Open letter to Mr & Mrs Korg

First of all, I need to fix that menu some time soon, it has a link to Indaba account I’ve closed since and a SoundCloud link to an account I basically avoid as much as possible. All this is worth a post of its own, and it is not this post.

Whenever I face a problem in my audio setup and such, I try to find the answer by using my preferred search engine (DuckDuckGo). More than once I have gotten my own earlier blog posts as results. This means that although there are tons of tutorials and shit out there, I seem to find things not featured on other forums.

The topic of this post is a well-known issue though, so I’ll cut the bs and get into it.

First, I live in Europe and I would like to purchase a Korg Minilogue synthesizer. Second, I am interested in purchasing a Korg NanoKeys usb MIDI controller.

The problem? Korg has none to sell.

So, Mr & Mrs Korg. You have officially launched new products, but you are unable to provide them to customers. I flipped my marbles when I saw on a social media platform a contest where there was a Korg Minilogue as a raffle prize.

I mean honestly, what the hell? The only way to get a Minilogue in Europe is to win one instead of being able to buy one?

At least when it comes to Europe, the Korg manufacturing line is managed by retarded fools with no concept whatsoever of how to actually handle the business. I have read stories from the U.S. basically saying the same so it might be that Europe is not alone in this one.

Normally in these kind of rants the person at this stage says that he or she will never buy anything from the company affiliated to these problems. I would do quite the opposite, but thanks to Korg, none of the retailers I use have any idea of when they will be able to offer the products featured in their catalogues.

So sincerely, Mr & Mrs Korg: fuck you. And if you happen to be the person responsible for Korg’s European operations, please resign and give this blog address to your bosses. I can do a better job in my dreams.

The image of the only Korg Minilogue currently in Europe.

 

When iPad met Cubase 5

For a long time I had a dream that I could somehow use the music software on my iPad – for example synths like Propellerhead Thor, Animoog or Korg iMS-20 – in my Cubase 5 productions. Now I can, and I have iConnectivity iConnectMIDI 2+ to thank for this.

The device, further to be called as iCM2+, enables users to send MIDI in, out and through, and the latter is the reason why it can return audio in sync with MIDI from iPad into DAW. I am also now an owner of iCM2+ so everything I write is based on what I have actually done with it.

In my opinion both software and hardware often make the cardinal mistake that they do not focus on making comprehensive manuals and tutorial videos. The videos can also be focused on wrong things, since if I am an existing or future customer, I need at some point to find out how the product is actually installed in my specific system.

When manuals are concerned, the iCM2+ was no exception. I believe there was a line or two I could actually use as guideline in actually setting things up. The installation itself was no problem, since as promised, iCM2+ is a plug’n play device. But sometimes there just is no sound coming out no matter what, and usually I have no clue why.

After an hour or so and about a dozen different internet sources I started to get the hang of it. Because iCM2+ works together with the primary audio interface, two separate audio input busses in Cubase 5 were needed. Also the first time ever the DAW metronome click sound simply disappeared, which was confusing since I use it in testing audio levels before turning any mixer knobs further up. The solution: enable click sound in the new buss in Cubase 5, for some reason this is not the default setting. There was also this rhythmic glitch coming seemingly from nowhere in the output channel, which was removed only after I had upgraded my ASIO4All driver to its latest version.

The iCM2+ has standard MIDI connections in its back panel so I connected my master keyboard and opened an iPad synth after I had first created an audio track with the new iCM2+ buss as input source. And the light came, or more accurately sound. Suddenly all my iPad synths were available in Cubase, and it felt really good.

This morning I had already created a demo setting where Sugar Bytes Thesys – an iPad MIDI step sequencer – controlled both Propellerhead Thor and a vst synth open in my DAW simultaneously, and the sound from these two sources was in perfect sync. I just sat and listened to the output channel for minutes, occasionally adjusting the sound a bit. Also, both instruments could be recorded in their respective tracks for further mixing.

It is not often that a device actually makes your dream come true, although in marketing this is quite common a promise. In case of iCM2+ it took some time and effort, but the result was nothing less than the realization of something I had been dreaming of ever since I bought my first iPad synth.  

