IN THE END . . . for Korg MS-20, MS-20 mini or MS-20ic (2019) Including ADDENDUM: Performance with the Korg iMS20 iPad app Arthur B. Hunkins abhunkin@uncg.edu www.arthunkins.com The question is not whether technology can be intelligent, it's whether we can be. --------------------------- If we fall in love with creation deeper and deeper, we will respond to its endangerment with passion. Hildegard von Bingen GENERAL IN THE END . . . is a solo, live-performance piece for either the Korg MS-20 or Korg MS-20 mini synthesizers, or the Korg MS-20ic MIDI controller. 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 a sequal to my previous composition, IN THE BEGINNING . . . (also from 2019). It is presented in two versions: one, the original, for MS-20 or MS-20 mini; the other for MS-20ic. (I will refer to the first as the MS20/mini version, the second as the IC.) The work was composed on the MS-20 mini, and this is the preferred version. It is also the version used in the demo recording on my website. The IC emulates the MS20/mini version as closely as feasible; however, the many minor functional differences between the MS-20ic and the synths (in a piece like this emphasizing timbre) can alter sonority significantly. So the IC is a "best approximation" of MS20/mini. Thus, IC required significant "tweaking" of the original score. The result is two performance Scores, and two sets of "Scenes" (described below). With the IC, close attention must be paid to the crucial initial pitch setting of VCO2; carefully follow the instruction on the Basic Setup sheet. A "microtone" represents a single digital step on the MS-20ic, and can be readily heard as you "micro-turn" the knob. Later in the piece, you are asked to turn this knob one additional "microtone" (a tiny turn indeed). This movement corresponds, in the MS-20/mini, to a setting where the two oscillators beat against one another just short of sounding as two separate pitches. One additional IC knob setting is worth noting: the last (silent) MG/Freq movement to "2-". Only slightly lower than "2", it represents a pulsation somewhat slower than that of the initial setting of MG/Freq. The difference should be noticeable but modest. (It is easy to overdo the slowing; the two knob positions are only barely different.) SETUP Various "Scenes" are indicated at points in the score; designed for practice purposes, they indicate the current controller settings. (EndScenesMS20-mini.pdf consists of these 6 Scenes laid out on front panel displays for the MS-20/mini; EndScenesMS20ic.pdf does the same for the IC.) 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-20 mini (which closely parallels the MS-20). 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 IC version to better capture the original intent. (No adjustments should be made on the MS-20/mini.) Two 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.) Scene 1, as set up, is silent; the others are not. The audio output is monaural. For performance, a stereo (or multi-speaker) sound system is recommended - the same signal being sent to all speakers. Overall level is set at the beginning of Scene 6 (preceding the noise crash): it is very loud. A typical rendering of this piece lasts 13 minutes. (This is the approximate duration of the demo performance included on my website. Note: This rendition uses the "pull the plug" option at the beginning of Scene 6.) PERFORMANCE Instructions in the score are followed sequentially, one at a time. Movement of all knobs is slow-to-moderate, and pace/speed is consistent. Nothing is sudden or jerky. Most importantly, the effect should be of *ongoing* sonic transformation, one operation segueing into the next. (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). In public performance, particular care should be taken at the beginning of Scene 6, with the sudden cutoff of the (cataclysmic) noise source. Audience attention must be held during the ensuing apparent silence, until the almost subliminal triangle wave rises to awareness, only then getting a bit louder. ADDENDUM: Performance (IC version) with the Korg iMS20 iPad app The IC version of IN THE END . . . 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.) Note too that slightly different implementations of the Modulation Generator necessitate different MG/Freq values when realizing on the iPad. (These variants are indicated both in the Scenes and in the score.)