Arturia KeyLab 61 MKII Review [Redux Deluxe?] | Reviewer's Revival

Arturia KeyLab 61 MKII In-Depth Review

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Arturia has been around since 1999; albeit the fledgling company didn’t achieve any great success right away. It took a few years, but in 2003, things began to change dramatically for the French company when they released their first emulations of some best-loved classic synthesizers in VST plug-in format. Said emulations were coined “The V Collection” (V obviating the term, vintage). As time passed, and subsequent product revisions ensued, Arturia’s reputation grew, as did their V Collection; what, with its current iteration numbering 25 vintage synths, e-pianos, pianos and even a Mellotron (as of June, 2019). Moreover, Arturia has continued to refine and improve its TAE® (True Analog Emulation) technology.

Although Arturia’s software developments have generally been well-received, the company wasn’t content to focus solely on that side of the equation so in 2009, they made available their first hardware synthesizer, “The Origin”. Since that time, Arturia has continued to produce a respectable catalogue of hardware pieces including “Mini Brute”, “MicroBrute”, “BeatStep”, “MatrixBrute”, “AudioFuse”, and many others. Consistently, each of Arturia’s hardware offerings has proven itself to be solidly built and well-outfitted with ample functionality and plentiful accoutrements.

Our present investigation spotlights one of these: The KeyLab 61 MK II. This little darling rings the till at a moderate street price of $499 - $549 (USD) / $649 (CAD) in most retail shops. The unit I received is a black model (which I personally prefer), but of course, the KeyLab MK II series is also available in Arturia’s recognizable white carriage. Ensuring that even a first-time customer will be able to enjoy this delightful keyboard controller at its finest, Arturia has included full version licenses of Analog Lab 4 and Piano V 2. Analog Lab is a heaping compendium of Arturia’s entire V Collection, providing approximately 8000 presets culled from the entire caboodle. Piano V 2 is a collection of 12 modelled pianos comprising uprights, grands, and even a couple of unique theorems that marry traditional designs with imaginary metallic and glass cabinetry.
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In June of 2015, I had taken a deep, thorough look at Arturia’s Producer Pack, which had at its center, the first iteration of KeyLab keyboards – a KeyLab 61. In case you missed that article, you can take a look at it here:  Arturia KeyLab 61 (Producer Pack) Review – Modern Hybrid Synthesis

It is my opinion that KeyLab 61 MK II continues on well from where its predecessor left off. In some regards I consider MK II to be a dramatic improvement – in other aspects, I’m not quite sure that Arturia has ticked every box perfectly yet. Nevertheless, the MK II is definitely a worthy upgrade. Unlike when we upgrade our Arturia software, we unfortunately can’t ‘upgrade’ the physical hardware at a reduced price. *Grin.

This is a 'good un' though, folks - there's a lot to dig about this snazzy, class-compliant powerhouse. Its rotary encoders are pre-mapped out-of-the-box to seamlessly integrate with Analog Lab and V-Collection instrument controls, making for effortless implementation into any existing Arturia-based setup. The 2nd generation of KeyLab keyboard controllers doles out generous amounts of I/O connectivity, streamlined silhouettes, a greatly improved keybed, and multi-mode functionality.

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Installation and Activation:
 
As per all things Arturia now-a-days, one must activate all post-2013 Arturia products via their convenient licensing application: “Arturia Software Center” – a C/R (Challenge-Response) internet-dependent product licensing and management application. The upside to the company’s post-2013 transition from e-Licenser to ASC (Arturia Software Center) is that you no longer require a USB dongle, and the number of activations has been increased from three to five, per license. Normally, one deactivates their licenses from within the desktop application, but for those unfortunate times when a computer or hard drive completely fails, it is possible to free up a license from within your user account on the Arturia web site. In ASC’s early days, it wasn't possible to do this on your own – you had to enlist the aid of Arturia’s Support Team.

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​Activation is speedy and simple to execute. ASC prompts you to login with your Arturia credentials and automatically synchronizes your licenses between physical machine and online user account. Once it’s sorted the data, you can view your previously purchased inventory and easily register new products. Herein is where you may register and activate the KeyLab, automatically unlocking two virtual instrument licenses included with a KeyLab 61 MK II: “AnalogLab 4” and “Piano V 2”. You’ll find the requisite license and unlock code on a sheet of pager amongst the KeyLab’s package contents. Arturia Software Control app displays the number of activations remaining per license. ASC also clearly shows you which Arturia products are currently installed on your system, what updates are available, and, of course, it can fast track downloads and installations. The application yields a few customization options such as download location, plug-in directories, and whether or not installers will automatically be deleted or kept.

