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Jellinghaus MIDI Synchroniser & Interface

Article from One Two Testing, March 1986

Links and syncs for synths



PROBLEMS, PROBLEMS. How do I make my Oberheim drums run from another machine's tape click? How do I synchronise an old analog sequencer to a sparkly new MIDI sequencer? How do I run the MiniMoog with which I've been having a (Platonic!) affair for years off a DX7's MIDI output?

Luckily for those of us who don't have a degree in digital electronics, companies like Jellinghaus exist just to solve thorny problems like these (and to flog some rather good MIDI software — but that's beside the point). The company's latest 19"-mounting releases, distributed in the UK by Rosetti Music Software, are the RMS-6H MIDI Master Synchroniser and the RMS-7H CG-X Interface, the latter tag masking its real function as a MIDI to Analog convertor.

The RMS-6H specialises in Clock Pulses, having four stereo output sockets producing different timing pulses at the tip and ring terminals.

More excitingly, the RMS-6H also has MIDI inputs and outputs which will allow you to bring your favourite antique into the world of MIDI, plus a DIN Sync input for Roland-type sequencers and drum machines. There's also a special JMS DIN output for use with their computer interface and compositional software.

Lastly, there's a pair of sockets to generate and sync to a tone from tape, so the obvious application of the unit is to record its tape click first and run all the drum and sequencer parts off it as they're recorded. A Tempo control and Run/Stop switch allow you to do the business here, and a Program switch sets the unit into one of four modes; Program 1 sets the 6H to act as a master unit, Program 2 keeps it as master but slaves it to the tape click, Program 3 allocates the Run/Stop function to the footswitch option on socket 1, and Program 4 is inactive on the model we looked at but may have a MIDI-related function in the future. Rosetti will be able to update units if this is the case, and may well be able to modify units to any unusual sync requirements as well.

One other non-starter on our demo model — the MIDI In socket wasn't active, but it's hoped that software updates will utilise it. The two MIDI Out sockets do give reliable start, stop and clock signals though, so you can now clock an SCI Sixtraks or Korg Poly 800 Mk. 1 sequencer from tape (remember them? — MIDI In but no Clock In!)

The RMS-6H could be a lifesaver in many applications, although it's a shame it doesn't have an LED display to show tempo when it's acting as a master clock. The 4ppqn and 1ppqn options are unusual and will endear it to anyone still using analog sequencers, and although the unit does have competition from the Korg KMS-30, Garfield units and others, in terms of versatility against cost it's probably the best on the market.

The RMS-7H CG-X interface only has one rival, from Vesta Fire, and that unit lacks the Jellinghaus model's secret weapon — velocity sensitivity.

The CG-X takes a monophonic or polyphonic MIDI signal and converts it to a monophonic control voltage with trigger plus velocity-derived voltage which will drive analog synths such as Roland models and the fabby MiniMoog. Despite some of the advertising blurb, you won't be able to use a MiniMoog right away, since it uses an S-Trigger (switch to ground) rather than a simple gate trigger. Any technician could knock up a gate to S-trig convertor for a few pounds though.

The CG-X is an unassuming beast with MIDI In and Thru sockets, two jack voltage outputs (one for Pitch and one for Velocity) and two Gate output jacks, positive and negative. There's a portamento control to add a variable amount of glide to each note, and a control to vary the depth of the velocity response. The velocity signal (say from a DX7 keyboard) could be applied to an analog synth's amplifier or filter circuit, so effectively you could have yourself a velocity-sensitive MiniMoog when played from the DX7, which is a real neat experience (as they say in California).

The final controls on the CG-X select the MIDI channel responded to (from 1 to 8) and note priority mode — Program 1 for High Note priority and Program 2 for Low Note priority. Sometimes Program 2 seems to give Last Note Priority, but let's not quibble.

The CG-X works best if you play in a staccato style and leave the phrasing to the synth's envelope setting, but on the whole it's as reliable as your analog synth's keyboard tracking. The CG-X could have some wilder implications too — like playing analog modular system effects from MIDI sequencers, programming CSQ-600 type digital sequencers from MIDI, and much more. A definite goody.

JELLINGHAUS Master MIDI Synchroniser: £229
CG-X MIDI-Analog Interface: £219


Also featuring gear in this article



Previous Article in this issue

Regards From Rockville

Next article in this issue

Fostex A-8 Retrospective


Publisher: One Two Testing - IPC Magazines Ltd, Northern & Shell Ltd.

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One Two Testing - Mar 1986

Review by Matt Black

Previous article in this issue:

> Regards From Rockville

Next article in this issue:

> Fostex A-8 Retrospective


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