![]() Within Ableton, switching to this mode lets you control your currently playing tracks and navigate the interface. The key to this all is the “InControl” mode. If you’re using Ableton, the port must also be set as an output device and enabled for track output in your MIDI preferences. For me this is listed as “Launchkey Mini (Port 2)” in Ableton, and as “MIDIOUT2 (Launchkey Mini) 2” in other software such as Python ( mido) and Hairless. To control the LEDs, you need to connect to this second port. This is how Ableton sends commands to the device without disrupting the main MIDI stream. The second endpoint is what Novation refers to as the “InControl” port. The first endpoint is the MIDI port for the control surface data this is what you connect to for reading the keyboard, drum pads, and potentiometers. The Launchkey Mini presents itself as a generic USB-MIDI device with two I/O endpoints. But before controlling the LEDs, you have to be connected to the right MIDI port and have the device configured for InControl mode. The Launchkey Mini is a class compliant MIDI device, meaning that it’s possible to talk to it just by sending standardized MIDI messages without needing a custom driver. It required a bit of reverse engineering and the result isn’t quite as pretty, but I’ve figured out how to do it. There is some information available in a “ programmer’s reference” manual for the Launchkey II ( not the “Mini” version), but sadly the LED components don’t function the same way. Novation’s user guide for the Launchkey Mini has no mention of how to control the LEDs. There’s surprisingly little information about this. That got me thinking: is it possible to control the LEDs on a Launchkey Mini like you can on a Launchpad? I’m also a massive fan of Spectrasonics Keyscape for recorded piano, electro-mechanical keyboards (Rhodes EP, Wurlitzer EP, Clavinet etc.) and other organic keyboard sounds.I picked up a Novation Launchkey Mini II controller last year when I was working with those musical floppy drives, and recently I fell down the rabbit hole of Launchpad LED performance videos. In my home studio, I use Logic Pro X for audio and Final Cut Pro for video. If I have to travel for a gig, I can select a rig which is small enough, yet powerful enough to do the job. I also use a Moog expression pedal on the Electro 5D so that I can emulate the sound of a real organ as closely as possible. With White Chapel Jak I can use either the 88-key Nord Stage 2, or the 61-key Nord Electro 5D, or both for the big shows! The Stage 2 gives me beautiful piano and electric piano sounds, along with a beautifully weighted action for authenticity and feel, while the Electro 5D has a ‘waterfall’ (Hammond organ style) keyboard action and drawbars. With this approach, I end up using only a few organic keyboard sounds, such as Rhodes EP, Piano and Hammond organ, therefore, the Nord keyboards come to the fore. My complete focus is on the music – the groove and the harmonic textures. In this band, the focus is on playing some epically funky covers in the band’s unique signature style. Sometimes it may sound like we’re using backing tracks, but I can assure you we’re not! It’s all 100% LIVE! White Chapel Jak is a completely different approach. I also try to employ technology to its full extent to allow me to cover as many parts as possible in a live setting. ![]() This means doing a lot of research to find out exactly what gear was used in original recordings. ![]() I spend hours on end tweaking patches to try and emulate the original sound as closely as possible. My approach with Hands Off is very focused. The reason for this was simply reliability – the MacBook Pro crashed on me a couple of times during performance, so I switched to the Kronos for all of my live sounds, eliminating the need to run a computer on-stage. It’s like magic! I set this rig up late 2019 to replace my Nord Stage/Novation Launchkey/Apple Mainstage software rig. This brings up my chord chart (if I’m using one) and also selects the required patch on the Kronos. This rig is super efficient, and it allows me to have a patch (or more than one) set up for every single song, with splits and layers across both keyboards, and all I need to do between songs is swipe on the iPad.
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