Ibanez MC1 Guitar-To-MIDI Convertor

The Ibanez MC1 compared to the Roland GM-70:

The MC1 is NOT a copy of the much more familiar, industry standard Roland GM-70. Both units convert Roland 24-pin guitar signals in MIDI information, but there the similarity stops. The Ibanez MC1 puts a premium on guitar player friendly performance. For example, rather than using Controllers One and Two for MIDI control, the MC1 uses the knobs to fine-tune playability. Control One is used to adjust the MIDI trigger level (amount of picking strength required to trigger a MIDI note). Control Two adjusts the dynamic range of your picking style. The GM-70 does not have a threshold control, and offers only five velocity response curves.

The MC-1 does not transmit MIDI volume controller 7 with its master volume knob. By modern standards, this seems like a problem. There are two ways to look at this issue: one, you can assign CV #4 to controller 7 (MIDI volume). This solution will really work only with the IMG2010, since only the IMG2010 has CV #4 always active.

Alternatively, you can use the two rear panel inputs for synthesizers to be controlled by the MC-1 internal VCA circuit. The both the MC-1 and GM-70 have rear panel analog inputs that pass through a VCA. The VCA (output) level is controlled by the master volume on the guitar controller. The difference between the two units is this: the MC-1 has two mono inputs that are summed together and passed to the mono output jack. The GM-70 has one stereo input that is passed to the stereo output. In both modules, the balance control on the guitar controls the balance from the rear panel analog inputs and the clean guitar signal generated by the pickups on the guitar. Plugging a cable into the guitar output jack removes the guitar signal from the outputs.

The MC1 also includes an effects loop. However, there is no way to switch the effects loop on or off!

One final observation: when carefully calibrating my rig, I noticed that both the GM-70 and MC-1 have a pretty coarse control resolution. Rather than seeing numbers smoothly scroll from 0 to 64, or 0 to 128, I would only see even numbers. I would have to say this indicates a lack of resolution in the GM-70 and MC-1 circuitry.

Unique features of the Ibanez MC1:

Continuous control of MIDI trigger threshold.

Continuous control of MIDI dynamic range.

Effects Loop Send and Return.

Peak and decay calibration mode.

10 segment display for string dynamics (versus 6 segment display on the GM-70).

Two mono synth inputs.

Dedicated HOLD foot switch with front panel display LED.

Dedicated front panel Chromatic mode LED.

Built by Maxon Electronics (manufacturer Ibanez foot pedal processors).

Internal Voltage Controller Amplifiers are used to control guitar and synth levels (instead of using MIDI volume controller number 7.

Dedicated multifunction edit keys for easy editing.

Supports assignable MIDI control numbers from 0 to 32.

Unique features of the Roland GM-70:

2 - Assignable foot switches.

1 - Assignable foot pedal.

CV #3 (Whammy Bar) supports "Absolute" or "Center" modes of operation.

Guitar volume control simultaneously transmits MIDI volume (controller 7).

Control knobs 1 and 2 (on guitar) can be assigned to any MIDI controller.

Stereo input for one synthesizer.

Branching feature allows control on up to four different MIDI channels.

Use of proprietary RC-100 disables MIDI input.

Supports assignable MIDI control numbers from 0 to 95.

Video Demos of the Ibanez MC1 :

	IMG-2010 with MC1 and REAKTOR 5.0
	In this video the IMG-2010 is hooked up to an Ibanez MC1 pitch-to-midi converter, then the MIDI output from the MC1 drives REAKTOR 5.0 on a Mac G5. The patch on REAKTOR is STEAMPIPE 2.
	XJ-S with Ibanez MC1 and Korg TR Rack
	Quick video of the XJ-S with the Ibanez MC1, highlighting velocity response and touch pads.

This hard to find foot controller was sold with the MC1 as a set. It features five programs foot switches, plus a bank foot switch. It also works with the Ibanez DUE400, EPP400 and the SDR1000+ Digital Reverb. It can be used separate from the MC1 as a MIDI controller only, with the Ibanez MIU8 MIDI Interface.

MC1 Rear Panel Connections:


Two MIDI output ports.	Roland compatible 24-pin guitar input	Dual mono synth inputs, and Send and Return Effects Loop!

MC1 Multifunction LED Display:


Dedicated LEDs show Hold Mode (Green LED), Chromatic mode, and 3 display modes	Shown here is calibration mode for String 1, with Peak (top) and Decay level (lower)	Shown here is calibration mode for String 3, with Peak (top) and Decay level (lower)

MC-1 Block Diagram:

MC1: Manufactured by Maxon:

Maxon built the MC1 for Ibanez. As most players of vintage gear are aware, Maxon built all of the Ibanez branded foot pedals, including the famous Tube Screamer.

When I pulled my MC1 apart, I was thinking that the MC1 could be asking itself, "Who am I?" The MC1 says "Ibanez" on the front panel, but has the "Hoshino" logo, and once you open the unit up, all the parts are branded as "Maxon!"

MC1 MIDI Speed Tests:

I did some testing one morning, to compare the speed of the Roland GM-70, Ibanez MC-1 and the Roland GR-700. I played open strings, fretted at the fifth fret, and the twelfth fret. I recorded the direct output from the 1/4” jack on the guitar and the output from the CS6R or GR-700. I felt this was more of a real world test.

If you have the Pitch-to-MIDI converter hooked up to a synth, how long does it take for you to hear the note from the time it is played on the guitar? I went back and repeated the tests, again with a Yamaha CS6R and now with a Roland GI-10 and GI-20. I also added the Korg Z3 in the mix, and also checked the Roland VG-88 using a pitch-transpose and guitar modeling patch. Here are the average results:

GM-70: 40.39 milliseconds.

MC-1: 33.62 milliseconds.

GR-700: 29.87 milliseconds.

MKS-30 with GI-20 (GR-700) : 27.24 milliseconds.

Korg Z3: 20.15 milliseconds.

GI-10: 21.99 milliseconds.

GI-20: 19.77 milliseconds.

VG-88 (Polyphonic Pitch Transpose): 7.34 milliseconds.

VG-88 (GR-300 Simulator): 5.38 milliseconds.

GR-300: 3.32 milliseconds.

On the whole, these numbers are not too bad. Of course, these are averages. Naturally, lower strings longer to track. On the MC-1 it typically took 47 to 60 milliseconds, and higher strings come in 21 to 25 milliseconds. MIDI experts claim a 25 millisecond response time is acceptable. This comes from the idea that it would take around 25 milliseconds for sound from an amplifier 25 feet behind you to reach your ears. This is known as the "stadium rock" threshold of MIDI-timing acceptability!

I also noticed something strange about the tests. For example, the MC-1 seemed faster on the open strings and twelfth fret, but the GM-70 faired better on the fifth fret. I have no idea why this is the case. I will have the complete results and test procedures available soon on a separate web page.