Congratulations on purchasing the ST, one of the finest master keyboard controllers in the world today. The action is a result of many years of design and engineering to bring the musician a: keyboard mechanism that feels as close to an acoustic piano as possible. Page 2: Connections Studio will accept an adapter that has a rating of 9V DC with a positive polarity tip and has a minimum current of ma. Page 3 Many expensive keyboard controllers offer aftertouch, which allows expressive control of sound sources.

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The MIDI music market is now mature enough that the appearance of a new master keyboard is no longer cause for comment.

This is a refreshing state of affairs which means that reviewers like me! This uses a crafty little counter-weight allied to a mechanical device to give the keys a piano-like feel and resistance. The upper left-hand corner of the fascia is home to the pitch-bend and modulation wheels. The control facilities of the include up to four splits or layers, with each Zone as they are called having its own MIDI channel, programme number, upper and lower key range limits, volume and transposition value.

There are 32 editable Presets on board, where you can store custom settings, and Presets are selectable in four banks of eight.

Power comes from an external adaptor. I found programming the Studio to be straightforward, though the review model was the first in the country and lacked a manual, which necessitated a little bit of initiative to puzzle the machine out.

Luckily, the obvious moves I made proved to be the correct ones, and my conclusions as to how the Studio works follow. You create your own Presets via the selection of buttons on the front panel -- note that some of the black keys on the keyboard double as a numeric keypad. Preset numbers and parameter values are shown on the three-character LED display. As mentioned, the keyboard can operate on up to four zones; these are selectable with the four buttons in the Zone section on the front panel -- an LED above each button indicates whether a Zone is active or not.

The first thing I discovered was that by pressing and holding a Zone button and keying in a number on the keyboard, I could transmit a Patch Change on that Zone -- Bank Select is available too. I also discovered that when I selected a Patch Change, that patch automatically became part of the current Preset -- there are no edit buffers here. A little further exploration revealed that pressing a Zone button, followed by any one of the Function buttons, took me into edit mode.

Each of the Function buttons accesses three parameters which are listed below each button ; press a button to cycle through its parameters, and use the control slider as a data entry slider to alter a parameter value.

This is strange when you first encounter it, and the same system also operates for selecting a Program Change in Edit mode. Loading is done in the same way, except that you press the Load button, whereupon the waits for MIDI data to arrive.

STUDIO The Studio has the same velocity-sensitive keyboard, the same size and the same control wheels as the Studio ; it also looks almost the same, apart from the smaller array of buttons. The similarities end there, however, since the is a simpler device, transmitting on one MIDI channel at a time no keyboard splits. Operationally, the is a breeze: you can change MIDI channel, send program changes with a Bank Select option , set a transpose value and send volume, modulation, pan and aftertouch data via the mod wheel.

This last point is the single fly in the ointment: aftertouch is only transmittable when assigned to the mod wheel, rather than directly from the keyboard, a problem common to the Samick KK1L that we reviewed in the September issue of SOS.

The various functions on offer are chosen by pressing the buttons -- labelled Program, Channel, Transpose and Control -- on the front panel, and inputting a numerical value using a range of black keys, which once again double as a numeric keypad; controllers to be assigned to the mod wheel are selected by pressing the Control button and the black keys labelled Aftertouch, Pitchbend, Modulation, Volume or Pan. At the rear, the also features volume pedal and sustain pedal inputs and two MIDI Outs; once again, these simply send the same data, which saves you the trouble of having to chain two sound sources together.

The simplicity of the Studio may well be desirable to the studio musician, who can generally get by without the facilities provided by the , or substitute them using other studio equipment -- multiple splits can aften be programmed via software or within a sound module itself, for example.


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