Following the fashion of the moment, in our review Arturia MiniLab is defined as a "Hybrid Synth", that is a hybrid hardware / software synthesizer. In reality, despite the strong integration with the included software (Analog Lab which we will talk about later) it is a solid 25-key master keyboard and a powerful virtual instrument dedicated to analog synthesis emulation. A respectable package offered at a truly competitive price.
Arturia Minilab review: The master keyboard
total white, as a friend always in the mood for criticism of dubious Saturday night attires would say; completely white, with wood-colored side panels, in my opinion very aesthetically pleasing. It looks like a cross between a Indigo virus and a minimoog. The eight pads also white with pink backlight and i sixteen encoders dark gray a endless run make it really cool.
In short, to see it like this (Pic.1) looks like a bad bad synthino ready to put an end to all the condominium diatribes of the last five years.
The keys are twenty-five (two octaves classic) sensitive to dynamics and obviously a little tight, but unlike others mini masters (Pic.2) are sufficiently long and equipped with a comfortable ride. The rendition is ideal for playing lines of Bass Synth or to fly a vocoder, meaning both strictly live!
The solution adopted for pitch bend e modulation: touch-strip format, basically a pair of narrow ribbon controllers positioned vertically. A decidedly nice realization that if at first it forces you to acquire a little practice, over longer times it also lends itself to some experimentation. Finally we find two keys to change the octave (directed respectively up and down), a shift key and a bank select key for the pads (1-8 / 9-16). The only connections provided are located on the left side panel and include a door USB type B, and a connection for a sustain pedal.
Everything that resides on the panel of the MiniLab has a direct bearing on the functionality for which it is designed.
Even in the case of functions assigned to key combinations, the indications shown are clear and explanatory to the point of making it unnecessary to consult the manual. A screen-printed panel is also provided which can be applied when using the keyboard with Analog Lab and which indicates the details of the functions assigned to each rotary encoder (such as filter cutoff, filter resonance) in place of the more generic numerical indications from 1 to 16. A very aesthetically pleasing detail even if its use is not essential.
The verdict on the build quality is entirely positive: aesthetics, compactness, solidity and lightness; as a last curiosity the MiniLab fits perfectly into the very popular Ikea backpack (don't tell me I only have it because I don't believe you), the one with two compartments that can be separated by zip, where you can comfortably travel with your Notebook (Pic.3).
Computer connection
The only paper guide present in the package is the classic Quick-Setup in plasticized cardboard. Following the order of the indications, once the USB cable is connected, the next step should be the download of the Analog Lab software (no DVD is not supplied). Aware of the slowness of my ADSL connection, I bypass this step without thinking too much and instead open the software I use most often on my MacBook Pro: MainStage 2.2. Anyone who knows the Apple home host knows how simple it is to create a setup that is really done with a couple of clicks. Clearly the MiniLab has already been recognized without problems by the operating system (OSX 10.6) and therefore it is sufficient to create a patch and load any virtual instrument to start playing. Notes, Pitch Bend, Modulation and Pedal Sustain are mapped automatically, so I immediately find myself improvising harmonies with an electric piano plugin. The feeling of control is excellent, the keyboard immediately proves to be very playable and not at all toy. I load up a typical Lead Synth and even in this case I can have enough fun running the entire range of the keyboard with extreme satisfaction. Pitch bend and modulation respond very well, indeed I would say that they are a real strength of the master: the pitch clearly returns (virtually) to the central position when you leave the touch, while the modulation instead remains positioned (always virtually ) where you leave it. In short, I found myself very well, perhaps because I'm already used to the ribbon controller of the Yamaha An1x 😉
However, the number of keys available does not allow you to express yourself at best in all keys and therefore it is necessary to often resort to the use of octave shift keys. Playing a solo on an extension greater than two octaves having to worry about pressing the fret at the right moment and at the same time "jumping" with the hand of an octave, is not a very relaxing thing in itself; then if the change command does not occur extremely quickly, it also becomes a little stressful. Unfortunately, it often happens that the MiniLab receives the command with a slight latency, but sufficient to make the first note after the change sound, still in the previous pitch. This is definitely something to work on in the next firmware revision.
