ARTURIA MINILAB 3 - A 6-month review
I have had my Arturia Minilab 3 keyboard for about 6 months now, so I thought I'd give it a proper review. It's a nifty little gadget that has managed to wedge itself neatly into my cluttered workspace (and my heart). Was that too much? That was too much, wasn't it?
First Impressions: Design and Build Quality
At first glance, the Minilab 3 looks like it was designed by someone who’s had their share of cluttered desks. It's not any wider than my Macbook, so it fits wherever my laptop does. That was one of the bigger selling points for me. I take it with me on airplanes. The TSA will give you some puzzled looks, but I know they are just jealous. I also like the sturdiness of the design. Some of the other portable controllers I have tried feel like they might snap in half if you look at them wrong. It’s got a bit of heft, which is reassuring when you’re furiously tapping out a drum beat or tweaking a filter.
Playability
Now, let’s talk keys. The Minilab 3 has 25 of them - ranging from C to C two octaves higher. They are slim, unweighted, and velocity-sensitive...perhaps too sensitive at times. It can be difficult to play something in the middle velocities. But you know, maybe I'm just bad at playing them? The slim nature of the keys takes some getting used to if you are only used to the size of a regular piano.
Speaking of buttons, the 8 RGB backlit pads are a joy...particularly to my 2-year-old. They’re responsive and perfect for all sorts of musical shenanigans, from drum programming to sample triggering - I don't use it much, but I understand this keyboard works really well with Ableton. I'll be honest, I didn't think I would use the drum pads, but I've found a lot more use for them than I expected.
What I haven't used is the knobs and faders - of which there are 8 and 4, respectively. I may find uses for them eventually, but my goal wasn't really to use every feature of this keyboard - I just needed to replace my old full-sized midi controller with something smaller, and more affordable.
Inputs and Outputs
I will say, the USB port is nice. But, I only have two of them on my computer, so that can be a bit of a problem sometimes since I also use the Focusrite Scarlett, which is also a USB. I don't know what I'm saying here as a solution? Maybe Apple just needs more USB ports in their Macbooks.
Software Integration
It comes bundled with a bunch of softwares (including Ableton Light)...and I haven't used any of them. I was mostly interested in its compatibility with the softwares I already use in my workflow: namely Dorico and Logic. In that department it does exactly what I need it to do. I can hook up the Minilab, load in my library of choice, and off we go.
Conclusion
Overall, the Minilab 3 has proven itself to be a trusty sidekick. It has made my workstation more efficient, and I can take it on the road. It has an older brother - an 88 weighted-key version that I will definitely be on the lookout for when I am in the market for one.
The Arturia Minilab 3 has found a permanent spot on my desk and in my creative process. It’s compact, powerful, and incredibly user-friendly. Whether you’re a seasoned pro or just starting out, this little controller packs a big punch. It's not perfect, but it fits perfectly on my desk, doesn’t overwhelm my workspace, and it offers all the features I need to bring my musical ideas to life. If you’re looking for a MIDI controller that’s both versatile and space-saving, the Minilab 3 is a fantastic choice.
Which Notation Software Should I Use?
For any composer/arranger/songwriter who uses staff notation for either writing or performing, you'll more than likely need a notation software. Maybe you want to write it out by hand, but I don't recommend it. It will obvious look much cleaner, and more professional to have your music engraved by a notation software.
How do you know which one to use? Pretty much all of them claim to be the best software on the market. With a multitude of notation software options available today, each boasting its own set of features and quirks, it's natural to feel a little overwhelmed when trying to pick the best one for your needs. Today I'll attempt to guide you through the labyrinth of musical notation software.
Most of the notation software options available have both a free and a pro version - obviously with the free version having less capabilities than its premium counterpart. Which one you need will be dependent on which capabilities you need your notation software to have. Also note that many of these software have some sort of Education Discount.
Noteflight
Noteflight Basic
This is an online software that I would recommend if you have been given a composition assignment in a class and need a free notation software. Very user friendly even for beginners, and it has plenty of features, but you are limited to 10 scores in the free version. So, if you only need it for somewhere between 1 and 10 projects - you're gold.
Noteflight Premium
But, I'm going to bet in the process of creating your first 10 scores, you get really hooked on this whole music writing thing, and you'll want to make more. You can upgrade to Noteflight Premium for either a monthly or a yearly subscription. Premium is where Noteflight really shines. You'll have access to all of the notation input features, but also access to over 80,000 digital scores that are in the Hal Leonard collection. While I think this is a good choice for all composers - it's probably the best choice for those who are looking to do mostly arrangements because of the access to the Hal Leonard catalog. Noteflight also has a great collaboration feature, making it a good choice for ensembles.
