IN THE BEGINNING . . . for Korg MS-20ic, MS-20 or MS-20 mini (2019)

    Including ADDENDUM: Performance with the Korg iMS20 iPad app

Arthur B. Hunkins
abhunkin@uncg.edu
www.arthunkins.com


In the beginning, God created the heavens and the earth. . . .

And God saw that it was good. . . .

And the Lord God commanded the man, saying, “You may surely eat of every tree of the garden, but of the tree of the knowledge of good and evil you shall not eat . . .

When the woman saw that the tree was good for food, that it was pleasant to the eyes, and a tree desirable to make one wise, she took of its fruit and ate. . . .

				Genesis 1:1, 9; 2:16-17; 3:6


GENERAL

IN THE BEGINNING . . . is a solo, live-performance piece for either the Korg MS-20ic MIDI controller, or the Korg MS-20 or Korg MS-20 mini synthesizers. The MIDI controller version requires the Mac/Windows Korg (Legacy) Collection software for the MS-20, and a Mac running OS X 10.10 Yosemite or higher, or a Windows 7 64bit or higher. In either case the controller is tethered via USB to the computer. All renditions require seven mono patchcords (for the original MS-20, 1/4" cords; for the others, 1/8" mini-phone).

The Korg Collection software is included with a new MS-20ic controller. It can also be purchased for $50US from https://korg.shop/korg-collection-ms-20.html. This composition uses all default software settings. First, plug in the controller to your computer via USB; next start the installed MS-20 software (it then "discovers" the controller). On the software GUI, click on System | Preferences | MIDI Settings, and select "MS-20" as your MIDI IN Device 1. Now patch and set up Scene 1 (see the paragraph below). As soon as you switch power on with the controller's VOLUME knob, your settings will appear on the computer GUI, and sound will be activated. For the MS-20 and MS-20 mini, simply set up/patch Scene 1, switch VOLUME on, and sound becomes available.

THE TWO VERSIONS

This piece is presented in two versions: one, the original, for MS-20ic; the other for MS-20 and MS-20 mini. (I will refer to the first as the IC version, the second as the MS20/mini version.) The work was composed on the MS-20ic, and IC is the preferred version. It is also the version used in the demo recording on my website. The MS20/mini emulates the IC version as closely as feasible; the digital engine of the MS-20ic is much more stable, precise, and has a lower noise floor than the two synths. The synths will also vary one unit to another. (There are, in addition, many minor functional differences between the MS-20ic and the synths, which [in a piece like this emphasizing timbre] can alter sonority significantly. Chief among them is the ability of the MS-20ic to effectively lock the two oscillators into a precise octave, which the analog circuitry of the others cannot do. The result, in MS20/mini, is unintended "beating.")

As a consequence, the two versions require different performance Scores, and different sets of "Scenes" (described below). In addition, several performance options, described at the end of these instructions, are available only to the IC version. These alternatives are not recommended for the MS20/mini due to their higher noise floor, as well as the (unfortunate) way they process pink noise through the External Signal Processor. (Neither issue applies to the IC).

With the MS20/mini, close attention must be paid to two crucial settings: 1) the "approx 1" setting for the EXP/Signal knob at the beginning and ending of the piece; 2) the VCO2/Pitch trim knob in initial (Scene 1) setup (this setting will vary per individual synth). Carefully follow instructions in the score and Basic Setup.

One additional knob setting is crucial to both versions: the 10th "operation" in Scene 4: HP/Freq. This sonority sweeps in slowly from below, and it is important that you don't sweep past it and have to backpedal. This challenge will be less difficult in the IC version, where the sonority will "click in" to a precise, pure triad. With the MS20/mini, there is no "click in", and the approach is particularly delicate (it requires practice; "backing up" is not an option here or anywhere else!) Just get the closest to a pure triad as you can.  

