Showing posts with label midi controllers. Show all posts
Showing posts with label midi controllers. Show all posts

Digidesign Command 8 Control Surface for Pro Tools Review

Digidesign Command 8 Control Surface for Pro Tools
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My son is a sound recording technology student at college. I'm a computer expert. To help my son in his studies, I upgraded his Apple/Sonar DAW to a ProTools environment. We spent many thousands of dollars doing so, and it was a painful experience.
The Command|8 proved to be the most frustrating element in the entire digital sound chain, and a lack of good documentation and support from Avid (or whatever it is called today - the company appears to merge and change its name weekly) does not help.
It took weeks to get the device configured and working reliably with ProTools 8. Even after that it would constantly require recalibration or would go offline arbitrarily, requiring reinstallation of protools to bring it back. I have no idea how pro-am studios manage to survive using ProTools.
A few weeks out of warranty, the display failed and the unit refused to come online. The faders go crazy for a few minutes then park at the bottom although you can hear the fader motors still clicking wildly. This problem is posted several times on the Avid user forums, and appears to be a common defect. Repair costs might run to several hundred dollars.
Unlike most users, we read the user manuals "avidly" and followerd all user directions. As a former sound engineer myself, I insisted that all equipment in the sound chain was covered with dustcloths when not in use. This device was probably used less than 100 hours in its lifetime.
Do not buy this product.

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SoftStep Foot Controller Review

SoftStep Foot Controller
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This thing is amazing! It's is a huge step beyond what has been available 'til now (FCB-1010, etc).
The Max5 based software still a little buggy (as of Jan-2011, V.1.03) and could be better, and hopefully will be soon if the quality of the pedal is any indication.

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The Keith McMillen Softstep USB MIDI Foot Controller represents a huge leap forward in footpedal controllers. Together with the included KeyWorx software (Windows and Mac), it allows you to add feet-on control of your MIDI keyboard, effects units, music software or anything that can be controlled via MIDI or OSC. Its a dream come true for musicians and DJs who could benefit from an extra set of hands, as well as not so obvious applications like video effects, computer gaming, robotics and pyrotechnics.Popular software titles like Pro Tools, Abelton Live, Amplitube, Logic and MainStage as well as hardware from Avid (Eleven Rack), Line 6 (POD) can all be controlled by the SoftStep.The Keith McMillen SoftStep is portable and, while its build is rugged and spill-proof, is extremely compact and lightweight. At just 1.3 lbs and 1 tall when lying flat, it gets its power via the USB connection making it easy to pack up and hit the road. Together with the included KeyWorx software youll be able to set up commands for each of the SoftSteps 11 multi-touch key surfaces. You can select programs, bring a browser window forward, scroll through folders and open documents, control the cursor, send out keystrokes and mouse clicks, zoom in and out, control volume and more! A 4-character LED display, 10 dual-color key LEDs, and EL under-glow give you performance feedback thats easy to read even on dimly lit stages. * About the optional Keith McMillen SoftStep MIDI Expander:The SoftStep MIDI Expander enables you to use the SoftStep USB MIDI Foot Controller to control your MIDI world. The MIDI expander provides a MIDI In and a MIDI Out that shows up on your computer as SoftStep MIDI Port 2. The SoftStep MIDI Expander is easy to set up and use. Just program your SoftStep with our easy-to-use control mapping software, plug in your MIDI rig, and you're ready to send and receive data to external MIDI hardware. The SoftStep MIDI Expander is needed to use the SoftStep without your com...

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M-Audio Prokeys Sono 61 Review

