Original Metronome Download
Katarina Pisha
I connect S88 Mk2 to a computer running Cubase 12 Pro. I start a project with the metronome off. Then I press the metronome button on my S88 MK2, and the metronome on Cubase GUI lights up but with no sound. I click the button off using a mouse and then click it again with the mouse, and it starts working. If I now press the metronome button on MK2, the metronome goes on and off as expected. However, if I save the project again with the metronome off, the keyboard cannot turn on the metronome.
Furthermore, I'm puzzled with "Then I press the metronome button on my S88 MK2, and the metronome on Cubase GUI lights up but with no sound". This clearly indicates that the metro gets to its ON state. Thus, the controller actually did the intended action. As to why you hear no sound (again, I couldn't replicate this) I think is an issue to be discussed in Steinberg's forum, where there are a lot of experienced users who may resolve it. One thing you may want to check is the Metronome's settings (setup). Maybe, just maybe, it resets somehow the ticked "Click while recording" and "Click while playing", accidentally assigned to a midi remote surface? I really don't know, since your M32 works as expected.
metronome does not have to be turned on by mouse click 1st with M32, but with S88 it must be enable by mouse click 1st, only then you can turn it on or off with S88. Which defeats the purpose of having a button for metronome if you have to use a mouse.
Honestly, since the metronome in the UI goes On when you hit the hardware button, I really cannot get to connect it to a hardware/driver issue, I mean the mission of the hardware button is accomplished once the UI shows on. And since you're saying that your metronome setup (playback, record tick) is what it's supposed to be, I really run out of ideas here, sorry. It would a worth a try, out of pure curiosity by my side, to make this:
Your description of rhythm clears up something I was told by an Afro-Cuban / Latin musician. He kept saying to use the clave as a way to keep time, but to not use it like a metronome. He kept stressing that it was more useful to think of it as an organizing principle for the music / notes. Your description of Rhythm vs. Beats falls in line with that thinking, and made it more clear for me how to use rhythm while playing.
My entire goal is to get my students to LOVE music and to actually play the piano. Far too many teachers get hung up on technical exercises, the metronome, posture and many details which do NOT encourage the student and which are for the most part unnecessary. And which strip the joy right out of learning to play the piano.
Beethoven got his metronome from a man named Johann Nepomuk Mälzel, who was something of a mechanical wizard. He made little musical automatons, tiny robots that could play music that the public very much enjoyed. Beethoven and Mälzel connected when Beethoven was looking for help in dealing with his hearing loss, and Mälzel made him several ear trumpets. The two most likely also discussed the issue of timekeeping, as Mälzel had been working on metronomes.
Mälzel went on to invent more automatons, like the famous Mechanical Turk who played chess, but he continued his work on metronomes, as well. In 1812 he heard about an invention by Dietrich Winkel, who had created a double pendulum device. Mälzel hurried to Amsterdam to meet Winkel and realized that his rival had a metronome far superior to his own. He tried to buy the invention, but Winkel refused. So Mälzel simply made a copy and patented it in London, Paris and Vienna.
It is my understanding that the metronome markings in Tchaikovsky's Piano Trio, Op. 50 stem from the composer, and that he was rather insistent that performers should follow them. In preparing the piece for an imminent professional performance in Chicago, my excellent string players and I have gotten into a good-natured debate about the marking for Variation VII, the "prelude" to the Fuge. (Both Variations VII and VIII are marked Allegro moderato.) All our copies of the score give this as quarter-note = 126, which seems ponderously slow. Is this a typographical error for HALF-NOTE = 126? Intuitively, this alternative strikes me as rather too fast for an Allegro moderato, but my violinist loves it. (I had been using half-note = 96 as the basis for my practicing.)
Returning to the Trio after a few years away from it, I'm finding that most of the metronome markings seem reasonable to me now, although a few strike me as a shade on the fast side (e.g. the opening of the Pezzo Elegiaco, the Valse and the Mazurka.) I used to think that the marking for the variation theme was too slow, but have revised my opinion. Any clarification from those with access to the Complete Edition, original sources, or reliable oral history going back to Tchaikovsky would be greatly appreciated.
The Soviet Complete dition (Vol. 32A, 1951) shows "Allegro moderato" with the metronome marking (quarter note = half note). However, the editors noted that Tchaikovsky originally wrote "L'istesso tempo (quarter note = quarter note)" [sic] on the manuscript, but struck this through and replaced it with the present indication. I don't know whether that helps, or simply muddies the waters.
