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Tag: MIDI (page 1 of 198)

MIDI Restarter Lets You Start/Stop Your MIDI Slave, Independent Of Your MIDI Master

Audiowerkstatt bhas introduced MIDI Restarter – a new MIDI controller that lets you start or stop your hardware MIDI-slave, independent of your MIDI-master, but alway in perfect sync. MIDI Restarter offers 3 modes of operation: At the beginning of the … Continue reading

Roland AIRA MIDI Implementation: Now Official for TB-3, TR-8 – and TB-3 Sequences Nicely

tb-3_top_gal

This wouldn’t normally be news, but for whatever reason, the Roland AIRAs went flying off the shelves – missing any MIDI documentation. Ahem.

We covered a number of these details before, including a Max for Live patch for the convenience of those of you integrating with Ableton. The good news: the hackers were right, and got more or less the entire implementation via trial and error. So, this is still a good resource:

AIRA Secrets: Here’s How to Take Command of Roland’s TB-3 and TR-8 with MIDI

The TR-8, then, holds no surprises. I’m just hopeful we see extra functionality via a firmware update. Fingers crossed.
TR-8 MIDI Implementation Chard

The TB-3 is more interesting, particularly as I (keep) advocating it as a sequencer. As far as notes, it’s pretty limited – only 24-60 are transmitted, so you’ll have to do some transposition on your synth if you want something other than bass. But the Control Changes are all sent over MIDI:

MODULATION
11 PAD Y
12(ENV MOD) PAD X
13 (ENV MOD) PAD Y
16 ACCENT
17 EFFECT
71 RESONANCE
74 CUTOFF

TB-3 MIDI Implementation Chart

Clock is sent and received, too. So, for a bit of extra control and notes – with pitch bend – for monophonic lines, this thing should be rather nice. Also, the TB-3 you can use on its own, battery-powered, so you can jam away, then take the same line and plug it into another synth later. I saw one of the AIRA engineers working on his basslines while in a corner of the visitor space in a corner of Musikmesse.

Thanks to Miami’s @3REV on Twitter for the tips, among other folks who sent this in. And 3REV earns extra cool points for founding a roller derby. That should be fun with some acid techno.

The post Roland AIRA MIDI Implementation: Now Official for TB-3, TR-8 – and TB-3 Sequences Nicely appeared first on Create Digital Music.

Monoplugs updates B-Step Sequencer to v1.2

Monoplugs has released version 1.2 of B-Step Sequencer, a melodic, chord based step sequencer, now also available as a standalone app for Windows, Mac and Linux. The standalone version of B-Step you can sync via MIDI Clock to your DAW or MIDI hardware. Also you can run the sequencer as MIDI Clock master and sync […]

The post Monoplugs updates B-Step Sequencer to v1.2 appeared first on rekkerd.org.

Should Rob Papen Make A Dedicated USB MIDI Controller For His Synths?

Synth designer Rob Papen shared this MIDI controller concept, RP-Control, via his Facebook page. At this point, he’s just floating the concept for RP-Control to get input on the idea and to gauge interest.  “The idea is to make a … Continue reading

The $100 BeatStep Sequencer and Controller: Everything You Want to Know

beatstep_angled

Even if Arturia’s BeatStep did nothing other than act as a dumb controller, it might get your attention.

The compact control surface / sequencer hardware runs about $100 street. As a controller, it has both 16 pads and 16 endless encoders (with notches, so you can feel where you are), plus transport triggers and a larger encoder. With driverless USB operation, some of you will already be happy and can proceed.

But the BeatStep is more ambitious than that. It has sophisticated software customization via a companion program, and a built-in step sequencer. It operates standalone, with MIDI gadgets or analog hardware (with gate and pitch Control Voltage outputs). It could therefore be a compact part of a mobile music-making rig, and it’s at this point that our review gets much more involved. The BeatStep has an impressive lineage – veteran designers Glen Darcey, Axel Hartmann, and Morgan Perrier collaborated on its creation. So there’s a reason to set expectations high.

