| magpu.com | Cliff |
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| magpu.com | Cliff | |
The MalletKAT was originally made by KAT percussion; they are now produced and serviced by Alternate Mode. The MalletKAT consists of 37 trigger pads which use force-sensing resistors to generate MIDI signals; the pads are laid out like three octaves of a standard keyboard. One main difference between the MalletKAT and a vibraphone is that the highest and lowest notes are C, while on a vibraphone they are F. Like a vibraphone, it has a sustain pedal, and the "bars" are all at the same height, as opposed to a marimba or a xylophone where the "black keys" are above the "white keys" and overlap them a bit.
There are three footswitches on the MalletKAT; one puts it into edit mode, where the pads are used to configure a multitude of parameters which influence the MIDI data that it sends. The second pedal is a regular sustain pedal, which when held down causes notes to continue ringing after the pad has been struck. When the pedal is released, the notes stop. The third pedal also acts as a sustain pedal, but also can switch to a second virtual controller within the instrument. This is typically used to quickly switch between two different sounds. The synth drum samples in "So Many Hats" and the synth sweeps in "Burrito Transplant Surgery" are examples of where I use this feature.
There are also two foot controllers that can be hooked up to the MalletKAT. These controllers are like a foot-controlled knob which allows a parameter to be changed over a range of values. This can be used to produce a variety of effects, including pitch bend and wah-wah. I typically use only one foot pedal, and most commonly use it to control the depth of the vibrato on my vibraphone patch.
I use Mike Balter model 15R mallets; these are soft yarn mallets with rattan handles. When playing with multiple mallets, I use the Stevens grip, originated by Leigh Howard Stevens, whom I had the pleasure of meeting in March 2000.
Lately, I have been trying to find a decent compressor to even out the levels from my sampler before going into the effects unit, which sounds really bad when the inputs get overloaded. So far I have tried and rejected two, which has cost me forty bucks in shipping and restocking fees. Along the way, I discovered some interesting and little-known facts about the design limitations of a compressor that has a blindly religious following on rec.audio.pro, which I'll be glad to rant about if you ask me. Now I'm trying a Behringer Composer, which is what I probably would have gotten in the first place if I wasn't so tight on rack space. Freeing up an entire rack space cost me about ten bucks in sheet metal and screws, plus a nice cut on my index finger. It will probably cost me more in connectors and cables before I'm done. I'm still in the 30-day evaluation period on the Behringer, so I don't have any definite opinions yet. I now have the settings carefully tweaked, but haven't tried these settings with the group yet. Watch this space for more info as I get more experience with how it sounds. With all those LEDs, it looks cool, at least.
I also use a Shure SM-57 microphone to send acoustic sounds through my effects unit. I use a Peavey KB/A-60 amp to monitor my sound on stage.