Kurzweil MIDIBOARD

I bought my MIDIboard brand new, and according to its serial number and infos gathered at Kurzweil, it's apparently one of the very last out of the factory, of course with the 3.0 software.

This controller is nothing simple. As all other Kurzweil products, it offers a lot more possibilities than most other keyboards/synths/controllers from other brands. So yes, you have to learn this manual and use your brain and memory in order to get the best out of it.

Even though the MIDIboard had no theorical limit to the polyphony, it certainly does practically. Remember that even the last unit was born in 1989, so the processor used to process the MIDI flow is certainly not as fast as today's systems.

A good rule of thumb is that you usually don't feel any problem up to 6 full-keyboard vertical set-ups. Speed begins to slow down when you use it like I used to in certain solo performances, with a computer trigerring between 10 to 16 MIDI channels full of notes, on top of the current MIDIboard keyboard set-up.

But no other controller even today offers the unique poly-aftertouch. This feature alone in my opinion tells me I'll never sell my MIDIboard.

Here, I'll focus more on the keyboard action. First off, it's not at all velocity sensitive, but impact sensitive. So the first thing you notice when you try it is that the keyboard makes a lot of noise, just like if you would play on a car's tire with drum sticks. This can be a problem if you can't play your music system loud, as the noise from the keyboard will be louder than what comes out of the speakers, let's say of course you're playing something full of notes like a piano sonata.

I must agree also with the other person here saying the keyboard can be dangerous for tendinitis. It's true, because the way the keyboard works makes each note bouncing back through your fingers and small muscles. This can become dangerous and exhausting for your fingers and forearms if you practice classical piano or fast and complicated scores.

The action is close to a grand piano in the sense of the notes weight and "initial action" amount of force required to trigger them. But it's totally different from a real piano speaking of "terminal action", because the notes fall too deeply under your fingers and again, make you feel a bouncing-back counteraction that can be dangerous with extensive playing.

You can certainly correct this problem somehow by adjusting the sensitivity settings of the MIDIboard, but when adjusted for a lighter attack, the keyboard loses its "ppp to fff" real integrity.

The only solution I found was to transform the MIDIboard action myself. It took me a very long time to find out the best modification, but now I believe it's just the better I can do.

This solves all the problems :

- It reduces almost all the noise coming from the keyboard action in case you have to practice at low volume.

- It gives the keyboard a shorter course in order for the notes not to fall too deep under your fingers.

- It eliminates at least 80% of the bouncing-back effect of the keyboard, thus eliminating the possibility of fingers injuries.

- It reduces the "brutal approach" needed. After playing with the stock keyboard action for 4 or 5 years, I personally found that it needed a little-too-much brutal approach, especially when you wanted to get ff to fff accuracy at high speed. Only Beethoven himself could probably play his sonatas on the MIDIboard with getting totally exhausted. So my action modifications solve this problem too.

Hence why I now give my MIDIboard action a 10.

Tough and solid as a tank, just like my Hammond C3. Period.

I could certainly do a similar modification on your MIDIboard keyboard action if you want. Contact me if you're interested.

Another advantage of the MIDIboard is that it would be almost impossible to be stolen... Way too heavy for one person alone. So if it ever happens to you, you can definitely conclude there were at least two people involved.

I played on the stock action and now on my modified MIDIboard since day one. It will always remain my main controller, until I die or until it dies.

It is simply uncomparable to any other keyboard/controller using any type of spring action. And again, its poly aftertouch remains unique even today.

I have one of the later models with the ver. 3 firmware. This controller is "easy" to use if you have the manual (very well written), but the interface is somewhat non-intuitive. Make sure to get a manual if you buy one used.

Since this is strictly a midi-controller your polyphony is limited only buy the module it is controlling. This controller has just about everything you could ever want. It even has mono and poly aftertouch!

Hmmm... I have heard good and bad reviews of this controllers action. It does not feel as nice as some of the newer keyboards, and takes some getting used to. That said, it is very expressive once you get the hang of things. It is probably the most accurate controller I have ever used. Modules actually sound better when played with this controller! I would not trade it for the world.

I never move this beast. It ways a ton! I bought mine used two years ago, and have never had any problems with it. Given its age, I would always keep a backup of the presets if I were to use it on the road.

This unit has not been made since 1989. I doubt whether support from Kurzweil even exists for this unit.

