MIDI › Clock on iPhone and iPad, and at Settings › Clock on a Mac and in a plug-in (Clock and sync).

#Under an MPE zone

CC 1, 7, 30 and every CC in the CC map act only on the zone's manager channel.
On a member channel only CC 64, 69, 74, 120, 121 and 123 act. INK ignores every other CC there.
CC 74 is Slide on every channel of a zone: per finger on a member channel, for every finger on the manager channel. It sets Cutoff only on a plain channel. A member channel of a zone the controller announced counts as a zone channel, even when no engine plays that zone.

#Macros and Volume

CC 1, CC 30 and CC 7 set the two macros and the engine's level. They are the same on every engine, in the app and in a host.

The All page mixer: each XY pad is Macro A across and Macro B up; each fader is the engine's Level.
1CC 1, Macro A
2CC 30, Macro B
3CC 7, Level

CC	Control	Values
1	Macro A	Moves every Matrix cell in column A. 0 is −100%, 64 the centre, 127 is +100%. The A knob and the XY pad's horizontal axis.
30	Macro B	The same for column B. The B knob and the XY pad's vertical axis.
7	Volume	The engine's Level on the mixer, as linear gain: 0 is silent, 127 is 0 dB. It acts before the delay and reverb sends, so tails ring out. Synth Lvl in MIX is a different control and has no CC.

The macro positions are saved with the sound, Level with the project. In a host, the same three values are the parameters "1: Macro A", "1: Macro B" and "1: Volume" for Engine 1, and likewise for Engines 2 and 3 (INK in a host).

#Switches and channel mode

CC	Function	Values and behaviour
64	Sustain pedal	64 and above is down. Keys let go keep sounding until the pedal lifts. A sustained note struck again restarts on its own voice at the new velocity. When the voices are full, the note the pedal has held longest gives way; a key held down is never taken. Works apart from Hold.
69	Hold	64 and above is on. The same switch as the on-screen Hold, saved with the sound. On Grid and Keys engines it latches touched notes, not MIDI notes; hold MIDI notes there with CC 64 (MIDI in).
102	Free / Arp	The switch at the top of the Arp tab. 0 to 8 selects Free; 9 and above selects Arp, or keeps Strum on an engine set to Strum.
120	All Sound Off	Stops every voice of the engine at once, without release, and ends the notes it sends on MIDI out.
121	Reset All Controllers	Lifts the sustain pedal, centres pitch bend, sets pressure to 0 and clears the RPN selection.
123	All Notes Off	Lets every key up. The sustain pedal still holds its notes.

#CC map

Each CC below sets one control's base value on the engine that receives it. Section is the heading on the Sound tab, or the Arp or Seq tab. Ranges and Init values are in Parameter reference; each control's home chapter explains it in full.