M-Audio Prokeys Sono 61
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I got the ProKeys Sono to use during a temp, out-of-town work stint and wanted something I could play by itself (that has its own on-board sounds) and also use to drive the Reason and Sonar software synths on my laptop.
Well, after many months of testing (through real use) I have to say it passed with flying colors (or 'colours' for our 'Commonwealth' friends).
Keyboard features include:
- 61 note keyboard with a very playable semi-weighted action somewhere between synth and hammer keyboards (well, based on the synth and hammer action keyboards I've played)
- 5 higher quality built-in sounds (grand piano, bright piano, electric piano, organ, clav)
- A set of lower quality (but still fairly usable in my book) General MIDI sounds
- 3 Adjustable settings for how the keyboard responds to velocity
- 2 stereo line-ins (RCA jacks) for getting audio into your computer to record
- 1 XLR jack for plugging in a mic
- 1 quarter inch instrument jack
- 2 quarter inch headphone jacks
- 2 quarter inch outs for monitoring the sounds coming out of the computer as well as the built-in sounds from the keyboard
I've mostly used ASIO4ALL drivers prior to buying this keyboard, which gave pretty decent performance and acceptably low latency (the delay between hitting a key on the hardware keyboard controller and hearing any software synth sounds from the computer) for playing. Happily, the ASIO driver for the ProKeys Sono delivered even LOWER latency than the ASIO4ALL drivers I had been using.
So, with the decent construction quality, the playability of the keyboard, and the better driver performance, I admit I'm quite happy with the thing. I also occasionally used the line inputs to record from an external hardware synth module, and had no problems. Some people might whine as the resolution is only 16-bit, 44.1 kHz, but having worked with way-noisy cassette 4-tracks as a teen, CD quality is still fine by me.
The one thing I didn't ever test was plugging a microphone into the thing. I had a Samson G Track USB Microphone (which I've also reviewed on Amazon) and used that exclusively for vocals while I was on the road. Therefore I can't comment on the amp quality.
Lastly, when I just felt like playing a bit, it was nice to tinkle around on the piano without having to turn on the laptop. The piano sound quality is VERY playable, with the only drawback being the 20-note polyphony for the 5 high-quality sounds (the General MIDI sounds have 40 note polyphony).
Negatives? No LCD or LED display for helping change/configure MIDI settings, or selecting the General MIDI sounds. It's workable without the display, but it would definitely help to see the values you've entered. And because of that drawback, the ProKeys Sono really is best mostly for playing soft synths, not controlling a whole soft recording environment
Summary:
Great option for driving soft syths with the added bonus of some on-board sounds and also serving as a PC/laptop audio interface. If you want more hands-on sliders and buttons for controlling your software synths and recording software, I'd go with a different option, but for the niche this keyboard is trying to fill, it does a pretty good job. Though it's probably only a 4-star rating for overall performance, the fact I had ZERO problems using it with my computer (which is RARE nowadays) bumps it up to "barely a 5".


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Spectrasonics Trilian Bass Module Software Review

Spectrasonics Trilian Bass Module Software
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this plugin sounds amazing... by far the most realistic and versitaille plugin i have and i have strike,hybrid,transfuser,xpand,structure,velvet... but if dont have a ton of ram on your computer dont buy this because its almost too detailed for its own good... my computer has 8gb of ram (supposely i think it has about 6) and this thing has crashed my pro tools session on multiple occasions while running it with other plugins... it does have options to use less processing power and since figuring that out i havent crashed my session once... take my advice though IF YOU DONT HAVE A LOT OF RAM DONT BUY THIS... if you do... this is a great plugin... very realistic... synth bass, acoustic, electric, slaps, slides... etc.. one other way around the processing power it takes up is make your midi track and then record it onto an audio track thru a send and then make the midi track inactive... if your that advanced, really not that hard but not for beginners

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Akai MPK 49 Controller Keyboard Review

Akai MPK 49 Controller Keyboard
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First of all, the pads DO suck. MPC's are known for their pads so you'd think Akai would at least be able to put the same type of pad/contact design on their MPK line. Instead they put a bunch of pads with no play that feel like buttons and make the keyboard housing vibrate when you pound them. On top of that they placed the contacts so far away it's damn near impossible to get 127 velocity on the pads without going Full Level. Even my LPD8 feels better than this thing. And even though they look like the MPC1000 pads, the 1000 pads are twice as thick as the ones here. I would have loved for them to have put the 1000 pads on this. At least then I'd be able to play back a chopped loop without feeling like I'm dialing a phone number.
The best part of the controller is the control surface. The transport keys, knobs, and sliders feel great. The LCD screen looks great.
Something unique about the controller is that it has built in MIDI settings that mimic classic MPC functions (16 level, MPC swing, note repeat). Too bad the pads keep you from fully enjoying these features.
The keys are decent but slightly noisy because they vibrate on release. The controller is also one of the few 49 key controllers out there with aftertouch. I prefer the lever-like feel of the Axiom when it comes to using aftertouch but the keys here are not a dealbreaker.
There's also a simple arpeggiator you can use. It's fairly simple in that there are only 5 settings you can use to separate notes in a chord. If you've used a more sophisticated arp (like the one on a Yamaha KX8), you'll be disappointed though.
The MPK is a good controller but Akai could have done way better than this. If you're using this for the keys and control surface it's a decent investment. But if you're thinking of buying this for the pads so you can drum and play back chopped loops, get an MPD instead.

