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Hardware >Keyboard, MIDI Controller

The price of controller keyboards has fallen sharply over the past few years, but whoever thought that we'd see an 88-note weighted-action keyboard with aftertouch for under £500? Enter CME's UF8..

There's certainly no shortage of 88-note weighted controllers available for the pianist on the market today. There are also lots of semi-weighted synth-action controllers with spans of 25, 49, 61, or 76 keys, most with mod and pitch wheels, and some with aftertouch. However, the UF8 keyboard controller from the Beijing-based Central Music Company (CME) is something I've been searching for for several years — a budget MIDI controller with 88 keys and aftertouch.Photo: Mark Ewing

UF Driver for Intel MAC v1.0 Installation: It installs very easy.Just unzip the file,then run CME-UF-MIDI-1.2u.pkg to install the driver. Meet the CME Xkey, the ultimate mobile MIDI keyboard. 25 or 37 real-size keys, and polyphonic aftertouch. Xkey Air adds a max 7ms latency compared to most state-of-the-art USB MIDI keyboards, yielding to an unnoticeable delay when playing live performances. Great Design. Lighter than an. Meet the CME Xkey, the ultimate mobile MIDI keyboard. 25 or 37 real-size keys, and polyphonic aftertouch. Now wireless! UF5; User manual; CME UF5 User Manual. Summary of Contents for CME UF5. In this way you do not have to make USB connection, nor to install USB driver. 1.5 Driver installation 1.5.1 Connect UF to computer via USB cable 1.5.2 Power on the computer 1.5.3 Insert UF CD-ROM to computer 1.5.4 Follow instructions in the README file to finish.

Some musicians assume that 88 weighted keys can only be used for playing piano and other percussive sounds, and that they aren't suitable for synth sounds and orchestral instruments. However, I've never been convinced by this argument, especially since many modern Gigastudio libraries require keyspans of 76 or more notes to easily access the keyswitching functions used to move between different articulations. Within reason, weighted keyboards can be extremely useful for playing all instruments, and moreover, not everyone has the space or the money for two controller keyboards. So, why use two keyboards in the studio when you could use one?

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Out Of The East

Although this new UF range is the first to appear under CME's own name, their patented weighted keyboard action has apparently already appeared in various other companies' products. There are four models in the range. The UF5, UF6, and UF7 have semi-weighted synth-action keyboards of 49, 61, and 76 keys respectively, while the UF8 being reviewed here has a 88-key weighted hammer-action keyboard. Otherwise, they are identical, except that the UF8 is supplied with a sustain pedal — on the others, this is an optional extra.

All four UF keyboards incorporate several unusual features — the aforementioned channel aftertouch, a breath-control input, the option to retrofit an optional Firewire-based audio interface, plus a largely aluminium case compared with the plastic of some competitors' models. Each has eight rotary controllers, nine sliders, transport controls, pitch and mod wheels, plus sustain and pedal controller inputs. They are also excellent value for money — the UF8, with 88 weighted hammer-action keys is just under £430 in the UK, while the remaining semi-weighted models come in at £270 for the 76-key, £230 for the 61-key, and £170 for the 49-key versions.

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A Closer Inspection

The entire range has stylish good looks, and the unusual metallic red end cheeks and rear panel provide lots of character. At 23.5kg the UF8 isn't a lightweight keyboard, although it's still fairly typical of its genre, with M Audio's Keystation Pro 88 at 21.4kg and Oberheim's MC1000 at 20kg. However, those intending to gig on a regular basis should bear this in mind (CME's semi-weighted 76-key version would possibly be more suitable at just 11.8kg).

The indented modulation and centre-sprung pitch-bend wheels both have a smooth positive action and are placed to the left of the keyboard for easiest access, while the transport, controller, and editing controls are ranged in groups from left to right across the top, leaving plenty of space for you to rest a computer keyboard on top (as suggested by the top-panel graphics, which mark out the outline of one on the right). Round the back, there's a standard MIDI Out, the sustain pedal input, footpedal input, breath-control input, a USB port for bi-directional connection to your computer, a power socket, and an On/Off power switch.

This last switch is tiny, and the cause of one of my few hardware grumbles — it's simply hard to find and operate. Power for the keyboard can be supplied via the USB connector, but aftertouch and breath control is only available when you plug in the supplied adaptor and power it from the mains supply. This provides 12V DC at 1.5 Amps, sufficient to power devices like Yamaha's BC3 breath controller. These normally require a 15V supply, which couldn't be easily derived from a USB connection. However, the USB socket still has its uses — the USB drivers provide an additional MIDI input to send SysEx setup files to the keyboard, and are supplied for Mac OS X 10.2/10.3 and Windows 2000/XP.

The rear panel keeps it simple, with just MIDI Out, USB, Sustain pedal and footswitch connectors, and the very small power switch, although there is also the breath-controller jack, seldom seen these days.Photo: Mark Ewing

Audio Interface Option

The UF400E audio interface is an optional extra that wasn't available at the time of this review, although in fact I can tell you a lot about it, as CME have admitted that it's based on Terratec's Phase 24, which I reviewed in SOS May 2005. With a stereo pair of analogue balanced inputs and outputs, plus coaxial S/PDIF In and Out, MIDI In and Out, and a further unbalanced stereo out with level control suitable for a third or fourth line or headphone output, it supports sample rates up to 192kHz. I measured its dynamic range as a good 109dBA at 44.1kHz, and judged its audio quality as excellent for the price, and similar to M Audio's Audiophile 192 and ESI Pro's Julia. Download captain tsubasa j 1994.

However, the UF400E has some additional features not found on the Phase 24, including a mic preamp, a high-impedance guitar input, additional MIDI In, Out, and Thru sockets, and (yet another CME first) mLAN support, so it can be connected to one of Yamaha's digital mixers. I can't comment on the quality of the mic and guitar preamps, but judging by the parts of this audio package that I have tested, and its projected £150 UK price tag, I think this will be a very popular option.

Editing

Most people will head for the editing section first, where they'll find a three-digit, seven-segment display, Inc and Dec buttons, and an endless data dial (rotary encoder) with a 'collar' of 12 LEDs around its circumference to indicate its virtual position. By default, the display shows the current Program number, so a quick spin of the dial will select your sounds, and you can change the associated MIDI channel after pressing the Channel button. After a few seconds, the Program button will take priority once more, no matter what other function you have been using. The four velocity responses are displayed as 0, 1, 2, and 3 (described in the manual as Norm, Hard, Soft, and Wide), and Aftertouch can be disabled when not required.

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There's a Transpose button for shifting up to ±12 semitones, and an Octave Shift button with a ±3 octave range. I find I rarely need to transpose an 88-note keyboard, but these two functions become a lot more useful when using the Split function to turn those 88 keys into two separate zones with different MIDI channel and voice settings. The split is at F#2 (note 54) by default, but you can push and hold the Split button and press any other note to alter this position.

The Dual mode button lets you send MIDI data on two simultaneous channels to layer sounds, but you can only use it when the Split mode is off. Although the manual doesn't mention this, I found you could also set the Transpose/Octave functions individually for zones and layers — with the Split/Dual functions off, you set

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