Apr 27, 2011 Electric Kit with Camera Connection Kit (The Body Electric) As mentioned in a previous article, in order to get MIDI control for the iPad, you will need the Camera Connection Kit and a USB MIDI interface. Ipad air 2 garageband guitar player. Korg Nano Pad or other drum finger pad trigger. You will need a powered USB hub to use the Korg NanoPad. Korg nanoPAD2 Slim-Line USB MIDI Pads - White. Korg nanoPAD 2. First one I had was returned after it stopped working randomly in garageband. Worked on another mac fine. Apr 27, 2011 As mentioned in a previous article, in order to get MIDI control for the iPad, you will need the Camera Connection Kit and a USB MIDI interface. Korg Nano Pad or other drum finger pad trigger. You will need a powered USB hub to use the Korg NanoPad. IPhone/iPadのGarageBandやSunrizer synth Animoogを鍵盤から鳴らせました。 2012-02-13 GarageBand DTM,DAW iOS音楽アプリ iOS 5 iPhoneのGarageBandにKORG Nano Key 2が繋がるかどうか」という質問があったので関連したことを色々と考えて記事にまとめてみた。.
Korg already have an enviable track record for making high-quality apps, but in Gadget they’ve made their most serious step yet towards full music production. Gadget borrows an idea Korg have used before in which, instead of complex, daunting synths, you’re presented with a collection of simpler instruments, each fine–tuned for a specific role. These are collectively known as 'gadgets'.
Dublin's second panel features MS20-style patching.
There are 15 individual gadgets (most with built–in effects) and more are promised in future. In one of Korg’s cheerier innovations, they’re named not after boring numbers and acronyms, but after cities. Three are drum machines, while the remaining dozen are synthesizers. Whichever way you look at it, Gadget packs in a lot of choice.
Within seconds of firing up Chicago, the tube bass machine, a few notes were enough to convince me you can have both quality and quantity. Its silver faceplate and 303–style knobs are a dead giveaway that there’s more scope here than mere bass line worship. There’s a full ADSR and an arpeggiator; plus, how can you not love a synth with knobs labelled Bite and Gnaw? Chicago’s gnarly tones are further boosted by integral effects that recall Korg’s EMX1 Electribe. If you’re into squealing, wibbling bass lines, this is an ideal place to start. In complete contrast, Chiang Mai is a gadget that uses Variable Phase Modulation to produce its chilled catalogue of bells, plinks, glassy pads and FM–style basses, all tamed by a low–pass filter.
Switching smoothly back to analogue emulation, Berlin is a lead synth with ARP–style sliders. Its controls were noticeably steppy, but this can be forgiven because of the sweet oscillator sync implementation and built–in delay. Indeed, the synth sounds so warm and fuzzy my forgiveness temporarily extended to Korg’s coders and their enduring start–at–zero envelope fixation.
To cover the full depth and variety of every gadget would require a minor novella, so I’ll mention just a few more random favourites, starting with the semi–modular analogue monster Dublin. Adorned withLondon, a general–purpose drum machine packed with samples. Moog–style knobs and an MS20 patch panel, Dublin soon established itself as my big fat bass gadget of choice. It’s shipped with enough patches to inspire contemporary dance tracks or prog excesses. Moving on from analogue squelch, I recommend checking out the yellow ‘army surplus’ panel of Kiev to discover a wonderful digital pad machine brought to life by vector synthesis and Kaoss Pad–inspired filter controls. Great stuff.
If anything I was even more impressed by another digital gadget, Marseille. This is a polyphonic PCM synth that forfeits programming depth in favour of a bank of 128 classic patches. These include passable versions of the M1 piano, Mellotron strings and flute, plus Korg’s patent breathy choirs and saxes to die for (well, somebody should). Further gadgets supply analogue polysynths, 8–bit games machines, wobble–prone bass synths and anthemic unison blasts — enough to keep you occupied for a very long time to come.
The trio of drum machinesKiev: vector synthesis Korg–style. may not seem generous compared to the broad selection of synths but the most comprehensive is the eight–voice PCM–based London, stocked and ready to go with over 400 samples. Or there’s my personal favourite, Tokyo, and its analogue modelling of kick, snare, tom and percussion. However there’s definitely scope for more adventurous drum gadgets in future. For example, one glaring omission is any form of user sampling or a sample import function to build original kits.
Having inspected the gadgets, I could no longer resist diving in and making tunes. Initially, I felt hampered by the fixed portrait mode; mostly because it left so little room for a playable on–screen keyboard, but also because Korg added the tiniest transpose buttons I’ve ever been challenged to prod. My fingers are slender and work–shy but even they proved too wide to reliably hit every on–screen object. However, button tapping was a minor inconvenience compared to the biggest issue I encountered: latency. This had been automatically set to its lowest valueMarseille: a mini–Triton thrown in! (‘Safer’) on my iPad 2 and while the next option up (Standard) gave a better response, it taxed my poor machine too much and it wasn’t long before the inevitable crackles and stutters began.
