Comparison Studiologic SL88 Studio vs M-AUDIO Keystation 88 II

Type of mechanics used in keyboard keys.

— Hammer. The most advanced type of mechanics: provides a link between force and sound dynamics, as well as a characteristic tactile response — the same as on a classical piano with hammers (hence the name). In other words, these keys provide a feeling that is as close as possible to playing a traditional piano. However, hammer action is not cheap, so it is used mainly in top professional keyboards.

— Active (dynamic). Active keyboards are keyboards that provide a link between pressure and sound dynamics, but do not provide the tactile response characteristic of the hammer action keyboards described above. In other words, the faster and harder you press the key, the sharper and louder the sound will be, but the resistance to pressing is low, and the transition, for example, from a traditional piano to such a keyboard usually requires some getting used to (for more details, see "Rigidity"). At the same time, active keyboards allow you to use all the basic techniques for controlling the dynamics of sound, and are much cheaper than the same hammer action keyboards, which is why they are widely used in modern MIDI keyboards.

— Passive. The simplest type of mechanics: each key only “turns on and off” its note, the sound dynamics does not depend on the strength and speed of pressing. Passive keyboards are very i...nexpensive, but this is, in fact, their only advantage; from a musical point of view, they are very inconvenient; only the simplest melodies (or parts of instruments in which the sound cannot be dynamically changed) can be played on such an instrument. As a result, this type of mechanics is used extremely rarely and only in the simplest low-cost keyboards.

The hardness of the keys on a keyboard is the amount of resistance they provide when pressed.

— Unweighted. Very low rigidity: the keys literally "fail" under the fingers. Found mostly in entry-level keyboards; this is due to the fact that unweighted mechanics are inexpensive, but the low pressure resistance makes it difficult to select the optimal pressure and control the dynamics of the sound.

— Semi- weighted. Keyboards with medium resistance — not as high as on weighted keys, but noticeably higher than on unweighted ones. This option is considered optimal for active keyboards (see "Mechanics"): at a low cost, it gives quite good responsiveness and, with a minimum skill, allows you to accurately control the pressing force.

— Weighted. Keyboards with high resistance, which is comparable to the resistance of classical piano keys. Note that high effort in this case is an advantage: it allows you to bring the response of the keyboard as close as possible to the response of a classical piano and makes it easier to control the pressure and dynamics of the sound. Actually, by definition, all hammer-action models are made weighted (see "Mechanics"), but among active keyboards this option is rare — due to complexity and high cost.

The presence of the aftertouch function in the keyboard (aftertouch). The essence of this function is to track the pressure force on the key after it is pressed. In fact, this means that in models with aftertouch, you can control the sound not only due to the force and speed of pressing the key, but also due to the change in pressure on it after pressing; this gives additional features and allows you to use various specific tricks of the game. The specific ways of changing the sound “tied” to aftertouch can be different, depending on the synthesis settings set: for example, when recording a guitar part, you can tie a small change in tone to this function and imitate string bending, when recording a saxophone, change the volume of notes, and etc.

Relatively inexpensive models use a common sensor to monitor aftertouch, which monitors the average force of pressure on all keys pressed; in more advanced ones, separate sensors are installed for each key.

The presence of the transposition function in the keyboard — switching the sound to a different key. When transposing, the pitch of all keys is simultaneously raised or lowered by a certain number of semitones. This function is useful in all cases when a melody learned in one key needs to be played in a different key — for example, if the original melody is too high or too low for the vocalist, if the external accompaniment differs in key, if you need to switch between keys during the song, and etc. In such situations, by transposing the sound, you can play a melody in a new key using the same familiar keys without relearning it.

The presence in the keyboard of the transport control function.

In this case, we are usually talking about support for the MIDI Machine Control standard, designed to control external recording and playback equipment. Such support actually turns the keyboard into an external remote control, allowing you to give commands from it to "Play", "Stop", "Pause", "Rewind" (forward and backward) and "Record". To do this, the design provides a separate panel with a set of appropriate buttons.

The number of faders provided in the design of the keyboard.

A fader is a slider control. The simplest kind of such controls is the volume setting; if there is one fader in the design, most likely it is responsible for the volume. If there are more controls, other functions can be tied to them, respectively — in particular, changing the settings in the recording programme on the computer to which the keyboard is connected.

The number of encoder controlsprovided in the design of the keyboard.

Such a knob looks like a rotary knob, with which you can control various functions of the device to which the keyboard is connected — for example, turn the virtual knobs in the programme for recording and sound processing. At the same time, we note that a full-fledged encoder is capable of rotating 360 ° and turning to any angle in any direction, however, keyboards can also contain knobs with a limited rotation sector — they can also be called encoders. None of these options has a clear advantage: in some cases, an unlimited turning sector is more convenient, in others, a limited one.

Input for receiving MIDI signals from an external device such as an optional keyboard or other controller, sequencer, etc. For MIDI signals, see “MIDI Out”; here we note that such signals received at the MIDI In input can be mixed with signals from the keyboard and output via MIDI Out or another interface of a similar purpose, or they can be sent unchanged to the MIDI Thru output. It is worth looking for a device with this input if you plan to build a complex from several MIDI signal sources and intend to use the keyboard as an intermediate link in such a system.

The output to which the MIDI signals received at the MIDI In input are output (see the relevant paragraph). The key feature of this output is that the signals are output to it unchanged, regardless of the impact of the musician on the keyboard. In other words, if the MIDI Out input receives signals from both MIDI In and the keyboard itself, then MIDI Thru receives only signals from MIDI In.

MIDI Thru can come in handy when using the keyboard in large musical complexes where there are other sources of MIDI signal — in some cases it is convenient to use the keyboard as an intermediate link for these signals.