​I’m one of those security-conscious guys (some might say over-the-top) who prefers to keep his production machine(s) OFFLINE and safe from any kind of internet baddies lurking about. I also prefer to manually check for OS (Operating System) and/or software updates when it’s convenient for me. I’ve noticed that all Arturia software seemingly needs to check for license authentication and revision updates every time it’s launched. While this can be convenient, especially where important (typically improved) updates are concerned, it can be somewhat of an annoyance as well. As the internet kids say, “YMMV”.

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Appointments & Presentation:

The KeyLab MK II series of keyboard controllers features clean, smooth lines and classy matte finishes –available in either tuxedo black or eloquent white. The build quality here is definitely a cut above where the most immediately noticeable attribute is a solid, metal (aluminum?) chassis. Attractive, faux wood ends (made of high impact plastic) compliment the otherwise modernistic motif. The length of this MIDI-keyboard controller isn’t much longer than its 61 note keybed, with only ¾ of an inch overhang per side -- making it short enough to fit into a keyboard tray under most mid-sized studio desks.

In comparison to the Native Instruments KOMPLETE KONTROL A 61 keyboard controller that I recently inspected for you, this unit is quite deep from front to back – measuring 1 foot (30 cm). MK II differs from the original KeyLab 61 vertically as well, in that it’s very condensed at a height of only 2 inches. The encoder knobs add another ¾ of an inch. There is no fear of the keyboard sliding around while it’s set on a table top, due to its sextet of wide rubber feet – one in each corner and a couple in the center.

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​Although the dimensions of this keyboard give the impression of sleekness, it’s actually a very stout piece of kit. It weighs a little over 15 pounds (6.8 kg) and feels decidedly sturdy and tightly constructed. All of the attractively back lit push-switches yield tight, robust tactility and are made from a rubber-y, non-slip material. When the buttons are pressed, you’ll notice a firm positivity and feel a satisfying ‘click’. Likewise, all of the rotary encoders feel sturdy and rotate smoothly, with a ‘just right’ degree of resistance and well-oiled fluidity. So too are the 9 faders well-made -- these yield a similar oil-like smoothness along their long-ish travel path.

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​One potential hiccup vis-à the rotary knobs and faders is their placement; they are situated on the right-most side of the keyboard. This is in contrast to the original Keylab 61 which housed its encoders left-of-center, and its faders just slightly right-of-center. Where the MK II blueprint is certainly aesthetically pleasing, it mightn’t prove to be functionally befitting. For example, most Hammond organists hold notes with their right hand whilst making drawbar adjustments with their left. Correspondingly, synth players commonly reach with their left hand to effectuate real-time oscillator and filter changes. Where the MK II’s layout has its rotary knobs and faders positioned on the right side, it isn’t conducive to capricious, dynamic performance.

​Smack dab in the middle of the keyboard’s upper panel is a moderately-sized LED readout screen, a large rotary encoder/switch and some function buttons. Similar in approach to NI’s (Native Instruments) KOMPLETE KONTROL tie up, the KeyLab provides three modes of operation: ANALOG LAB, DAW and USER. Therefore, we have three push-buttons situated underneath the large encoder knob for selecting the individual modes of operation. Underneath the faders you’ll notice nine more push buttons – these serve multiple purposes. When the keyboard is in ANALOG LAB mode, each button will call up a corresponding category of instrument: Piano, Elec Piano, Organ, Pad, Bass, Lead, Seqenced, Keys and Multi. These can also be used to select individual tracks in DAW mode, and perform user-defined functions in User mode.

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​A matrix of 16 RGB, velocity-sensitive, back-lit performance pads occupies a good portion of the keyboard’s top left region. As per all of the other controls on this unit, the pads are fashioned from a cushy, non-slip material. They feel smooth and comfortable to the touch, greatly reducing the likelihood of soreness or fatigue as a result of repetitive tapping. Alongside the pads is a tidy grouping of DAW command and transport buttons. A nifty selection of magnetic overlays is on hand so that you can label the DAW command buttons to match up with most commonly used DAWs; including Studio One, Ableton Live, Bitwig, Logic Pro X, and others.