Get one of these units while you still can! Try to find one with Ver. 3 firmware, as I heard that many bugs were fixed.

Pretty easy to use.

Has a lot of features but I never use them.

The "expressiveness" of the weighted action is horrible...when connected to a midi piano it feels totally wrong. And can cause teninitis and harm you technique.

I hate this board, but it is dependable...even with screws rattling inside, it always seems to work.

This is a real piece of junk...the keyboard action is horrible...I developed teninitis problems from gigging with this (midi'd to a kurzweil piano module). The "weighted action" is nothing like a piano and is really bad for your technique. After my gig last night, I seriously considered tossing in a dumpster, but figured maybe I'll get a few bucks for it on Ebay. Avoid at all costs. By the way, the Yamaha piano like the P-120 have great actions....

I'm running v3.0 and while editing isn't easy, the best approach is to develop some skeleton patches and use copies of those for making programs.

The interface is a set of buttons and an 8 digit LED display. DO NOT buy one without the manual, it is a MUST HAVE to figure out the navigation system. The manual is very well written. Once you get the hang of the system it's very much worth it.

This has been my main MIDI controller since 1989. My MIDIBoard is one of the last ones before Kurzweil was sold to Young Chang. I've played some older MBs and noticed a very different feel in the weighted keyboard. I met Hal Chamberlin (the primary developer of the MB) at NAMM2000 and asked him about this and he did confirm that the later MBs use a keyset from a different supplier. My later MIDIBoard's keybed came from... Hammond Suzuki. IMO it's the best piano action I've ever played on a MIDI controller, and I've tried a lot of them. Nice firm action with the inertia of a proper Steinway piano (I own one of those too). The older MIDIBoard actions feel lighter and looser.

The MIDIBoard can transmit up to eight MIDI "instruments" in any combinations of layers and splits, and the keyboard is splittable in three zones with movable split points. Yeah, newer MIDI keyboards have more split points but believe me after extensive gigging three splits is PLENTY. Don't get sold on specs alone. The winning spec on the MIDIBoard is its ACTION. If you're a piano player and you want a great piano action in a MIDI controller, check out a MIDIBoard. I tried the Yamaha, Korg, Roland, etc MIDI controllers and they don't feel as nice as mine.

Eight "instruments" in a single program comprise a "setup" in MIDIBoard talk. You have memory for 100 "setups" and 200 "instruments"; when I gig I have nine MIDI instruments linked to the MIDIBoard (4 ROMplers, one multiFX, Hammond XB-2, and analog synths) so 200 instruments got exhausted in a few years but I do admit that I have a larger arsenal than most people. I haven't filled up 100 setups yet. If you find specs for less than 100 setups or less than 200 instruments, these are older OS versions. v3.0 is tha latest and last version. All memory can be dumped/received via MIDI sysex, but there's no memory expansion or memory card slot.

The MIDIBoard is great for gigging. For every song, I have "setups" that commands every instrument to change program, set their volume, etc and I'm ready. No tweaking necessary, instant changes in live performance. Planning ahead is the key.

You get two assignable continuous controller footpedal inputs, two assignable footswitch inputs, two assignable data sliders, two assignable wheels, and four assignable buttons. The MIDI spec on the MIDIBoard is outdated as it doesn't implement 14-bit MIDI controller messages (like filter cutoff on synths) although Pitch Bend is 14-bit. Young Chang dropped support on the MIDIBoard since they bought Kurzweil so the OS hasn't been updated since.

The footpedals, footswitches, data sliders, wheels, and buttons can be assigned to any MIDI controller message. The wheels are spring loaded and can be configured in split or single function, IE wheel up can have a different MIDI controller than wheel down. The footswitches and buttons have programmable on/off values (excellent for volume, softpedal, or sustain pedal < 127 max). In addition the buttons can be configured for momentary or latch mode, IE momentary is push button & hold=on value, release button=off value; Latch is push=on value, push again=off value (like a toggle switch). VERY flexible system.