It is a mixing tool that helps you to work with multiple tools. Virtual dj 7 home mac. Packs several parameter editing features.
Korg recommend five gadgets as a maximum for normal operation on an iPad 2 while, at the other end of the scale, an iPad Air should handle between 20 and 25. There’s a freeze function that would give me three more, but at the expense of dynamic interaction.
With a MIDI keyboard attached, the latency still took away a fair chunk of the pleasure, but other than that, song creation was mostly plain sailing. The random song-name generator earned a big thumbs up — all music–making software should include one! Having started a new song, it’s then a familiar process of creating and arranging scenes, each consisting of as many tracks (each track hosts a gadget) as your iPad can cope with. Via a function key you set the scene’s length, time signature and number of repeats, the building blocks of a basic linear structure. If, after recording, your notes aren’t exactly where you intended, note and automation editing cover the expected options with the minimum of head–scratching.
A Gadget song. The mixer can be folded away so you can access more scenes at once.
In performance, Gadget takes its cue from other looping, interactive software, in that you can trigger new scenes from the list and reorder the song on the fly, looping any scene at will as you interact with synths, drums or the mixer. New scenes kick in when the current one ends, but I’d have liked additional options to swap on the next beat or bar too.
There are some limitations, with the most annoying being the need to return to the main screen whenever you want tomute or solo tracks. Similarly, undo is not always available when needed, as I discovered when I deleted a scene I really meant to duplicate. I’d also love to have a slicker way to multiply the length of patterns in order to add variations. That said, there are tools for most common operations, including a (basic) song export function. Songs can also be shared via Soundcloud.
Gadgets was not cheap even at an introductory £19.99$28.99 (25 percent off its regular price) and prior to purchase iOS 7 needs to be installed. The new OS totally failed to invigorate my plodding iPad 2, which my wife is now eyeing as I scrabble to justify an iPad Air. As someone who bought Garageband and used it twice, a more important consideration even than the cash outlay is simply: would I use it? I reckon the quality and variety of Gadget’s instruments make it a tempting and inviting proposition, especially as Korg promise future updates that will introduce new gadgets and support for audio tracks. Personally I expect it to run and run, just not on an iPad 2.
£19.99
After seeing one of THE best live bands (RUSH!) this week with one of THE world's best rock drummers (Neil Peart), it's only fitting to be inspired and do a tutorial on recording drums with Garage Band for iPad. If you're lucky enough to have a seat close to the stage, it's quite an experience to see the 'Professor' up close and actually hear his drum sound coming from the stage. So on with the tutorial.. and a mean mean stride..
Let's look at the setup and equipment needed and the different options - Acoustic and electric - we have..
1. Stereo Blue Microphone Yeti Pro or other USB microphone.
Stereo is crucial if you want to get a fat sound. IK Multimedia has released the cool iRig microphone but it's mono and you can't combine 2 of them on the iPad. Now, this being said, perhaps you're going for a mono drum sound like the Beatles.
2. Griffin iMic or the upcoming Alesis iO Dock with a multichannel mixer and your own mic collection.
If a stereo mic isn't enough and you want more mics and control, then simple run the mics to a mixer and attach it's stereo outputs to the inputs of the iMic or Alesis I/O. For example, you may want a Kick/Snare/stereo overheads setup. The only caveat in this setup is that you will need to not only balance your volume levels between the mics but also pan and EQ them to the sound you want BEFORE you record. GB does not allow volume, pan or EQ separation of each mic after the recording is done as it's a stereo file. Here's hoping Ver. 2 has at least EQ. The other issue I came across was the headphone output of the iMic is low especially when playing the drums. You can either get a headphone amp or plug in the outputs of the iMic to your mixer and setup an aux monitor section. Be careful though to properly assign this headphone mix as you don't want to end up recording the metronome click and music tracks to your drum track.
As mentioned in a previous article, in order to get MIDI control for the iPad, you will need the Camera Connection Kit and a USB MIDI interface.
Korg Nano Pad or other drum finger pad trigger
You will need a powered USB hub to use the Korg NanoPad. Also, if you need to assign different MIDI note mappings to the pads, this will have to be done in Korg's editing software on your Mac.
V-Drums
For even more drum like control, you can plug in a set of V-Drums into the iPad. The V-Drums doesn't have a USB out but you can use a MIDI to USB converter, like the M-Audio UNO into the Camera Connection Kit. A Google search will show many MIDI USB devices compatible with the iPad.
