Tag Archives: Korg Module

Review: KApro London Symphonic Orchestra

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While we were discussing Minutiae, Korg released the KApro Iconic Suite “London Symphonic Orchestra” expansion library for Korg Module:

KApro Iconic Suite “London Symphonic Orchestra” features the brilliant blockbuster sound of a large symphonic orchestra of up to seventy-seven musicians. It offers 17 diverse programs and 10 stereophonic multi-samples, encapsulating vibrant and expressive orchestral sounds, including the always popular strings, French horns, cinematic brass, woodwinds, choirs, and percussion layers typically found in cinematic soundtracks. [Korg]

It’s on sale from October 13 to October 20, 2023. Time is running out!

When I saw the introductory price of $6.99 USD — 7 bucks! — I didn’t bother with the 7 day free trial. And, I’m glad I bought it. I already have the KApro Cinematic Brass expansion pack and it is my go to for orchestral brass sounds. The LSO expansion follows in its footsteps.

Like many KApro offerings, the KApro LSO suite mainly consists of layered and switched combis. If I was required to use only one word, I would say “warm.” The timbre and textures are a perfect match for the liturgical music and situations that I play.

In terms of programs, here’s what you get:

    Switch Orchestra 1  Choir / Solo Strings
    Switch Orchestra 2  Choir / Brass / Timpani
    Switch Orchestra 3  Choir / Brass / Strings

    London Switch Orchestra 1  Horns / Strings / Timpani
    London Switch Orchestra 2  Horns / Solo Strings
    London Switch Orchestra 3  Wind Ens / Low Strings
    London Switch Orchestra 4  Wind Ens / Strings

    London Ponsardino 1  Slow swelling strings
    London Ponsardino 2  Slow swelling strings and brass 
    London Ponsardino 3  Slow swelling strings
    London Ponsardino 4  Slow swelling strings

    London Switch Chamber   Small string sections
    London Sordino Chamber  Small string sections
    London Switch Brass     Warm horns slow crescendo

    London Psychedelic      Tutti with slow pulsation
    Phased Chamber          Small strings/horn with slow phaser
    London iXperiment       Tutti through a ring modulator

All of the sounds are blended and I’m sure there are more woodwinds in the mix.

I’m not usually a fan of switched percussion. Only a few programs incorporate percussion, however. Timpani is mapped over a small range of keys and is triggered by high(er) velocity strikes.

The London Switch Orchestra programs are my favorites, especially the programs with the wind ensemble. Strings everywhere are warm and don’t have that high-end raspiness that grates on me. Very usable.

The so-called ponsardino programs all swell to full color. “Ponsardino” is not a standard musical term, by the way. I assume “sardino” refers to the use of mutes — no Jerry Bruckheimer brass, here.

If I had one knock on the expansion library, it’s the naming. I wish the program names were more descriptive. Nothing wrong with using one’s ears, but memory jogging program names would be helpful. Too many “switch” and “orchestra”; maybe abbreviate?

The KApro Premium EXs374 Iconic Suite London Symphonic Orchestra for Nautilus and Kronos is $49.99 USD. The Module version appears to be full fat (670MBytes) and is an absolute steal at $6.99. Recommended.

Copyright © 2023 Paul J. Drongowski

Review: Korg Module General 128

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Korg have released a new expansion pack for Korg Module — General 128.

General 128 is one of those expansions where you say “Why didn’t they release this on Day One?” Essentially, General 128 is a 108MB General MIDI sound set minus drums.

Most of us will not sequence MIDI tunes using Korg Module. However, General 128 covers all of the bases, making Korg Module generally useful in a flash. As GM sound sets go, all of the voices are reasonably pleasant and usable enough.

The only real knock on voice quality is their rather plain sonics. The effect programming is very ordinary. Once suitably dressed, individual voices are brought to life. For example, throw a little tremolo on that electric piano. Having a small memory footprint, one shouldn’t expect many (any?) velocity-switched multi-samples. To my ears, most of the voices are very “uni-dimensional” single level multi-samples which just get softer or louder with touch.

This isn’t all bad! I stumbled onto Korg’s introductory sale while casting around for new voices to layer within Module. [The introductory sale price, $9.99 USD, is good through Monday, 31 October 2022.] It’s much easier to layer up simple timbres than harmonically rich, dynamic sounds. For example, you wouldn’t use the oboe for an exposed solo, but it does add a reediness to a French horn producing a more WW section-like tone.

Allowing for the sound set limitations (i.e., one velocity layer), my favorite voices are the Acoustic Grand (warm), Electric Piano 1 (What’d I Say), Synth Strings 1 (warm, not too synthetic), French Horn (fanfare-ish), Bassoon (warm double reed), Flute (simple without devolving to Mellotron).

At the introductory price, the General 128 expansion is a no-brainer. In addition to Korg Module, the pack can be used in Korg Gadget Glasgow and as an AUv3 plug-in. General 128 might get me using Korg Gadget — maybe sequence a demo.

Big picture, I’m feeling quite comfortable with my iPad rig these days and I think it’s rehearsal ready. I would use either the Korg Microkey Air or Arturia Keylab Essential 49 depending upon my degree of laziness on any given day.

I tried going wireless with the Arturia Keylab Essential getting good results with the Yamaha MD-BT01 5-pin Bluetooth dongle. Only the MIDI OUT side is connected since the Arturia doesn’t have a 5-pin MIDI IN port. Connects up to Korg Module without problems. I don’t recommend the Yamaha UD-BT01 USB Bluetooth adapter for the Arturia; I get stuck notes.