Not only that but you've got access to the ArrangeMe platform - Hal Leonard's platform for selling arrangements. If you work with arrangements, you know how difficult it is to jump through all of those legal hoops. Here, most of that is taken care of for you.
Conclusion: Best Choice for Arrangers, A Cappella Ensembles, and Educational Use
Dorico
Dorico SE
This is Dorico's free version. You are not limited by printing or number of scores, but you are pretty limited in terms of the customization (which in my opinion, is what makes Dorico stand out). Many of the options are fixed for you, and you are limited to 8 instruments on any given project.
Dorico Pro
A friend of mine in grad school was a beta tester for Dorico and he introduced me to it, and I was instantly hooked. I originally switched to Dorico because of its capabilities with microtonal accidentals. It has the ability to do most anything you can imagine for staff notation. In my opinion, this software is the most intuitive and user friendly. The amount of customization that you can do with Dorico is almost inexhaustible. I recommend this for higher education and professional composers who specifically need advanced features from their notation software (ie, microtonality, etc). This software is a one time payment (until you want to upgrade). This is my every day notation software, and my performers have always been thrilled with the clarity of the final scores.
Dorico also has a great capability for scoring to picture. So, if you are a film or TV composer (or, are pursuing that path) this might be the software you need. I personally don't do any scoring for picture, so I can't fully speak to its full potential there.
Dorico is from the same developers as Cubase, which makes them rather compatible, if you have Cubase as your recording software.
Conclusion: Best Choice for professional composers, film and tv composers
Sibelius
I don't really have anything good to say about Sibelius. In all of my experience with the software, it's glitchy, it constantly crashes, it's not terribly intuitive, and it hasn't really improved with new software updates. It's also got a pretty high price tag. Anyone who has ever used Sibelius probably has trauma related to a “Sibelius has unexpected stopped working” error.
That being said, it's been around for quite some time and at one point was likely the most popular. I know there are a lot of professional composers who still have Sibelius as their primary software. So, this is just my experience with Sibelius - your results may vary.
One other thing: it is from the same developers as ProTools - so the two are fully integrated. So, if you use that as your recording software, you might give this a try.
Conclusion: Choose something else
Finale
This was my first notation software. I found a free version of it way back in like 2005 or something. I used it for over a decade until I switched to Dorico. It's fairly easy to use, but it has a moderate learning curve. I wrote my first major work using Finale, and it was fine. Their website make it sound like it's a way better software than it is.
For years, Finale and Sibelius were like your only two choices - so a lot of professional composers are still Finale users. It has all of the features you're probably going to need.
My biggest complaint with Finale is 1) sometimes you can make a small change and it will completely destroy all of your formatting (like Microsoft Word does sometimes), and 2) it doesn't always make the best decisions when it comes to notation layout. I have spent hours fixing mistakes that Finale made when I input something. You've really got to know your notation standards to know what is correct.
It is much cheaper than Dorico and Sibelius, and it has a good educational price point. So, if you end up learning Finale because it's what is in your school's computer lab, you might just end up sticking with Finale.
Conclusion: If your choice is Sibelius or Finale, choose Finale.
MuseScore
According to its website, it's the most popular notation software - perhaps because it is the only one on this list that is entirely free. All of the capabilities of MuseScore come without cost, it's a free download, and a great software. For the price, the playback instruments in its latest version are incredible (just go look some up on YouTube). This is a great no-risk software for new composers who are trying everything out. If you decide composition isn't for you, you haven't lost anything. But, even if you keep going, MuseScore probably has most everything you'll need. However, I have found for me personally, I don't like the user interface as much (even though it has GREATLY improved from its previous versions)
It's also Open Source, so it's always improving, and you don't have to wait years for a software update. It is very easy to share your music, and have your music found by others.
Conclusion: Best Choice for brand new composers, hobbyist composers
Final Thoughts
To wrap all of this up - you can honestly use any of these softwares successfully.
Consider these factors:
- Price you're willing to invest
- Specific capabilities you need
- The user interface that you find the easiest/most natural
- Sharing functionality that suits you
Perhaps you'll even have to weigh which of these factors are most important (give up some functionality for a lower price, etc.). It's likely that all of these have a free trial, so I do recommend trying each of them out and seeing which one you like the most. At the end of the day, the best software is one that is capable of getting your musical vision in writing in a way that the performers will best understand, and won't cost you your sanity in the process.
