This is the new Steinberg control surface. (See the hands-on video at SonicState.) It’s built to integrate out of the box with Cubase 4, which if you’re a Cubase 4 user should be good. You or I might give it a name like “CubaseControl” or something, but Steinberg has seen fit to call it the CC 121, which sounds like it was lifted off of a MIDI specification. No matter — they can call it Eustice if it’s a good controller.

But that’s not the only odd thing about the CC 121. There’s a little light that goes on to say it’s “Cubase Ready.” (The marketing materials say this gives it “instant plug and play.” I’m not entirely sure why you need an LED for that, but I guess it’s comforting or something.) Then there’s the control layout, which has so much blank space that it looks a little like someone dropped a stack of encoders and buttons on a piece of paper and glued everything where it fell.

But the oddest thing about the CC 121 is the controller choices themselves. The whole point of previous single-fader control surfaces — at least, so I thought — was creating a compact device that can sit by your mouse. The point of the CC 121 seems to be, well, EQ. There are a full twelve dedicated EQ encoders. For everything else, there’s … uh … one knob. (It’s the one that says “VALUE” on the right side.) It is supposed to be a really smart knob, at least. Here’s how Steinberg describes it:

“Ultra-precision Advanced Integration controller knob with ‘point and control’ support: controls any visual Cubase 4 parameter, internal FX setting or VSTi parameter using mouse pointer selection”

Translation: you can click on any setting in Cubase and control it with our encoder, one setting at a time. Want to control more than one setting at a time? Say, delay time and wet/dry mix? Sorry. There are four buttons so you can change the function of the one value knob, but not the obvious solution of having any more than one knob. I know what you’re thinking. There’s blank space all over this unit, so why couldn’t you just have four “Advanced Integration Controller Knobs”? I think I have the answer: if you did that, you wouldn’t have room for the “Cubase Ready” light.

You may think I’m just using this opportunity to beat up on Steinberg and be snarky, but I’m not.

The Magic of Third Parties and Broad Compatibility

No, on the contrary, this illustrates something I’ve suspected for a long time. Just as most screenwriters shouldn’t direct their own films, software developers shouldn’t necessarily make hardware controllers for their own software. Sometimes the magic works; sometimes it doesn’t. Either way, having choices beyond those the software vendor chose is a good thing. Third-party hardware can work with more than one app (in case you ever use something other than Cubase), it can provide more choices (in case your needs are different than someone else), and it provides the much-needed perspective beyond the folks who built the software. You may not get the brand name of your DAW on the unit, but smart software can still make the out-of-box experience just as integrated. That doesn’t mean I think the software vendors shouldn’t try — as Alan Kay is often attributed as saying, “People who are really serious about software should make their own hardware.” But, even assuming he did actually say that, and assuming we should all listen to him, he didn’t say that you had to make that hardware for your own software, or that you’d be successful all of the time.

Someone out there I’m sure really, really loves tweaking EQ. Congratulations: the CC 121 is for you. For everyone else, you have not one but four excellent choices: Novation’s SL line, Frontier’s AlphaTrack and TranzPort, and PreSonus’ FaderPort. They all integrate fairly automatically with Cubase (even older versions which are incompatible with the CC 121), and give you lots of control. And that’s just compact control surfaces.

Not only that, but Novation, Frontier, and PreSonus all make hardware that works with other stuff not from Steinberg. The AlphaTrack, for instance, just added extensive support for GarageBand 4 (adding to a long list of other supported software), plus software you probably haven’t even heard of — SAWStudio by RML Labs and MultitrackStudio from Bremmers Audio Design. SAWStudio support didn’t grab the Messe headlines the way a Steinberg control surface did, but I’ll bet if you’re a SAWStudio user, you’re really excited. And that’s the point: we choose our software personally, so we should choose our hardware the same way.

Here’s a quick review of the other compact control surfaces available — not only for Cubase, but a lot of other software, as well:

NAMM had plenty of new goodies, but what do we actually want to buy? Here’s Liz’s top pick (high on my list, as well). -PK

No, it’s not an advertising campaign for Ableton Live if that’s what you’re wondering. The Live-like logos that pop up onto your screen when you start using the Novation Nocturn controller actually represent the Nocturn’s various knobs, automatically mapped to whatever software you’re using at the time. It’s a heads-up, intuitive display that extends both the mouse and the controller itself. You can see the knob settings on screen, then use the mouse to navigate between the controller’s touch-sensitive knobs. If the Automap feature isn’t doing it for you, you can reassign any parameter or create a new MIDI map from scratch. Ed.: Novation says this functionality will soon be available on other Novation Automap gear, too, like my beloved ReMOTE SL keyboard. -PK

In terms of blinky appeal, each of the knobs are surrounded by LEDs that make it easier to see the knob’s position in a dark club.

What will it cost? A mere $100. On my wishlist, for sure.

Nocturn - The world’s first compact intelligent plug-in controller [Novation Music News -- and by "first", I think they mean the first of theirs, of course, or "intelligent" defined as their particular Automap feature]

Stay tuned for hands-on video with the Nocturn. And yes, the crossfader feels fantastic, especially for the price.