I’m also getting more confident with the Roland (Boss) Ev-1-WL Bluetooth expression pedal, now that I understand its darned flashing lights and colors.

Copyright © 2022 Paul J. Drongowski

Wired USB iPad rig

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After investigating a wireless iPad-based rig for church gigs, I decided to take a 180 and try wired! The urge was inspired by a recent thread in the MusicPlayer Keyboard Forum about taming the rat’s nest of wires that engulf our keyboard set-ups.

My approach goes all-in with MIDI over USB. Both the Korg Microkey Air 49 and the Boss EV-1-WL wireless MIDI expression pedal have full-size USB-B device ports, so it made sense to start with them and build out.

I really detest the iPad 3.5mm audio jack on my 3rd generation iPad Air. That may sound like crazy-talk to people owning phones and iPads without a 3.5mm audio jack. However, the jack’s placement exposes an inserted 3.5mm plug to all sorts of physical and sonic abuse. Every time I pick up or move the iPad, the jarred plug causes all manner of crackles, pops and hum — at loud volume, no less.

Thus, an external USB audio interface is a necessity. I pulled out an old Behringer UCA222 2-in/2-out USB audio interface, which was my PC audio workhorse for many years. (Now replaced by a Yamaha AG-06 mixing console and audio interface). The UCA222 is not the best interface, but it’s inexpensive. Sweetwater is selling these for about $10USD and you can’t go wrong at that price.

Based on my success with UCA222, I put a Creative Labs Sound Blaster Play 3 external USB sound adapter on order ($20USD). The Play 3 is even smaller and will do 24-bit, 96kHz given driver and control panel support. The Play 3 is not spec’ed as IOS compatible, but folks are having success with Play 3 and iPad.

For extra credit, I would eventually like to control IK Multimedia B-3X with a Crumar D9U DIY drawbar controller. The D9U hasn’t seen much action lately and it would be good to get it into the mix. The D9U can do MIDI over USB through its micro USB port. That particular test must await another rainy (snowy?) day as I need to adapt the D9U Arduino sketch for B-3X.

Well, if you were counting, that’s four (4) MIDI devices. The Apple Lightning to USB 3 Camera Adapter has only one USB-A host port. Uh, oh. We need a hub. Fortunately, I have a few Sabrent HB-MCRM 4-port portable USB 2.0 hubs on hand. The Sabrent HB-MCRM is small, light and cheap (less than $10USD).

One could use an olde style Apple USB Camera Adapter, but why put yourself through the agony? Better to have the Lightning charge/power port than fight electrical current restrictions. BTW, I wish the Belkin RockStar™ had three ports: USB-A host, Lightning charge and 3.5mm audio.

It’s not rocket science, so plug it all in and success! Core MIDI merges the MIDI input streams together. Korg Module Pro and Crudebyte iSymphonic Orchestra respond to the Microkey Air and the Boss EV-1-WL expression pedal. I expect the D9U to function correctly, too, if I get its sketch right.

                                 S   <---->  Microkey Air 49
                                 a 
                   Apple         b H <---->  EV-1-WL expression pedal
  iPad Air <---->   USB   <----> r u 
                  Adapter        e b <---->  UCA222 audio
                                 n 
                                 t   <---->  D9U drawbars

As to power, the EV-1-WL is not bus-powered. It needs either an external power adapter (9V 500mA center negative) or two AA batteries. The Korg Microkey Air and the Behringer UCA222 draw power from the Apple adapter through the Sabrent hub. (The Sabrent hub itself is not a powered hub, keeping things simple.)

A Lightning extension cable connects the Apple adapter to the iPad. This means only one cable to the iPad. The Lightning connector is reliably tight and eliminates the pops and crackles when moving the iPad. Most of the cabling sits on the floor out-of-sight.

As to audio connection, there are two options. Option 1 is running a long-ish unbalanced analog cable to the monitor. (The monitor is a Behringer B205D with a balanced XLR OUT to front-of-house.) Option 2 adds a USB extension cable between the hub and the audio interface (UCA222) for most of the distance with a short unbalanced cable from the interface to the monitor. Option 2 keeps things digital as long as possible, eliminating hum and other noise problems due to a long unbalanced cable run. Of course, there are limitations to USB extension (USB 2.0: 5M, USB 3.0: 3M).

Well, there you have it — an inexpensive, super-light, wired iPad rig. I haven’t found Bluetooth MIDI latency to be a problem, but wired latency should be less, if that is your concern. The USB approach seems to be less fiddly as to pairing, merging, etc.

If you’re curious about my wireless MIDI adventures, check out:

More blasts from the past about the Crumar D9U:

The Crumar D9U works pretty well with the Yamaha Reface YC, too.

Copyright © 2021 Paul J. Drongowski

Wire Less: Part 3, Boss EV-1-WL wireless MIDI expression pedal

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Halleluia, the slow boat from Malaysia arrived and it brought a Boss EV-1-WL wireless expression pedal. The EV-1-WL (henceforth, “EV”) is a compact expression pedal which sends MIDI Continuous Controller (CC) messages over Bluetooth BLE, USB and conventional serial MIDI.

Boss has quite a bit of information on-line, so I won’t repeat too many of the basics here. No doubt, you’re here looking for my value-added.