Mic positioning ('Roll the Bones'): 3-4 mics and it captures the kit superbly with a nice room sound. If you're not sure of what his technique is, just do a Google search for 'Glynn Johns'. When using just a stereo mic, experimentation is key with the distance from the drums, in line with the kick or snare, placing it as an overhead, etc.
Room selection/dampening/drum tuning ('Workin' Them Angels'): Without a doubt, one of the key things to recording a great drum sound is TUNING! Wait.. you can tune drums?I've lost count as to the amount of recordings I've heard from bands recording themselves on a budget with poorly tuned drums. When properly done, even cheap drums can sound great and if you're not sure on how to tune, check out this tutorial on Recording Drums.
The room you place your drums in will also be key to it's tone. Try to find a room with high ceilings, wood panel walls, or soft furniture to absorb and disperse the sound. Drums are LOUD and in a small, low ceiling room will cause all sorts of problems. Empty rooms with dampening can also cause standing wave problems. Perhaps ask friends with appropriate rooms or even small churches if you can spend some time recording. Lastly, get moving blankets or office dividers if the room is close but not quite perfect in sound to help alleviate problems such as slap back or an overly loud kick drum.
Recording then looping sections (Subdivisions). In a previous tutorial, I explained how GB does things in 'Song Sections' where you can specify how many bars each section is. Here's a trick though for drummers that's useful especially with demo's of songs or for experimentation of new ideas. With this method, it's likely the drummer won't be playing with any backing tracks on the iPad other then a click since he's going to repeat sections of the song, so perhaps set up someone playing the bass/guitar parts, etc. in his monitors. Otherwise, lay down a ghost track and copy/paste it numerous times for different drum takes. Set your 'Song Section' to 'Automatic' so that it will record an infinite number of bars.
The drummer then plays along to the click/ghost track and records various takes of the song or parts of the song. Here's an example. Verse 1 may be recorded three times with the same groove but perhaps a different fill on the end or with/without ghost notes on the snare. Now you can edit the track using the split tool and break apart the takes into various parts such as drum groove/groove with ghost notes/groove with ride/drum fill 1/drum fill 2/etc. Duplicate the track by tapping on the track icon and hitting 'duplicate'. A second track will appear but it will be empty. We have two options to get parts pieced on the duplicated track. You can 'copy' the recorded parts and 'paste' them into the duplicated track to form the song. Be sure to select the duplicate track after copying or you will be pasting over the original and move your playhead to where you want to paste the part in. OR.. you can touch the section and drag it to the duplicated track and the bar you want. Looping is also available on these parts so you can easily repeat good takes. Once these parts are done, the original track can be deleted to free up tracks for other instruments. This method can also be applied for vocals, guitar, etc. but the trick is to have at least one track available to allow for duplication.
When GB first came out for the Mac, one of the best things I loved doing was writing and recording a song then taking out the standard rock drum beat and replacing it with something totally unexpected. This allowed me to see the possibilities of different rhythmic combinations/instruments and perhaps give the song a unique flavor. One of order of Indian tabla coming up! If you're not a drummer, 'Smart Drums' with the 'Dice' feature will randomly play different drum patterns. Once you find something you like, simply move the playhead into position and hit record.
For recording drum parts on the screen, GB makes it easy by not having you play all the parts at once. You can start with just the kick drum. Rewind and add the snare. Now the hi-hat and so on. Quantization will also groove it better in most cases too. Also, the drums are 'touch sensitive' and hitting different areas of the hi-hat, snare and ride will give you various tonal aspects of their sound.. very nice feature!
Set up drums, drummer joke, mic up drums, another drummer joke, and run if the words 'Hey Guys.. I got an idea for a song!' are spoken by said drummer. As with most drum sessions, patience is a virtue. Drums are finicky and need time to be properly setup. Monitor your drum sound with speakers and headphones as each will present their own sound of the kit and problems. Don't skimp on using quality headphones either since they may make you aware of issues you wouldn't hear in regular monitors. Problems such as a squeaky kick pedal or drum stool, unwanted room slap back, badly tuned toms (tuning with headphones is quite useful too!), unwanted buzzing of an object in the room (i.e. picture frame/vase/acoustic guitar strings).
Good luck if you're recording a kit this big!!
If you're using multiple mics, check for phasing! You can't fix this in the mix since the drums will be summed to a stereo channel in GB. Your drummer also might consider spending some money on his own in-ear monitors since they will cut down on click track bleed. He also won't need the volume to be as loud since they will block out the majority of his live drum sound. Be safe on your volumes! Consider taking 2 days to track the drums.. one to setup and experiment and the second to actually record. Let the drummer warm up for a while perhaps with the click of the song. Work on feel and groove with this click! Try different snare drums if you have the option. One likes to believe in the freedom of music!