It’s no secret: I’m a huge fan of Novation’s ReMOTE SL line, and they’re becoming very popular with live laptop users, soft synth lovers, and users of software like Ableton Live and Reason. Put aside for a moment the whiz-bang Automap features, which automatically assign controllers to software (both plug-ins and hosts), and the physical keyboard itself is very good. The semi-weighted action feels terrific, and there’s a nice selection of controls.

Novation has expanded the SL line this week with the ReMOTE SL “Compact”, apparently keeping with their Goldilocks-friendly marketing strategy. (What, that’s a little too big for you? How about this…)

The SL Compact features:

• 25- or 49-key semi-weighted keyboards with aftertouch
• Assignable pitch and mod wheels
• USB bus power (as on the previous SL)
• Full Automap support (as on the SL)
• Eight encoders and buttons with LEDs
• Eight velocity-sensitive triggers
• Single, large display
• Group select switches allow 64 parameters in manual template mode or unlimited controls in Automap mode

In fact, it’s so close to the SL that you may wonder what’s different on the Compact. As the name implies, the layout has been adjusted to take up less space; the SL’s footprint is a bit deep. Standard pitch and mod wheels replace the pitch/mod joystick and X/Y touchpad on the full SL. There’s one screen for the controls, as on the SL, but minus the SL’s menu screen. And on an up note, the trigger pads are larger; I hope this improves upon the stiff, tiny triggers on the SL.

One of the caveats on the SL was the higher price, relative to some of its competitors; I think it’s worth the premium but the SL COMPACT does appear to be a “budget” model. Novation hasn’t yet announced pricing or availability. I’ll send an update if I hear.

What’s nice here, though, is that as opposed to keyboards like Novation’s previous Remote LE, they’re not dumbing down the feature set by removing aftertouch or changing to an unweighted action. I like that trend a lot. The 49-key model could be a great touring keyboard; Novation, if you’re listening, I hope we’ll get a 49-key keyboard backpack as on your previous models.

ReMOTE SL COMPACT [Novation News]

CDM’s friends at the Spanish-language Hispasonic run one of the best music tech sites on the Interwebs. They’ve been kind enough to share some of their videos from the Messe show, and you won’t have to speak a word of Spanish to follow them. (The Arturia Origin was later overdubbed with Spanish.) Of course, I did just see some discount tickets to Spain, so maybe I should brush up. (Hispasonic links here are naturally in Spanish, but everyone can enjoy the videos.)

My favorite: a tour of the Superbooth, an exhaustive mini-expo of modular music tech.

Superbooth @ Hispasonic

Plus another look at the Arturia Origin synth:

In a release that is sure to be as treasured a part of the computer musician’s Halloween as “It’s the Great Pumpkin, Charlie Brown!” is to normal people, the electronic music world’s most insane “instructors” are at it again. Hilarity results:

Museum of Techno Halloween Special: MIDI Control [Novation Xiosynth ad site]

Be careful, as I think they’re trying to sell you a ReMOTE SL keyboard, and only I should be allowed to do that. (The apparent message of this video: “MIDI is too hard to understand! You’re drunk and on drugs! You’d better buy a Novation keyboard!”) Then again, if you’re like me, you’ll finish this video not with a desire to buy electronics but a sudden need to, I don’t know, listen to some soothing music and try to come back to a reality that isn’t completely tripped-out and edited with Premiere, a blindfold, and an axe.

Actually, I’m fairly certain I can explain MIDI drunk, speaking of things that are truly spooky. And I probably have — blacked out about some of those bits. I can see it now: “No, CC doesn’t really stand for continuous controller. It stands for Control Change, some of which are on/off messages like sustain pedal. And what do you mean, MIDI doesn’t have data resolution? Pitch bend has 16,000 steps and you’re leaving out most significant byte / least significant byte combinations.” Imagine that slurred, and you get a sense of what I’m like at parties, or how hard it is to be my significant other.

Thanks to the Museum of Techno for adding total irreverence and humor to the usually-dry world of music equipment adverts. Keep it up, boys.

Automapping, the ability to automatically assign controls on hardware to software parameters, is a big draw for a lot of users, and a new upgrade to the ReMOTE SL keyboard brings this feature to Pro Tools for the first time — while smoothing out the rough edges in support for other software.

The ReMOTE SL is a fantastic keyboard in terms of hardware, but the software when released was a work-in-progress, at least when it came to the much-publicized “Automap” capabilities. Fortunately, Novation’s been making steady progress on its SL keyboard software over the past months, as have some of its partners. When I first fired up Ableton Live 6, for instance, I was pleasantly surprised to discover that many things “just worked”, thanks to new features on the Live end.

This week, Novation has released its new version 2 of its SL operating system, with some major new features:

1. Mackie HUI support
2. Automatically maps to Pro Tools tracks, sends, panning, record arming, plug-ins, effects, and even window navigation
3. Use manual and automatic templates simultaneously in software like Pro Tools and Live

My review of the Novation ReMOTE SL keyboard/control surface is in the current issue of Keyboard and free online. Here’s a taste at how I approached the review:

Music stores and closets alike are full of controller keyboards aimed for use with software. Most seem identical save for a set of drum pads here and a free plug-in there. The variety of options and generally low cost is great, but the keyboards themselves (you know, the black and white bits) often seem like afterthoughts. And adding and subtracting knobs and controllers seems to miss the point: What we really want isn’t just more or different controls, but ones that are better integrated with our favorite music software.