My first impressions were:

  • Man, this thing is small.
  • Man, this thing is light.
  • This thing is robust.

My point of reference is the Boss FV-500L (FV) which was my mainstay volume and expression pedal for many years. Since my switch away from Roland to Yamaha (2011), I’ve been using the Yamaha FC-7 with MODX and Genos at home and at gigs. The FV-500L is built like a tank — and weighs like a tank. The FC-7 has held up pretty well although it’s not as Sherman-esque as the FV.

Boss EV-1-WL (fore) and Boss FV-500L (back)

Since we’re comparin’, the EV and FV achieve roughly the same angle in the down position. Due to the placement of the pivot point, however, the FV has a wider sweep than the EV. Some people may not like the EV’s relatively short sweep. The FC-7 has the widest sweep of all.

Boss EV-1-WL (fore) and Yamaha FC-7 (back)

Practically, the EV feels comfortable when sitting or standing. The FV is a little less comfortable when standing. The FC-7 is least comfortable for standing play if you absolutely need to reduce pedal position to its minimum point. I’ve had some success with FC-7 angle adjustment although its adjustment plate always seems to work itself loose. After trying the EV, I’m good with its sweep and playing angle.

The EV is ready-to-go right out of the box, including two AA batteries. I’m trying to build a wireless iPad rig:

So, that is my test set-up. I followed the pairing directions to a T and the EV came up in the EV-1-WL configuration app and in Korg Module Pro. [More Bluetooth gymnastics below.]

I recommend the calibration procedure. It works. I checked out the result with MIDI-OX and the EV sends over the full CC value range (0 to 127).

If I have a beef, it’s the amount of force needed to engage the EV’s expression switch. I pressed and pressed with the EV on a carpeted floor and could not get the switch to engage. There are LEDs to indicate the switch state and they just were not coming on. I was able to engage the switch by putting the EV on a table and pressing very firmly with my hand. The app has a sensitivity adjustment and it works. Expect to use it.

I’m not really sure how I would use the expression switch when playing. And now here’s my second beef — the EV-1-WL sends only MIDI continuous controller (CC) messages. No pitch bend, no program change. Worse, it doesn’t cover the full range of CC messages, supporting only CC#1 to CC#31 and CC#64 to CC#95. Somewhat dubious omissions. I really want to send bank select (CC#0 and CC#32) and program change via two external foot switches. Bummer. I hope Roland/Boss add this capability.

So, what else doesn’t mother tell you? As usual, Boss are less than forthcoming about important details hoping to force you into one of their own accessories. Here’s a few helpful details:

  • Power adapter: Boss recommend the PSA-120S adapter: 9V DC, 500mA, tip/center negative. The 1SPOT works just fine.
  • Footswitch break-out cable: Control 1 (CTL1) is tip and Control 2 (CTL2) is ring.
  • 3.5mm MIDI break-out: The 3.5mm MIDI jack (plug) follows the “Korg convention”, which adheres to the current MIDI Association standard.

Serial MIDI works as advertised. I check out both serial MIDI operation and MIDI over USB using MIDI-OX and Windows 10. No special driver required. Please see my post about 3.5mm MIDI conventions.

Bluetooth MIDI

The olympics of the weird always commence with IOS and Bluetooth MIDI. I’m running on IOS 14.8.1.

Over several days of use, the EV consistently could not remember its pairing with my iPad. Turn it on and it flashes the blue LED slowly, suggesting that it awaits the iPad. Whether the iPad’s Bluetooth is initially enabled or disable, the EV just sits there and flashes slow blue. No connection.

The EV does not appear in the list of Bluetooth devices displayed in the IOS Bluetooth settings. The Korg Microkey Air is there, but the EV is AWOL. Right now, I’m not sure who is ghosting whom.

If an app has an explicit rendezvous feature, you can re-pair with the EV by pressing the EV’s pair button. The EV flashes fast blue when it is ready to pair. Standard operating procedure is to pair explicitly when sitting down to play. Korg Module Pro and the Roland/Boss EV-1-WL app will rendezvous with the EV when requested. Once the app connects, I leave the app running in the background even if I move on to SampleTank or iSymphonic. SampleTank does not not have the ability to explicitly rendezvous (initiate pairing) with the EV or any other Bluetooth MIDI device. I wish that all apps had this feature.

I’ve had spotty results with midimittr. midimittr will establish a Bluetooth session, slightly increasing latency. However, I’ve observed occasional bizzarre behavior with the EV through midimittr — huge leaps in volume indicating the presence of a true bottleneck somewhere in the MIDI message chain. Not good.

One other small snag. Be sure the EV is sending the correct CC message as needed by the receiving app. SampleTank IOS does not respond to CC#11 Expression. [Surprise!] I configured the EV for CC#7 Volume and all is well.

Overall, I’m satisfied with the EV-1-WL. The Bluetooth MIDI part is a little quirky and tetchy. I hope Roland/Boss get this ironed out. As Korg have (unfortunately) discovered, chasing Apple updates, etc. is a migraine headache, having had their own share of problems with the Microkey Air and IOS Bluetooth.