SETUP

Various "Scenes" are indicated at points in the score; designed for practice purposes, they indicate the current controller settings. (ScenesMS20ic.pdf consists of these 11 Scenes laid out on front panel displays for the MS-20ic; ScenesMS20-mini.pdf does the same for the MS-20 and MS-20 mini.) Scene 1 indicates the "Basic Setup," which includes (as do all the Scenes) the layout of the 7 patchcords. (This "patch" does not change at any time.) Prior to performance, set all controls to these Basic Setup positions.

Note that this piece was composed for, and its demo performance recorded on the MS-20ic. Please refer to the demo for an idea as to the intended sound of the instruments. You may want to make modest adjustments to settings indicated in the MS20/mini version to better capture the original intent. (No adjustments should be made on the MS-20ic.) 

Three details apply to both versions:
1) Controls marked with an X do not change during performance. Beyond Scene 1, they are included solely for reference purposes. 

2) The keyboard note with the X on it designates the default keyboard frequency; it needs to be explicitly set only with the MS20/mini, and then only once power is on. The keyboard is not otherwise active in this piece; *be sure not to press another key during performance*. (To guard against accident, you may want to press this key just prior to starting.)

3) The .5 value of the WHEEL is its default, midpoint position. (When moved close to .5, the wheel, in some MS-20's, will spring back to this position. For a potential problem on the MS-20ic in this regard, see the next-to-last paragraph in these instructions.) All of the WHEEL's action in this piece is between .5 and its uppermost point (MAX).

Scene 1 and Scene 11 (beginning and end states) are silent; the others not. (A special alternative "beginning" and/or "ending" option for MS-20ic is detailed below.) Scene 11 represents the final state only for the default version of this piece. On the MS-20ic, the user may opt to create a different final segment (see "An Alternative Ending Segment" below).

The audio output is monaural. For performance, a stereo (or multi-speaker) sound system is recommended - the same signal being sent to all speakers.

A typical rendering of this piece (default version) lasts 26 minutes. (This is the duration of the demo performance included on my website.)

PERFORMANCE

Instructions in the score are followed sequentially, one at a time. Movement of all knobs (and the wheel) are moderate-to-slow, and pace/speed is consistent. Nothing is sudden or jerky. While the specified pauses are required, additional time may be taken between operations as needed. In general, however, the effect should be of slow, ongoing sonic transformation. (The few exceptions are clearly indicated in the score.) 

Abbreviations found in the score should be fairly self-explanatory. (ESP stands for the External Signal Processor; HPCUT stands for Cutoff Frequency Modulation of the Highpass Filter, LPCUT the same for the Lowpass Filter.) Each instruction indicates: [module-name/] control-name: previous-value -> new-value. Values are expressed as appropriate to the individual control (sometimes as clock time). Settings followed by a "+" or "-" indicate slightly more or less than the value indicated (and definitely less than a .25 difference).


*NOTE: THE FOLLOWING OPTIONS APPLY ONLY TO THE IC VERSION*

AN ALTERNATIVE ENDING SEGMENT (Scene 10 on)

From Scene 10 to the end, the performer may create his/her own final segment - of any length. (This could even consist of a simple "ensemble" fade to silence.)

A few general guidelines/suggestions:
1) Remain in the general character of the piece, especially of what comes immediately before. Continue the process of gradual, evenly-paced sonic transformation, moving one control at a time.

2) Only use controls that were varied previously in the composition. (The frequency controls of the two oscillators, in particular, must remain unchanged.)

3) No dramatic or sudden events. (One possible exception: a single, unexpected and possibly mood-breaking event at the very end. Example: a near-instantaneous cutoff of everything via the VOLUME control brought to 0, including Power Off. This could occur immediately after a short or longer pause right at the beginning of "Scene 10." See the final two paragraphs below regarding this exceptional use of VOL.)

4) Do not use the lowpass filter in self-oscillating mode. 

OPTIONAL OPENING AND/OR ENDING LEVELS

Special options are available for the opening and/or ending levels: Prior to, and/or following the performance, the initial/final sonority may (continue to) sound subliminally. This alternative is possible when the work is scheduled (for an opening subliminal sonority) at the beginning of a concert or right after intermission, or (for a concluding subliminal sonority) just before intermission or as a program finale. For the opening sonority, the initial sound begins under general audience clatter; for the final sonority, it ceases only under applause or later.

