Is Arturia’s new KeyLab 88 MkIII the best 88‑note controller keyboard in its class?
The KeyLab 88 MkIII is the latest iteration of Arturia’s fully‑fledged MIDI controller keyboard, and rounds out a range that already includes 49‑ and 61‑note weighted‑key models. All the models in the range have almost identical scope and capability as controllers, offering deep integration with Arturia’s software instruments (running on your computer) and various DAW software, and more generic control of virtual and hardware MIDI devices alongside. All of what Robin Vincent discovered in his SOS December 2024 review of the KeyLab 49 and 61 holds true here, so I won’t cover the same ground. But there is uniqueness here in the form of the much larger keyboard, a few other points of design, and how they play out in the user experience generally. So let’s fire up the Bunsen burner and get stuck in.
Bed‑making
Where previous KeyLab 88s used a Fatar TP/100LR keybed, the MkIII gets something more recent, a TP/110. This model is still not documented on Fatar’s website as I write this, but it offers velocity and channel aftertouch sensitivity, and from the word go I found it to be both controllable and musically satisfying, with minimum and maximum velocity and aftertouch values easy to generate from a normal range of touch and force. Three different response curves are provided for both velocity and aftertouch, as well as a fixed value option and a programmable custom curve.
Physically, white keys measure a full‑size 150mm front to rear, with a standard 165mm octave span. Notably, though, key dip is just 9mm or so, which is less than most acoustic pianos and many stage keyboards. It seems quite appropriate, given the likelihood that the 88 MkIII will be used at least as much for synth and sample duties, and doesn’t meaningfully compromise the weighted, swinging piano‑key feel. Aftertouch is sensed in a further 3mm or so of firm resistance for white keys; less for black.
The TP/110 action is relatively quiet: there’s a damped, wooden‑sounding knock at the bottom of the keystroke, and a much quieter sound on key release. You will hear of players criticising their TP/100 actions as being (or becoming) too bouncy, notchy, or having too much lateral key movement. None of those things was evident here, apart from a minuscule bounce, less than 1mm, observable with staccato playing. Indeed, the overall impression I got was one of smoothness and precision. The KeyLab generates release velocity data, incidentally, but even exaggeratedly fast releases only produce values in the 30s (or 40s, for black keys) so it’s not terribly useful.
It’s fair to say that the older TP/100 (in its various different guises) divides opinion — and that’s being diplomatic. A full love‑hate spectrum can be experienced on many an Internet forum. I’d personally judge the TP/110 here a fine, middle‑tier, quite ‘neutral’ action on a par in quality with Roland’s PHA‑4 or Yamaha’s GHS, but with the distinct advantage (for many jobs) of very good aftertouch. Much better for ambitious playing, I think, than that TP/100, and rather smoother than the Fatar TP/40 (in a Nord Piano 3) I have in my studio. So top marks, Arturia. This is a notably fine action for the money, and helps the KeyLab 88 MkIII carve out a distinct niche in the market.
If there’s an elephant in the room still, it’s the expectation some pundits had that this flagship‑level controller would offer polyphonic aftertouch, especially given it’s in Arturia’s recent PolyBrute 12 and Native Instruments’ Kontrol S88 MkIII controller (which uses a specially developed Fatar TP/100 variant). It’s a fair point, as poly aftertouch and MPE compatibility becomes more and more common. Perhaps, though, in the toss‑up between offering that or an improved piano touch (with boring old channel aftertouch), it was the more mainstream use consideration that won out. I have some sympathy with that choice. Whilst I enjoy exploring the possibilities offered by MPE, it’s arguably better suited to controllers with lighter synth‑action keys and really ‘bendy’ aftertouch, or indeed a purpose‑built key action, like that of an Osmose or Seaboard. Also, the ability of a controller to generate MPE or poly aftertouch doesn’t immediately imbue every instrument you control with a way to respond to it: far from it, in fact. Arguably, purpose‑built instruments or controllers (Osmose, Seaboard, Hydrasynth, PolyBrute) are the best bet.
Pedals, Pads & PAs
If you’re into pedals, you’ll like the KeyLab. There are four rear‑panel pedal sockets, marked Sustain, Expression, Aux In 1 and Aux In 2, but the names don’t mean a great deal as all are identically, equally capable. Plug in one or several switch‑ or continuous‑type sustain or normal expression pedals and you can derive all sorts of useful control from them, with configuration and calibration options available on board. In Arturia’s Analog Lab software, for the Arturia integration mode, pedal assignment is currently only available for the KeyLab’s Sustain and Expression inputs, but perhaps dedicated Aux pedal support will come in future.
Analog Lab V, part of the KeyLab’s bundled software suite, gives a slick and reliable hardware control experience. The software knobs and faders mirror the control layout on the KeyLab, and operating one of the physical touch‑sensitive faders or encoders shows parameter values in meaningful units on the KeyLab’s display. Bidirectional communication is handled completely behind the scenes, with no setup required, even when running Analog Lab in your DAW, which is really quite impressive. One notable limitation of the system is that whilst patches can be filtered by multiple criteria in software (eg. to drill down into Strings, on the Jup‑8 synth, in an ‘Atmospheric’ style), only one filter at a time (along with ‘Liked’ status) can be applied from the KeyLab’s controls.
