Piano-style keyboard that sends MIDI inputs to a computer or device
Korg Taktile USB MIDI Controller Keyboard - with PC - 2014 NAMM Show, one style of MIDI keyboard based on the piano user interface
A MIDI keyboard or controller keyboard is typically a piano-style electronic musical keyboard, often with other buttons, wheels and sliders, used for sending MIDI signals or commands over a USB or MIDI 5-pin cable to other musical devices or computers. MIDI keyboards lacking an onboard sound module cannot produce sounds themselves, however some models of MIDI keyboards contain both a MIDI controller and sound module, allowing them to operate independently. When used as a MIDI controller, MIDI information on keys or buttons the performer has pressed is sent to a receiving device capable of creating sound through modeling synthesis, sample playback, or an analog hardware instrument. The receiving device could be:
While many digital and analog hardware keyboards in the aforementioned categories of digital piano, stage piano, and synthesizer can be used as MIDI controllers if they have MIDI capability, they often do not offer the same level of software integration and number of MIDI-mappable controls as a dedicated MIDI keyboard. MIDI keyboards are often utilized by individuals who work with DAWs and software instruments, from hobbyists to professional musicians working in recording studios or concert stages.
Signal flow: MIDI keyboard to audio
Below is an example of possible signal chains for a MIDI keyboard setup, with the goal of producing audio:
MIDI Keyboard → 5-pin MIDI connector OR USB cable (will need a “B” connector, so "USB A to B" or "USB C to B", depending on computer) → computer running a DAW or a standalone VST/AU instrument OR a sound module OR a digital piano, stage piano, or synthesizer with MIDI capability → audio sound device (amplifier and speakers or headphones)
Class compliance and power source
When using a MIDI keyboard with a computer, class compliance must be taken into consideration. Class compliant means, essentially, "plug and play": upon being plugged in (USB or 5-pin) and powered up, MIDI keyboards that are class compliant should be recognized by any computer. MIDI keyboards and MIDI-capable hardware keyboards that are not class compliant require a keyboard-specific software driver to be installed on the computer in order for the keyboard to be recognized.
While most MIDI keyboards produced in the 2010s are bus-powered, meaning their electrical power is supplied through the same USB connection that transfers MIDI data to the computer, some keyboards have the option of, or even require, using external power to operate. If using a traditional 5-pin MIDI connector instead of USB, the MIDI keyboard will likely require external power, as 5-pin MIDI connections cannot send the current needed to power a keyboard. If using a MIDI-capable hardware keyboard as a controller, one will also likely need external power, as most 2010s hardware keyboards rely on external power to function.
Keyboard action
The action of a keyboard is the internal mechanism by which the keys work in order to move and produce sound, or, in this case, MIDI data. Two major types of keyboard actions exist: those derived from traditional, European, key-based instruments and non-traditional, contemporary designs that allow for expanded playing possibilities.
Traditional
MIDI controllers in this category have keys meant to resemble those of a grand piano, pipe organ, or synthesizer. Each of these action types is designed differently from the next, which, in turn, gives the action a particular "feel" to the player and lends it to an ideal usage.
- Synth action: un-weighted, often spring-loaded— ideal for music that calls for playing quickly, and may be favored by those with no piano or keyboard experience due to less required effort to depress the keys. Synth action is generally less expensive and weighs less than its weighted key counterpart.
- Semi-weighted action: similar to synth action, but with slightly increased resistance— also ideal for playing quickly, but allows for more dynamic playing on velocity-sensitive sound patches due to increased feedback from the keys
- Waterfall keys: semi-weighted keys with smoothed and rounded edges— meant for emulating organ keys (i.e. Hammond B-3 organ) and ideal for playing organ-specific techniques (i.e. palm glissando/smears)
- Hammer action: piano-style action with fully weighted keys— meant to provide resistance similar to an acoustic piano action and ideal for playing piano or electric piano instrument patches
- Graded hammer action: hammer action with graded resistance— keys in the upper register are lighter than keys in the lower register, and resistance increases incrementally as one descends the keyboard from high to low, like an acoustic piano action (e.g. grand piano)
- Graded hammer action with wood: graded hammer action with wooden key cores— the closest in realism to an acoustic piano action (as acoustic piano keys are made of wood)
Many examples of the above actions, other than the waterfall keys, will include a small lip that protrudes from the top of the distal end of the white keys. This is emulating a customary design detail found on acoustic piano keys. Keyboards with any type of hammer action are most likely to display this lip.