I’ve been testing the Arturia BeatStep with just those functions in mind. And we’ve collected some of your tips and questions, with information that might help you out whether you’re trying to decide whether to buy or curious just how deep this goes.

The BeatStep already makes a nice controller with pads and encoders. But how much more can it be? Let’s find out.

beatstep_macbook_lit

beatstep_io

Physical Form Factor, Control

Let’s start with the controller bit. The BeatStep is narrower than a 15″ MacBook Pro, as you can see in the photo, and roughly laptop thickness. It is, though, surprisingly weighty – in a good way. A metal base holds it firmly in place even if your finger drumming gets more intense.

The pads feel reasonably good; they’re smallish but feel firm and velocity response (and continuous pressure) are consistent. The encoders are likewise satisfying, with basic soft-touch caps. I’ve already taken mine on the road and it appears to hold up well; my only gripe is some sharper edges round the base, but that’s minor. All in all, this is already no contest: this feels better than any comparable controller at this price.

That said, even as a controller, you’ll immediately notice the absence of an LED. While it keeps the unit small and inexpensive, this means you have no idea where you are on those endless encoders; there’s simply no visual feedback to speak of.

MIDI mapping is extensive. There’s just a whole lot you can control:

  • Custom CC mappings. Of course. Nicely, they’ve also included standard MIDI descriptions.
  • Absolute and relative modes for the knobs – either sending a range from 0-127 (or less, if you designate), or increment/decrement in ways compatible with various software. (Ableton Live is specifically supported, which is good, because Ableton’s MIDI implementation in that regard is … um … requires specific compatibility considerations. There. And this works.)
  • Knob acceleration. Fast, medium, or off (“slow”).
  • Pad velocity curves. Linear, Logarithmic, Exponential, or “Full”.
  • Scales. You can control a variety of scales/modes from the front panel of the unit, live, or set them separately in software. One scale is set to a user scale for your own collection of pitches. (Once you go octatonic…)
  • Templates. There’s preset save/recall, too, for all your templates, with up to 16 slots.

You can even set custom MIDI messages to the Play and Stop buttons, for various kinds of transport control or using them simply as MIDI Control Change triggers.

There’s very little you can’t do from software. The exceptions: LED function (red, blue, or mixed for purple) is fixed on the unit. And the six control buttons on the left are necessarily non-assignable. Everything else, though, is up for grabs, in a seriously sophisticated piece of controller software the BeatStep shares with the rest of the Arturia family.

And it has to be the nicest piece of controller software I’ve seen. Heck, there’s even a detailed MIDI message console.

In controller mode, thanks to the scale controls, the BeatStep is also a reasonable melodic input device in a pinch – though, of course, 2×8 pads is not the optimal configuration for that job with devices like Ableton Push on the market. (And, you know, keyboards.) It’s nice having the option, though, and more on those scales in a moment.

beatstep_seq

midicontrolcenter

Step Sequencer Operation

Now, on to the fun part — yes, the BeatStep can work as a step sequencer.

The good news: it’s simple and enjoyable, and it works standalone. The bad news: you may wind up doing some prep work in advance, because live modes are at the moment somewhat limited on the hardware itself. Let me explain. Here’s how it works:

Modes. The BeatStep has independent modes for its two features. In CNTRL mode, it’s a controller. In SEQ mode, it’s a step sequencer. That allows you to use these two modes as independent layers of functionality, and there’s helpful feedback to let you know where you are. In controller mode, everything lights blue; in SEQ mode, pads are red when you tap them and the active step is blue. Those lights are bright, so you may feel a little bit like you’re playing from the hood of a State Trooper’s car (shame there’s no brightness adjustment), but you can at least stay oriented.

Pitch. By default, each encoder is set to adjust pitch chromatically. The large Transpose encoder changes the pitch of the entire sequence overall. Now, because you can also set modes like major, minor, Blues, and User, you can more easily dial in the notes you want – nice.