One last question: Do I actually need a notation software?
For any composer/arranger/songwriter who uses staff notation for either writing or performing: Yes, you'll more than likely need a notation software. However, not every musician uses staff notation. Maybe chord charts or lead sheets is more common in your genre. Don't feel like you have to use staff notation to be a musician. In that case, you probably don't need a notation software - you might be better served by a recording software.
Top 10 Book Recommendations for Composers
One frequent question I get from younger composers is "what books should I read to study composition?" So, I've got my top 10 books that have been foundational for me in my career (both as I was getting started, and even still today).
1. Fundamentals of Composition (Arnold Schoenberg)
2. Theory of Harmony (Schoenberg)
If you know anything about Arnold Schoenberg's music, it might seem odd that I have these books on my list. But, they are simply wonderful books for new composers. He breaks everything down in a very accessible way. No book has impacted how I think about composition more than the "Fundamentals of Composition."
This is the gold standard when it comes to music notation. I cannot recommend this one enough.
As a composer who works with classical ensembles and is also self-published, this book is one of the two books that literally lives on my writing desk. After I was rather embarrassed at a rehearsal where my score and parts were (to be honest) rather unprofessional, I had a professor recommend this book to me. I studied it furiously, and it has made all the difference in my score presentations. If you use staff notation which will be read by performers, this book is pretty much mandatory.
4. Study of Orchestration (Samuel Adler)
The other book that lives on my desk. It was first published in 1982, so some orchestration ideas might not seem as relevant today. But it is comprehensive. It works its way through every family of instruments giving you just about everything you could need to know for writing for that instrument. Note: it is definitely more geared towards writing for those instruments in an orchestral context.
All that being said, I reference this book almost daily. Even if you are a complete beginner to orchestration - this book will be a great guide for you.
5. New Musical Resources (Henry Cowell)
First published in 1930, this book was rather groundbreaking at the time. It explores innovative concepts in both composition and music theory. For the time, many of the approaches to rhythm, harmony, and timbre would have been considered unconventional (like tone clusters, rhythm scales, negative harmony, etc) It really showed the potential of non-traditional instruments and techniques - particularly extended techniques.
While these techniques may seem common now, what I really like about this one it how it encourages composers to break free from conventional musical practices and explore new creative possibilities.
6. 20th Century Harmony (Vincent Persichetti)
The techniques of the 20th century in Western music were quite the departure from traditional techniques. This book gives a great overview of the music theory of the early 20th century. It was published in 1961, so it only covers the music of the first half of the century - namely Schoenberg, Webern, and Berg.
20th Century techniques can be rather confusing to beginners, but this book does a great job of explaining complex topics. Being that the early 20th century laid the foundation for what is currently happening in classical music - this book is highly recommended.
7. Study of Counterpoint and Fugue (Joseph Fux)
An absolute all time classic. If you've ever taken a music theory course and wondered where all of those rules came from - it's probably this book. This is a pedagogical book - meaning it was written for students - and it serves its purpose well. You just need to remember its purpose when reading it. The training in counterpoint that it will give you is a great foundation, and it will give you valuable skills as a composer, even if you don't follow exactly what it says (because if you do, you'll end up sounding like Bach but worse.)
In classical composition training, composers were taught orchestration, and counterpoint; and this book is a great place to go if you want to learn counterpoint.
8. Music of the Lord of the Rings (Doug Adams)
This is my personal favorite of the bunch. Unlike all of the other books, this one is simply an analysis of the soundtrack of the Lord of the Rings trilogy. Apparently, they knew they were on to something good, because during the production process, Doug Adams followed composer Howard Shore around, taking detailed notes about absolutely every single facet of the film's score. The result was nothing short of what I'm sure will prove to be one of the best composition books of the 21st century.
In my estimation, the Lord of the Rings music is by far and away the best film score of all times. So, if you are looking to go into film scoring - you need this book. Study every page of it. But, also if you're a Tolkien nerd - you need this book.
9. Techniques of the Contemporary Composers (David Cope)
This was the first ever composition text I read. I just happened upon it in a public library. At the time, I hadn't received any composition training - I was just eager to learn. So, I read it. And though I didn't fully understand all of it at the time, I was hooked.
"Modern" always lends itself to irony, as this book was published in 1984...and is no longer modern. But it does pick up where the Persichetti book left off, and covers the major composition trends of the later 20th century, namely Minimalism, Aleatoric and chance music, electronic instruments, and microtonality.