Finished the distortions that I tend to do when there is no metronome, I pass to tone generation of another nature, the synth bass. Here I must say that the true vocation of the MiniLab comes out: whether you gently place your hand for soft bass lines on timbres from Juno-106, whether you hit the frets badly for acidic grooves from TB-303, the keyboard always welcomes our performance with extreme naturalness and appropriate dynamic response. To be taken into consideration therefore also for a classic DJ set. At the end of the performance I made a quick check (with the midimonitor tool) of the velocity values sent. I found a correct excursion on almost all the dynamics, even at the lowest values. By just touching the keyboard, the velocity will settle around the value 12 while to reach the 127 sustained thrust is required.
With the fun of black and white keys finished, it's time to move on to the pads and encoders. Having sixteen knobs with infinite travel is not a trivial matter, especially on a master of this size and this price range. I take a quick look at the manual (downloaded in PDF from the site) to retrieve a list of factory presets and understand which is the most suitable for use with MainStage but unfortunately there is no list. Fortunately, however, on the product support web page there are two demonstration videos that put you on the right path: preset 1, indicated as "Absolute mode", is recommended for most software, while for preset 2, indicated as " Relative mode ”is recommended for use only if you are sure that the software to be controlled supports this mode. MainStage should work with both modes, but to avoid unexpected problems, I decide to start with the simpler one first, then press SHIFT+PAD1 to load scene 1 - Absolute Mode.
I add a set of eight rotary controllers and a group of eight pads to my layout and start instructing MainStage via the Learn function. I assign to my group of rotary encoders on screen the first group of knobs of the MiniLab and I do the same for the eight virtual pads by assigning the respective notes sent by the real pads. Everything perfect, the control changes are all recognized without problems and the same goes for the note-on and note-off values. Once the visual assignment is complete, the operation on MainStage decides synths and respective parameters to control and drumset to be played. Obviously the ES2 cutoff, resonance, delay and reverb level go to the encoders, while to give voice to the pads I load an instance of ultrabeat. The encoders respond quickly and precisely, the values from 1 to 127 are all scanned very gradually. Once the maximum value has been reached, by continuing to rotate the knob, the value sent remains fixed at 127 while as soon as the route is reversed, the values begin to decrease immediately. Opening and closing the cutoff becomes a pleasure, as well as auditory, also tactile.
The field test of the pads instead left me a bit perplexed as I was unable to find the right feeling for a correct execution of a live rhythm pattern. It is difficult to control the dynamics, at least with the default configuration, so the kick drum hits jump from the classic sustained hit to the limp hit that makes the groove limp. In both size and layout, the eight pads fail in my opinion to compete with dedicated devices (eg akai lpd8). However, as we will see later, the situation improves with some changes to the default settings through the control software.
Control software
After fiddling with controller assignments quite a bit, I can say that the two default mappings (absolute and relative) are more than enough to work with almost all software (hosts and instruments) currently out there. Being a USB-only master keyboard (therefore without midi ports), it is naturally intended for use purely with software tools. This does not mean that once integrated into a midi studio it can be used to control some old expanders or some hardware drum machines (by routing through a computer on a MIDI port connected to the system). In this case the eight scenes and above all the editing program become indispensable to freely assign the on-board controls to any midi functionality. So I decide to download and install Arturia Midi Control Center, the Arturia software for editing your devices without which no modification is possible. The program, in the Mac version, is an executable that does not even need installation: it is copied into a folder (the most suitable of course is applications) and runs directly. Operation is simple: the MiniLab with all its controls is faithfully reproduced on the computer display. At the top left there are the Global settings valid for the whole scene where it is possible to set the global midi channel, the dynamic curve of the keys and separately that of the pads; the possible dynamic settings are Linear, Logarithmic, Exponential and Full. It is also possible to set the acceleration of the knobs between slow (off) medium and fast. The settings relating to the item being edited are displayed on the right. Just click on the graphic representation of the controller you want to edit and the current setting is displayed in order to be modified. For each of the sixteen encoders it is possible to assign the type (continuous or RPN / NRPN), the mode (Absolute or Relative 1,2,3) and clearly the number of the parameter to be controlled. For the pads, on the other hand, it is possible to assign the Note, Program Change, MMC and Switch function in TOGGLE or GATE mode; mysteriously when you set the notes of the pads continue to display the names of the controllers instead of the names of the notes, so it is necessary to proceed by numerical value (eg 36 = C1). By default, all parameters are sent on the global midi channel, but it is possible to change the midi channel of each single element: a very useful feature if you have several connected machines available. Finally, a very convenient “default” button allows us to initialize the scene to default values.