Copyright © 2021 Paul J. Drongowski

SampleTank IOS and Miroslav vs. Korg Module Pro

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Just like finding a 20 dollar bill in a drawer full of old socks, it’s a pleasant surprise to discover that you already own a useful iPad music app and simply forgot about it. Thus, I installed IK Multimedia SampleTank IOS on my iPad and gave it a try. (Again) Even better, I restored in-app purchases, finding additional B-3 organs and, ta-da, Miroslav Symphonic Mobile Edition. (Henceforth, “Miroslav”.)

Miroslav goes back a long way to 1994. The mobile edition is a cut-down version of the current, big and improved Miroslav Philharmonic 2 library. The full library is 2.27GB while the Mobile Edition tips in at a modest 532MB.

Miroslav Vitouš, by the way, is one heck of a jazzer. I was well-aware of his work as a leader and as a sideman (Herbie Mann, Chick Corea, Roy Ayers, Larry Coryell, and others) before hearing the original Philharmonic library.

Sonically, Miroslav has always had its own unique character. You either love it or dislike it. I’m on the love side although some of the string sections sound a tad dated. I like the woodwinds and horns best, rating them a notch above the Korg Module Pro voices. As to variety and solo instruments, Miroslav Mobile trounces Module Pro in the orchestra department.

As to B-3 organs, Module Pro wins the contest. Frankly, I am not a fan of SampleTank IOS drawbar organs, which are very rock-oriented. Further, SampleTank IOS does not have a rotary speaker simulation built-in. I can only assume that IK want you to purchase Hammond B-3X for iPad ($130 USD) or AmpliTube Leslie. I found, however, that I can easily switch between Module Pro and SampleTank IOS while keeping the Korg Microkey Air connected over Bluetooth. Problem solved.

As to church organ, I blended SampleTank’s Church Organ Air with Miroslav’s Cathedral Organ. The solution is good enough for basic hymn playing. I still plan to purchase Module’s organ (and clav) expansion pack when it goes on sale. The organ expansion pack includes a few traditional pipe organ voices.

SampleTank IOS plus Miroslav Mobile complements Korg Module Pro rather well. I forgot about dear old Miroslav after moving to our new house and to a new iPad. I’m glad that I remembered! If you need to choose one app, there are differences to be considered in the synth engines. Please read on.

Korg Module Pro

As I mentioned in my review, Module Pro with the performance expansion pack allows two-voice layers and splits. Splits and layers are created and stored within set lists.

Korg Module Pro Set List management

Module’s Set List management screen lets you choose and load a combination (combi). Tapping the keyboard symbol on the right hand side of the selected entry takes you to the screen where you set the mode: Single voice, Layer or Split. There, you can balance levels, shift octaves and set the split point.

If a voice needs tweaking, you can switch to the standard Module instrument screen for voice edits. When finished, you need to switch back to set list mode and save the set list. The set list combi retains any changes. (You need to tap the file icon in the upper left corner to show the appropriate pop-up menu.)

Korg Module Pro edit screen for sample-playback voices

SampleTank IOS

Instead of set lists, SampleTank has its Live mode where you can create multi-voice layers and splits. SampleTank is better-featured that way, allowing up to eight voices to participate in a combi.

SampleTank IOS Live mode screen

In the example above, instruments are split left (two string layers) and right (two flute layers). You can see the split and layer relationships in the pane at the bottom of the screen. Since it’s all touch-based, one slides split points left and right. It’s quite natural. Please note that this example patch is already well-beyond Module Pro’s simple two-level layers and splits. SampleTank IOS also allows overlaps around the split point, eliminating a jarring sonic change when a musical line crosses the split point.

Unlike Module, SampleTank IOS has a strip of control knobs for voice tweaking. Both apps let you change attack, release, cut-off, resonance, effect type and effect levels. This level of basic editing is usually sufficient.

SampleTank IOS level and pan control in Live mode

All four voices in the example are on MIDI channel 1. Thus, all four individual voices sound (modulo splits and layers) when a note is struck on the Korg Microkey Air. In order to set volume and pan levels, one taps the slider icon in the upper middle part of the screen. When mix is enabled, each part box shows a volume and pan knob.

Managing the list of multis

Overall, I give the win to the SampleTank engine. Eight layers/splits is more than enough and there isn’t any need to change modes or screens in order to make voice edits.

Module Pro set lists have mo’ power, however. You can attach audio songs, PDFs and other performance aids to a set list entry. I find the iPad screen too small for most of my charts, so I’m not taking advantage of those particular set list features. Access to performance aids might tip things toward Module Pro, if that’s your thing.

Copyright © 2021 Paul J. Drongowski

Korg Module Pro for church

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Over the last several weeks, I’ve been practicing and playing through church tunes. Our liturgical group covers genres from pop, light rock, classical and traditional hymns to gospel. I’m trying to keep up my chops while our group awaits its post-pandemic return.

This has been a good opportunity to wring out any issues with Korg Module Pro (on Apple iPad) and a Korg Microkey Air 49 controller. Both Korg products have been solid and I feel comfortable with the idea of using this combo live in church.

I’ve also been able to evaluate the suitability of Korg Module for our church repertoire. Module’s set-list features are very easy to work letting me build quick-access layers and splits. Set-list features are well thought out and I strongly recommend purchasing the Module Performance Expansion.

Thankfully, set-list combis store patch and effect edit, allowing me to dial in a consistent level across combis and to tweak attack, release and reverb. Just don’t forgot to save the set-list after making edits!

