To the left of the keyboard are two control wheels: one is a standard pitch wheel, and the other, mysteriously labelled 'A', is a programmable mod wheel (more of which later). In a departure from traditional styling, the CMS 61 is a 5‑octave C‑to‑C, non‑splittable keyboard, built in a cream‑coloured plastic casing, with a large flat recess behind the playing surface on which to accommodate a computer keyboard and mouse mat. Their new offerings, the CMS 61 and Studio 610, are not quite as grand, but should find favour with the fiscally‑challenged, or the player who doesn't require an authentic piano feel. More recently, they have built something of a reputation for their own products - particularly their range of weighted, hammer‑action master keyboards, which simulate the feel and action of a conventional acoustic piano. Italian firm Fatar started out manufacturing keyboards for companies producing organs and synths, and their past client list includes major players such as Roland and Ensoniq. They are normally sparsely populated with buttons, and disappointing in the flashing lights department, but in a world where more synths come in modules than in keyboards, they have a place both in the studio and on stage. Andy Davies casts his eyes, and fingers, over Fatar's latest low‑cost master keyboards.Īlong with power amps and patchbays, master keyboards have something of a reputation for being a little uninteresting.
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