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​Scooting back over to the left-most side of the top panel is where we find a few more function buttons, dedicated to effecting octaval transpositions and engaging chord mode. Making semi-toned transpositions is easily achieved by pressing and holding the ‘Trans’ button while you play your desired root note anywhere between middle C and C (5). As expected, here is where the KeyLab 61’s pair of performance wheels resides as well. They look nice in their silvery cast and surely do contrast nicely against the black casing.

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​Pivoting the keyboard around to check out its rear panel appointments reveals an absolute wellspring of connectivity options. Four CV ports are on hand, making it a breeze to interface the keyboard with modular synths and Eurorack gear: Pitch, Gate, Mod 1 and Mod 2. A customary, but much appreciated pair of standard MIDI DIN ports is on deck. If you’ve ever been frustrated by a lack of ¼ inch ports dedicated to connecting Expression pedals, Sustain/Hold pedals and Auxiliary pedal controllers, you’ll be stoked to find not one, not two, but FIVE of these available here. A CV input and requisite USB-b port are also present and accounted for. If you’d like to power the board up for use as an independent MIDI controller sans computer, a 9 volt (positive center) AC jack is also on hand. Last, but not least, Arturia has kindly outfitted the KeyLab with a sturdy on/off rocker-switch. An independent power switch definitely gets my vote – it can be a royal pain-in-the-noodle when one must constantly unplug USB MIDI devices in order to eject and/or disconnect them from their system. A conveniently placed power switch eliminates that little annoyance.

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Performance and Functionality:

Let’s begin with the most obvious element of the unit – its black n’ whites. Arturia has completely revamped the keybed for this second generation of their KeyLab controllers. KeyLab 61 Mk II (and 49 MK II) features Arturia’s Pro-Feel action, the same lusciously playable keybed as found on the MatrixBrute and MiniBrute 2. Where the first iteration of KeyLabs was produced with typical, somewhat elastic-esque key action, the redux features a much more refined touch. If you’re an organist or a synth player, you will experience immediate satisfaction playing on this keybed; it’s smooth and wonderfully balanced. Unlike its predecessor, this keybed doesn't suffer from sharp edges or tight, elastic-y keys. As such, organs sweeps with your palm won’t result in blisters, cuts or scrapes.

This is a semi-weighted keyboard; albeit a very light one. I find that it reacts well to playing dynamics, yielding good velocity range and super fast touch response. However, due to the soft action of this keybed, it’s easy to accidentally play at higher velocities than you might intend to. The key travel is somewhat shallow and cannot be considered a pianist’s first choice. Arturia market the MK II series as being capable of providing keyboardists with piano-friendly playability, but personally, I’m not entirely convinced that this is so. Be that as it may, this keyboard is a superb choice for organ and synth players, and it can do in a pinch for occasional piano or electric-piano parts. As an aside, I've been having myself an absolute ball pairing my KeyLab MK II with Arturia’s new B3-V 2 Hammond organ emulation – they are a perfect match! Taking it across the finish line with flair, Arturia has crafted KeyLab MK II boards to be fully ' After Touch'  capable, opening up reams of expressive potential for CS-V 3 lovers.

​KeyLab 61’s pair of performance wheels is located above the keys (and just left of the keys on the KeyLab 49 MK II). These are made of attractive-looking alloy, but I don't suspect that they were forged in the Pittsburgh Steel Plant – they feel more like pot-metal (read: possibly weak and prone to breakage?). In direct comparison to NI’s much less costly A-61 keyboard, I assay Arturia’s performance-wheel design to be the less favourable. These wheels look cool, but they're small and somewhat finicky to manipulate – especially the Pitch wheel. The amount of resistance is good, but because of the runty size and material from which it was fashioned, the wheel's tension may be considered a tad too springy and abrupt. Conversely, NI’s larger performance wheels feel much more solid and usable; the fact that NI's wheels are made from a lovely, grip-y material allows them to be much more easily controlled. For that matter, I prefer the performance wheels on my original KeyLab 61 (circa 2015) to these. Nevertheless, your assessment might differ from mine, depending on how you position your hand. In all fairness, I have noticed that if I grip the edge of the keyboard and lay the flat of my thumb into the notch of the pitch wheel, I can operate it more fluidly.