Right off the top, I’m quite happy with Module’s stock Hammond organ sounds. My three favorite patches are Gospel Organ, Simple Organ and Clean Organ. Church music doesn’t require over-the-top distortion. The Korg rotary speaker simulation is very good and the speed transitions (ramps) are realistic — a vital component for gospel music.

The only thing missing organ-wise is a traditional church organ. I have not purchased the Korg Organ and Clav Collection which offers a classic organ. I intend to buy the organ expansion during the next Korg app sale. In the meantime, I’m substituting Simple or Clean organ.

As to other instruments, I need orchestral woodwinds, French horn, and strings. Compared with Miroslav Philharmonik Mobile Edition, Module Pro is a general purpose, all-rounder, not a specialist like Miroslav. The sounds are good enough for live play, but would not please a purist. Nor would they be adequate for mocking up symphonic music.

Korg offer the KA Pro Orchestral Dreams expansion. “KA Pro”, by the way, means Kurt Adler Productions, who sell a full range of orchestral samples. If Korg Module isn’t to your taste, the KA Pro samples are available in the CrudeByte iSymphonic Orchestra (iPad) app. Orchestral Dreams is comprised mainly of full orchestra emulations. The emulations implement multiple velocity levels including percussion. Full orchestra emulations are not suitable for our repertoire (especially the percussion!) and I don’t plan to buy this expansion.

The Korg sounds make for good layers. The Woodwind Ensemble patch is serviceable by itself, but is fuller and warmer when layered with the Horn Ensemble voice. Same for the Solo Flute. By itself, the Solo Flute resembles a Mellotron flute, especially when playing chords or clusters. Horn Ensemble knocks down the tron-y flavor.

Here’s a quick list of my favorite patches: Wind Ensemble, Horn Ensemble, Synth Horn, Romantique Strings, Strings Pad, Solo Flute.

What’s missing? Module has solo violin and cello, but it’s missing most other solo orchestral instruments (including essential double reeds). The violin and cello voices have hard attacks and a lot of bow — difficult to tame. Thus, overall playing is limited to mainly ensemble or pad-like voices. Quite the shame. Korg need to add an orchestral expansion with solo instruments and/or small sections a la Miroslav.

Yes, I auditioned the Triton expansion pack. Having owned a Triton Taktile 49, I’m not satisfied with the Triton orchestral voices, solo voices, in particular. That’s why the Triton Taktile is gone, gone, gone.

Oddly, I have not found a simple synth pad among the plethora of synth patches. I want something very light and plain for layering — a non-fat synth pad without sweeps, sparkles and other tricks.

Functionally, I wish layers could cross-fade (“tilt”) across the keyboard. This would let us overlap (cross-fade) the upper and lower instruments forming a soft split. Hard split points are rather jarring when a right- or left-hand line needs just a note or two past the split point. Examples include Oboe/Bassoon or Oboe/Cello splits where a short blend across the split point is highly desired for continuity.

Overall, Korg Module Pro is a solid, reliable citizen within its limitations. Module is intended to appeal to and serve a wide range of users. If you need good electric piano or high-quality acoustic piano, it’s got ’em, too. I stand by my earlier positive recommendation.

Check out these related blog posts:

Copyright © 2021 Paul J. Drongowski

Wire Less: Part 2, Belkin RockStar™

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Well, as you might have guessed, your Apple iPad synthesis rig cannot be entirely wireless (at least inexpensively so). The audio part ain’t there yet. Bluetooth audio has too much latency and Apple does not provide any other built-in solution. So, it’s wires, again, folks.

In my first post, I discussed the MIDI part: an Apple iPad running Korg Module Pro communicating with a Korg Microkey Air 49 over MIDI BLE. The MIDI part works quite well and I haven’t had any issues.

As to the audio part, I absolutely detest the iPad 3.5mm phone connector. Any plug is exposed and even the slightest movement emits a nasty grind from a powered speaker or other downstream audio device. Buzzzzzz — literally. I simply wouldn’t risk this method in a high volume situation in front of a church congregation.

The Lightning connector, however, is relatively snug and secure. Like most people, I opt for a Lightning-based solution. With Bluetooth handling MIDI duties, one needs only an audio interfacing solution.

Sorry, USB-C people, I don’t have a USB-C iPad and don’t address USB-C solutions here.

By now, everyone knows that the Apple Lightning to USB Camera Adapter is not just for cameras. Thanks to the Camera Adapter, you can hook up a USB-based audio interface to your iPad (or iPhone). The Camera Adapter’s street price has dipped to $9USD, making this a very inexpensive solution. If — if — your bus-powered audio interface draws a small amount of power, the Camera Adapter will supply power although the iPad battery drains faster. If your bus-powered audio interface is a power hog, you will get the infamous “This accessory requires too much power” message and iPad will refuse to play along, shutting down the interface.

Enter the Apple Apple Lightning to USB3 Camera Adapter ($39USD). The USB3 Camera Adapter has two ports: a USB3 host port and a Lightning charge port. The USB3 port connects to your audio interface while the Lightning port connects to an AC adapter. The Lightning port both charges the iPad battery and supplies power to your audio interface.

At one time, I considered the Steinberg UR22C as a solution for both desktop use and mobile. The UR22C has the necessary functional features and sports its own external power port. This is definitely another way to go and I wish more manufacturers would provide an external power port and not rely solely on bus power. I decided to eschew “yet another box at the gig” in favor of an even smaller, lighter solution. (For desktop, I eventually chose the Yamaha AG06, BTW).