Mathematical tempo markings of this kind became increasingly popular during the first half of the 19th century after Johann Nepomuk Mälzel invented the metronome. A metronome is a device that produces a sound at regular intervals. Musicians use metronomes to practice playing at different tempos. Beethoven was the first composer to use the metronome, and in 1817 published BPM tempo indications for all of his symphonies. Early metronomes were rather inconsistent, but modern electronics make BPM markings extremely precise.
A metronome is a device that makes a click or some other sound at regular intervals. This interval can be set by the person using a metronome. These intervals are measured in beats per minute (BPM). Most mechanical metronomes will also make a visual motion (with a pendulum moving left and right) in synchrony with the set pulse.
The next in line perfecting the metronome was Dietrich Nikolaus Winkel. The German born inventor (who later moved to and lived in Amsterdam) in 1814 discovered that a pendulum weighted on both sides of the pivot can measure time more precisely. Winkel was not careful and did not protect his intellectual property!
No, the metronome was not invented for Beethoven, however, he was the first significant composer to use it. Beethoven and Maelzel were friends (the inventor made ear trumpets for him) and having some input or inspiration by the Composer in the creative process cannot be ruled out.
A typical mechanical metronome will have both numbers and old-fashioned Italian tempo markings. The numbers mean the ticks per minute. For example, 56 means 56 ticks per minute, which is approximately adagio. Or 132, that is 132 ticks or allegro.
It is highly recommended to practice with a metronome! It helps to develop the correct inner sense of tempo, helps to improve technical and rhythmic skills.
In general, one should start practicing with a slower beat number and then gradually increase it up till the correct number.
On the Main Metronome page, you will find a visual metronome that shows beats. Each number represents a beat in the selected meter. Once the metronome is engaged, the beat the metronome is playing will have a green background. By tapping on various blocks, you can create different combinations of clicks and silence.
You can set the beginning or ending preset to use (or loop over) by swiping up or down on a preset button. Swiping another button will set the edge of the range as appropriate. In sequence mode, when the end of the sequence range is reached, the metronome will either stop, or if the Loop option is enabled repeat from the beginning of the range. If you swipe on a single preset, only that preset will be looped, which is particularly useful when it is configured to have a Relative tempo change, so that you can set it up to continuously speed up or slow down the metronome over time for practice purposes.
When in Preset Sequence (or Advanced) mode, the main meter, subdivision, and beat controls cannot be used to change the settings of the metronome (as they are controlled by the presets themselves). A popup warning you of this will appear if you attempt to, allowing you to either bring up the preset editor for the current preset, or turn off the Advanced mode.
Another very useful feature of the Sequence (Advanced) mode is being able to change the relative tempo of the metronome as a whole, which is especially useful when the presets contain specific tempos and tempo changes within them. If you tap the tempo text of the metronome when Sequence mode is enabled a Tempo Adjustment popup will appear letting you make % adjustment to the tempo, and showing you the original and adjusted tempos in BPM. You can select if the adjustment will apply to the entire group (the default), or only the selected range or selected preset. These adjustments will be retained until you come back here and press the Turn Off Tempo Adjustment, which resets it to no adjustment. If you choose the Make Adjustment Permanent it will confirm, then actually make changes to the tempos in the preset(s) so that they will have the adjusted values permanently.
Note If you change the meter before the current measure has ended, the change will take place immediately, even in the middle of a measure. If you want the time signature change to occur at the end of a measure, you must go to the metronome options icon on the Main Metronome page. Tap on options and select Change on Next Measure. Meter changes can be accomplished in a musically relevant manner, especially useful when recording the metronome.
To change the settings of a specific preset, you can access editing from two different locations: the main metronome page preset or list icon. Double-tapping a preset button will bring up the preset editor for that preset. Once there, the tempo, subdivision, meter/counts/time, number of bars, beat pattern, and name can be edited. In addition you can edit use of voice, use of drones, establish key/temperament, configure auto-transpose, engage auto bar silencing and count-in drones. Or if you tap the List icon on the left side just below the preset buttons and choose Edit Current Group, it will bring up all the presets in the current group in list form, then you can select (or double-tap on iPhones) to edit a specific preset.
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