Clock. You can receive clock messages from a computer over USB. That’s unfortunately the only clock source (analog or digital), so most likely you’ll want your BeatStep as your master if you’re using it standalone. There’s no CV input, and no MIDI input apart from USB. (One alternative would be using a box like the iConnectMIDI that acts as a USB bridge. That’s not too bad a tradeoff, given how small the Arturia piece is, and since you might want a thru box anyway.)

Pattern direction. Nothing too fancy here, but you can play patterns forward, backward, randomize the steps, or “alternate” (forward, then backward – basically ping-pong).

On-the-fly pattern storage and recall. Does what it says on the tin: save up to 16 presets, recall up to 16 presets. Where this gets interesting is again in the software. The editor displays musical notation for each pattern. That means you can get really fussy programming your patterns before a gig, and have them ready to go.

Pattern length, step length, and a really, really huge caveat. You can also change the step length (thus speeding up the pattern), by 1/4, 1/8, 1/16, 1/32, or by holding down SHIFT, change the pattern length to less than 16 steps for some syncopation.

The caveat is, with the current firmware, a pattern immediately retriggers the moment you touch any of these controls, when you touch them. So, while the pattern still clocks to the tempo of an external source, you’re now very much not in sync on a downbeat. Arturia acknowledged this issue to CDM, and suggests it should be addressed in a firmware update. For now, I’d say this is a deal-killer for certain applications. Using it was exciting – enough so that I’m saving this firmware dump in case Arturia does ever fix it. You can play elaborate syncopations live. It’s just a little too exciting: there’s a reason step sequencers of this kind normally have at least a mode that syncs either to the downbeat or at least the active step size. The BeatStep right now does neither of those, clocking patterns free and potentially causing rhythmic train wrecks.

The one fix, oddly, is recalling a pattern; that starts the pattern on the beat again.

I’ll be watching for that firmware update.

beatstep_scales

beatstep_litup

Bottom Line: Hugely Powerful Controller and Software, Great Value, Limited Sequencer

The BeatStep is a whole lot of fun. As a controller, I wouldn’t hesitate to recommend it. You simply can’t get better editing functions or controller feel at this price. And honestly, having been attracted to the BeatStep for its control layout and standalone sequencer functions, I’m forced to take a second look at Arturia’s whole control range; it’s that good.

Getting a sequencer, standalone operation, MIDI, and CV in the deal means it is going to be a must-buy for a lot of people.

The problem is, that sequencer experience is still incomplete. You get 16 steps: no more, no chaining, no “B” sequence. Arturia even pitches this as a companion to the iPad, but the iPad has easily half a dozen step sequencers that best this one. And the issue with being unable to change step or pattern length easily is a big minus.

I expect some of this to be improved in a firmware update. But the other issue is, simply, Arturia has created a very compact controller and there just isn’t room for more functionality. An LED would make programming easier; more controls would let you perform other functions or chain together more than 16 steps.

For now, I’m willing to make those tradeoffs on the BeatStep because it is so inexpensive and light. And it’s not that I wouldn’t use this as a step sequencer – I continue to do that. The powerful editor and notation view mean that you can load up 16 sequences and carry them with you, and the combination of encoders with scale modes is great.

But Arturia, a BeatStep Pro seems a logical next step. And in the meantime, I’m keeping my eyes out for a standalone device that operates together with a computer. While it has an ugly, shiny-silver faceplate, the M-Audio Trigger Finger Pro has all the layers, extra steps, visual feedback, and spacious pad and control layout that the BeatStep lacks – and it will operate standalone, too. The BeatStep has made me oddly more hungry for this kind of hybrid device, so I look forward to InMusic shipping that.

As for the BeatStep: I can’t say no to this one. Even with its drawbacks, it’s easily become an essential piece of gear. So – on to the tips.