The Modular Way

Yesterday the Apple Developers’ meeting gave participants first taste of iOS 9, and there in the fine print was also a mention of a new audio feature. It seems that iOS will in the near future include plugin technology, which would mean apps like Cubasis could have similar addons as in their workstation form: instruments, effects etc.

This would of course mean the end of the road for Audiobus, so far the best option for linking apps. Also the new multitasking feature will affect this, but it remains to be seen when and how. I’m sure Audiobus will in practise hang around for quite a while until the app vendors omit the new approach, if it actually is a practical one. If only Apple did something to the physical audio connections also, then the iPad would really start to challenge the workstation environment.

Meanwhile I have searched for ways to combine these two. A year ago or so I browsed through the iConnectivity catalog and found their hardware somewhat pricey. However now there is a model, the iConnectivity 2+, with the price tag of 80 euros or so, and I have actually ordered myself one. I am not in possession of it yet so I will get back to it once I have done some practical testing.

The second task, using the iPad as MIDI controller in Cubase 5 on Windows 7, has been one problem I haven’t been able to solve – until now. I found Mr Vitaliy Tarasyuk’s apps called DAW Control and Midi Studio, two reasonably priced pieces of software, which both work with Cubase 5. The only thing you need on your workstation is Tobias Erichsen’s rtpMIDI connection driver, something I have actually had installed for years. It is only now however that I found suitable apps I can use it with.

As one might suspect, DAW Control enables one to use the Cubase recording and mixing options along with the channel sliders on iPad, and I can confirm the app supports the Cubase 5 version. The real finding was the Midi Studio app, since it – although set in mixing view – gives free Midi learn option for users. Just set the sliders and knobs for Massive via Midi learn, and you can control basically every aspect of the sound like you had a hardware synth in front of you. Again, everything is fully compatible with Cubase 5.

Afterwards it basically made me angry when I thought how long it all took to be realized, and this was the main reason I wanted to share the details. I also watched Beardyman give a lecture at the TED gathering, and during the presentation he used his stage setup consisting of three iPads and synths. The outcome was a paradox, since the keynote show raised more questions than it gave answers to.

Somehow there is this veil of secrecy – even Beardyman did not give a guided tour of his setup but settled for being a sound wizard – surrounding new, easy ways of controlling sound. By this I mean the inexpensive ways, not Kontrol sellers (i.e. Native Instruments and other big players).

It’s like people are deliberately guided into buying integrated and often expensive software-hardware combinations, when in fact – as presented –  an app worth couple of euros can totally transform the way a soft synth is used in production, erasing the need for expensive new gear.

Is it really so that the controllers of the controllers  – the big makers of hardware – want to keep the easy solutions out of the market and replace this potential flexibility with their view of what is Komplete? 

I would rather take the modular way, where I am in charge of the particular pieces constructing the whole package. The only thing I need is some sort of compatibility, rather the kind that does not take two years to sort out. It seems that all sorts of things can be done with little or no extra cost, but very few people talk about this in public and I have no idea why.        

Seven Black Fridays

I noticed that quite a few Black Friday discounts on music software, hardware and virtual instruments were extended and are in fact still on. Here’s my thoughts on why this is the case.

It is obvious that the customers were stingy when it came to spending money. The lagging economy around the world is of course in the background, but then again music people are enthusiasts who rather spend a weekend eating noodles than refusing to buy something they really want.

So here’s my argument: the companies are right now out of touch with the customers. Native Instruments is currently trying to push its Maschine series forward with seven free soundpacks, but why upgrade, when even the latest software works in my Maschine Mikro, first introduced I believe four or five years ago. Were the new Maschine a self-sufficient wireless gadget I would already own it. And have you ever seen a video where people do something else on Maschine than boring 4/4 stock beat? Neither have I.

Second, the construction kit-based sample libraries are pretty much the thing a hobbyist is least interested in. For example, I enjoy turning the virtual knobs on my iPad using the Korg iMS-20 more than any VST synth on my workstation.

