I Need To Get Control. MIDI Control That Is
By Cliff Suttle
May 17, 2000 - So you've always wanted to dive into the world of synthesized sound. The only problem is you hate keyboards. I personally love keyboards, but I realize that there are those of you out there who haven't evolved to this point yet (just kidding). Even if you do like keyboards, there are certain musical techniques where a keyboard controller is just not a good choice. MIDI stands for "Musical Instrument Digital Interface". MIDI is the standard computer signal that allows one musical instrument to talk to another. By using MIDI you can send musical information such as pitch, velocity, duration, etc. to a synthesizer with many thousands of different tones.
So why would you not want to use a Keyboard to generate MIDI control information? There are a number of possible reasons. Keyboards don't produce sliding notes glissando MIDI information very well. Keyboards are not good at certain drumming tasks. Keyboards are not good at generating quarter tones (notes between the standard 12 notes of the Western music system). Then there is the other reason not to use a keyboard - you never learned to play keyboard. Perhaps you are a drummer or a violinist. You would probably be much more comfortable on your native instrument than on a set of white and blacks.
If the above description sounds like you, then there is no need to worry. There are tons of alternate MIDI controllers to accomplish the task. It seems as if MIDI capability has been added to almost everything. MIDI guitars are virtually everywhere from the Fender GR series MIDI pickup to the Brian Moore i-series guitars. However, I have also seen sound/vibration MIDI converters for horns, drums, strings, even vocals. It seems that in today's technological world it doesn't matter what you play, it can be MIDI-fied .
So what is the advantage to you of playing a MIDI instrument? I can sum it up in one word -- "versatility". With MIDI, you can play your guitar and sound like a saxophone or a violin or aliens landing on the moon. Many of the new MIDI instruments allow you to blend the MIDI synthesized sound with the natural sound of the instrument you're playing. So, you could play your bass and have a group of strings humming along with you in perfect unison. The sound pallet of the synthesized world is huge and you're only a five pin MIDI cable away from tapping into it.
There are a couple of things to keep in mind when you're purchasing a MIDI controller. First, the controller normally does not have a synthesizer built into it (although many keyboards do). Most controllers only send out MIDI signals that can be interpreted by a synthesizer such as a Korg/Roland/E-mu sound module. These rack-mount synths come in a variety of prices and capabilities. You will have to do a little research in order to ensure you get the synth that is best suited for your controller and your musical style. Secondly, be prepared for a learning curve as you get familiar with your synth and your controller. In most cases you will find that playing MIDI takes a different performance technique than playing the natural instrument. If you don't sound good right away, don't give up. Some practice will be required, but the result may be well worth the effort. Third, some controllers and/or synthesizers have a delay in the signal between when you play the notes and when the sound is actually heard. This delay is caused by the complex analysis that must be performed by the controller and the synth in order to determine what note you are playing, how loud, and for how long. Some controller/synth combinations may require you to play ahead of the beat in order to play in time. If you can keep these three things in mind and are willing to deal with it, MIDI could be a great musical resource for you.
Here are just a few lesser known choices for a MIDI controller that you may not know about:
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| Emmitt Chapman playing his creation (Click for a close-up of the Stick) |
The Stick
The Stick or Chapman Stick as it is also known (named after the inventor Emmitt Chapman), is a great choice for guitar, bass, or keyboard players. Players of these instruments will make the transition to the Stick quickly and keyboard players will probably make the jump to Stick more quickly because they already have the two-handed rhythm/lead technique down.
If you have never heard of a Chapman stick, it is a two handed tapping instrument that can be used to make native sounds (producing it own sound - a cross between guitar and piano) or can also double as a great MIDI controller. The Stick has an optional MIDI controller that is built right in to the instrument's pickup system that sends quick and accurate MIDI information. The Stick was created more than thirty years ago and has been used by such bands as Gentle Giant, Kitty Hawk, and the Dave Matthews band. If this fact surprises you, you're not alone. Many people have never heard of the Stick. The Stick has a small but dedicated following which has been steadily growing through the years. However, compared to guitars, it's just a babe in the woods.
