midizap/example.midizaprc

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# Copyright 2013 Eric Messick (FixedImagePhoto.com/Contact)
# Copyright 2018 Albert Graef <aggraef@gmail.com>
#
# Lines in this file starting with # are comments.
# This program works pretty much like Eric Messick's shuttlepro program,
# but it translates MIDI input rather than input events from the Contour
# Design Shuttle devices. The program creates a Jack MIDI client named
# "midizap" with a single input port, which you'll have to connect to
# the MIDI controller that you want to use (e.g., using a patchbay
# program like qjackctl; non-Jack ALSA MIDI inputs can be accommodated
# using a2jmidid).
# Other than the input being MIDI instead of the Shuttle's key and wheel
# events, the program works exactly the same. Each section in the file
# (starting with a name in brackets and a regex to be matched against
# the window class and name) specifies the bindings for one application.
# A section at the end without regex provides default bindings if none
# of the other sections are matched. Within each section, bindings are
# introduced with the name of the MIDI message being assigned, followed
# by a sequence of X KeySyms and/or MIDI messages to be output when the
# MIDI message is received.
# Here is a brief rundown of the supported notation for MIDI messages
# (please check the documentation for more details).
# CC<0..127>: control change message for the given controller
# PC<0..127>: program change message
# PB: pitch bend message
# <A..G><#b><0..10> (MIDI notes): MIDI note (on or off); note names use
# the customary MIDI notation, with # and b denoting accidentals; the
# number at the end denotes the MIDI octave in the range 0..10 (C5 is
# middle C)
# The program distinguishes between messages on different MIDI
# channels. By default, messages are assumed to be on MIDI channel 1,
# but the MIDI channel can be specified explicitly following a dash at
# the end of the message token. E.g., a message on MIDI channel 10 would
# be denoted, e.g., CC7-10 or C#3-10.
# Each of these messages can be either "on" or "off", and so they can
# have different "press" and "release" keystrokes associated with them.
# E.g., a "note on" message with non-zero velocity emulates a button
# press, while the corresponding "note off" emulates a button release,
# just as if the MIDI keys were just ordinary keys on a computer
# keyboard. The same holds true for control change messages (here any
# non-zero controller value means "on", zero "off"), and pitch bends
# (here the center value of the pitch wheel means "off", any other value
# means "on"). The program change messages play a somewhat special role
# in that they don't actually have any "off" messages associated with
# them, so to keep in line with the other kinds of MIDI messages we
# consider them as being "pressed" and then "released" immediately
# afterwards.
# In addition, control change and pitch bend messages can also be
# interpreted as incremental changes, and have associated key bindings
# which are executed each time the controller or pitch bend value
# increases or decreases, respectively. Such bindings are indicated with
# the suffixes "+" and "-". Thus, e.g., a key sequence bound to CC7+
# will be executed each time the value of controller 7 increases, and
# CC7- will be executed each time it decreases. PB+ and PB- do they same
# for pitch bends. (There are also some other special modes for the
# incremental bindings, please check the documentation for details. In
# particular, the suffixes "<" and ">" can be used in lieu of "+" and
# "-" to properly interpret the control values of endless rotary
# encoders, such as the jog wheels on Mackie-like devices.)
# As already mentioned, translations can also contain other MIDI
# messages, in order to translate MIDI input to be passed on to to other
# MIDI devices and applications. In fact, X KeySyms and MIDI messages
# can be mixed freely in the output. To enable this, invoke the program
# with the '-o' option. This creates a MIDI output port, which can then
# be hooked up to other Jack MIDI applications. (Otherwise, MIDI
# messages in the translations will just be ignored.)
# Debugging options: You want to run the program in a terminal window to
# see its output when using these. The following line, when uncommented,
# prints the section recognized for the window in focus:
#DEBUG_REGEX