CC	Control	Section	What it sets
2	Noise	OSC	White-noise level.
3	Sensitivity	ENVELOPE	How much of the note's pressure reaches the amp envelope.
4	Distort	OSC	Gain into the low-pass gate and saturation. Bipolar.
5	Glide	OSC	Portamento time.
8	Main Wet/Dry	MIX	Dry signal against the delay and reverb returns. Bipolar.
9	Pitch	OSC	Tuning of every note of the sound; the key stays. Bipolar.
11	Gate	Arp and Seq	Share of each step a note sounds. One value for both tabs.
12	Time	DELAY	Delay time. Bipolar: below 64 synced, above 64 free.
13	Detune, Width, Position or Wave	OSC	The generator's main tone control: Detune on Supersaw, Width on Pulse, Position on Wavetable, Wave on Phase. No knob on the Granular sampler.
14	Interval	OSC	Transposition of one stereo channel of each voice. Bipolar.
15	Scrub	SAMPLER	Offset of each new grain's start from the playhead.
16	Grain size	SAMPLER	Time between grain starts.
17	Rate	SAMPLER	Speed and direction of grains and playhead together. Bipolar.
18	Timestretch	SAMPLER	Speed of the playhead only. Bipolar.
19	Env Level	ENVELOPE 2	Output level of Envelope 2; scales every Env cell.
20	Attack	ENVELOPE 2	Rise time to the peak.
21	Decay	ENVELOPE 2	Fall time to the Sustain level.
22	Sustain	ENVELOPE 2	Level held while the note is down.
23	Release	ENVELOPE 2	Fall time after the note ends.
24	Rate	MOD A	Speed of Macro A's LFO. Bipolar.
25	Depth	MOD A	Amount of Macro A's LFO. Bipolar.
26	Offset	MOD A	Constant added to Matrix column A, with Macro A and its LFO. No control on screen. Bipolar.
27	Rate	MOD B	Speed of Macro B's LFO. Bipolar.
28	Depth	MOD B	Amount of Macro B's LFO. Bipolar.
29	Offset	MOD B	As CC 26, for column B.
31	High Pass	MIX	High-pass cutoff before CHORUS / PHASER and the sends.
71	LPG Filter	OSC	Resonance of the low-pass gate. No knob on the Granular sampler.
72	Release	ENVELOPE	Amp envelope release time.
73	Attack	ENVELOPE	Amp envelope attack time.
74	Cutoff	FILTER	Filter cutoff. Slide under an MPE zone (above).
75	Decay	ENVELOPE	Amp envelope decay time.
76	Rate	LFO X	LFO speed. Bipolar.
77	Depth	LFO X	LFO amount. Bipolar.
78	Offset	LFO X	Constant added to the LFO's output. Bipolar.
79	Rate	LFO Y	LFO speed. Bipolar.
80	Depth	LFO Y	LFO amount. Bipolar.
81	Offset	LFO Y	Constant added to the LFO's output. Bipolar.
82	Sample	SAMPLER	The kit slot the engine plays, 1 to 8, stepped. 0 to 28 selects slot 1.
83	Pattern	Seq	The playing pattern: slot 1 to 24 in the engine's current bank.
85	Step offset	Seq	Moves the loop along the pattern, in steps. Bipolar.
86	Sustain	ENVELOPE	Amp envelope sustain level.
91	Send	REVERB	Level into the reverb.
92	Time	REVERB	Reverb decay time.
93	Shimmer	REVERB	Level of the octave-up shifter in the reverb.
94	Send	DELAY	Level into the delay.
95	Feedback	DELAY	How long the repeats last.
103	Mode	Arp	The order the held notes play in. Stepped.
104	Division	Arp	Arp step length. Bipolar: below 64 free, above 64 synced.
105	Probability	Arp	Chance that a step plays, or the hits in the Euclid loop.
106	Euclid	Arp	Length of the Euclidean loop; the sign sets what a gap does. Bipolar.
107	Range	Arp	Number of passes, 1 to 4.
108	Direction	Seq	The playhead's order through the loop. Stepped.
109	Division	Seq	Step length, 1/32 to 256/32.
110	Probability	Seq	Per-step chance, or the hits in the Euclid rhythm. Bipolar.
111	Euclid	Seq	Length of the Euclidean rhythm; the sign sets what a gap does. Bipolar.
112	2nd Tap	DELAY	Time of the right side as a share of Time.
113	Wobble	DELAY	Random drift of the delay time. Classic only.
114	Wobble	REVERB	Slow modulation that detunes the reverb tail.
116	Scrub jit.	SAMPLER JITTER	Random delay of each grain's start.
117	Grain jit.	SAMPLER JITTER	Random lengthening of each grain's interval.
118	Rate jit.	SAMPLER JITTER	Random rise in each grain's read speed.

CC 71 to 75 follow the General MIDI sound-controller numbers: 71 resonance (here the low-pass gate's), 72 release, 73 attack, 74 brightness, 75 decay. Every CC not in these tables sets no control, CC 0, 10, 32 to 63, 89, 90 and 119 included.

#How a CC edits

A mapped CC sets the control's base value, as a turn of its knob does: 0 is the bottom of the range, 127 the top. On a bipolar control, 64 is the centre. Stepped controls such as Mode, Division and Sample move from step to step. Modulation from the Matrix adds to the new base value.

The edit is stored where the knob's value is stored. Sound and Arp controls belong to the sound: a CC marks the sound as changed, and Save keeps the new value. The Seq controls, Gate and Pattern belong to the playing pattern, as their knobs do (Pattern playback). A CC sweep becomes one undo step when the controller stops (Undo and redo).

#Controls without a CC

A control with a Matrix row can still be played from a controller: route Macro A or B to it and send CC 1 or CC 30 (Play a control without a CC). Choices without a row are set on screen.

Section	Through a macro	On screen only
OSC	Octave, which transposes the sound in octaves; Degree, Stride and Microtone, which set the Grid's layout and bend (Play the Grid)	The generator and the wavetable (Oscillators, Wavetables)
Engine sheet	Root and Scale (Keyboard, key and scale)	Key lock and Follow (Key lock and Follow)
PHASE, SUB, MULTIBAND	Every control (Phase, Sub oscillator, Multiband)	–
FILTER	Mode, Resonance and Filter Spread (Filter)	Band-pass
LFOs	Shape and Warp of all four (LFOs and Freeze)	Freeze on LFO X and LFO Y. LFO Sync has no control; it comes with the sound (LFO Sync)
CHORUS / PHASER	Every control (Chorus and phaser)	The effect type
DELAY	–	The delay type (Delay)
MIX	Synth Lvl, the level into the peak compressor and the sends, and Stereo Width (Reverb and mix)	–
Arp	Shift, the interval between the arp's passes (Arp)	Transpose, the order of the passes; choosing Strum (Strum)
Arp and Seq	–	Tempo and Sync, the pattern's loop, and Quantize (Pattern playback)
Mixer	–	Mute and Solo (Mixer and All page)
Matrix	–	Every cell (Modulation matrix)

#Play a control without a CC

Give the control a cell in the Matrix's A column and send CC 1. With A → Filter Spread, +100, CC 1 at 127 adds the full amount and CC 1 at 0 subtracts it (Macros and dice). Column B and CC 30 work the same way. A macro's LFO, MOD A or MOD B, moves the same cells.

A stepped row, such as Octave, Degree or Shift, moves its destination in whole steps (Stepped rows).