Arturia KeyLab 88 MK3 Review: A heavyweight MIDI Controller that nails the detailsArturia’s Lab range covers every size and configuration you’ll likely need in a MIDI controller. From the backpack-friendly MicroLab through the MiniLab and to the full-size keys of KeyLab 88, it’s an industry leader for good reason.
Now comes the most substantial offering in the range to date: the KeyLab 88 MK3, an all-in-one control solution with a quality keybed designed to live in front of your DAW. Arturia promises it will “enhance every aspect of your music-making process, from integrating effortlessly with your DAW to supporting musical ideation.” The controller shares much with the KeyLab Essential 88 MK3, but — as the €600 increase in price might imply — it pulls out all the stops when it comes to flagship functionality.
READ MORE: Best MIDI controllers to buy in 2025: 12 best Ableton Live controllers to buy
The most conspicuous differences between the Essential 88 MK3 and the 88 MK3 lie in the physical. The former weighs around eight kilograms, while the latter weighs almost double, a whopping 15 kilograms. Yes, you may need a friend to help you unbox this one — it’s simply massive. Whatever its application, the KeyLab 88 MK3 can operate without the need for extra surfaces— an often overlooked aspect when it comes to using instruments and computers together.
Arturia KeyLab 88 MK3. Image: Arturia
The build quality is gorgeous: a sturdy enclosure with wooden sides and firmly mounted controls. Arturia also offers a set of wooden legs for the 88 MK3, sold separately, which together complete a rather gorgeous aesthetic.
Incredibly, the whole thing is bus-powered over USB-C, which feels completely improbable but is a welcome surprise. Another welcome aspect of the KeyLab 88 MK3’s connectivity is the presence of a DIN MIDI input and output, meaning DAW-less use with all manner of gear, old and ne,w is very much on the table, helped along by the inclusion of an alternate 12V DC power input. Beyond the expected sustain pedal input, there’s capacity for a variable expression pedal and not one but two Aux pedal inputs, which can be assigned to any MIDI CC number or tasks such as program changes and note commands. We’re unlikely to find anyone needing more foot-based control than that.
Much of the KeyLab 88 MK3’s weight is due to its fully-weighted Fatar TP/110 hammer-action keybed, whose quality I cannot fault. Weighty, responsive and impeccably expressive; whether for simple melodies and gestures or complex passages by virtuosic keys players, it does not disappoint. Keyboard quality was clearly a design priority here and has paid off magnificently, easily measuring up to that of any other electric keyboard on the market. It even has aftertouch, adding a whole other dimension of playability. The aftertouch, importantly, doesn’t conflict with the more ‘conventionally’ playable aspects of the keyboard yet is still incredibly responsive, which is crucial since of course the 88 MK3 is intended to serve legions of instruments— synths, organs, sampler instruments, you name it— not just hammer-action instruments like acoustic or electric piano.
Arturia KeyLab 88 MK3. Image: Arturia
Moving to the controls, not dissimilar to Arturia’s AstroLab, they centre around a colour screen and rotary encoder, though this time these are thankfully adjacent to one another and not combined. KeyLab 88 MK3 has 12 velocity and pressure-sensitive pads — these are not only impeccably built and solid to the touch, they are also exceptionally responsive to pressure and velocity, with the onboard screen providing live value readouts to boot.
A few other performance-friendly features are also available via dedicated buttons on the left of the panel, such as a multi-mode arpeggiator, chord mode, scale mode and hold, each of which also calls up handy colour graphics on screen for customisation.
It’s refreshingly simple to get things up and running…The fewer keyboard and mouse involved, the better, and in this respect, the KeyLab 88 MK3 really succeeds in streamlining these things.