Sensor type
When a Musician presses a key three things can happen: 1- How fast the key is pressed, is called 'Attack Velocity', 2 - After the key is pressed, it can be held down and pressed harder or softer, this is called 'Key Pressure' or sometimes 'Channel Pressure' if it affects all the keys on the keyboard, and 3 - how fast the key is released, is called 'Release Velocity'. Inexpensive keyboards have no velocity reporting. Quality keyboards have Attack Velocity. Industrial and Professional Keyboards have both Attack Velocity and Key Pressure, and only a handful of very exotic and expensive keyboards have release velocity. Unfortunately, every manufacturer refers to these three key abilities by different names. Some manufactures refer to 'Key Pressure' as 'After Touch'.
Most of these traditional key keyboards determine the attack velocity, sustain, and release of a note based on a calculation made between two sensors in each key. Some high-end keyboards now feature triple sensors, claiming improved accuracy in the tracking of key movement, which could translate into a more detailed, and perhaps more expressive, performance.
Aftertouch
Some MIDI keyboards are capable of sending aftertouch data, which can be assigned to a variety of effects, including: vibrato, pitch bends, and volume swells. Aftertouch data is generated when a key is depressed further into the keybed after its initial depression (without releasing the key). Keyboards can be equipped with channel or polyphonic aftertouch. The former sends only one aftertouch message, regardless of which key is depressed; the latter sends individual aftertouch messages for each key. Keyboards with every key aftertouch can enable the performer to create aftertouch effects on particular notes, such as emphasizing a melody note by continuing to press it.
Non-traditional
Not all MIDI keyboards utilize variations on the traditional piano-style action. One example of a MIDI keyboard with a non-traditional action is the Continuum Fingerboard, which is based on a "fretless" type keyboard interface, enabling portamento style note changes at will during play. Another unconventional MIDI keyboard is the Tonal Plexus keyboard, which provides for up to 1266 different pitches possible through the TPX6 1266 Keys (Microtonal MIDI Controller).
The ROLI Seaboard line of MIDI keyboards has soft, squishy keys, that have a foam rubber-like texture.
All the above-mentioned MIDI keyboards take the concept of aftertouch to new heights: for instance, the Roli Seaboards can sense left-to-right, front-to-back, downward pressure/depth, and the rate of change in each of these parameters. All that information can then be used to control the behavior of a digital instrument.
Size and number of keys
A 25-key MIDI controller used to trigger various synth modules.
MIDI keyboards come in a wide range of sizes and number of keys, each with their own benefits and drawbacks. Generally speaking, some sizes are more common while others are less common, both in online stores and in bricks and mortar music stores.
Common
- 25-key: generally the smallest MIDI keyboard available— portable and light, but only suitable for playing one-handed piano parts such as basslines.
- 49-key: considered the smallest MIDI keyboard size upon which to play two-handed piano parts effectively.
- 61-key: ideal size for playing two-handed piano parts— same key count as a single manual from a classic organ like the Hammond B-3.
- 88-key: full key range— same key count as an acoustic piano— the "gold standard" when playing piano and electric piano, but least portable and heaviest of the MIDI keyboards.
Uncommon
Piano de Voyage collapsible MIDI keyboard
- 32 & 37-key: compared to 49-key keyboards, these are more compact and easy to carry. Compared with a 25-key keyboard, they offer a greater range
- 64-key: Roland has a 64 keys hammer-action keyboard (RD64 [1]) which is more compact than regular 88-keys
- 73 & 76-key: compared to 88-key keyboards, these are more compact and easy to carry. Compared with a 61-key keyboard, they offer a greater range
- modular some small manufacturers are making collapsible keyboards (Kombos,[2] Piano de Voyage[3]), made of sections of 1 to 2 octaves. These keyboards are focused on portability
Most 25-key through 49-key keyboards come equipped with synth or semi-weighted actions. Most 49-key and 61-key keyboards come equipped with semi-weighted actions, but some may be found with hammer actions. Waterfall keys can be found occasionally on some 61-key and 73-key keyboards. Most 73-key through 88-key keyboards come equipped with hammer actions; however, some may be outfitted with semi-weighted actions.
Key size
MIDI keyboards are usually full-size keys, like a grand piano. Some smaller keyboards use minikeys, which are smaller. Some tiny keyboards have flat minikeys which are even smaller.
