![]() Pros: Huge high-quality sound library, great key action, solid MIDI via USB, and a wealth of controller options.Ĭons: Not supported as a control surface yet in most DAWs, no access to serious synthesis components or full parameter modulation without upgrade. If you're in the market for a well-built controller and adding a whole lot of great sounds to your library while you're at it doesn't sound like a bad idea, the KeyLab is certainly worth a good hard look. (.) if you're looking for quick access to a large array of 5000+ classic analog tones, you'd be hard-pressed to find a better integrated hardware/software solution (.) Conclusion Though you can't really get under the hood without buying into Arturia's other licenses – which could always be worth investing in as time goes on, and can even be viewed as a sort of expansion capacity – hands-on control of the most important parameters are already programmed in right from the start, making the unit highly playable and loads of fun for users with a wide range of experience. While not all the sounds were to my liking off the bat, most of them served as decent starting points that could be tweaked into usability and re-saved accordingly the sheer tonal richness and girth of Arturia's sound engine makes a lot of them worth exploring. ![]() If you're looking for advanced synthesis and intricate sound design options, KeyLab may not be for you – but if you're looking for quick access to a large array of 5000+ classic analog tones, you'd be hard-pressed to find a better integrated hardware/software solution than Arturia's marriage of virtual synthesis with tactile control in the KeyLab series. Finally, Live mode lets you assign different presets to up to 128 different slots, each assigned to Snapshot buttons on different banks, easily accessible via the hardware without resorting to the Analog Lab interface – which is sure to be handy on stage. Multi mode gives access to a range of 200 stacked sounds grouped by genre, built from two layers apiece, complete with added effects and MIDI split ranges. Clicking the Studio View button lets you ignore all that with a rather idyllic image of a studio containing all the gear Arturia's modelled their wares on. Chords can easily be edited by clicking the note value to select a different root note from the context menu that appears, and clicking the chord type to choose a different fingering from the resultant context menu there as well.Ībove the Data Filters we can see basic patch settings like Polyphony and Pitch Bend, and we can click on the plug-in icon to open the hood and edit further – if the computer happens to have a registered license for the virtual synth that drives the patch. Clicking the Snapshots Tab on the left side of this area opens ten buttons – corresponding to the ten buttons beneath the knobs on the keyboard – where you can drag various presets for easy switching on the fly.Ĭlicking the Chords Tab on the right side opens an area that shows the chords assigned to each of the sixteen pads on the hardware unit. Once a sound is selected, the bottom section of the Analog Interface displays a map of which parameters are assigned to the various controls on the hardware for easy reference. Since the preset navigation can be organized by anyone of these fields simply by clicking its attendant header at the top. To the left side of the interface, we now have a list of all the presets that meet the criteria we've chosen via the Data Filters, and each preset shows us the type of sound category it falls into, which synth it's based on, who designed it, a user designated ranking, and a “favorite” selection, so you can easily find sounds you like again in the future. On the right side of the interface, we have three categories of Data Filter we can use to narrow down our sought-after sounds: Instruments, from which we can choose any of Arturia's famous virtual synths that provide the engine for Analog Lab Type, where we can select general instrument categories such as Bass, Organ or Strings and Characteristics, which gives a selection of somewhat abstract adjectives that help to specify certain qualities of the sound – Aggressive, Bizarre, Complex and Quiet are a few examples.
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