The other side of the panel houses nine faders and nine 360º potentiometers. Once again, these demonstrate impressive build quality, being firm to the touch and with pleasant resistance during travel. Tremendously useful is the fact that all of these are capacitive, meaning that just resting a finger on any knob or fader will lead the screen to display its value and parameter. It’s a great function at best, but it is flawed. Alternately touching every control and checking the screen to find one function (which may or may not be mapped) becomes tedious after a while, and this only becomes more pronounced when it comes to DAW control. Given the premium status— and price— of the KeyLab 88 MK3, I cannot help but long for mini displays next to each one, as capably demonstrated by units like the MidiPlus UP DAW controller, which would do away with all of that tedium.
Arturia KeyLab 88 MK3. Image: Arturia
Beyond its physical attributes, the true test of a USB MIDI controller is in its software integration. Upon startup, the KeyLab 88 MK3 presents options for DAW mode, Arturia mode (specifically for integration with Analog Lab and Arturia software instruments) and User mode (for custom presets).
It ships with a generous raft of software, including Arturia’s Analog Lab Pro, a handful of Arturia’s V Collection instruments, Ableton Live Lite, Loopcloud and more, but more notable are the downloadable scripts for mapping the KeyLab 88 MK3 onto the workflow of your DAW. Current scripts offer deep integration with FL Studio, Ableton Live, Bitwig Studio, Logic Pro and Cubase, but Pro Tools’ absence from this list will likely come as a disappointment to many. Other DAWs can still be controlled thanks to the KeyLab 88 MK3’s compatibility with MCU/HUI control, and hopefully, more custom DAW scripts will come to be incorporated.
I test out the KeyLab 88 MK3 with Logic Pro, and once the appropriate script is downloaded, it’s refreshingly simple to get things up and running. With just a couple of boxes to check, in no time I’m getting into the rhythm of using things like transport buttons to interface with the DAW seamlessly and enjoyably, as well as Solo, Mute, Loop and Record. The fewer keyboard and mouse involved, the better, and in this respect, the KeyLab 88 MK3 really succeeds in streamlining these things.
Arturia KeyLab 88 MK3. Image: Arturia
The faders and potentiometers can adjust track levels and panning, and their build quality certainly adds to the tactile experience. The central encoder is used to swiftly scroll between tracks, while arrows above the transport buttons increment the playhead forwards and backwards through the session. I’m a puzzled as to why these controls are not configured the other way around, since it would seem that using the encoder as a jog wheel and pressing buttons to switch back and forth between tracks would be more natural.
Other curiosities also persist. For instance, Fader 9 always controls the level of the selected track, yet it is never clear which tracks the other eight would control, with no such label displayed on screen in the way it is for parameters on a virtual instrument. Disappointingly, at times it simply feels easier to reach for the mouse.
The KeyLab 88 MK3 is, of course, ready and waiting to interface with Arturia’s own software instruments, and it generally does this well. All you need to do is select a track in your DAW that has an Arturia plugin active, and the screen will come to life to display the instrument concerned, much like the AstroLab does. You can then scroll through instrument presets from the panel of the keyboard itself, almost as if playing a standalone instrument (another welcome AstroLab-style inclusion), as well as use the faders and potentiometers to adjust controls. I discovered, though, that not all Arturia software instruments, for instance, the MiniFreak V, seem to be recognised by the KeyLab 88 MK3 in this way. A firmware teething issue? Perhaps, but it is one of a handful of ways in which the KeyLab 88 MK3 leaves a little to be desired in the DAW department.
Despite one or two growing pains, the KeyLab 88 MK3 still manages to do what it sets out to do, which is bring a gorgeous keyboard-playing experience to any computer-based setup and tie together all manner of workflows in one elegant package. It not only facilitates generous amounts of control over your session, but it is such a pleasure to play that it will let you max out the potential of your plugins, even more than you think.