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:: Intelligent Chords

​Nifty, intelligent chords functions are easily mustered up, making compositional tasks a cinch for non-keyboardists. In its most basic mode, one can press n’ hold the ‘Chord’ button while playing a chord; in effect storing the chordal voicing into memory. Let’s use a C major triad for simplicity’s sake. Now, with the CHORD function engaged, any single note you play will result in a major chord, wherein the played note is considered to be the root. For example, if you play a C note, a C major chord will sound. If you play an Eb note, an Eb chord will be heard, and so on. 

​Things begin to take on greater musical significance once you incorporate the performance pads. Engaging the ‘Chord Transpose’ feature empowers the Pads to invoke various chord structures. Instead of being constrained to a single voicing, you’ll now have access to 16 voicings: Major, Minor, Dominant 7ths, Sixths, Major 7ths, Diminished, Sus 4, Sus 2/Natural 9ths, and many more. Lastly, there’s the ‘Chord Memory’ mode, which is exclusive to the Pads. In this mode, each of the pads will trigger specific (non-transposable) chords, freeing up the main keys to play melody lines or other musical parts.

:: DAW & Track Controls

DAW mode avails typical transport controls and buttons for actuating basic DAW functions such as Save, Loop, Metronome, Undo, and et cetera. In this mode the sliders and encoders are mapped to your DAW’s channel faders and pan controls. There are two response behaviors available for the faders in DAW mode: Jump or Pickup. The modes are assigned by using Arturia’s MCC (Midi Control Center). If your KeyLab’s faders are configured to operate in Jump mode, they will generate new values as soon as they are moved, regardless of the values they sent previously. On the other hand, Pickup mode causes the faders to NOT generate new values until they match the last value they transmitted. This is important when you're dealing with 3 banks of faders: if you switch from bank 1 to bank 2, move some faders, and then come back to bank 1, you may not want the values of the parameters being controlled by the bank 1 faders to jump suddenly. 

The multi-purpose buttons situated beneath the faders function as individual track selectors while DAW mode is active. Alternatively, tracks can be traversed by using the left and right cursors on either side of the large data knob.

​Once a track has been selected, the five TRACK CONTROL buttons located at the top of the ‘DAW COMMANDS’ panel will allow you to engage familiar track functions . Tactile control over Solo, Mute, Rec-Arm, and automation routines (read and write) are readily at hand, freeing you from constantly having to reach for your mouse. Overall, this is a prime example of Arturia’s economizing the limited amount of space that is available on the unit’s upper control region. While the TRACK CONTROLS are applicable to whichever individual track currently has focus, you can’t simultaneously mute/unmute multiple tracks at once. Notwithstanding, the KeyLab is primarily a MIDI keyboard and Analog Lab workstation -- one that just so happens to offer the additional convenience of basic DAW control. It isn’t purposed to be a full-fledged, multi-channel DAW controller – mind you, it does get mighty close.

Studio One Setup - Click to Zoom

​I've successfully integrated the keyboard into my PreSonus Studio One work flow — both versions 3.x and 4.x. Ableton Live 9 loves the 61 MK II as much as the Abominable Snowman loved Bugs Bunny. Likewise, Reaper and Samplitude (various builds) were also a breeze to set up. Unfortunately, I haven’t yet been able to yoke the KeyLab with either Cakewalk or Mixcraft Pro Studio 8 as a bog-standard Mackie MCU controller. Perhaps I’ll need to contact Arturia’s Support Team for a few pointers about this.

:: Analog Lab

​Following in the digital footsteps of the original KeyLab series, Arturia’s MK II keyboards are indispensable as Analog Lab workstations -- and/or V Collection too, for that matter. In tandem with Arturia’s VI (Virtual Instruments), the hands-on synergy between Arturia’s hardware and software is second-to-none; making it one of the finest (if not the best) hybrid setups ever produced. The only close competitor is NI’s KOMPLETE KONTROL system, but I honestly feel that this one is the clear winner. Where Native Instruments is striving to make NKS (Native Kontrol Standard) a wide-sweeping, standardized protocol, Arturia focused on perfecting interaction between their own system components. To make up for any short-comings, Arturia have also made a concerted effort to ensure that their MIDI controllers are class compliant and adaptable to a broad range of DAWs, MIDI-mappable VIs, and so forth. As of yet, NI's KOMPLETE KONTROL keyboards aren't class-compliant nor are they as flexible as the KeyLabs.