The opening sonority level is set by MIX/VCO1, as is the final sonority of the default ending segment. These subliminal levels will probably be about 1.

With regard to alternative ending segments as discussed above: The final sonority will consist of one or more of the three sound sources: VCO1, VCO2, or the PINK NOISE GENERATOR. VCO1 is controlled by MIX/VCO1 (as indicated above), VCO2 by MIX/VCO2, and PINK NOISE by the WHEEL. The subliminal final level for the VCO's will again be about 1.

For PINK NOISE, the WHEEL level will be about .6 (as .5, mid-wheel, is effectively 0). A potential problem here is that, near .5, the wheel may abruptly spring back to .5 (silence!) If this occurs, take the wheel down only to .65 or .7, and use the VOLUME control (top right) at the very end to take the sound to its ultimate subliminal level.

Note: This is the *only* time you should move VOL. However, there is one possible exception: To create a final "ensemble" fade of two or three sources (in an alternative ending segment), you can also employ VOL. This is the one time that more than a single source will change at a time. In order for this fade to reach a subliminal level, all the involved sources must begin the fade at less than half their MAX; otherwise, VOL will not take them soft enough.

    ADDENDUM: Performance (IC version) with the Korg iMS20 iPad app

The IC version of IN THE BEGINNING . . . can be performed by the Korg MS-20ic controller on the iMS20 iPad app, as well as the Korg Collection (IC) software. The synth code in both softwares implements the same technology; thus the controller achieves similar results in each. Better yet, the app is compatible with *all generations* of the iPad (though it is not "recommended" for ipad 1).

Downloading the appropriate version of the app for earlier iPads can be a bit of a challenge, however. An iTunes account is of course required to download to an iPad; upon payment of $30US, the app will appear on your iPad *if the current version of the app is compatible with your tablet*. If not, your purchase is aborted (without charge).

What to do in this case: under your iTunes account, purchase the app on a later iPad or Mac/PC; your purchase will be saved in your account (as well as loaded to the later iPad). Return to your earlier iPad and again locate the app on iTunes (App store). It will now have an Install (rather than a Price) button. Click it, and instead of an abort/incompatibility message, you'll be asked if you want to install an *earlier/compatible version*. Click Yes, and you'll be ready to go.

    The Interface

Interfacing the controller to the iPad is also fairly complicated: 1) you need a (Camera) Connection Kit - *the appropriate kit for your model iPad*. iPads 1 - 3 require a kit with the 30-pin connector; iPad 4+ need the Lightning connector. 2) You also need a powered USB hub. All iPads limit accessory inputs to no more than 100mA current, and the MS-20ic controller requires more (so do many, if not most, MIDI controllers).

It is possible to get a powered USB HUB and Connection Kit in a single unit (though one with a 30-pin connector is fairly difficult to find). Note that the power to the HUB will need either a USB connection to a computer, and/or an AC adapter to plug into a wall socket. (The necessary power cable may or may not come with the HUB.)

    Initial Setup

Turn on your iPad, and before bringing up the iMS20 app, click Settings, then (Display & Brightness and) Auto-Lock - making sure the latter is set (for now) to Never. (Otherwise, the app will shut off at whatever time is set here - likely in the middle of your performance!) Needless to say, begin with your iPad well charged. (Even combination USB HUB/Connection Kits, except for a few expensive ones, will not charge your iPad with devices connected .)

Now bring up your app. Under Synth Edit, click Effect and if On, click Off (and reclick Effect).

Prepare and patch your MS20ic controller, and connect everything to the iPad. (On a Camera Connector Kit, be sure the side switch is set to USB rather than Card.) Finally, turn the controller's Volume knob (Off then) On. All the settings and patch cord connections are immediately transferred to the iPad and you are ready to go.

Note that the labelling for VCO2's Pitch knob differs on the app from that on the controller. Simply follow the setup and score instructions (IC version) for the controller. (In performance you will be attending to the controller instead of the app, so this should be no issue.)