The software, although very complete, suffers from some sins of youth. The first point does not provide for the configuration of the MIDI ports, this means that you go to independently search for the connected device. In itself this is a good thing, but it is a pity that every so often the MiniLab is not intercepted and it is necessary to disconnect the USB cable, close the software and start over. Occasionally it also happens that the communication between host and device is interrupted and as already done previously you have to disconnect the cable etc. etc. Second point, editing is possible only on the temporary memory of the MiniLab (the one that contains the current scene) which is read at the time of execution of the Midi Control Center. That is, it is not possible to directly recall and modify one of the eight presets stored in the device. This means that if I want to edit preset 8, I must first set scene 8 on the MiniLab (shift + pad8) and then launch the software. For saving, on the other hand, it is possible to establish the number of the scene to be overwritten, without any confirmation request. When this operation is carried out, however, the "send to keyboard" key does not in any way highlight the transfer and therefore one is always left with the doubt that the store has not occurred correctly.
However, it must be said that working with Midi Control Center I discovered some very interesting things: the first important is a page from where it is possible to calibrate the pads (Pic.4)
For each of them it is possible to establish a velocity “delta” to add or subtract. This allows you, for example, to set the velocity of the pad that controls the kick always a little higher so that you never lose the groove. Another very interesting thing is the possibility of setting the Pitch Bend in Hold mode to imitate the functioning of modulation, but despite repeated attempts I was unable to use this feature. On the other hand, the assignment of the touch strip modulation to the aftertouch was perfectly successful, in order to make the most of those timbres programmed to respond to this control.
Returning to the technical tests, I wanted to try using the "Relative Mode" with MainStage. The possibilities offered by the software are three, generically indicated with Relative1, 2 and 3. Without going into too much detail of the operation of the individual modes, I tried all the possible combinations between MiniLab and MainStage but unfortunately always without success: the knobs never wanted function properly. Finally I wanted to play a drum groove through the pads using this time the Kong drum machine (Reason 5) and a different dynamic curve: the best performance I got with the "logarithmic" setting which cutting out the lowest dynamics allows definitely better control.
First Conclusions
While waiting to discover the features of Analog Lab, the analog synthesis software supplied with the MiniLab, let's sum up this field test of the master keyboard only. An excellent product with many points in favor and only a few small defects to improve, especially in the editing software. The truly brilliant keyboard and the sixteen infinite stroke encoders stand out which, once configured to operate correctly in relative mode, can offer great added value. The eight pads are less exciting due to the less than perfect feeling when playing rhythm patterns (not their primary function considering that Analog Lab does not have drum machine modules). A bit uncomfortable also due to the horizontal positioning when the de facto standard is now the 4 × 4 grid. However, they were excellent for all other features, such as starting loops / samples, changing presets and sending start / stop commands to the sequencer. Overall, a very respectable endowment with which it is possible to express oneself live in many ways and that even in the studio can offer interesting ideas. A right DAW / MiniLab / Instruments configuration can dramatically speed up workflow in all pre-production situations.
In short, product promoted with full marks.
MAIN FEATURES:
● 25 note velocity sensitive mini keyboards.
● 16 encoders
● 16 pads (two banks of 8 pads / buttons)
● Pitchbend / Modulation touch strip
● Footswitch inputs
● Recessed full sized USB jack
● Bus powered, Class compliant
● Works with iPAD (camera connection kit required)
● Comes with Analog Lab software
● 5000 sounds from the best synths and keyboards
HARDWARE Specifications:
● Keyboard: 25 velocity sensitive minikeys
● Controllers: 16 encoders
● Pads: 2 banks of 8 backlit pads with velocity and pressure sensitivity
● Connectivity: USB, Assignable Footswitch Input
● Class compliant - no drivers needed!
● iPad compatibility using Camera Connection kit
● Product dimensions: 373mm x 191mm x 50mm - Net weight: 1030 g