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More than just a USB/MIDI controller, the Akai MPK49 USB/MIDI Controller Keyboard helps you maximize your musical ideas on-stage or in the studio. It combines a high-quality, 49-key, semi-weighted keyboard with aftertouch and 12 genuine MPC drum pads. It also offers 48 total accessible pads via 4 pad banks, and you can control up to 72 different parameters via 24 assignable Q-Link knobs, faders, and buttons as well as optional footswitches.


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Akai APC40 Abelton Controller Review

Akai APC40 Abelton Controller
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I've been drooling over this since it was announced, and I am so happy that I finally broke down and bought one. It's a shame that there are no reviews up yet, so let me be the first to say that this controller is amazing. Make sure that you erase any previous midi mapping that you've done and then restart Ableton, and you'll find that it has perfectly automapped itself. At first I thought that it was a little strange that there's no manual included... but after five minutes, I realized that it DOESN'T NEED A MANUAL. That's just how intuitive it is, from top to bottom.
The hardware itself is up to usual Akai standards: the knobs and faders feel weighty and responsive. This thing is both larger and thinner than I thought it would be, but after playing around with it the size feels perfect. The two-way communication is killer- just drop an audio clip into Live and it will instantly appear on the grid, color-coded to match its status. Recording and triggering loops couldn't be easier, and the entire interface perfectly emulates what you're used to seeing on the screen.
In the upper right-hand corner you have control over the pan and sends A through C for tracks 1-8, which is really nice. My only complaint is that I would have preferred to have it become all the sends for whatever track is highlighted, but I'll get used to the new workflow. Part of what makes Ableton Live great is that it accommodates so many different styles of music, so making a universal controller for the program was a bit of a challenge. Akai really stepped up and once you get your hands on it, you'll see what all the hype is about: this really is the be-all and end-all of hardware for the program.
One downside I've found is that navigating the plugins can be sort of clunky. First you highlight a track and then the knobs in the lower right are assigned to the first plugin you've placed there. Then you use the left and right buttons to scroll through each unit, and when you do the knobs reassign themselves to control the appropriate effects. I find that having to click through them all is sort of difficult, but there's nothing stopping me from using the mouse like I used to. I guess the only thing that is stopping me from handing out a 5-star rating is that the APC40 sort of forces you to use the workflow they've designed. Remapping the controls isn't difficult, but everything is laid-out and labeled in such a way that it sort of corrals you into getting used to doing things their way.
This review is starting to look a little long, so I'll just sum it up: I absolutely love this thing. I wish I had picked it up sooner and if you are AT ALL considering this purchase, just do it already. Well-constructed, well-programmed, and absolutely worth the money. Like me, you're probably used to using an assortment of controllers and you're wondering if you need to spend the cash. Well, this thing will replace all of those and more, and you'll quickly get used to the layout. Just do it!

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Working in partnership with software developer Ableton, the Akai APC40 Performance Controller offers a control surface that's specifically designed for performance with Ableton Live software. Designed to be a powerful, intuitive controller for electronic music performance artists, DJs, hip-hop producers and traditional musicians using Ableton Live on stage and in the studio, the Akai APC40 transforms your experience from one of constructing tracks with software on a computer to one of fluid, effortless, musical creation.

Key Features
Designed in partnership with Ableton for Ableton Live
Unique clip matrix with multicolor lighting displays current clip status
No mapping required; every knob, button, and fader is customizable
Bidirectional communication between APC40 and Ableton Live
Solid, professional feel with rugged, metal chassis and premium controls
Comes with Akai APC40 edition of Ableton Live Lite, free upgrade patch for full versions of Live
Works with standalone editions of Ableton Live
Works with most MIDI recording, sequencing, and performance software
USB plug-and-play connection for Mac and PC
Premium controller with rugged, metal chassis