So how about a stress-free solution enabling to use those synths and sounds directly on my DAW? Doesn’t exist. Of course I understand that MIDI data and sound data don’t go hand in hand but yet I would think there were some kind of easy solution around. For the record, I have connected my iPad to my DAW and used app synths, and I won’t go through that mess again.

So yeah, there are things I am more than willing to pay for. If only someone was willing to manufacture them.

The Light Organs That Say NI

Native Instruments recently went deeper into hardware business by releasing three new MIDI keyboards called Komplete Kontrol S-Series. Here are some of my first impressions about the lineup.

First take a look at those circles I added to that promo photo above. What are they? Apparently just empty space. Now if that is not Kompletely Klumsy Kontrol design I don’t know what is.

The second thing I noticed were the light organ capabilities, meaning the coloured lights meant to enhance your playing experience. Were I a five-year-old, that might actually happen.

Thirdly, launching three different (by size) keyboards meant to be used with one software seems inconsistent to me. I don’t believe someone going for one of these would not leave a 61-key controller on the store shelf because he or she really wanted a 49-key one.

Lastly, my M-Audio Axiom 61-key controller has eight mixer sliders. The new NI controllers apparently have none according to information I have. Also, no specific TouchOSC/iPAD integration as third-party touchscreen controller exists – something a 2014 hardware release should. Just check out any live gig setup by current pop/electronica artists.

The Komplete Kontrollers will hit the stores is three weeks or so. It seems to me that the infamously chunky Maschine Studio just got company when in comes to Kompletely Awkward NI Gear.

Laptops vs. Tablets

A recent study I came about suggested that in the last two years or so desktops and laptops have lost significant ground to tablets when it comes to everyday use. So what does this mean regarding to music-making?

A lot depends on how mobile music-making tools develop in the near future. Apple’s inter-app-audio (IAA) is one major step toward a more integrated system in making music by using several apps simultaneously. Were there a VST instruments and FX standard for iOS at some point, the scales would keep turning even faster.

One important viewpoint is the supply and quality of apps. The ‘deep sample it to death’-strategy familiar from workstation libraries won’t work in tablet environment because of the limited storage space.

So instead of sample playback software, the app world users favor physical modeling software, since it requires less resources. There are only so many 500 Mb sample-based instruments that can be installed on a tablet without jamming it completely.

Some major library players like 8DIO and Sonokinetic have recently indicated that they have interest in dwelling deeper into the world of tablets. This is interesting since both of them have so far relied heavily on mainly large, deep-sampled libraries.

Making ‘light’ versions of those libraries for tablet use would probably not lead to success. Instead the interface and overall playability should step forward in the production process. Just think for example about ThumbJam, one of the first iOS apps in music making, which is still very much relevant because of its flexibility.

As a bonus, it would really interesting if there were iCloud or iTunes specifically for sample content. Nowadays sample libraries are sold in chunks, but as in the case of iTunes, people prefer buying specific files instead of ready-made packs.

Thus instead of IK Multimedia SampleTank for iOS there would be a light player software with an ’empty tank’, however with the possibility for buying individualized in-app sample content. In a way the Alchemy iOS version has done that already, but still the content in it is sold in prepacked form instead of individual sample files.

Ultimately the desktop/laptop world and tablet environment are probably set to merge also in music production. There are relatively big bucks in the game so it is nice to see which competitors play their hand most wisely.

TouchOSC: the unknown standard

When combining tablets and music workstations are in question, the TouchOSC app is probably the most handy app I have tried. This does not mean that it was especially handy though.

In fact getting TouchOSC to work in a DAW does require quite a lot of effort, after which there are still steps to be taken with controlling different VSTs.

My point is that tablets are meant to make thing more flexible and in general easier when it comes to workflow. Somehow the software industry has missed this when developing inter-app solutions as well as workstation integration. The tools are basically there, but they are not applied effectively and creatively.

I first tried TouchOSC maybe a year ago. Today nothing much has happened regarding to its further development. It could be the standard of workstation integration, but now it is still mostly a solution for enthusiasts who prefer building their own templates.