Arturia KeyLab 88 MK3. Image: Arturia
Key features
88-note, fully-weighted Fatar TP/110 keybed with aftertouch
USB-C MIDI and bus power (alternate 12v DC powering with optional power adapter)
Pitch bend and modulation wheels
Sustain, Expression and two Aux pedal ports
MIDI in/out sockets
9 faders
9 360º potentiometers
12 drum/sample pads
DAW transport controls
3.5-inch colour screen with multipurpose buttons
Advanced integration with FL Studio, Logic Pro, Ableton Live, Cubase, Bitwig Studio
Software bundle included
Comes with laptop plate, music holder, USB-C to USB-A cable
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Music Business News Last Week: NIVA ’25, Fatigue, Fraud, MoreTune in for top music business news last week ranging from a NIVA preview, entertainment's Mad Max era, to young men caring less about music, and more...
The post Music Business News Last Week: NIVA ’25, Fatigue, Fraud, More appeared first on Hypebot.

Independent Musician News: House shows, Managers, Fans, MoreThis week, our tips and advice and D.I.Y. and independent musician news last week covered playing house concerts, how to make it in uncertain times, becoming an artist manager, building a smart release strategy, and more...
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Expressive E launch Soliste Boasting full MPE compatibility and drawing on the power of physical modelling, the latest additions to Expressive E's software line-up promise to deliver a new take on bowed string instruments. 

New Manson Meta Series MBM-2H ModelsAccording to a report on Friday, Muse guitarist Matthew Bellamy, Manson Guitar Works, and global manufacturer Cort, have announced the launch of "two new exciting color finishes on the Manson Meta Series MBM-2 Matthew Bellamy Signature, award winning guitar, plus further model choices with black hardware and left hand variants to expand the range and offer additional options.""Following many public requests, the MBM-2H now includes a retrospective return of the original MBC-1 Red Sparkle finish, a striking high gloss glitter lacquer that pays tribute to the artist’s 'Santa' instruments used widely in the studio and on stage," a statement read. "It is available as either a twin humbucker pickup version or a Sustainiac equipped variant. The former incorporates Manson Guitar Works design humbuckers, first seen on the previous MBM-1 model to deliver a powerful but versatile combination whether soloed or in combination.""The Sustainiac version replaces the neck humbucker with the same pickup system used by Bellamy in his stage and studio instruments," they said. "The pickup can be switched to work as an active and detailed regular neck pickup or switched into Sustain mode where three alternative sustainiac modes are available, each giving endless sustain operation.""Also new for the 2025/26 model year is a new color - Satin Olive Green - which will also be available in dual humbucker and Sustainiac equipped models plus a left-hand option. Equipped for the first time with black hardware, the instrument brings the current range up to three color choices (the popular Satin Black remains in the line-up), two model variations and left hand variants for the model year.""The features that have garnered a Total Guitar 5/5 Platinum award, Electric Guitar Of The Year Award (MIA/Guitarist) and Guitarist Signature Guitar of the Year awards remain in place including a sleek, compound radius neck, kill button for stutter effects, whilst introducing Manson's renowned quality and design offering the shape, features and details that feature on the company’s headline products."For more information, please visit www.mansonguitarworks.comPrices start at $764 USDThe post New Manson Meta Series MBM-2H Models first appeared on Music Connection Magazine.

Mira Murati’s Thinking Machines Lab closes on $2B at $10B valuationThinking Machines Lab, the secretive AI startup founded by OpenAI’s former chief technology officer Mira Murati, has closed a $2 billion seed round at a $10 billion valuation.

Memphis rap: Its key artists, history, and enduring influence on hip hop
Learn about the history, key artists, and enduring impact of Memphis rap music, and learn how to start making your own beats in the genre.

Book Store: "Gliders Over Hollywood: Airships, Airplay and the Art of Rock Promotion" By Paul RappaportDuring his 33-year career at Columbia Records, Paul Rappaport played an instrumental role in developing the careers of Bob Dylan, Bruce Springsteen, Pink Floyd, The Rolling Stones, Elvis Costello, Billy Joel, Judas Priest, Alice in Chains, and many more. Gliders Over Hollywood, a book that Rappaport described to MC as “for passionate music lovers,” gives us an up-close look at his many successes, allowing the reader to feel like we were right there with him. If you’re looking for industry tips, you’ll get those. If you’re after rock ‘n’ roll shenanigans, you’ll be satisfied in that regard too. Dig in!(Paperback) $24.95The post Book Store: "Gliders Over Hollywood: Airships, Airplay and the Art of Rock Promotion" By Paul Rappaport first appeared on Music Connection Magazine.

