Using Remote Controls For MIDI & Audio Recording

If you're operating a sequencer from the other side of the room, you can normally re‑size your SMPTE and Song Position readout to make them visible from any distance.

If you need to operate your sequencer from a distance, there are many ways to stay in control. Martin Walker explores a variety of low‑cost and purpose‑built options.

Many people are now basing their entire studios around a single computer running MIDI + Audio software, with the controls normally adjusted using a mouse or computer keyboard. However, many small project studios are for personal use, and more often than not these are situated in a single room. If you are the composer, performer, engineer and producer, it can be difficult to arrange your gear for optimum ease of use.

For example, when you're mixing and mastering you'll probably need easy access to both your computer keyboard and mixing desk. This, fortunately, is easy to arrange; for MIDI recording, you ideally need your MIDI keyboard positioned between the monitor speakers — but this rarely leaves enough room for a mixer as well. Many people compromise; in my case I have the mixer and computer keyboard between the speakers for easier mixing and mastering, and my MIDI master keyboard to one side at right angles. However, this makes the recording process trickier, since the MIDI and computer keyboards are about five feet apart.

Furthermore, although you may rarely need to record acoustic sounds if your music is based around MIDI and pre‑recorded samples, sooner or later you might want to sample acoustic instruments, or even record a complete acoustic performance. In the case of a one‑person, one‑room operation, recording audio can be tricky, since even if you monitor on headphones during the recording itself, to avoid feedback from your monitors, your computer is probably sitting somewhere nearby and is likely to generate a fair amount of its own acoustic noise.

Many sequencers allow various functions to be remote‑controlled using MIDI data.

This means that any mic will have to be positioned some feet away from the computer, making the recording process even more difficult — you end up clicking on the sequencer record button and then walking over to the mic to perform. I recently tried this approach, but it proved so unwieldy that I switched off the computer and used my Akai sampler to record the sounds instead. I could then work right next to it without worrying about extraneous noise, and every control was easily within arms' reach.

Purpose Built

The Doepfer Regelwerk provides dedicated transport controls as part of its extensive list of features.

The long‑term solution to both the MIDI and microphone recording problems is to set up some form of remote control for your MIDI + Audio sequencer, so that you can adjust various functions of the computerfrom a convenient distance. Remote controls for MIDI and audio recording purposes come in many shapes, sizes and prices, but not everyone needs the sort of comprehensive features that ADAT owners have access to with the Alesis BRC (Big Remote Control), for example.

Yamaha digital mixers provide various options for controlling other devices using MIDI commands, and this approach can help by allowing you to place the computer keyboard nearer the MIDI gear, without losing control of the sequencer when you're back at the mixer. Various general‑purpose MIDI hardware controllers have been launched over the years, including the JL Cooper Cuepoint (reviewed SOS June 1995), and the Emu Launch Pad (reviewed SOS October 1996). One of the most recent is the Kenton Control Freak (reviewed SOS November 1998). This provides eight programmable faders and push‑buttons and is ideal for basic automation, as well as hands‑on control of software synths. Another option might be the Doepfer Regelwerk (reviewed SOS February 1998), which, in common with some of the other units, provides a set of dedicated transport controls. It also sends out MMC (MIDI Machine Control) instructions. MMC is a type of SysEx data specifically designed for remote control, and one widely supported by software and hardware sequencers and recorders.

All Keyed Up

The MK149 from Evolution has full‑sized velocity‑sensitive keys, and could be used as a remote keyboard as well as a transport control.

However, if you just want basic control over a software application from a distance, the cheapest way is probably to buy a computer keyboard extension cable. These are available up to five metres long for about £5, so you could simply pick up your computer keyboard and take it wherever you want to record. a moreexpensive but even easier version of this approach is a wireless computer keyboard, which avoids trailing leads. These can now be bought from about £50 at some of the larger computer outlets, and use a small base unit next to your computer. The keyboard contains the transmitter and you can position it at any angle to the base unit, again up to about five metres away.

If you just want basic control over a software application from a distance, the cheapest way is probably to buy a computer keyboard extension cable.

A more elegant solution is one of the selection of products catering for those who need full‑sized keys when typing lots of numbers into a notepad, laptop or palmtop computer. Stand‑alone numeric keypads are available from various manufacturers, and normally have between 20 and 24 keys arranged in a similar fashion to those on the right‑hand side of a standard full‑sized keyboard. Although they are available to plug into both serial and parallel ports, these ports are often already in use, and also require a special software driver — not the ideal situation for musicians. Fortunately there are also versions that simply plug in between your existing keyboard and the computer, and you can often buy them through general computer suppliers. Those specialising in portable machines may be more helpful.

