The feature currently supports M-Audio partners AIR’s Ignite software, Ableton Live, Cubase, GarageBand and Logic 9 via downloadable drivers. HyperControl itself remains something of a mixed blessing. It’s not a perfect system, but no automap system is. In use, it does a fair job of automatically assigning software parameters to the keyboard’s knobs and sliders. As such, the customisable mapping and HyperControl automapping features of the keyboard are key selling points – after all, if you don’t need them you may as well buy a cheaper, more simple alternative. The mapping features of the Axiom Pro remain, but crucially each set of controls can quickly be toggled between manually mapped MIDI, HyperControl mix and HyperControl instrument/effect modes using dedicated buttons. The AIR will be of particular interest to users whose workflow demands flexible control over numerous parameters of their equipment and software simultaneously. Incredibly useful for drums and also potentially interesting on other sounds. The function offers control over rhythmic subdivisions from 1/4 to 1/64, swing and note length. Varying pressure on the pad allows for real-time expression. Engage roll, hold down a pad and it’ll retrigger in time with the current tempo setting (either synced to a DAW or free-running and adjusted manually, triggered by an internal clock). Of particular interest here is the ‘roll’ function, broadly similar to the highly regarded ‘note repeat’ option on MPCs. All controls are solidly built, although the sliders are a little gritty and don’t feel quite as sturdy as the rotaries. The action of the keybed itself is slightly heavier than the feather-light synth actions which seem to be in vogue for most MIDI controllers (the 61-key version features a slightly different, semi-weighted action). As you’d also expect, it features a full complement of connectivity options on the back panel, including USB and DIN sockets for MIDI plus optional expression and sustain pedal connectors. The basic spec includes everything you’d expect to find on a keyboard in this price bracket: velocity- and aftertouch-sensitivity, flexible MIDI mapping and a large orange-backlit LCD screen. It’s worth noting that the rotary controls have been moved to the left-hand end of the front panel, which makes more sense when playing keyboard parts with the right hand – parameters can be adjusted in real-time without having to cross your arms to reach the rotaries, as you’d be forced to do with the Axiom Pro. AIR timeĪt over 80cm long, nearly 40cm deep and just under 5kg it’s certainly not small, but what you lose in desk space you gain in functionality: in addition to the 49 keys, you’ll find eight rotary encoders, nine 70mm sliders, each with a corresponding push-button for channel mute/solo/select, plus a bank of 12 pads. There’s also the Axiom AIR Mini 32, which is an altogether more portable version of the concept, albeit with a major emphasis on portability over features – if portability isn’t the top priority you’ll probably want the 25 instead. The 49-key version on test here offers the most obvious compromise between size and features. In slightly more straighforward terms, the Axiom AIR represents M-Audio’s new flagship MIDI controller: improved HyperControl automapping functionality, small layout alterations and a scattering of new features.Īll of which means that the current Axiom range comprises the regular version, the updated Pro model with HyperControl and now the AIR, which is available in 25-, 49- and 61-key versions, the smallest of which sacrifices all but one of the sliders but gains extra pads. Have we stretched this metaphor far enough? Probably. Instead, with the Axiom AIR, M-Audio try to make the wheel slicker, a bit more versatile and a lot more efficient. Is the updated automap feature an improvement? Yes… unless you’re a Logic X user. M-Audio updates its controller keyboard range, introducing a new flagship.
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