Bitcoin’s $96B open interest shows role leverage plays in rallies, but there is a riskBitcoin’s $96 billion in derivatives open interest fuels BTC price momentum near all-time highs, but rising leverage use raises the risk of liquidations and market volatility.

Building Diode and Diode-Transistor Logic GatesAND gate implemented as diode-resistor logic. (Credit: Anthony Francis-Jones)
The fun part about logic gates is that there are so many ways to make them, with each approach having its own advantages and disadvantages. Although these days transistor-transistor logic (TTL) is the most common, diode-transistor logic (DTL) once was a regular sight, as well as diode-resistor logic (DRL). These logic gates are the topic of a recent video by [Anthony Francis-Jones], covering a range of logic gates implemented using mostly diodes and resistors.
Of note is that there’s another class of logic gates: this uses resistors and transistors (RTL) and preceded DTL. While DRL can be used to implement AND and OR logic gates, some types of logic gates (e.g. NOT) require an active (transistor) element, which is where DTL comes into play.
In addition to the construction of a rather demonstration system and explanation of individual logic gates, [Anthony] also shows off a range of DTL cards used in the Bendix G-15 and various DEC systems. Over time TTL would come to dominate as this didn’t have the diode voltage drop and other issues that prevented significant scaling. Although the rise of VLSI has rendered DRL and DTL firmly obsolete, they still make for a fascinating teaching moment and remind us of the effort over the decades to make the computing device on which you’re reading this possible.

Joey Sturgis Tones JST Kaoss Volume III - Post Production Sample Pack352 Samples. Two Worlds. One Collection. Introducing Kaoss Volume III, the most comprehensive post-production sample pack in the series. We drew inspiration from Japanese Pop, Nu-metal complexity, modern metalcore, and East-meets-West fusion to create a collection of samples that actually work together. Melodies and grooves are sorted by key and BPM so you don't get tired of hunting through folders for sounds that fit. These samples push your productions into future territory while keeping that professional edge intact. Built for producers who want to enhance their tracks without getting lost in complexity. Watch JST Kaoss Volume III Experience the sonic evolution of Kaoss Volume III through these audio examples. Atmospheric textures build cinematic tension. Rhythmic elements drive modern productions forward. These samples capture the sound of where music is heading. Audio Demos - Hear It In Action Features – Beyond Traditional Sample Packs 352 Professional Samples – Systematic Organization That Actually Works Kaoss Volume III features our largest collection yet, with 352 samples, but size isn't everything... Every melodic sample and groove is organized by key and BPM because hunting through endless folders kills creativity. This systematic approach means you can go straight to samples that work harmonically with your existing tracks, keeping you in the flow instead of stuck in file management. 100+ Rhythmic Elements – From Atmosphere to Foundation Unlike previous volumes that focus on atmospheric enhancement, Volume III includes 100+ dedicated rhythmic samples split between percussive and synth elements. This expansion lets you use Kaoss for finishing touches and actual beat construction. You can layer complexity onto existing drums or build grooves from scratch. These elements bridge that gap between atmosphere and rhythm. Introducing Downlifters – The Missing Piece Everyone Overlooked We added 25 downlifter samples because everyone talks about risers, but what happens after you've built all that energy? These create perfect tension release after intense sections without just cutting to silence. It's one of those things that seems obvious once you have it, but somehow most libraries just ignore this crucial transition element. Breakbeat Loops Built for Resampling – Raw Material for Creativity The included breakbeat loops aren't meant to be used as-is. They're specifically designed for chopping and resampling into new patterns. Great for Breakcore, Drum & Bass, or pushing boundaries in other genres. Think of them as raw material rather than finished elements, giving you the foundation to create something entirely unique. Future-Focused Aesthetic – Influences That Shape Tomorrow The sonic direction draws from Japanese Pop's pristine production, Linkin Park's Nu-metal complexity, Bring Me The Horizon's modern metalcore edge, and Babymetal's East-meets-West fusion. This combination creates a forward-looking palette that works across multiple genres while maintaining a cohesive identity. It's contemporary without being trendy for the sake of it. Dual-Purpose Design – Ready Now or Raw Material Later Some samples work immediately in your tracks. Others are designed for creative manipulation. This approach serves producers who need quick results and those who want to create something unique. The bonus samples with specific harmonic progressions might not fit every project, but when they work, they offer distinctive character you can't get elsewhere. What You'll Get 352 Professional Post-Production Samples 30 Ambient Textures. 25 Boom Samples. 25 Downlifters. 49 Drum One-Shots. 25 Impact Samples. 50 Rhythmic Percussive. 50 Rhythmic Synth. 27 Risers. 50 Synth One-Shots. 21 Bonus Samples. 44.1 kHz, 24-bit WAV Files. Key and BPM Organization. Requirements Compatible with any DAW that supports WAV files. Mac or Windows computer. Legal Joey Sturgis Tones. All rights reserved. 100% royalty-free for commercial and non-commercial use. Redistribution and repackaging strictly prohibited. Read More