Novation’s ReMote SL line aims to be different on both points, with hardware that feels like an instrument, and intelligent “Automap� capabilities to save us from the drudgery of programming MIDI assignments one-by-one. So, is this finally the MIDI keyboard you’ll keep for years into the future?

Novation is hoping you’ll bring their new Xiosynth mini-synth keyboard home, and to help give you an additional push, they’ve got a new online sampler keyboard plus lessons for learning synthesis techniques.

Have a listen to the patches on the Xiosynth with the Flash player below; try the z, x, and c keys on your QWERTY keyboard:

The Xiosynth mini-site has a series of synthesis “tutorial” podcasts that purport to teach you synthesis. Novation PR (who sent links along with banner ads that it apparently hopes us blogs will run in stories — fat chance) hopefully describe these thusly: “The renowned technicians from the longstanding Museum of Techno have taken up the challenge of producing a series of comprehensive tutorials on synthesis. Included in this thorough analysis is a comparison with other cutting edge products on the market, such as the RS2000, and consultation from highly acclaimed industry professionals.”

I’m hoping they’re being ironic. Let me translate: a couple of tripped-out blokes get drunk on sherry and fiddle around with a homebrew synth before calling up an international DJ/producer who tells them to just use cheezy presets instead. (What, you expected something else from a techno DJ?) Watch the amusing, if less than instructive, videos for yourself.

There’s only one problem. This video makes me far less interested in the Xiosynth as that ridiculous home-built box. I want the “most analog synth since World War I” with “one oscillator made out of fish.” It does make me wonder what sort of instructive synthesis how-tos I would make drunk.

Back to the … ahem … synthesizer, there’s now a fair range of “starter” synths at around US$600 or less. For beginners, these could make a great first syntheszier. For the rest of us, they could be a fun addition to the studio, especially if you’re like me and have neglected the hardware side of things while focusing on software. (Yes, I still prefer the flexibility of software, but having a tweakable instrument around that doesn’t require booting the computer has a certain amount of appeal, especially if it’s portable.) Your options are:

Updated: The XioSynth is, in fact, 8-voice polyphonic, says Rob Jones from Novation’s UK headquarters. Rob explains why we got the message that it was monophonic: “It’s monotimbral (i.e., one program at a time), but each patch has 8-note polyphony.” There you have it. Also, check out comments for plenty of discussion as people ponder what gear to buy.

Novation has additional details for us on their new XioSynth, as profiled yesterday:

Synth engine: Virtual analog subtractive synth. Novation says it is “essentially a new engine,” but related to the KS-Series and X-Station synths. Those synths are terrific-sounding and a lot of fun to use, so that’s a good thing, though we’ll have to wait until this ships to find out what’s different on the Xio.

Aftertouch: Channel aftertouch is not available on the keyboard, but is assignable to the X/Y trackpad (which you might prefer, anyway). I suspected that, as Novation left aftertouch off of the LE series, as well. If you’re into aftertouch, you should consider the X-Station or ReMOTE SL.

Shipping: Late July / Early August availability, as the units are “starting shipping this month.”

Also, Tom at Music thing reports that that step sequencer should eventually sequence more than just gate: “we are already in discussion about other uses (e.g. modulating the filter) so it will be expanded in an OS update in the near future.” Timbral effects as well as rhythmic? Sign me up. Novation tends to deliver lots of new features in their OS updates, so expect them to make good on this promise. (Tom, I also like the idea of “deckchair tweaking.”)

The XioSynth really can’t take my mind off the ReMOTE SL I just got in, as I do enjoy the extra controls, keyboard aftertouch, and more software controller features; I’ve got plenty of Virtual Analog synths to play with. (And the SL comes with Novation’s superb BassStation, to boot.) But the XioSynth should round out Novation’s increasingly-terrific product line quite nicely. There are other budget synths, but few that emphasize the controller/synth hybrid, and certainly not at this low price point. Throw in Novation’s outstanding templates and editing, and this might be a winner for people who want their compact synth to be a great controller, too.

It’s a new age for synths: now that we’ve all got great sounds in our computer, many people want keyboards that give them additional software control. But it’s just as nice to add some built-in sound capabilities, for two reasons: one, added value; two, something fun we can play with while we’re waiting for our computer to start up. Novation’s X-Station delivered both, with a great built-in hardware synth and one of the best keyboard controllers for software on the market, all in one unit.

Now, Novation’s got something new, the XioSynth. (Zee-oh synth? Not sure.) It follows the X-Station hardware synth + software formula, but with a more compact design, lower price, and some fun features (with the unmistakable impression that they want to sell these to electronica fans). Think integrated step sequencer and arpeggiator, built-in effects and easy access to synth editing, and hybrid controls for playing the built-in synth and soft synths at the same time. Here are the details I’ve got so far: