Hello

It's rare that I post, but I saw your question, and for once I can offer some experience! I use a Novation Impulse 49 as my main keyboard for playing at my computer (a PC). I map all of my VI matrices starting at the lowest note (C-1), and over time, have tested two small format 25 key keyboards that I use for keyswitching only. Namely the Akai LPK25, and the Korg MicroKey25. Here are the pros and cons as I see them:

Akai LPK25 Pros:

• Very compact (Both in area and height)
• You can create four presets which can be accessed from the front panel buttons. Importantly for me, the preset can define the octave offset. I only use one preset, but when the unit powers, that reset is restored.

Cons:

• The octave Up/Down buttons are single colour. They are both off when there is no octave offset, but lit when there is. It is therefore not possible to see whether the offset is 1, 2, 3 etc. This is not a problem the way I use it though since I use the preset to control the octave offset.
• The buttons/LEDs are very bright when lit! In fact, I have taken mine apart and made a hardware modification to dim them.

Korg MicroKey25 Pros:

• Slightly more rugged construction than the Akai (but not significantly so though)
• The keys feel a bit nicer, they are not as springy as the Akai. For the purpose of key switching though I don't think this is an issue.
• Octave offset has tri-colour LEDs
• Has a decent (though small) joystick which can be useful at time (Not for keyswitching though obviously)

Cons:

• Although the octave buttons are tri-colour, when set to start at the bottom note I use, the LED flashed red since three colours are not enough. I find this very annoying.
• There is one stored configuration which can be set from the editor, but this does not include the octave offset. I found myself always forgetting to set the correct octave every time I turned it on.
• More expensive than the Akai
• Takes up more desk space than the Akai

So I prefer the Akai for this function. I just feed it into a USB hub and leave it connected all the time. I have been happy working that way and not experienced any down sides when using it with Cubase.

I hope that helps

Ian

@AberforthD said:

My hope is that the 2nd keyboard (the one with only 25 keys) will actually make things less messy. The keyswitches can then be assigned to sub-bass notes (MIDI keys 0 to 20) which is below the lowest instrument in the normal playing range, so the keyswitches can be in the same place for all instruments. I am designing a set of matrices that are as consistent as possible across all instruments. So I'd like to hear other people's experience with such a set-up (if technically feasible in the first place).

A.

I used to use a second keyboard for keyswitches and it worked very well. However, as my template grew in complexity I moved over to using a Lemur instead (a proper Lemur; not that iCr*p). It still sends KS MIDI data, but has just allowed me more options.

As far as what KS I use, they are pretty much the same for all instruments. Obviously somethings don't translate, but most settings do, so I know, for example, that anything on C is legato, C# sustain, D staccato etc. I thine use KS an octave above in order to select what variation or the particular articulation I want.

DG

I experienced a similar issue to DG in the limit on accessing the extensive articulation choices in VSL. I therefore use a kind of two tier approach; also using Lemur, (but not a proper one, just the iCr*p  😉)

I have each matrix selected via the keyswitch. Like DG I always use the same mapping, eg Legato on C-1, Sus on C#-1, Stac on D, etc. I then control the X-axis with a CC. I put the main patch associated with the articulation in the first cell of the matrix, and then alternatives along the X-axis (different lengths, perf reps etc).

Assuming the x-axis CC is set to zero I can play live and use the second keyboard to switch articulations. I can then tweak the CC afterwards in Cubase to select alternative patches or use my Lemur template. That is set up to show all patches, and when I select a particular patch it sends out both the keyswitch and the CC value.

I hope that makes sense! For me, I have found it to be reasonably successful, so I just suggest it as an idea to consider.

Ian

@westwoodi said:

 Like DG I always use the same mapping, eg Legato on C-1, Sus on C#-1, Stac on D, etc.

This is partially true, look at the different sax and .... , they have different keyswitches

Also with "bass" instruments have there KS at C6/C8

Hi Cyril,

Perhaps I didn't expresss myself very well. What I meant was that I create my own matrices that all use C-1 to A0  as the keyswitches (or C-2 to A-1 depending on what you take to be middle C). I do not use any of the 'out-the-box' presets. For the instruments I use, I think the contra-bassoon is the lowest playable note which runs down to about B-1 (from memory), so anything below that avoids any clashes with my selected keyswitch range.

@westwoodi said:

I do not use any of the 'out-the-box' presets. For the instruments I use, I think the contra-bassoon is the lowest playable note which runs down to about B-1 (from memory), so anything below that avoids any clashes with my selected keyswitch range.

Yes. me too. I don't think I've ever used the pre-packaged matrices.

DG

Hi,

Thanks for all the good advice. This is very helpful. I'm glad to hear that the AKAI LPK25 is a viable option for my purpose. I'm not so sure if the Lemur thingy is suitable for me as I don't do live performances.

Ian, your set-up is pretty much the same to what I have in mind. What I intend to do is to assign the lowest octave (C-1 to B-1) to the horizontal and vertical keyswitches and to assign C0 to G#0 to the matrix switches. Indeed, I believe no instrument gets lower than A0 (the contra-bassoon and of course disregarding the Bosendorfer Imperial).

I would like to keep the 5x5 cell basic lay-out for the matrices so I will assign C--1 to E-1 to the horizontal switch (long notes, short notes, legato performances, short dynamics, repetation performances) and assign the vertical switch to F-1 to A-1 for the various articulations within these group (e.g. fp, sfz, sffz in the short dynamics group).

I would assign the A/B switch to A#-1 and B-1. Then assign C0 to G#0 for the matric switches. It would be C0 for the basic matrix and C#0 for the muted equivalents. Then D0 to the sequenced ornaments such as trills and grace notes with D#0 for their muted quivalents. Then E0 for instrument specific ad hoc purposes. F0 and G0 would be for long dynamics, repetitions, scale runs etc. again with F#0 and G#0 for the mutes. I hope this will give a more consistent and easier to remember lay-out for all instruments.

Good to hear that you people had good experiences with this set-up! Thanks a lot.

A.

@westwoodi said:

I do not use any of the 'out-the-box' presets. For the instruments I use, I think the contra-bassoon is the lowest playable note which runs down to about B-1 (from memory), so anything below that avoids any clashes with my selected keyswitch range.

Yes. me too. I don't think I've ever used the pre-packaged matrices.

DG

That is great

Are your preset availlable ?

I will love to use them

Thanks in advance

@Cyril said:

Are your preset availlable ?

I will love to use them

Thanks in advance

Sure. Just let me know what you want. I'll tell you what I've got and we can take it from there. Maybe use PM, save cluttering up this thread. 😛

DG

A proper Lemur is what, Android?

@Bill said:

A proper Lemur is what, Android?

It's the original hardware, made by JazzMutant.

DG

Cyril, your Inbox is full.

DG

@DG said:

Cyril, your Inbox is full.

DG

DG,

There is a 10 MB limit with Numericable

Can you send it to "cbhr" "at" "me" "dot" "com"

Many Thanks

Best

Cyril