More Tips, Tutorials, and Background

Hack: SpeedDialer. Now, I like slowly turning through values, but apparently not everyone does. From maxforlive.com, a Max patch that addresses that. Also, I expect more M4L goodness once this device gets in more hands.

speeddialer

The Arturia Beatstep is a great device, but with its current firmware the encoders are much too slow. It takes 5 turnes to get thru all 128 values.
I made this speeddialer to make fast movements possible. Just give a speedfactor (arround 5 is good for me).
You see two dials – the small one shows the real value, the second, bigger one shows the multiplied value which can be mapped to any function within Ableton Live.
The values are interpolated with a ramp, so you should not hear any glitches.

Source Distribution has a great interview with Glen about the hardware’s creation, as well as a nice Jupiter demo with a plug-in.

AudioCentral Magazine shows how this can look with a full MIDI hardware setup:

And Arturia has a series of tutorial videos/demos of their own, shot inside the load program for The Matrix:

Addendum: CV Operation

There’s not a lot to say about analog operation – this is straightforward output of gate and pitch – but here’s the basic picture.

Control Voltage (that’s the pitch output): 1 Volt/octave, from 0V to 7V
Gate output: 8 Volts

Now, if that isn’t what your gear is expecting, there are ways of converting.

What’s cool is, you can send almost anything over that CV out:

1. Pitch, as played from the pads.
2. Sequencer information, as recalled from the step sequencer.
3. Any output from your computer – meaning, like the also-very-useful
QuNexus, the BeatStep is a quick-and-dirty MIDI-to-CV converter for your computer.

Also of note, you can set the CV output to go with one of your 16 presets or to “global.” That way, you can always send CV (regardless of which MIDI channel is selected), or only when you specify.

But Does it Blend?

I love the BeatStep on the road. I threw one in my suitcase and connected it to my MeeBlip anode, clocking from Ableton Live (which also clocked a KORG volca beats drum machine and Native Instruments Maschine). So, all the melodic synth patterns you hear here (and some less-melodic patterns) are the BeatStep driving the MeeBlip, from a set I did recently in an underground club in Belgrade.

The post The $100 BeatStep Sequencer and Controller: Everything You Want to Know appeared first on Create Digital Music.

audiowerkstatt releases midi-restarter

audiowerkstatt has announced the release of midi-restarter, a device for controlling your MIDI-slave gear. The midi-restarter helps you to start or stop your MIDI-slave independent of your MIDI-master, but always in perfect synchronisation. You push the buttom and the audiowerkstatt midi-restarter sends a MIDI-start/stop-message at the beginning of the next bar to ensure that all […]

The post audiowerkstatt releases midi-restarter appeared first on rekkerd.org.

The Loop Loft launches Spring Sale – 40% off

The Loop Loft has announced its Spring Sale, offering a 40% discount on all its packs and bundles for a limited time. The Loop Loft was founded by drummer / producer / loop guru, Ryan Gruss. A boutique sample shop, The Loop Loft records the best musicians on the planet to create the highest quality […]

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Image-Line launches FL Studio 12 Alpha Preview

Image-Line has announced the release of an alpha preview version of FL Studio 12, the music production software for Windows. FL Studio customers you can now download the FL Studio 12 ALPHA-PREVIEW to give us feedback about the extensive workflow changes. What’s this for? We are looking for feedback about some of the major changes […]

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The Loop Loft releases Funk Drums 2 MIDI pack

The Loop Loft has released Funk Drums 2, a new MIDI loops pack. Your DAW is about to get much, much funkier. Funk Drums Vol 2 – MIDI Drum Loops gives you instant access to seven complete sessions of ultra-funky drum grooves inspired heavily by James Brown, Funkadelic, The Meters, Daft Punk & D’Angelo. The […]

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eaReckon updates MIDI Polysher to v1.2.0

eaReckon has announced version 1.2.0 of MIDI Polysher, a free MIDI utility plug-in for Windows and Mac. MIDI Polysher is a free VST plugin primarly designed for eaReckon BloXpander users (but it works with other compatible VST host software). BloXpander is now provided with its own full-featured MIDI filter and therefore, BloXpander users do not […]

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