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Message: [QUOTE="Bombastus, post: 92316, member: 2178"] Airteq ships with four built-in MIDI mapping starting points for keyboards, MPE controllers, wind controllers, and dedicated breath controllers. The useful part is not the menu itself. Each mapping changes how your gestures reach a synth whose tone can move at the sound source instead of only after it. A normal keyboard still works, because velocity, pitch bend, modulation, aftertouch, and continuous controllers can all be mapped. The bigger jump comes when you feed Airteq continuous performance data rather than treating every note as a fixed event. Airflow, timbre, pressure, and pitch can keep moving while a note is alive. This is where [B][URL='https://goldmidi.com/community/threads/modartt-brings-airteq-pipe-modeling-synth-to-producers.77656/']Airteq’s physical pipe instrument[/URL][/B] becomes more interesting to play than its launch spec sheet suggests. MPE and breath control do not simply add extra knobs under your fingers. They give you ways to disturb the modeled pipes while they are sounding. [HEADING=2]MPE keeps expression attached to individual notes[/HEADING] Airteq supports MPE and Polyphonic CC, with per-note control available for aftertouch, pitch bend, and timbre. In a chord, one note can therefore bend or change color without forcing every other held note to follow. Airteq also includes an MPE mapping that can be enabled directly from its MIDI Mapping window. This matters because MPE distributes note expression across separate MIDI channels rather than treating pitch bend and similar messages as one shared command for the whole chord. Hold several notes on a compatible controller, and each voice can carry its own movement. Airteq can then use those changes against parameters that affect individual modeled voices. The practical mistake is loading an MPE-labelled preset while leaving Airteq on a non-MPE mapping. Modartt warns that doing so can reduce expression and can even produce unintended behavior. Start with the MPE mapping first, then adjust assignments after you know the preset is receiving the kind of data it expects. Pressure becomes especially useful on patches built around overblowing or evolving timbre. A held note can remain restrained while another gets pushed harder, without automating the entire instrument. This is a more precise use of expressive MIDI than mapping one global aftertouch signal to overall brightness. [HEADING=2]Breath control works best when air actually controls Air[/HEADING] Airteq includes separate starting mappings for wind controllers and breath controllers, and several factory presets are already designed around them. In some of those patches, breath is assigned directly to the virtual air supply while other gestures can influence vibrato, brightness, macros, aftertouch, or timbre. The idea predates modern software instruments by decades. A 1993 Yamaha patent describes [B][URL='https://patents.google.com/patent/US5189240A/en']breath-pressure control for electronic instruments[/URL][/B] that converts blowing pressure into a signal used to shape musical tone. Airteq takes the same broad performance input and gives it a particularly relevant destination because its sound engine is already built around modeled airflow. You do not need to map every physical gesture at once. Breath-controlled Air is the cleanest starting point, since the movement you make corresponds directly to the parameter responsible for energizing the pipe model. Tilt, bite, nod, or another available gesture can then handle vibrato depth, brightness, or one of Airteq’s macros. Wind-controller presets such as the dedicated Wind versions go further by expecting continuous breath behavior from the beginning. Breath-controller variants can also work alongside a keyboard, which is useful if you want conventional key input while your breath shapes the evolving part of the tone. [HEADING=2]Custom mappings are where the controller starts feeling personal[/HEADING] Airteq’s MIDI Learn system lets you assign most visible controls directly from connected hardware. On Windows, Ctrl-clicking a control starts the assignment process, while macOS uses Command-click. You can also build mappings in the MIDI window with channel filtering and limits on incoming controller values. Input bounds are more useful than they sound. A controller that never reaches the full MIDI range can otherwise leave a mapped parameter permanently short of its intended minimum or maximum. Restricting the accepted range lets you match Airteq to the real travel or pressure response of your hardware instead of fighting it. Multiple Air gauges can be assigned independently, and several Airteq parameters can be driven from one physical control. You can therefore make one breath stream raise one pipe aggressively while barely moving another, or let a hardware slider behave like an extra macro across several destinations. Airteq can save these MIDI mappings, and a frequently used one can be pinned so it stays convenient to recall. Once the basic routing feels right, the controller stops behaving like an accessory bolted onto a synth. Your pressure, breath, and movement become part of how the modeled instrument reaches each note. [/QUOTE]

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