# This option prints the contents of the entire configuration file, as
# parsed by the program, in a human-readable format:
#DEBUG_STROKES
# You can also use the following option to have the recognized
# translations printed out as the program executes them, in the same
# format as DEBUG_STROKES:
#DEBUG_KEYS
# NOTE: The debugging options can also be specified on the command line
# using -d in conjunction with any of the letters r, s and k (or the
# letter j if you also want debugging output from Jack). Just -d
# without any option letter turns on all debugging options.
# Sample bindings for video editing and mouse emulation.
# These mostly assume a Mackie MCU-like DAW controller device. We use
# this as an example throughout, since devices of this kind are standard
# gear in many studios, and they offer an abundance of useful controls.
# If you don't have one of these lying around, there are inexpensive MCU
# emulations in software (such as the TouchDAW app on Android).
# On most MCU-style devices there are some playback controls and cursor
# keys which generate various note events, and a jog wheel which
# generates CC60 messages. We put all of these to good use here. Note
# that the CC60 control requires use of the aforementioned special
# incremental mode for endless rotary encoders.
# Shotcut (WM_CLASS is "shotcut")
# see https://www.shotcut.org/howtos/keyboard-shortcuts/
[Shotcut] ^shotcut$
# Shotcut uses the customary J-K-L shortcuts, each successive J or L key
# decrements or increments the playback speed. We assign these to the
# MCU Rewind and Forward controls.
# playback controls
A#7 XK_space # Play/Pause
A7 "K" # Stop
G7 "J" # Rewind
G#7 "L" # Forward
# punch in/out (sets in and out points)
# Note that your device may not have these, or they may be labeled
# differently, so we provide an alternative binding below.
D#7 "I" # Set In
E7 "O" # Set Out
# up/down cursor movement (alternate binding for set in/out)
C8 "I" # Set In
C#8 "O" # Set Out
# left/right cursor movement
D8 XK_Home # Beginning
D#8 XK_End # End
# the jog wheel moves single frames to the left or the right
CC60< XK_Left # Frame reverse
CC60> XK_Right # Frame forward
# Kdenlive (same bindings as above)
[Kdenlive] ^kdenlive$
# playback controls
A#7 XK_space # Play/Pause
A7 "K" # Stop
G7 "J" # Rewind
G#7 "L" # Forward
# punch in/out (sets in and out points)
D#7 "I" # Set In
E7 "O" # Set Out
# alternate binding for set in/out (cursor up/down)
C8 "I" # Set In
C#8 "O" # Set Out
# cursor left/right
D8 XK_Home # Beginning
D#8 XK_End # End
# jog wheel
CC60< XK_Left # Frame reverse
CC60> XK_Right # Frame forward
[MIDI]
# The special "MIDI" default section is only active when MIDI output is
# enabled (midizap -o). This allows you to translate midizap's MIDI
# input for use with other MIDI devices and applications. Here's a
# simple example for illustration purposes, which shows how to map the
# MCU jog wheel to CC7, so that it can be used as a volume control.
CC60< CC7
CC60> CC7
# The following translations should work on any MIDI keyboard. The first
# four white keys (C, D, E and F) in the middle octave are mapped to a
# little drumkit on MIDI channel 10, and the modulation wheel (CC1) is
# bound to the volume controller on that channel. Hook this up to a
# GM-compatible software synthesizer such as Fluidsynth/Qsynth to get
# sound.
C5 C3-10
D5 C#3-10
E5 D3-10
F5 D#3-10
CC1+ CC7-10
CC1- CC7-10
# Default section (cursor and mouse emulation)
[Default]
# cursor movement
D8 XK_Left
D#8 XK_Right
C8 XK_Up
C#8 XK_Down
# stop/play/rec are assigned to the left/middle/right mouse buttons
A7 XK_Button_1
A#7 XK_Button_2
B7 XK_Button_3
# the jog wheel emulates the scroll wheel of the mouse
CC60< XK_Scroll_Up
CC60> XK_Scroll_Down
# The following bindings should work on any MIDI keyboard. The C, D and
# E keys in the middle octave are bound to the three mouse buttons, and
# the modulation wheel (CC1) emulates the mouse wheel. The F, G, A and B
# keys in the middle octave are mapped to the cursor keys (Left, Up,
# Down, Right). Please note that most of these bindings, as well as the
# CC60 bindings above, will only be active when the [MIDI] default
# section above isn't used (invoke midizap without the -o option).
C5 XK_Button_1
D5 XK_Button_2
E5 XK_Button_3
F5 XK_Left
G5 XK_Up
A5 XK_Down
B5 XK_Right
CC1+ XK_Scroll_Up
CC1- XK_Scroll_Down