If you do end up working further away from your computer's monitor screen when recording, you can make life easier by ensuring that it has a large readout of current time and song position, visible from a distance. Most modern sequencers have a resizable window for this very purpose. Some sequencers, such as Cubase, already place the majority of the key controls for transport functions on the numeric keypad, but others — Logic, for example — allow you to redefine the key commands as you wish, to achieve the same end. Whichever sequencer you use, you can normally arrange to have a comprehensive set of transport controls on your remote.

Even if you end up too far from your monitor screen to see everything clearly, just memorise the appropriate keyboard shortcuts for your application and treat the keys just like any other remote control — you could even attach labels to the keys to remind you of their special functions. The only limitation comes when recording audio, since not all audio applications can resize input level meters. This could make it difficult to see clearly enough to set recording levels, although some soundcards are supplied with metering utilities that may have larger graphics. Personally, I would much prefer that input meters could always be made larger on demand.

Command Centre

Another (possibly more musical) approach to remote control is to let MIDI commands run your software transport functions. Many sequencers allow various functions to be remote‑controlled using MIDI data (see 'MIDI Software Control' box), which can include specific notes, program change numbers, or controller information, depending on the package. Often you can set up the software to switch all remote functions on and off using a special command; one command could toggle the entire top octave of master keyboard notes on and off to act as remote controls as and when you need them.

If you want an inexpensive stand‑alone solution for MIDI remote control, any device that can generate MIDI note or program change data could be pressed into service. One ideal candidate is the Evolution Dance Station. Although primarily marketed as a fun bundle for creating dance music, its 2‑octave keyboard hasfull‑sized, velocity‑sensitive keys, pitch‑bend and modulation wheels, and a selection of other control buttons, and it's available at a street price of about £80 through large PC outlets.

The Dance Station can take its power from the standard 15‑pin MIDI connector found on most PC consumer soundcards, but a standard MIDI socket is also available for more general Mac and PC use (although this will mean that you have to power the unit from a wall wart). You can stick function labels on to each key, and use it as a dedicated remote unit, and since it's under 19 inches wide it could even be attached to a rack tray if required.

Another approach is to use MIDI Program Change messages with a useful dedicated hardware unit such as the ForeFront Technology FT2 MIDI Program Changer. This is a compact 12‑button keypad specifically designed to send patch change commands from the far end of a MIDI cable. It takes its power from the MIDI line itself, and you could set up your sequencer so that the buttons act like a remote transport control. Priced at under £50, you should be able to find the FT2 in many music shops, although in case of difficulty BCK Products on 01992 524442 should be able to locate your nearest stockist.

Floor Show

In a MIDI + Audio studio, the function which most often requires remote control is punching in and out of record mode while a track is playing. In Cubase, alternate presses of the record key toggle punch‑in/out, so you could set up the Record function to be remote controlled by Controller 64 (sustain). Then, using any keyboard sustain pedal (which is in fact an on/off switch) you could drop in and out of record quickly and easily using your foot. This has the advantage of leaving both hands free to play your chosen instrument.

Nearly all keyboards have a suitable socket for a sustain pedal (including the Dance Station), and the pedals themselves are available from many sources, including most keyboard manufacturers. However, since sustain pedals are actually momentary on/off switches you could wire up any suitable push‑button switch to a quarter‑inch jack plug and use this for punching in and out. I have a proper piano‑style sustain pedal switch for my master keyboard, but I've also commandeered a basic footswitch from an old office dictation machine for remote‑control purposes.

Computer Control

Many people now have more than one computer, and it's perfectly possible to use a second machine as a remote control for the first. The ideal machine would be compact and silent, and this makes older comuters without hard drives more suitable. The Atari ST (which, of course, has built‑in MIDI support) and Amiga could both be used in this way, although most modern laptops should also prove quiet enough to be pressed into service if required. The easiest way to link them together is, again, via MIDI — any software that can generate MIDI messages could be used if your main sequencer can be configured for this type of control. Cakewalk, for example, has a Studioware panel specifically designed to generate MMC messages.

Many people now have more than one computer, and it's perfectly possible to use a second machine as a remote control for the first.

Staying In Control

Ultimately your chosen solution will depend on many factors — how much you want to spend, how far away you need to get, and how often you need to do it. The reason you need remote control in the first place is also worth bearing in mind. If you primarily need to have a second set of controls to make operating your sequencer more convenient from a different location, a dedicated remote of some sort may be the best solution. However, if you're struggling against nearby computer noise the best solution may be to consider ways to reduce its annoyance factor, or, even better, to remove this source of noise from the recording area altogether.

Currently, one of the great hopes seems to be USB. I've heard rumours about forthcoming products that will allow you run a computer keyboard, mouse, and monitor screen from the far end of a USB cable. If the rumours prove to be true this would be an ideal solution for many people. In the meantime it seems well worth investigating the remote options in your sequencer. Once you've tried punching in and out of record mode using a footswitch you won't want to go back to using your fingers!