Belkin adapter and the tangled mess o’cables

For smaller and lighter, I went with the somewhat neglected Belkin 3.5mm Audio + Charge RockStar™ ($40). This Belkin adapter provides a more robust 3.5mm jack and a Lightning charge port. My only beef is the short iPad to adapter Lightning cable. The short cable is good enough for casual listeners, but I feel that it still requires too much stress on the 3.5mm jack. I added a 2 meter Lightning extension cable, letting me rest the adapter and 3.5mm plug on the floor. This arrangement reduces the physical stress on the iPad Lightning port, too. One flexible cable to the iPad makes it easier and safer to move the iPad during a gig.

A few fine points. I configure Korg Module Pro for MONO out and use a 3.5mm stereo to 1/4″ breakout cable (tip and ring) for the final audio connection. MONO is close enough for rock’n’roll. I realize this is audio religion to purists. 🙂

If you don’t want 3.5mm audio, Belkin offers the Belkin Lightning Audio + Charge RockStar™ ($45USD). It has a two Lightning ports: one for audio and one for charge.

Before closing, I want to mention an ultra-cheap, simple solution: an Apple Lightning to 3.5mm Headphone Jack Adapter plus an extension cable. You may already have one of these adapters! When Apple dropped the 3.5mm jack, it began selling these adapters so people could connect their headphones to the jackless iPhone. It’s ultra-inexpensive at $8USD (street).

Check out these related blog posts:

Copyright © 2021 Paul J. Drongowski

Wire Less: Part 1, Korg Microkey Air 49

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With the pandemic raging, I’m searching for ways to reduce my physical gig footprint and schlep factor. I thought I would share my adventure in battery-lowered, almost wireless keyboard-land.

Months ago, I had a good experience with Korg Module Pro. It has the range of high quality sounds that I need for my church gig. So, I decided to eschew battery-powered MIDI modules like the MidiPLUS miniEngine USB and go iPad and Korg Module Pro.

Yamaha SHS-500 Sonogenic (labels added)

I tried a bunch of controller candidates. (See the end of this post for more info.) I had the best experience and minimal number of wires with built-in Bluetooth MIDI. The SHS-500 Sonogenic, in particular, is nearly ideal:

  • Pluses: Built-in Bluetooth, pitch bend and mod wheels, decent mini-keys, narrow depth is good for a lap-board.
  • Estimated battery life is OK (10 hours); AC adapter jack is well-placed and secure.
  • Minuses: 37 keys (3 octaves), no expression pedal input, mod wheel works backwards when played in one’s lap.

No, I am not playing the SHS-500 as a keytar. I find the whole keytar thing to be gimmicky and not appropriate for church. I intend to play the controller in my lap, thereby keeping my physical profile small. (Social distancing!) A lap-board lets me ditch the keyboard stand, minimizing schlep.

Mini-keys deserve comment. Mini-keys enable short, lap-held keyboards. They are very lightweight and easy to transport. If the basic key feel is good, I make peace with play-ability.

My trouble isn’t so much with key size. It’s that three octaves (37 keys) are too short. Many melody and bass lines require two octaves and a player needs two octaves below middle C and two octaves above. Otherwise, I do unnecessary mental and hand gymnastics in real-time to fit the music onto the keyboard. That ain’t right.

Just me? Watch Harry Connick Jr. rock a 3 octave Reface CP. Harry sez, “There’s not a lot of room here.” [Tonight Show: Jimmy Fallon, NBC, 1 September 2016, Playing starts at 3:00.]

Korg Microkey Air 49

In the end, I broke down and bought a Korg Microkey Air 49. It is a good size for a lap-board and the Korg Natural Touch mini-keys ain’t too bad. The Microkey Air firmware was already at v1.04 when it arrived and it connected with Korg Module Pro under IOS 14.1 without a problem. [More on this in a future post.]

The Microkey Air 49 has an estimated 30 hour battery life. Good thing, because Bluetooth operation must use battery power (two AA batteries). Be sure to have two spare AA batteries at the gig; there isn’t a USB powered safety net.

The Microkey Air has a footswitch input. Expression input would be better. Of course, connecting a pedal to the Microkey Air adds a cable. Fortunately, Bluetooth pedals like the Airturn BT200-S4 get the job done. I have a BT200-S4 and found it easy to switch sustain, etc. via Bluetooth in Korg Module Pro. The BT200-S4 is small and light, not any worse than schlepping a wired sustain pedal.

I made a few advances with iPad wiring along the way. The Korg Microkey Air 49 is working out pretty well and I’m practicing with it every day. I have a few custom layers in Korg Module Pro and the day is coming when I’ll try out the rig in front of a congregation.

Going native

For completeness sake, I tried “going native” with sounds built into the Yamaha SHS-500 Sonogenic, Yamaha Reface YC, Yamaha PSS-A50 and Korg microKorg XL+ — all fine battery-powered instruments in their own right with sounds appropriate for rock, soul, jazz, and pop, but not church. I need good strings, reeds, classic organ and gospel B-3. Before moving on, I give props to the Reface YC as it is truly gig-worthy and have play it on the job.

Blooming BLU

I also tried using “the natives” as Bluetooth MIDI controllers. All of the candidates have USB and/or 5-pin MIDI DIN ports, and can be fitted with Yamaha UD-BT01 and MD-BT01 wireless MIDI adapters. The candidate keyboards are battery-powered, so what the heck!