10. Choral Arranging (Hawley Ades)
As a primarily choral composer, I have spent a lot of time with this book over the years. I have found that on the whole, many composer who are not choir members themselves are greatly under-educated about writing for choir. And as a choir member, I can tell you it's usually very obvious from their writing when a composer has not sung in a choir themselves.
So, I highly recommend this book if you are a composer who is looking to write for choir in any capacity. It walks you through proper voice leading and voicing, text setting and clarity, even the ranges and registers. Do all of your singers a favor and memorize this book.
Further Reading
Finding the Right Microphone - Essential Recording Gear For Composers, Part 1
Whether it's recording albums (or just demos), to creating mockups of instrumental works - it's pretty much mandatory for composers to have a functioning home recording studio.
If you're just starting out, all of this may seem overwhelming - after all, you just wanted to write music. So today I'm starting a two-part series where we're breaking down everything essential you'll need to get started.
I'm going to structure this by signal flow - that is the process that a sound takes from its place in the real world to its place in the recording software.
Finding the Right Microphone
This first post will explore the different types of microphones you'll need.
Types of Microphones
The first stop in the signal flow chain is the Sound Source - an instrument (either acoustic or electric) or a vocal. You've got your voice already on your person, and It would be beyond the scope of this post to recommend all of the instruments you might want (although, if you just have one instrument - this keyboard is a pretty good choice)...We'll just start with capturing that sound source.
There are three different types of microphone: Dynamic, Condenser, and Ribbon. Each has its own special powers and works its magic in different situations. The difference between them has a lot to do with physics. I'll do my best to simplify it.
Dynamic Microphones
Let's start with dynamic microphones - the workhorses of the recording world. Dynamic mics work by using a diaphragm (a thin piece of material) attached to a coil of wire that moves inside a magnetic field. When sound waves hit the diaphragm, it moves, and that motion generates an electrical signal. They're great for handling high sound pressure levels, making them perfect for loud instruments like drums and guitar amps. Also, pretty much everything in a live setting.
The Shure SM57 and the Shure SM58 are the industry standard for dynamic mics. Cheap, durable, every recording studio has a collection of them. If you only have one microphone, it should be one of these two.
Condenser Microphones
Condenser microphones are a bit more delicate. They use two charged plates to capture sound. When sound waves hit one of the plates, it causes the distance between the plates to change, and that creates an electrical signal. They are usually split into two categories: Small-diaphragm, and large-diaphragm...I'll let you figure out the difference. They are very good at capturing every nuance of your performance. They're fantastic for vocals, acoustic instruments, and capturing the subtleties of a delicate piano or acoustic guitar.
A great budget condenser microphone is the Blue Spark (update: The Spark has been replaced by the Blackout Spark). It's a great all around condenser with a nice warm tone, but particularly good at vocals (whether spoken or sung). It's also great at handling acoustic instruments - guitar, violin, cello, etc.
Ribbon Microphones
Finally, we have ribbon microphones. They work by using a thin ribbon of metal in a magnetic field. When sound waves hit the ribbon, it moves, generating an electrical signal. Ribbons are known for their warm and smooth sound, making them great for recording strings, brass instruments, and even vintage-style vocals.
Ribbon microphones tend to run a little more expensive on average than dynamic or condenser. But, a decent choice here without breaking the bank is the MXL R144. It's dark and smooth, and it has a nice natural sound.
All of these microphones are around $100 for just the microphone. However, you'll also want some other stuff that will make your microphones work.
Stands
It holds your mic in place - so get a sturdy one. I prefer boom stands because they can be adjusted a lot more. The stock boom stand on Amazon does fine.
Cables
Most microphones use XLR cables to their source, however newer mics (especially for podcasting) use a USB connection. You'll probably want a few of these each in a different length. If you just choose 1, probably go with a ten footer.
We didn't really talk about it because they don't need a microphone, but instruments with a pickup (such as an electric guitar) use 1/4" cables rather than XLR. (As an aside about recording this, I'd run a 1/4" from an electric guitar to its amp, and then stick a SM57 in front of the amp to record it)
Pop-screen
This takes care of really harsh 'P' and 'S' sounds when you're recording vocals of any sort. Here's a pretty good one.
Shockmount
For Condenser and Ribbon Microphones. This keeps ground vibrations from your room from interfering with your recording. These are typically specifically engineered for the microphones they go with - so you will often get one with your microphone purchase. If it doesn't come with it, and you need to purchase a generic one, you'll want to research and see if it is compatible with your mic.
Hopefully this has been a helpful crash course into the world of microphones. Next time we will look at the next stop in the signal flow chain - how to get from your microphone to your computer.