The Stick has ten guitar-like strings (5 guitar/5 bass) and is excellent for producing both rhythm, lead, and solo performances. I got a chance to hear many fine stick players at the NAMM show and what can be done with this instrument is nothing short of amazing.
As a MIDI controller, the Stick performs much like a keyboard. This is because it is a fretted instrument and is designed to play the note at the fret. If you plan to do a lot of slide work, other controllers may be a better choice. I know personally I've been wanting a Stick for years. I wonder if Santa is still accepting letters this time of year, hmmm . . . To get more information on the Stick go to www.stick.com.
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| Zeta Classic (Click for a close-up) |
Zeta String Instruments
If violin is more your style, Zeta music offers a whole range of fine string instruments with optional MIDI controller functionality. The Zeta instruments are hardly standard stringed instruments. This is due to the fact that a lot of Zeta models are solid body and can only be used with an amplifier. However, they are the standard for this type of instrument and their bridge pickup systems are second to none. However, in this article we are more concerned with MIDI control. In order to use the Zeta instruments as a MIDI controller, you need to purchase their optional Synthony II MIDI Controller. This is more than a pitch-to-MIDI converter. It is also a sound source so you won't need a rack synth. This is not a inexpensive option, but it does have one quite unique feature. Each string of the violin can be programmed to a different MIDI channel allowing you to play four different sounds at once. Although I play violin (as well as keyboards, bass, and guitar) I have not personally had a chance to review this product. Therefore, I can't confirm it's abilities, but as I said before it is the industry standard. This is a perfect solution to MIDI control if you play violin or are looking to do a lot of sliding or pitch bending. If you don't play violin already, be forewarned that violin is a very difficult instrument to learn. It will take a lot of dedication to perfect playing techniques. To find out more, check out Zeta's web site at www.zetamusic.com
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| Marimba Lumina (Click for a close-up) |
Marimba Lumina
MIDI drum controllers have been around a long time. They're really nothing new. In fact, Kat has had a MIDI-marimba for about ten years. However, the Marimba Lumina is a totally new concept or should I say an old concept taken to new extremes. The Lumina is the creation of Don Buchla who is practically the godfather of alternative MIDI controllers.
The basic playing surface of the Lumina is set up similar to a standard acoustic marimba. However, that is where the similarity between the two instruments ends. The first difference, and in my opinion the coolest, is that the Lumina comes with a set of four mallets each with a different colored stick. Each different colored mallet is sensed by the Lumina allowing each mallet to play on its own MIDI channel. For those of you who may not realize how cool this really is, I'll give you an example of what you could do if you wanted to. The red mallet could play a bass sound, while the green mallet plays a guitar, the blue one a timpani, and the yellow one a timpani tuned exactly one fifth above the blue one. Just imagine the possibilities.
Now, if that was the only new feature on this instrument, it would make it worth the money. But, did Don stop there? Oh no, of course he didn't. The bars can also be used as continuous controllers. If you're a percussionist you might not know what this means to you. Here is an example: a timpani normally has a pedal that allows you to detune the drum on the fly for some very interesting effects. The Lumina can do the same thing. To accomplish this task with the Lumina, hit the bar with one of the mallets and leave the mallet down against the bar. Now, by moving the mallet up or down on the bar you can pedal up or pedal down the timpani pitch. What's better yet is that each mallet can control the sound in a different way. The blue mallet can be pitch bend, the red volume, etc. Boy, I wonder if this list to Santa is getting a little too long?
The two super controller functions listed above are just a few of the many interesting, unique features built into the Lumina. To find out all the great stuff the Lumina can do, check out www.multimedia.nearfield.com.
Keep Jamming,
Cliff
Cliff Suttle (cliffnotes@harmony-central.com) has been studying music for over twenty years including studies at the University of Michigan. Fluent on keyboards, guitar, and bass, Cliff is currently playing in an all original rock band Middle Earth. Cliff's motto: Understand the theory and you can play anything.
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