CONTROL KEYS
Mar 1, 2006 12:00 PM, By Erik Hawkins
There's nothing amusing about purchasing a MIDI keyboard controller only to find that it can't perform all of the functions you wanted it to. Although that isn't such a big problem in the studio (you can always pick up another MIDI controller and stick it somewhere on your desk), it's a big problem for live performance. For gigs, it's crucial to keep your gear setup compact and ergonomic. Extra pieces of equipment make setting up (and breaking down) a pain, and dealing with too much gear while you're playing can interrupt your connection with the audience.
BARE NECESSITIES
There are a ton of MIDI keyboard controllers on the market, with just about every feature imaginable. Deciding on the right model for your performance needs can be daunting. Fortunately, there are several key live-performance features that are a must: well-illuminated displays and controls, MIDI I/O, dependable power and a roadworthy build.
These days, a USB port is also a must. If you use a laptop onstage, USB to MIDI is simple and convenient with low latency. Even if you don't currently use a laptop onstage, there are so many great software synths and samplers available that it's crazy not to anticipate taking advantage of this extensive resource someday. Most USB-equipped keyboard controllers have at least one MIDI Out jack, which is essential for controlling hardware MIDI sound modules. If you gig with several hardware units, two (or more) MIDI Outs is preferable. Several recent models (such as the Alesis Photon and the Korg Kontrol) even feature a MIDI In jack, which is necessary for connecting a MIDI-only external controller (such as a Roland HandSonic or a Korg KP2 Kaoss Pad).
It's convenient for your keyboard controller to draw power from your laptop's USB port, but that can be a strenuous drain on your laptop's battery and a bad scenario if you forgot to pack your power supply for the gig. Consequently, the controller should be able to operate with an external power supply. Although most USB-to-MIDI keyboard controllers will run off a wall-wart power adapter, you may need to purchase it separately.
Well-illuminated controls also require power — another good reason to keep the controller's wall wart in your gig bag. Lots of multicolored LEDs and a backlit LCD are essential for playing in dimly lit clubs. Along with all the pretty lights, make sure the controller is well built and can handle the rigors of the road. Sturdy keys, robust knobs and faders, and an overall solid construction (it shouldn't feel like it's going to blow away in the wind) are clues that the controller has what it takes to hit the stage time and time again.
RIGHT ONE FOR THE JOB
Make sure to match the keyboard to the task at hand and your playing skills. Are you a proficient keyboardist looking to flex your chops onstage or a DJ looking for new ways to trigger samples? If you're a serious player, you'll probably want, at the very least, a 61-note keyboard. An 88-key weighted keyboard is nice for the studio, but because those units can be heavy, a semiweighted (or hammer-action) keyboard, such as M-Audio's Keystation Pro 88 (47 lb.), is a much better fit for the road. On the other hand, if you just need a couple of octaves for triggering samples and perhaps playing an occasional bass line or lead riff, a 25-note keyboard like M-Audio's O2 will be just fine.
So many parameters of software synths and hardware MIDI sound modules can be controlled in real time with MIDI CCs that it's silly to not take advantage of that dimension for more expressive performances. You can slowly push up faders assigned to volume to crescendo a sustained note or turn a knob controlling the frequency sweep of a resonant filter for a more dynamic drum loop. No matter who you are, you'll want to control your sounds using knobs and faders (in addition to the ivories). Eight faders and knobs are generally a nice accompaniment. If you must choose between faders or knobs, go with the knobs, because they're easier to grab during a performance. Make sure that the knobs and faders are of a decent size and feel positive to the touch, because some controllers have small, economical controls that are fine for the studio but less than ideal for the stage.
FINISHING TOUCHES
In addition to traditional knobs and faders, several manufacturers have added more novel forms of control, one of which is sure to tickle your fancy. Examples include Alesis' AXYZ (pronounced ax-is) infrared light beam found on the Photon keyboards, Korg's Vector Joystick from the Kontrol product line and Novation's Touchpad on the ReMOTE keyboards. The AXYZ is tons of fun, especially if hand gesticulations are part of your performance style. It has a reputation, however, for being a bit less responsive in low-light situations. Alternately, the Vector Joystick, though arguably not as much fun as a light beam, performs consistently regardless of the ambient light level. You can tap and stroke a Touchpad's surface in time to your music, and those are effective musical control gestures that don't translate to a joystick or a light beam.
Sequencers have become an integral part of the sound-design engine in many of today's hottest software programs, such as Abelton Live and Propellerhead Reason. As a result, it's extremely advantageous to have transport and tempo control of the sequencer directly from your control keyboard. That allows you to move your laptop away from center stage, because you no longer need to reach for the mouse and look at the computer screen to start and stop a sequence. With a keyboard controller that sends MIDI Clock (such as the Kontrol), you can slave the software sequencer to gain complete control of its tempo. That technique takes live sequencing to a new level, because it lets you dial in an appropriate tempo on the fly for much better control of your show's mood and energy level. Ultimately, having all of this performance control from a single keyboard controller enables you to better focus on the audience and put on a great show, rather than hiding behind your computer screen.
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