For your electronic production studio you definitely need one or more MIDI controller. As we learned earlier, a MIDI keyboard controller features a piano keyboard and a MIDI interface, but usually no internal built-in sound generator. Having a good keyboard controller is essential. Keyboard controllers come in different sizes. For electronic music production usually you don’t need a full 88-key keyboard, A 49- or 61-key would be enough in most situations. We recommend getting the largest one you can afford. You will need the extra keys for patches that utilize key switches. There are also three main types of keyboard action you can choose from: weighted, semiweighted, and synth. Weighted controllers have the same response as (or at least a one very similar to) an acoustic piano. They are usually more expensive and much heavier than keyboards of synthesizers with plastic keys. If you are on a tight budget and the real piano feel is not a major concern, we suggest opting for a controller with a lighter key action. Semiweighted keyboard controllers have a medium action response. Their keys feature a solid action but definitely lighter than the fully weighted one. They have the advantage of being very versatile, offering a good response and also allowing for good performance speed. If you are not concerned with a realistic piano feel, then a controller with a synth light keyboard is probably a good choice. In fact, for electronic sequencing and production, this is the type that we would recommend. Make sure that
your keyboard controller has plenty of assignable faders, knobs, and pads; they will come in handy when you are controlling the different parameters of your software synthesizers (Figure 3.64). Figure 3.63 Audio interface connected to an external API Lunchbox with four extra preamps. Figure 3.64 A MIDI keyboard controller with a great selection of assignable faders, knobs, and pads (courtesy of Novation). Figure 3.65 A guitar-to-MIDI converter system.
These extra controllers are easily assignable to any MIDI control change. For example, you will be able to assign the speed of an LFO to one of the faders and control the cutoff frequency of a filter with another fader. The majority of the keyboard controllers connect to your computer via USB. Usually they also have a regular MIDI 5-pin DIN connector for interfacing directly to other MIDI devices or to a computer MIDI interface.
Of course there are other MIDI controllers that are not keyboard based. The most common alternative controllers are the guitar-to-MIDI controller (GMC) and the MIDI drum pad. Both are not only ideal respectively for guitarists and drummers, but also for producers who want to experiment with different systems of controlling their synthesizers. A guitar-to-MIDI controller (or guitar MIDI controller) allows a regular acoustic or electric guitar to be connected to a MIDI system. It outputs MIDI messages and notes to any MIDI device, including a DAW. The principle on which this type of controller is based is simple: a pickup (divided into six segments, one for each string) is mounted next to the bridge of the guitar (Figure 3.65).
The pickup detects the frequency of the notes played on each single string by analyzing their cycles; this information is passed to a breakout unit that converts the frequencies in MIDI note On and Off messages. From the unit, a regular MIDI OUT port sends the messages to the connected device(s). The pickup can also detect bending of the strings that is translated in pitch bend messages. This one is an alternative controller that is worth having in your studio as either your main controller or as an occasional substitute for your keyboard. As the price of these devices keeps getting lower we definitely recommend investing in one. A GMC can be used in creative ways. Because each string has an individual pickup, by assigning different strings to different MIDI channels and patches, you can create a “one-man band” and generate interesting layers and ensemble combinations. You can record-enable multiple tracks (maximum of six, one per string), all receiving on different MIDI channels, and assign their outputs to separate devices and MIDI channels. You might assign a low sustained pad to the low E and A strings, use the D and G strings for sound effects or tenor voice counterpoint, and the B and high E for the melody. The advantage of this approach is that you can capture a much better groove and “live feel” than sequencing the tracks separately.
Figure 3.66
MIDI pads are controllers meant to complement either a drum kit or a keyboard controller. They usually feature four, six, or eight pads that can be played with either sticks or hands. The MIDI channel and note assignment can be set for each pad individually. A creative way to program a percussion/drum controller is to use it as a MIDI “pitched” instrument by assigning different pads to different notes of a pitched instrument or synth patch. You can also assign certain pads to trigger loops or samples and use them as background layers for a one-man-band type of performance. No matter which one you choose, we highly recommend having one in your studio. You are not necessarily required to be a proficient drummer to use a MIDI pad. In fact, these devices are particularly appealing to nondrummers because you can take advantage of all the
editing features of your sequencer to fix and improve your parts.
Another type of MIDI controller that can be extremely useful and fun to play with is the breath controller (BC) (Figure 3.66).
This MIDI device connects to a standard USB port on your computer. It allows you to send any CC data by blowing air into its mouthpiece. You can program the type of CC sent through the BC through its dedicated software editor. With the USB MIDI Breath and Bite Controller 2 by TEControl (http://www.tecontrol.se), you can send MIDI CC messages not only with breath pressure but also with byte, and up/down/left/right head movements. You can assign the BC to CC#11 (Expression) and smoothly control the volume of your parts while playing. Or, assign it to CC#1 (Modulation), and you will be able to add a touch of vibrato. The applications are endless, and you will find yourself wondering how you could have sequenced before without it. If you are a wind instrument player we also recommend using a wind controller, such as the Akai EWI or the Yamaha WX series. The main advantage of these devices is that they provide a way to input notes that is very close to the experience of playing a real wind instrument. Their clarinet-like shape and controls allow you to sequence any type of lead part with extreme flexibility and expressivity. Some of the features that make these devices incredible sequencing tools are the ability to switch octaves (extending the range of the instrument), to assign one or more control wheels to arbitrary MIDI CC, and to select among several fingering options, such as clarinet, saxophone, and flute. The biggest drawback of these controllers is that they require you to be a very skillful musician in order to master all their sophisticated capabilities. Even the most experienced veteran wind instrument player will need a good amount of time to adjust to the differences between an acoustic instrument and the controller. If your main instrument is not saxophone, clarinet, or flute, we suggest using a keyboard controller in combination with the BC.