​Analog Lab, at its heart, is a shell – or front end, if you will – for all of Arturia’s V Collection VIs; plus their new, modern polysynth, “Pigments”. It contains the TAE® core engines of all the V Collection synths, but does so minus individual instrument UIs (User Interface). That said, if you have any (activated) V Collection items installed on your computer, Analog Lab can display those activated products in their full glory. On its tod, Analog Lab grants access to most nearly all of the basic parameters for each instrument: Cutoff, Resonance, LFOs, OSCs, VCO’s and et cetera – these are pre-mapped and raring to go on the Keylab 61 MK II. However, unrestricted access to every available VI property is only possible when an activated, full version of said V Collection instrument is present.

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​Comprehensive, intuitive browsing is reachable here via a tags-based patch library system, as well as the means to easily create dual-layered splits, MULTIs, and patch playlists. The latter is especially helpful in live performance situations. Browsing and control-mapping are also implemented for the new “Pigments” synth. KeyLab’s LED display and large central data wheel are the primary utensils you’ll be using to browse and select patches. Tapping the solitary ‘Category’ button allocates the central data wheel’s operability to cycling you through the library’s hierarchy, beginning with top-level categories: Synth, Piano, Organs, and Multis. As you continue scrolling, the selections will be narrowed down to Instrument Types, then on to Styles, and lastly, Source Banks. When you arrive at your directory of choice, simply press the ‘Preset’ button to reorient the wheel to actual presets browsing. The central data wheel also double-duties as a push button encoder thus activating a patch requires but only a press of the data knob.

​​If you have a MULTI patch loaded, you can switch between the two parts lickety-split by tapping either the ‘Part 1’ or ‘Part 2’ buttons. KeyLab’s rotary encoder knobs and sliders only affect the part that is currently selected.

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Remember the two operational Fader modes in DAW setup that we looked at earlier? Well, in Analog Lab mode, the faders can also Scale for smooth takeovers. Their current positions are shown as ghost faders on the plug-in when the values are not in sync. This ghosted outline surely is helpful, but what I'd really like to see happen is, Arturia undertake development of “Deluxe Edition” KeyLabs that feature motorized, bi-directional faders.​ As cool as the ’61 MK II is at present, it would experientially be all-the-more useful if its faders and accompanying software were always appositionally synchronized -- similar to the synchronism observed while using a Mackie (or Mackie compatible) DAW Surface Controller. Then again, this additional functionality would likely result in a considerable price hike, and not everyone would be in a financial position to support it. Thus it might be a good idea if a Deluxe/Pro tier of KeyLabs were introduced into the product line. What do you think, Arturia? Goldilocks could choose according to her budget: Essentials, Mk II or Deluxe. . .

Goldilocks could choose according to her budget: Essentials, Mk II or Deluxe. . . “ 

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​Extentions and CV Control:

​There are ten slots available on the KeyLab MK II (and Midi Control Center) for saving and recalling personalized MIDI control assignments. For the most part, I would suggest that one familiarize themselves with Arturia’s MCC desktop application for accomplishing these kinds of tasks. A good read of the user’s manual is highly recommended! There is a lot - and I mean a lot - of valuable information contained in it that you’ll need to learn in order to effectively configure the wealth of sophisticated extensibility that the KeyLab has under its bonnet. Buttons are individually configurable to function either as toggles or as momentary switches. All of the rotary encoders can be assigned to function either as absolute or as relative controller knobs, with customized acceleration rates to boot. Applying CC control range limitations are also entirely possible. The pads can be configured to trigger CC or Program Change messages, and you may optionally colour-code them if so desired.​

​Personalizing foot controller inputs and the CV connections is also where MCC proves to be invaluable. In addition to standardized Hold/Sustain and Expression roles, the three Aux pedal inputs can be assigned to any CC value in either continuous or switched modes - even making foot-switchable  Program Changes possible.