Thanksgiving fallout: Rick & Minimal

First it is good to remind everyone that I get no software freebies: I have purchased the following two products I am about to praise. I got them during the Thanksgiving sales, when lots of stuff were available with considerable discount. I noticed that some companies like Big Fish Audio continue to have daily sales until Christmas. Also, 8DIO has its traditional Christmas countdown on, with discount sales expected.

As for my first Thanksgiving purchase, it was snatched from the Native Instruments 50 percent off-sale (which is actually still on). The instrument in question is the Rickenbacker Bass by Scarbee, consisting of some six gigabytes of samples included in an instrument with an impeccable sound and playability. With discount the price is about 50 euros, which from this library is a total bargain. For a detailed analysis on the Rick, please refer to this review by Sound on Sound.

My second purchase was 25 percent off. The Sonokinetic Minimal is an orchestral library, and if you have no prior knowledge on it, please check out the videos on the instrument site. They are very well laid out and give you all the necessary details about the instrument specs. There’s also an informative review about Minimal on Sound on Sound (only partially online).

What the videos cannot fully convey is how insanely good Minimal is. I had some issues with the download, and I still have not received a receipt from my purchase. Normally these sort of things are a big turnoff for me – this one is an exception.

As a matter of fact, my first experience after the installation was that there’s no audio whatsoever. I had to resort to support pages, and they did answer my problem, which was somewhat an embarrassing one. For anyone dealing with the same issue: try playing a chord instead of a single note.

After I got the hang of it, I have mainly been grinning like an idiot and trying different things out. As I said, do check out the videos on details, but I can tell you this: Minimal works great and sounds awesome. Do not be confused with the rather boring product demo compositions on Sonokinetic site, since they were probably made only with a partial Minimal release. The finished Minimal version has much more nuances than the midtempo The Dark Knight Rises mockups suggest. Then again this is a common feature with many superb sample libraries: they are for some reason showcased in a manner which in fact undermines the value of the release.

Finally the fact that I got Minimal 25 percent off was of course great, but I must emphasize that this library is definitely worth its retail price, if you are into orchestral work. I did notice that Project SAM – they have never been too shy with their price tags – is also releasing orchestration tools in the coming weeks. They will definitely have to shoot direct bullseye to top Minimal in more categories than the asking price.

Both the Rick and Minimal made me thankful for great sample library makers on Thanksgiving. Hopefully there’s more of the same already in the oven.

Thanksgiving Sale: The Picks

It is time for the best annual VST sales around so I thought I should list some of the things I have on my checklist. Let me remind you that all the items I am going to mention are worth their full price, but on Black Friday paying a full price for anything would not be too clever an idea. Also, I am not to buy all of the following things myself even if they were -50 percent off, but I do say that they are worth buying if you’re after something special.

1. Sonokinetic Minimal. Nice Kontakt orchestral tool for arrangements.

2. Output Rev. Again for Kontakt, all instruments are reversed. Sounds cool.

3. Shevannai by Eduardo Tarilonte. Vocal library instrument of the highest quality.

4. Rawcutz sample packs for Maschine. For beat production, nice vintage sounds.

5. Can’t think of one. Maybe that tells something about the lack of new interesting stuff around.

Percussion: Spitfire bombs NI

Percussion library #1:
“HZ01 ships in November as over 160GB of compressed content (from over 600GB of mixed and edited WAV data) and the initial release has material from Hans Zimmer, Alan Meyerson, and Geoff Foster. Two free updates are following with Steve Lipson and Junkie XL’s material. The final library will be north of 200GB of compressed content (from over 700GB of mixed and edited WAV data).”

Price: £299 (with early bird discount).

Percussion library #2:
3,2GB to “freely combine 105 time-tested rhythms to develop your own arrangements – each features five variations per ensemble section for countless rhythmic possibilities. You also get 65 single instruments with 32 playable rhythms and 12 playable sets of single hits.”

Price: £250.

I know I have been a bit harsh when it comes to their releases lately, but this fits the picture seamlessly. Library #2 – the NI Action Strikes – clearly loses when it comes to Library #1, namely the Spitfire Audio HZ01, and given the difference in price, those really in need (i.e. pros) for vast orchestral percussion library know what to do.

I hold my opinion about Native Instruments currently not knowing that.