Direct Design Because Akai Professional and Ableton designed the APC40 specifically for Ableton Live, you don't need to map its controls to talk to the software. Just connect your laptop to the APC40 via USB--thanks to its plug and play capabilities, you won't need to install any drivers. It comes pre-mapped for instant use with Ableton Live software, so if you're new to it, you'll find using the APC40 to be easy to get around on. And if you're an experienced Live user, you'll be happy to note that you can custom-map every single knob, button, and fader on the APC40 to completely customize the controls for the way you like to work.
Virtual View Because of the bidirectional communication between the APC40 and Ableton Live software, the APC40 can receive feedback from the software and display it on its clip matrix of 40 triggers and on LED rings surrounding each knob. The clip matrix gives you an instant view of clip status: what's loaded, what's playing, and what's being recorded. Each state displays on the matrix in a different color so you can get a quick picture of clip state. You can shift your clip focus and get an overview of the clips you have loaded for your set.
The APC40 has 16 knobs, each surrounded by a ring of LEDs. These LED rings make it easy to see your settings on dark stages, indicating the currently selected parameters' values.
Premium Feel The APC40 is built with a rugged, metal chassis and slip-proof rubber detailing. All of the knobs and faders are solid and precise for pinpoint performance. It even features a high quality, replaceable crossfader for transitioning between clips and loops assigned to "A" or "B."
Creative Control The APC40 comes with Ableton Live Akai Professional APC40 Edition software, which is fully functional for performance and production. Owners of standalone editions of Ableton Live 7 or 8 can also work seamlessly with the APC40. Live 7 with the latest automatic update has full support for the APC40 and all versions of Live 8 are APC40-ready.
The APC40 has two banks of eight knobs. The first set controls Global parameters so you'll always have instant access to your main sends, pans, and other essentials. The second bank of eight knobs is dynamically reassigned to the Track you select. You can control eight track parameters at a time, and as you switch channels, the Track knobs follow your focus. For example, you might be working with the Beat Decoder on track two. When you switch to track four, the eight Track knobs that you had been controlling the Beat Decoder with are now controlling the Flangeverb on track four. You'll even notice that the settings for each knob load on the light rings so you'll immediately see each knob's status.
The APC40 also enables special clip-status views and feedback that only the APC40's matrix can display. The matrix is not limited to only 40 clips: you can scroll and shift, enabling you to access, control, and perform with an unlimited number of cells.
The APC40 has a wide range of controllers. The eight Global knobs can access four banks of controls; the eight Track knobs control nine different track parameters each. This gives you a massive total of 72 controllers that are dynamically reassigned each time you switch tracks. Channel faders, bus faders, and a crossfader give you smooth control of key values. You have even more control power with special controls including Tap Tempo, Tempo Nudge, record enables, solo/cues, and two assignable footswitch inputs.
Specifications
Dimensions: 16.88 x 13.13 x 2.62 inches (WxDxH)
Weight: 5.8 pounds
Power supply: 12V 2.0A pin-positive, included
Communication: USB-MIDI with proprietary hardware/software handshake
Inputs: USB, Two assignable footswitch inputs
Mac system requirements: G4 or faster/Intel Mac recommended, 512 MB RAM/1 GB recommended, OS 10.3.9, 10.4 or later. recommended, QuickTime 6.5 or higher, DVD-ROM drive, USB port
PC system requirements: 1.5 GHz or faster, 512 MB RAM/1 GB recommended, Windows XP or Vista, Windows-compatible sound card/ASIO driver support recommended, QuickTime 6.5 or higher, DVD-ROM drive, USB port


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Line 6 POD Studio KB37 Review

Line 6 POD Studio KB37
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I'm new to creating music on a computer, and my research, along with tons of positive reviews from others, led me to the POD Studio KB37 as a good all-purpose starting point. In terms of flexibility, this package is very hard to beat. The built-in inputs and mic preamps let you record just about anything, from guitar/bass and other electric instruments to vocals and acoustic instruments (using your own mic, of course). For these uses alone, the KB37 is a great way to get sound into your computer with minimum headaches. Simply connect the KB37 to your computer with a single USB cable. It's USB-powered, so you don't even have to plug it into a power outlet.
The hardware's MIDI keyboard and control surface open up a whole new dimension. They allow you to add keyboard parts and adjust some software parameters via real-world knobs and buttons; this is much faster than clicking and dragging onscreen "virtual" controls.
The included software package reveals the KB37's full potential, transforming an otherwise great product into an incredible bargain. Sure, the Reason Adapted (synth, sampler, sequencer, and effects) and Ableton Live (multitrack recording) software are the "lite" versions of these programs, but even so, they're very versatile and powerful. If you're fairly new to DAW software, trust me, even the lite version of Reason is pretty incredible -- you'll get a lot of use out of it. It includes tons of sampled real-world instruments, fully functional and tweakable soft synths, drum machine, sequencer, effects, and a lot more. It takes quite a while to explore its impressive capabilities. Once you do, you'll know whether you want to upgrade to the full version, which is available at a discounted price. But again, the lite verion will be plenty for many users.
Finally, you get Line 6's POD Farm software, which gives you an arsenal of stompbox and rack effects for guitar, bass, vocals, and just about anything else. On top of that, it includes amp, cab, and mic preamp modeling. You get everything that most guitar multi-effects units provide and then some. Because it runs on your computer, naming and saving patches is quicker and easier than stand-alone multi-effects units, and you can save as many custom patches as you like. And, unlike stand-alone units, POD Farm is expandable. Line 6 claims that the KB37 allows you to monitor your tone, complete with effects, without a latency problem (a lag between playing a note and hearing the output). This is not an empty promise. On my modest laptop, which runs Windows Vista on an Intel Core 2 Duo T5550 (1.83GHz) with 3GB of RAM, I experience zero latency problems.
All told, for the price of one guitar multi-effects unit, you get everything you need to start a home studio. If you're a full-time keyboard player, this package probably isn't aimed at you. As its name suggests, the KB37's keyboard has only 37 keys. So, there are probably better MIDI keyboard controllers out there for you. Plus, as a keyboard specialist, you'd most likely want a full version of whatever synth software you prefer. On the other hand, if you play guitar or bass and you want all the building blocks for tweaking your tone, adding vocals, effects, *and* getting your feet wet with powerful synths, sampling, and multitrack recording, here it is for a laughably low price.