As for the drum pads, which can be usefully employed to generate MIDI CC and Program Change messages as well as notes, they’re more of a qualified success. At about 29mm square they’re compact, with translucent edges that allow their multi‑colour backlights to shine through. I found velocity values pleasantly easy to control, above a value of about 20: beneath that, triggering is unreliable. A long pad press can produce poly pressure messages. However, a down side is that both velocity and pressure sensitivity is hugely reduced at the edges and corners of the pads, so you need to be accurate. Oh, and MPC diehards will have already spotted that there are 12 pads, not 16, which might compromise mappings for a few drum‑based software instruments.
Further playing‑oriented features include pairs of dedicated buttons for semitone transposition (always useful) and octave transposition (less useful with an 88‑note keyboard) along with the Scale, Chord and Arpeggiator features described in the previous review. Those are good, far from an afterthought, and wonderfully easy to control via the LED display and soft buttons.
I found the KeyLab operating system delightful and quick for making MIDI control assignments. Holding the Settings button and touching a control instantly brings up a really clear, informative configuration screen in the LED display. For some jobs though, Arturia’s freely available MIDI Control Center application (or Windows/macOS) will make ambitious setups even quicker to achieve. Here, fader 6 is being configured to generate a MIDI CC message, in a user memory. Six user slots are available in the hardware, but any number can be offloaded to or stored from the app.
SpaceLab
Expectations for a big MkIII KeyLab were great in some quarters, and users who were holding out for a poly aftertouch and CV‑equipped monster might be disappointed. However, looking at what we have (rather than what might have been), I can’t help but think the KeyLab 88 MkIII is very fine: a grown‑up controller keyboard, marrying quality with versatility, and musical potential with excellent ease of use.
Things I was less keen on were few. The positions of the pads, DAW controls and faders/encoders could desirably have been swapped, in this form‑factor, for a more noodle‑friendly setup (for right‑handed players at least). Also the location way out west of the often‑used Prog and Settings buttons (along with the pitch and mod wheels for that matter) felt a little awkward at times. The pads leave something to be desired: they’re usable as they are, and are great as a bank of momentary/latching buttons, but having 12 instead of 16 will be a bitter pill to swallow for finger‑drumming MPC‑schooled users, and they simply do not trigger well at the edges.
Against this, though, I found masses to enjoy in the KeyLab 88 MkIII. First and foremost, that new keybed, which should work well for pianists and one‑finger synth widdlers alike, offering precision and fluidity alongside easily explored aftertouch. The programming system, with that very legible and bright LED screen, is the clearest and quickest of any MIDI controller I’ve ever used, by miles. I loved it, and never once felt the need to consult a user guide, even for really specific programming tasks. The way the three main modes focus operation for different tasks makes for great clarity too. Arturia software integration could certainly be further improved, but it’s already good as it is. It’ll make many virtual synth aficionados very happy, and I never saw the slightest flakiness or lag in the connection.
I’d say we have something that strikes a really great compromise, between multi‑purpose playability, software‑specific integration, tremendous ease of use, value for money, and general all‑round usefulness. It’s one of the best 88‑note options on the market, right now.
Ultimately, any MIDI controller keyboard is a compromise, one way or another, but in the KeyLab 88 MkIII I’d say we have something that strikes a really great compromise, between multi‑purpose playability, software‑specific integration, tremendous ease of use, value for money, and general all‑round usefulness. It’s one of the best 88‑note options on the market, right now.
Les Accoutrements
Carrying on a tradition established with the KeyLab 88 MkI model, the MkIII comes as standard with two accessories. The first is a shelf, and it’s great: metal with a non‑slip rubber surface, aligning with rear‑panel metal tabs to create a spacious area to the right of the faders and encoders. It sturdily supports a laptop or module up to 380mm wide and 250mm deep (so, a 17‑inch or even bigger laptop). Then there’s a metal and perspex music desk, which is useful too, and thoughtfully has an open slot at its centre to allow for a portrait format tablet to be placed with a USB plug connected. The desk sits left of centre of the keyboard though, which is visually a bit odd, and at about 190mm tall it’s not big enough for really large, heavy show‑type scores, or some real books. Still, it’ll be useful for some jobs.
Alternatives
There’s a surprising lack of choice of feature‑rich 88‑note hammer‑action controllers, particularly at the more ‘premium’ end of the market. Sitting just above the KeyLab MkIII in price is Native Instruments’ Kontrol S88 MkIII. It offers a bigger LED screen, sophisticated NI Komplete Kontrol integration, and poly aftertouch alongside the NI Light Guide system. At the same time it employs a variant of the older TP/100‑based keybed, and has just a single set of eight encoders for real‑time control. Roland’s A‑88 MkII, meanwhile, offers MIDI 2.0 velocity resolution but has no aftertouch, just eight small control knobs and buttons, and an arcane programming system without a screen. Interestingly, StudioLogic’s significantly cheaper SL88 Studio MkIII has the same TP/110 keybed as the KeyLab, and MIDI 2.0, but real‑time control is limited to two joysticks and a handful of knobs and encoders.
Pros
- The Fatar TP/110 keyboard action works very well for both piano and general playing duties.
- A really well‑designed operating system that’s dead easy to use.
- Encoders and faders are touch sensitive, coming into their own with Arturia software integration.
- Good pedal connectivity, and some handy accessories included.
Cons
- Some physical control locations are suboptimal.
- Pads are small, uneven in response across their area, and there are only 12 of them.
- No poly aftertouch (if that is what you were looking for in a hammer‑action controller).
Summary
A proper, grown‑up 88‑note MIDI controller that feels great to play and is really versatile. Good value for money too.
Information
$999
When you purchase via links on our site, SOS may earn an affiliate commission. More info...
When you purchase via links on our site, SOS may earn an affiliate commission. More info...