Must See at NIVA ’25 Next WeekNext week Hypebot will be reporting from Milwaukee at NIVA '25. the National Independent Venue Association's important annual gathering of the independent live music community.
The post Must See at NIVA ’25 Next Week appeared first on Hypebot.

Deezer rolls out AI tagging system to fight streaming fraud; says up to 70% of streams from fully AI-generated tracks are fraudulentPlatform has introduced what it claims to be the world’s first AI tagging system for music streaming
Source

Sennheiser generated €492.3 million in sales in 2024, despite “volatile market conditions”The Sennheiser Group generated sales of €492.3 million across the 2024 financial year, the company has revealed, despite facing “turbulent times” across the economic landscape. The figure represents an increase in yearly sales of almost €200 million since 2020.
The Sennheiser Group not only looks after the Sennheiser brand but also Neumann, AMBEO, and Merging. Despite recording a slight decline in sales across all regions in 2024, totalling 6.6 percent compared to the previous year, Sennheiser affirms it was able to “consolidate its position in the professional audio market and drive forward key future projects”.

READ MORE: Best wired headphones under $500 in 2025: Our picks for mixing, DJing and music production

Its report states that the development of individual sales markets varied greatly in the past year: The EMEA region was its strongest market in terms of sales, generating €232.1 million (a slight decline of 3.5 percent compared to the previous year).
The Americas region also recorded a decline (16.1 percent, to €150.5 million) due to political and economic uncertainties in the US and a “subdued consumer climate”, however, there was an increase in sales across both Germany (3.5 percent) and the APAC region (2.3 percent to €109.7 million), the latter of which was “driven by a strong market in China and new sales channels in India”).
As for investments and future progression, in 2024, The Sennheiser Group invested a total of 48.9 million euros (around 10 percent of total sales) in research and development, and in the expansion of sustainable business processes.

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“2024 was a challenging year for us, as it was for many companies in our industry,” comments Co-CEO, Andreas Sennheiser. “But especially in a dynamic environment, it is crucial to remain a reliable partner.”
Co-CEO Daniel Sennheiser adds: “That’s exactly what sets us apart: with reliable audio solutions, intuitive innovations, and a stable supply chain, we enable our customers to focus on what matters most.”
Andreas further adds, “Even though the future is unpredictable, we have the opportunity to actively build it. With our 80 years of experience and our determination to use it responsibly, we are confident that we will continue to expand our position in the market for professional audio solutions.”
You view the full report via its newsroom, or shop Sennheiser products via its website. 
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My Journey to Becoming an Artist Manager at 20At 20 years old, Ale Gil started managing artists while still in college at Berklee - learning everything from booking shows to building an artist’s brand. Ali shares the journey to becoming an artist manager and what it really takes to break into the music industry.
The post My Journey to Becoming an Artist Manager at 20 appeared first on Hypebot.