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Korg microKorg Analog Modeling Synthesizer with Vocoder Review

Korg microKorg Analog Modeling Synthesizer with Vocoder
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The MicroKorg is probably the finest synth you'll ever get at that price. It's very small (same size as many of those toy keyboards you grew up as a kid, but this is no toy), and has 37 keys, although the big criticisms here is Korg opted for toy keyboard-sized keys, rather than full-sized keys (the similar sized and similarly priced Alesis Micron, also 37 keys, used full-sized keys). It's a four note polyphonic virtual analog synth capable of fantastic analog sounds, with all the great sounds of the '70s, '80s, and '90s! It's essentially a Korg MS-2000 in a small package, but with an 8-band vocoder (instead of 16-band), and a superior arpeggiator, great for all you electronica and techno buffs out there, or those who want to create Tangerine Dream-like rhythms without the bulky gear that group had to use back in the glory days of the mid '70s. I've been aware of vocoders for ages, and of course, was a huge trademark in Kraftwerk's sound (they started using vocoders starting with 1973's Ralf & Florian, which is one album prior to their famous breakthrough, Autobahn), I am so happy to now personally own a vocoder, that is, one included in a synth. It has a condensor microphone for use of a vocoder, although you can hook up any standard microphone too. Like most any synth made in the last 20-25 years, it's MIDI, so you can have it interact with other MIDI synths, drum machines, your computer, or any other MIDI device.
Although it comes with an AC adapter for home and studio use, you'll be happy that you can use 6 AA batteries, so you can bring it with you on your next camping adventure (plus it has a headphone jack too, since hooking it up to speakers might be a bit difficult in the Great Outdoors).
It's also fully programmable, you can alter the sounds already included, or you can erase one of the settings and start from scratch. I really love the features you can do here. You can have it polyphonic, or monophonic for use of soloing, or retro-'70s analog sounds. It has two oscillators, you have many different choices of waveforms. You can edit the arpeggiator so you can get it to do different rhythms (it can do up to a sequence of 8 notes). I also really like the delay feature, to get that echo sound when you release the note, it really gives it a fuller sound. You can get it to pan for that wonderful stereo effect, or select a phasor. You can even program it to have the pitch wheel and modulation wheel do things, such as altering pitch, the resonance, vibrato, etc. There'e two edit knobs, and five more knobs to help you with the programming. But I very much suggest you read the instruction manual, or you might have a hard time programming it. But once you get a hang of it, you'll have a ton of fun programming your own sounds and see what you can do. Despite the keys itself, it's actually a fully professional synthesizer.
The MicroKorg might be geared for the younger audience, thanks to its low price and many of the techno sounds it can do, but Jean Michel Jarre uses one and he's hardly young. Not to mention you can make it do a lot of non-techno sounds too, like classic '70s analog sounds, or '80s polyphonic synth sounds (like what you hear on Van Halen's "Jump") so it doesn't just appeal to the young segment.
It's great see many professional musicians using it from Jean Michel Jarre right down to Nick Rhodes of Duran Duran. I even saw a documentary directed by Hans Fjellestad called Moog, which was about Robert Moog and of Moog synthesizers, and they showed several techno/electronic groups where the main emphasis was on their Moog gear (naturally), but one group was clearly shown with a MicroKorg.
This is no 88 key workstation, that's for sure. In some cases that's a good thing, especially if you like in a small apartment and you're concerned about space, but for such a small synth, I am completely blown away at what this can do. You really need to try and buy this synth, you won't be disappointed!

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