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If you see it again it's because something has changed so please set your preferences accordingly. Page 1 of 2. At the moment I have a midi keyboard with 25 keys but I find it limiting for making music, especially since I'm just learning and I find it hard to wrap my head around music scales etc with such a small keyboard.
And I'm trying to avoid purchasing a keyboard that's too small or too large but I'm not sure what size would be right for making electronic dance music. But I don't know which would be the best size. Can anyone lend any advice? It would really be helpful to know if 49 keys is enough or will only be limiting and I'll want the Or if 88 is overkill etc.
My Studio. I went from 25 because of excessive traveling to 61, which is fine for me. FWIW, I also use a key keyboard. But seeing the thread title I couldn't help thinking of. Michael E. Got 49 instead of 61 and regret about it.
Have to press the octave button each time for bass notes. Thanks everyone that's a huge help! I'm glad I asked because I almost bought a keyboard with 49 keys assuming that should be enough So it's really enlightening to see that everyone is on the same page with recommending 61 keys It's a good balance. Some synths only transpose internally. My friend bought an expensive synthesizer that did that internally only. Beyond that, the number of keys is flexible. But what are the other factors you should consider?
Each of these five factors impacts how many keys your MIDI controller should have to give you the best studio experience. The first factor to consider is how mobile you need your MIDI controller to be.
What the keys are made out of will also impact the weight. Thicker, heavier keys will add heft, but they tend to be more durable than lightweight plastic keys.
If you need a portable and durable keyboard, you might want to opt for 49 or fewer keys to keep the controller size down. Related to portability is the amount of studio space you have. For smaller studio spaces where work surfaces are hard to come by, a full-size 88 key keyboard might not be realistic. The amount of other gear you have to fit into the studio is also pretty important. The way you use your controller in the studio is a good way to gauge what size it should be.
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The cookie is used to store the user consent for the cookies in the category "Analytics". Transport controls that auto-map to a DAW can be very convenient and tend to keep you on the instrument and in the zone when creating, as opposed to having to continually use the mouse or QWERTY keyboard.
Onboard arpeggiators are a nice addition for live performance situations especially. Further, each encoder knob can act like a button or be pushed and turned for a completely different CC mapping. It is a highly functional device with a very small footprint. Also high functionality in a small package. Some of these controllers are intended to supplant the need for a traditional keyboard controller. The Push has 64 velocity sensitive pads that have multi-functionality based on the mode.
Other devices come in handy as additional controllers for such things as mapping sliders to volume faders in your DAW, transport controls, or any sort of control not provided by your main controller. Most if not all of these devices have USB connections, so plan on getting a good powered USB hub to keep the data flowing. Last July, I wrote an article on some of my favorites which you can find here.
While none of these would fulfill the duties of your main MIDI controller in a studio situation, they can be sources of inspiration in the creative process. The world of iOS Audio Production is robust and continues to be a force for live performance and innovative software development. When you buy an audio app which are absurdly cheap by the way , you not only get the software and sound generation capabilities but a unique playable surface as well.
Data streams can be generated by the onboard gyro and accelerometer, in addition to touch, a feature that has also been expanded to include MPE capability by companies like moforte to turn your tablet or phone into a powerful instrument. I suggest you reserve judgment until you try using some apps in your workflow. This means you can drive any virtual synth or external synth connected to your computer with your guitar or bass.
Hearing is believing and not every synth voice will cooperate in a nice way, but I guarantee you will be generally impressed. Note: a new version has since been released which I am anxious to explore. Playability, functionality, portability, connectivity, and expense are just some of the considerations. It may be advisable to have an array of devices instead of trying to find all the desired functionality in a single piece of gear.
Happily, the caretakers of the MIDI protocol have had the foresight and wisdom to retain backward compatibility as a major tenet with the release of MIDI 2. I can think of very few instances in which so many manufacturers have agreed upon a common protocol with such long-lasting, mutual success. The consistency and interconnectivity of MIDI have benefitted both producer and consumer alike.
If the powers that dominate society would cooperate in a similar way, perhaps the world would not be so fucked up.
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