There have been a few rumblings and grumblings discussed on various forums regarding expression pedal compatibility (or lack thereof) with Arturia’s KeyLabs. Generally speaking, most standard expression pedals fitted with a 10k-ohm potentiometer *should work. I can assure you that a Mission EP-1 absolutely works perfectly with with this keyboard - or any other Arturia KeyLab model for that matter.

  >> Click here to read my in-depth review of the Mission Engineering EP-1 <<

​KeyLab Mk II keyboards boast some decidedly pro-grade and unexpected appointments, considering its moderate price tag. Options like variable voltage ranges, and definable MIDI note 0V mapping are prime examples. In a split configuration, the 0V note sources can be acquired from any available keyboard split-part. Modulation sources are assignable to specific buttons, faders, rotaries or wheels – triggered by velocity, aftertouch, or even any of the pedal inputs. This makes it all fairly simple and doable directly from the keyboard itself. Unfortunately, the CV outputs don’t seem to be accessible from within a DAW.

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​CPU, Power & Memory Consumption:

Generally speaking, Analog Lab 4 is quite affable in its CPU and memory requirements. Of course, this is dependent on whichever patch is loaded. Understandably, patches from any of the older V Collection instruments are considerably less demanding than those culled from the more recent releases (such as DX7 V, for instance). It is my finding that Analog Lab 4 is by far the most efficient and speediest iteration of the Lab software to date – as of the time of this publication that is. I would consider Piano V2 to be a happy-medium – it isn’t the lightest virtual instrument, but neither is it terribly taxing on CPU. It comes as no surprise that built-in effects such as Arturia’s lush reverbs will contribute to a higher resource drain.
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As regards actual AC drain while the keyboard is connected to my system, I haven’t found it to be particularly exhausting. I’ve not experienced any dropped connections or interferences while my MK II is patched into the same passive USB hub that holds my iLok, e-Licensor, and Waves/Plugin-Alliance dongles. Neither has this setup disturbed my USB 2.0 audio interface(s) which are, of course, plugged directly into a dedicated USB port on my laptop.

Concluding Remarks:

I’m pleased to report that there is a lot that I dig about the KeyLab 61 MK II and its accompanying Analog Lab software. Having dealt with the frustration of a lack of semi-tone transposing and the inability to change MIDI channels on NI’s KOMPLETE KONTROL A61, I am absolutely thrilled that there are no such limitations imposed here. The keybed action is absolutely luxuriant for playing legato synth lines, organ parts, and similar soft-touch instrumentation; however, the keys are quite light for piano-type playing.

​I would prefer that the rotary encoders and sliders were positioned more towards the center or left side of the keyboard’s top panel. After I acclimated to the feel of the MK II’s performance wheels, I got along with them ok, but to be perfectly honest, I do prefer the larger, more comfortable and solid design of those found on the KOMPLETE KONTROL. Otherwise, the fit, finish and quality of all MK II’s other knobs, buttons and sliders feel sturdy and pleasant to the touch.

I am totally stoked with the KeyLab’s dedicated, conveniently positioned On/Off switch. It goes without saying that having such a full complement of I/O connectivity, Pedal ports and CV options seriously puts the MK II keyboards ahead of the pack – within its price range.

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  4.5 out of 5 Stars

:: Pros

• Excellent keybed for soft-touch instrumentation.
• Classy, professional-looking design.
• Superb hybrid hardware/software experience.
• Convenient, user-friendly on-board functionality.
• Best-in-class build quality.
• USB Class-compliant and very adaptive to various DAWs and 3rd party virtual instruments.
• Sleek design and economized footprint
• Huge number of connectivity options.
• Decent sized, easily seen LED readout.

 

:: Cons

• Perhaps the pads should swap location with the rotary encoders and sliders. The current placement isn't conducive to easily making real-time adjustment while you’re playing.
• Doesn't include an external 9v power supply.
• Personally, I feel that Arturia’s B3V 2 would have been a more suitable complimentary VI instead of PianoV 2. The light keybed action is a perfect match for organ, but not really a good match for piano.

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​Brother Charles is a freelance writer, Gospel music artist and minister. Charles had been a professional touring musician during the nineties; working primarily as a lead guitarist in the Canadian country music industry. Brother Charles is also involved with music production and quality home recording."

Intellectual Copyright - 2019 - All rights Reserved. This review may not be copied or reproduced in whole, nor in part, without express written permission from the author.

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