Arturia - Keystep 37 - Creative MIDI Controller, Sequencer, Arpeggiator and Chord Generator - 37-Note Slimkey Keyboard, Assignable MIDI CC Controls, Scale Mode, Versatile Connectivity

Product Information

As with other ‘Step controllers, digital compatibility works smoothly, and Arturia’s MIDI Control Centre allows for extra customisation and flexibility. It has a lot to appeal to users who want a touch more flexibility than the base model without the multi-track complexity of the flagship. The only thing you can’t do (which you can on the MicroFreak) is capture the result to a slot in the Sequencer. An accessible interface, a compact design and compre-hensive connectivity make it the perfect centerpiece for your rig - whatever your needs. It sits in the middle of the Arturia Keystep Range and is one of the most feature-packed MIDI controllers available.

Here, there are now three ways to set up chord mode, either by selecting a preset chord using the Type rotary, manually inputting notes using the Notes rotary, or simply pressing the Chord mode button and holding down a chord shape on the keyboard. It’s perhaps a little harder to hold down chords if you have chunky fingers, however fast, monophonic solos with jumps well in excess of an octave are a breeze. The Field powers the Keystep, the Keystep sequencer and keyboard works really well with the Field and the Keystep also starts and stops the tape, meaning that within minutes, I had recorded onto all four tape tracks, some Field sounds sequenced from the Keystep onto synced tape. To top things off, the Keyboard play mode allows you to switch to playing a live line over the top of a sequence once it’s been triggered. Record, perform and experiment with a compact, accessible keybed that’s familiar and enjoyable in equal measure.

Keys are a bit narrow and feel a little plasticky but otherwise the build quality is absolutely excellent. It doesn’t have CV outs or a sequencer but instead goes to town with real-time MIDI control knobs/pads for detailed control of DAW plug-ins.

This mode allows you to choose from 12 chord types along with a range of strum effects and spread the voices out into complex velocity sensitive parts so you can perform with them and get the great response you'd expect from a real stringed instrument. OP-1 Field seems just not so sustain-pedal friendly no idea if that’s the case or not, it’s just my gut telling me, considering how primitive its envelopes are. It's not trying to be invisible, as a controller should IMHO; instead it's trying very hard to get noticed.But more than that it’s an inspiring musical companion and idea generator for any synth, sequencing workstation or DAW.

KMR Audio Ltd is a credit broker and is Authorised and Regulated by the Financial Conduct Authority. The rotary buttons are hard to move; setting up the device is not obvious; nothing quite works the way you'd expect and reading the manual is necessary. On the rear panel, the connectivity is the same except that the USB connection has been upgraded to a full‑sized port, and there’s now a power switch.

responsive, dynamic, expanded in every direction to encourage musical exploration - the controller that's built to inspire. USB, MIDI, CV and analogue clock compatibility make this 64-step polyphonic sequencer a true all-rounder. One other thing, which may be changeable via some settings that I have not been able to find, is that if used for sending pitch voltage it seems that the higher voltage cutoff is a little badly placed with the keys. As with the sequencer, you can adjust swing, gate time and tempo subdivision while your arpeggios are playing.

It's re-sponsive, dynamic, expanded in every direction to encourage musical exploration - the controller that’s built to inspire. Namely, a row of handy RGB LEDs live above the keys that signify notes being played back from sequences and arpeggiations. A sleek control panel - equipped with 4 knobs with an LED screen - ensures you have the MIDI-altering capabilities and tools required to get any job done.It's robust and compact build, paired with wide-ranging connectivity options ensures that it's compatible with a range of external hardware and software - no matter where you find yourself. You’re not always immediately aware that you’ve done this – particularly on software instrument sounds where modulation is not mapped to pitch – and there’s no read-out of the modulation value anywhere. That, I’ve googled, and it seems the consensus is, it’s a bit of a hit and miss depending on how the controller is set up, if it can be a host or not, that kind of stuff.