I have a 61-key keyboard with no other controllers and would like to use the computer's mouse as a MIDI controller. I can get software that converts mouse movements to MIDI commands and routes it to an application. The question is, can I mix this with my keyboards MIDI messages which will be coming over a USB cable.
The short answer is yes, in most sequencer applications you can enable your MIDI inputs through the menu. But what are your goals or intentions? Do you want to be able to play in this data from both keyboard and mouse controller concurrently? How many hands do you have?
Many of us initially play in the notes, and then make subsequent recording takes to enter in other controller data. You can then use editing functions in your sequencer to fine tune your data. John
What keyboard do you have, Frisbieinstein, which doesn't have any wheel or buttons for sending out MIDI data?---Keyboards as stripped down as that usually don't have velocity either, and you can't really live without velocity--.
I have a humble little MK-4902 keyboard with one programmable wheel, but that serves me fine, changing what CC it sends out as needed. Are you sure you don't have something like that?
I have a keyboard that was the cheapest available with velocity. I'm absolutely positive it has no other controllers . It doesn't feel great but it is better than some of the Rolands and Yamahas that I tried recently. The keys actually vibrated on those.
If not, maybe you'll want to look at that, looks cool.
And I have a couple of friendly feedbacks for you:
--The "humble MK-4902" keyboard of mine that I mentioned cost me $49, and it can still be gotten for that used. Velocity keys, run-of-the-mill (as in "poor") key action (because to me it makes zero difference how the keys feel) and the Mod Wheel which can be assigned any MIDI controller you want. Extremely minimal and humble--I don't mind saying that people don't find the recordings I make with it "humble," so it's not as if this has to be a beginner's set up.
But you're wanting access to more than one controller at once, and that's why you want the joystick, right?
"...I want to play, not edit..." There are certainly musicians, a number are members here at our Forum, who are mostly concerned with playing also, with as little interacting with programs as possible.
However, many, perhaps the majority of MIDI musicians accept editing as an integral part of the process. For me, editing in Sonar and Sound Forge take up 4/5ths of the time I spend on a given project. Why? because it's virtually impossible to get tracks sounding as good from just straight live performance recordings. And given all the tools we have, there's no reason to insist on simply recording MIDI then rendering audio recordings from that.
When John "Big Ears" replied to you, he was pointing out that MIDI is layered. Most of us record a track, either all at once or in sections. Then we go back and record volume data, vibrato data, pitch bend, whatever else we want. Each time we do that, those can be "Live performances"--they don't have to be input tediously with a mouse. You can Play your piece again, but just focusing on volume variations, for instance.
The only creature that could actually record all that in one fell swoop would be an Octopus. And an extremely coordinated Octopus at that.
So, I'm gently suggesting that you'll want to think in terms of using your Joystick, or whatever you end up with, along with an embracing of the "multiple pass" recording concept. That's not "editing"---just multiple performances of the same piece.
I'll add that if you do that, you will find that unavoidably there are times when you'll go to your MIDI editing window (The "Piano Roll") and fine tune the data you've recorded, and that is editing of course--but without that fine tune editing, your recording will end up less than it could have been.
Food for thought. MIDI can be powerful. I suggest you do as much with it as you can. The joystick approach could work just fine - I just feel you need to readjust your expectations to do it all at once like an old one-man-band with contraptions strapped all over his body to play a group of things at once.