Yamaha UD-BT01 (with AC adapter) and UD-BT01 Bluetooth MIDI

To make a long story short, all candidates worked well with the Yamaha adapters and with Korg Module Pro on iPad — even the lowly, dirt-cheap PSS-A50. A few specific observations:

  • The Yamaha UB-BT01 not only does Bluetooth MIDI, it supplies power to the PSS-A50. If you must add a cable to connect the A50 to the UD-BT01, you might as well get power, too, and save batteries. If you own a PSS-A50 and want to go Bluetooth MIDI, don’t hesitate!
  • The Reface YC has the added bonus of an expression pedal input. An expression pedal is a vital part of my gig toolkit. Korg Module Pro will connect simultaneously to more than one Bluetooth MIDI source (like the BT200-S4 previously mentioned). In one experiment, I used Reface YC as my expression source while playing the black and whites on the SHS-500. Neat. I might add the new Boss EV-1-L wireless expression pedal once it ships.
  • I looked into expected battery life. The Korg Microkey Air is the best at 30 hours estimated life. The other solutions are burdened by tone generation and DSP. The added power-burn is unnecessary if we’re not using the internal synthesis engines.

Even though you take a power hit, an internal engine is a good back-up in case there is a technical problem with Bluetooth, the iPad or Module Pro.

    Instrument     Estimated battery life 
    -------------  ---------------------- 
    Microkey Air          30 Hours 
    PSS-A50               20 Hours 
    SHS-500               10 Hours 
    Reface YC              5 Hours 
    microKorg XL+          4 Hours

In terms of key feel and play-ability, all candidates are acceptable. The Yamaha HD mini-keys are more synth- and organ-like, and are good for legato (especially organ). The Korg Natural Touch mini-keys are more piano-like — good for striking, not quite as good as Yamaha HD for legato. Unlike Microkey Air 49, the other candidates are 37 keys and are too short for unfettered play.

                           Key dimensions 
                        -------------------- 
    Instrument          Width  Length  Depth 
    ------------------  -----  ------  ----- 
    Reface HD            19mm    88mm    9mm 
    Korg Natural Touch   20mm    80mm    8mm 
    MODX                 21mm   133mm   10mm 
    Genos FSX            22mm   133mm   10mm

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Copyright © 2021 Paul J. Drongowski

Mini review: Korg Module

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Korg have extended their summer apps and software sale. Sale is on starting today (June 24) and ending Wednesday, July 15, 2020.

They finally got me with Korg Module Pro. The backstory…

I installed the free version of Module when I assembled the Korg NTS-1, hoping that it would unlock a few extra instruments in Module. For some reason, nothing unlocked and I gave up. I really wanted to assess the five built-in engines before springing for Module Pro.

Well, shucks, sight to the blind. Last week, I cast my gaze across the studio, coming to rest on the MicroKorg XL. Duh! Why didn’t I reach for the MicroKorg to begin with? After wiring up, the MicroKorg unlocked the electric piano, organ, clav, and string engines. Only one patch each, but certainly enough to get a good taste.

Needless to say, the five engines are pretty darned good. I sprang for Korg Module Pro and the Module Performance Expansion pack. The Module Performance Expansion pack adds more voices, MIDI CC learn and the ability to split and layer.

The ability to layer is very handy as I always find Korg’s acoustic instruments to be a little bit raw on their own. Sure, effects help to dress up the voices, but a soft pad adds warmth to strings and so forth. Orchestration 101.

MIDI CC learn is a bit of a necessity, I discovered. Unexpanded Module Pro responds to specific MIDI CC messages. For example, CC#100 controls organ rotary speaker speed, a rather essential element. To my chagrin, I discovered that the Yamaha MODX, which I am using as a controller, does not send CC message higher than CC#95! What the what? MIDI learn allows you to assign a controller to rotary speaker speed or other Module parameter of interest. [Check the update below for the correct solution!]

I connected the Yamaha MODX to the iPad via Apple Camera Connection Kit and an ancient IK Multimedia iRig 5-pin MIDI interface. Why 5-pin? That’s the other gotcha. I initially connected the MODX to the iPad via USB. Module receive the MIDI OK, but somehow the outgoing audio stream was lost with no signal at the 3.5mm headphone output. [See the update!]

I may look for a different audio/MIDI interface solution as I hate using the 3.5mm headphone jack. It’s not mechanically robust and it’s all too easy to get ear-itating scratchy audio. I don’t want to spend a lot of money and don’t want any solution involving powered hubs and such. I might give the Alesis Control Hub a try or maybe Korg’s own plugKEY. The Control Hub is a legacy product and availability is spotty. The plugKEY is a little more expansive, but is purpose-built for iPad software instruments and is Lightning-only. The Control Hub is USB-B class-compliant.

My only remaining nit is also one of my pet peeves. Software vendors should be forthcoming and specific about voices (patches) available at verious tiers. In the case of Kork Module, the free version has only one unlocked engine — acoustic piano and one patch:

    Acoustic Piano       Natural Grand

When the free version is connected to a Korg synth like the MicroKorg, you get five unlocked engines, one patch per engine:

    Acoustic Piano       Natural Grand
    Electric Piano       Natural Tine EP
    Organ                Simple Organ
    Clav                 Clav CA
    Strings/Choir        Strings

The engine beneath Strings/Choir is really a sample-playback engine and it’s not limited to strings!

