The MIDI to Virtual Control Voltage interchangers are just about done — I need to rethink how the user selects MIDI-out devices for that plugin, but it works now, if a bit awkwardly. Those were mostly a bit of insurance for future plugins which will generate control signals, making sure I can build them either as VCV or MIDI generators without painting myself into a corner.
So what are those future plugins? The first is called Façade. Its basic deal is that it will watch MIDI notes incoming and generate control signals corresponding to some higher-level analysis of the notes. The basic idea was sparked by an article in Computer Music Journal about giving synthesizers more avenues of expressiveness.
One output will correspond to the rate at which you play notes. If this control signal is hooked up to parameters in your soft synth, it could, for example, automatically adjust attack and release speeds to give you legato in slow passages and staccato in fast passages — or vice versa. Or it could make fast passages have a different timbre, brighter or darker, than slow. Or whatever. This one is trivial to implement.
Another output would correspond to the difference in note rate from note to note — the irregularity of a passage. This is only slightly harder. Likewise with an output corresponding to whether the interval between notes is ascending or descending, and how far. This lets you make a half-step down to a D-sharp sound different from an octave-step up to the same D-sharp.
Finally, the key of a piece of music can be more or less deduced from a sequence of notes. This is error-prone if the music changes key, or if not all the notes in a key are used, but a good guess can generally be made. This could be used for another two expression outputs: the current key itself could drive an output, so your instrument could sound different in C-minor than in D-flat-major. Consider a song where verse and chorus are in different keys and the guitarist normally toggles some of his effects pedals at the change. This could let you automate the effects change (though it might be hard-pressed to notice the key change at the right time, which would be problematic).
Another key-based output could be the "degree of consonance" of a given note. As Façade tracks the current musical key, each note played can be assigned a consonance value within that key, with the I, IV, and V having high consonance, the II and VI having lower consonance, and off-key notes having the lowest consonance. Once again, this gives rise to a bunch of automatic adjustments — one of the clever possibilities would be to map consonance to pitch-bend such that on-key notes are not altered, but off-key notes are bent up or down a semitone — effectively putting them back on-key!
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