Korg Module Pro unlocks many additional patches for the five engines:

    Acoustic Piano
         Natural Grand      Bright Grand
         Dark Grand         Heavy Touch Grand
         Light Touch Grand  Damper Reverb Grand
         Cinema Piano       Mono Attack
         Comp Piano         Upright Piano
         Radio Piano        Honky Tonk
         Flange Piano       Electric Grand
         Chorus E.Grand     AOR E.Grand
         Ac+El Piano        Pad Piano
         Spacy Piano        Strings Piano 1
         Strings Piano 2    Choir Piano
         Twinkle Piano      Stack Piano
     Electric Piano
         Natural Tine EP    Hard Tine EP
         Soft Tine EP       Tremolo EP
         Phaser EP          Chorus EP 
         Boomy Vibe EP      Auto Wah EP
         Deep Mod EP        Distortion EP
         Hybrid EP          Dark Sine EP
         Digital EP         Synthetic EP
         Pad Tine EP        Strings Tine EP
     Organ
         Simple Organ       Dark Organ
         Soul Organ         Jazz Organ
         Memphis Organ      Gospel Organ
         Clean Organ        Bright Organ
         Drive Organ 1      Drive Organ 2
         Full Organ 1       Full Organ 2
         Perc Organ 1       Perc Organ 2
         Perc Organ 3       Perc Organ 4
         Vox Organ 1        Vox Organ 2
     Clav
         Clav CA            Clav CB
         Clav DA            Clav DB
         Wah Clav           Phaser Clav
         Distortion Clav    Mute Clav
         Psychedelic Clav   Clav Guitar
     Sample-playback
         Strings            Slow Strings
         Strings Pad        Analog Strings
         Phase Strings      Flange Pad
         Choir Pad          Vocoder Pad
         Brass Ens          Octave Brass
         Funky Sfz Brass    Hybrid Brass
         Analog Brass       Soft Horn
         Warm Pad           Saw Pad
         Ambient Pad        Bell Pad
         Saw Wave           Chiptune Wave
         Synth Stab         Unison Synth
         Saw Synth          Soft Synth
         Rez Comp           Rez Square
         Synth Clav         Saw Pluck
         Square Pop         Detune Sine
         Digital Bell       Ring Bell

The electric piano is quite nice; the patches provide a wide range of Rhodes tone. The rotary organ patches cover a useful range, too, including a pair of VOX combo organ sounds. The clav is up-to-snuff and the patches cover the usual favorites. The sample-playback sounds are strong on ensemble voices, not so much lead tones or solo instruments.

The Module Performance Expansion pack rounds out the sample-playback sound set with guitars, bass, solo instruments, etc.

    Sample-playback
         Violin             Cello
         Pizzicato          Chamber Strings
         Strings Ensemble   Tremolo Strings
         Romantique Strings Synth Strings
         A Capella Pad      Bubble Choir
         Solo Trumpet       Band Brass
         Fanfare            Horn Ensemble
         Synth Horn         Solo Flute
         Vibrato Flute      Pan Flute
         Alto Saxophone     Tenor Saxophone
         Wind Ensemble      Chamber Orchestra
         Unison Stab        Mono Dark Lead
         Mono Synth Lead    Detune Saw Lead
         Octave Lead        Talking Lead
         Analog Piano       Synth Pad Piano
         Velocity Synth     Synth Pad
         Dark Pad           Snow Pad
         Aurora Pad         Artificial Effect
         Filter Motion      Air Organ
         Vibra-phone        Glockenspiel
         Celesta            Steel Drum
         Tubular Bell       Mysterious Bell
         Vibrato Glass Bell Bell Tower Pad
         Foggy Hills
         Ac. Guitar         Nylon Guitar
         Electric Guitar    Guitar Dist.
         Harp               Sitar
         Ac. Bass           Walking Jazz Bass
         Fretless Bass      Finger Bass
         Mute Pick Bass     Slap Bass
         Fat Pulse Bass     Filter Bass

All of these sounds can be used as layer elements, too. That’s a lot of detail, but it should give you a better sense of the product feature tiers.

Update

After spending more time with Korg Module Pro, I’m happy. The sounds are first rate without much filler or junk. Some of the sounds are inspiring.

Further experiments…

I connected the Yamaha SHS-500 keytar to Korg Module Pro over Bluetooth MIDI. Pairing was a breeze, I couldn’t discern any annoying latency at all. There are a few patches where I dialed up the effect level — par for the course. I can see the SHS-500 plus iPad/Module as a lightweight portable rig. Going wireless would be a real boon for the crazy small spaces that I play in.

I also gave MODX another shot as MIDI controller. Success! The digital audio stream is sent back to MODX on its USB class-compliant audio device. My initial mistake was a head-slapper. Pay attention to the MIDI and audio meters in Module’s upper left corner. At first, I saw MIDI activity and no outgoing audio level. Should have been a big clue. Check and set Module’s OUTPUT LEVEL knob and make sure it’s turned up. Doh!

I resolved the organ rotary speaker speed issue by reading the manual and noting the organ/damper pedal setting. Module receives CC#64 sustain. When the organ/damper pedal setting is “Rotary,” sustain toggles the rotary speaker speed — no MIDI CC learn is necessary.

That’s it! Korg Module Pro 50% off is money well spent.

Copyright © 2020 Paul J. Drongowski