I usually assign volume to button four (momentary) and soft pedal to button one (latch). Soft pedal is a seldom implemented but seriously underrated tool. It's implemented in my Kurzweil 1000 ROMplers. Volume CCs are immediate. Problem is, when you want to bump the volume for a solo, the immediate change isn't musical. Soft Pedal is different in that the change doesn't happen until the NEXT note on message, previous note ons stay at their volume. This is VERY practical for solo boost, so I configure my ROMplers with a 6dB attenuation at Soft Pedal=127 for rhythm playing, then set Soft Pedal=0 (zero attenuation) for solos. Very Nice.

The MIDIBoard has both monophonic AND polyphonic pressure,

If you want an authentic piano feel, this is the beast. Beyond piano applications, the MIDIBoard is extremely expressive with pressure and velocity. One of the best MIDI controllers out there. I have used it for everything from classical to rock and it works.

Gigged with it since 1989 without a single failure.

Hal Chamberlin at Young Chang/Kurzweil will still give some support, but I don't think v3.0 upgrade kits are available any more. PC hasn't supported the MIDIBoard since they bought Kurzweil in 1989.

If you count 48 parameters in the instrument program, you've got the latest OS v3.0. Fewer parameters and it's an older OS. Depending what logic board your MIDIBoard has, you may or may not need the daughterboard to upgrade to V3.0 so it may not be as simple as a ROM upgrade. YC hasn't supported the MIDIBoard since they bought Kurzweil in 1989 so I doubt very much that you'll find any daughterboards or upgrade kits. Try Sweetwater Music.

I have LOVED this thing since I bought it new in 1989. I play piano and I do sound design, so the MIDIBoard hasn't failed me in anything. It works great either on the stage or in the studio.

The single selling feature was the action - the closest to a piano I have ever played. Rolands and Yamahas are too stiff and don't have the inertia, and Korgs don't feel right either. Fatar still hasn't got it right. If you've ever played a good Baldwin or Steinway grand piano, I'd place the MIDIBoard in between these.

The MIDIBoard will continue to satisfy me for years to come.

v3.0 software
Editing is tedious, but deliberate
Manuals are comprehensive

Keyboard action is second to none - better feel than many piano keyboards
Onboard MIDI capability is exhaustive, limited to user imagination.
Arpeggiator and MIDI list generation are fantastic

The first time I hooked it up, I was surprised how a device without any audio output could make such a drastic change in my rig's overall sound.
Velocity curves allow even pesky synths to be mapped without going into overdrive. Poly AT works well when using MONO mode.

After 10+ years of ownership, I'm finally getting around to some minor maintenence - dead battery, single LED element intermittent. I used this controller live for over 6 years, without a single hitch. Although I backed up most performances into the O1/W, I never needed to use it.

The lead engineer from Kurzweil in Mass sent me schematics when I though I might need them. The v3.0 upgrade was cake.

I would actively search for another MIDIBoard - doing that as we speak for a spare. I've been doing this for more years than I choose to remember, it's the interface between my mind and my ears.
If I could do anything to improve it, I'd look for a better display and more instrument memory. Navigating the UI is on the low-tech approach, but it's worth the price of admission.

Ver.3 Does more than any controller ever made

12 controllers, 3 way splits, arpeggiator.
Action is great for live use or long sessions. Not too heavy, not to light.

No internal sounds.
Velocity and aftertouch are adjustable on the fly with sliders.

No one has made a controller this complete

Currently, I am using MIDIBOARD software version 3.0 (I believe the last). I have currently found no problems or strange occurences with the software of the MIDIBOARD, and appears to function properly. Despite my contentment with the software, main limitation I find in "ease of use" is the seven-segment LED's which we can humbly call "displays". Which crudely display alpha-numerics in choppy forms which are strange to read at first (but otherwise not a problem). Because this keyboard was released in 1988, and was marketted as a Master Keyboard for a fully-equipped MIDI system, hence no internal sound generation. The "presets" setups of course are mere examples to get you started, it is clear that this keyboard's presets are little help to those in need of instant gratification, and perhaps an inconvenience if you decide to be lazy and use the presets. The keyboard should be programmed to work "right" with your equipment, or it might be more of annoyance. I was more than pleased with the manual, which while sketchy on the more advanced features of the keyboard such as "MIDI lists", was more than informative and actually comprehensive and helpful to both the eager beginner and the experienced user. Keep in mind, the manual is very helpful (read "indispensable") for indexing the values for the setup parameters. Probably a new MIDIBOARD user will find the idea of a display consisting primarily of numbers, and it's strange menu interface to akward, and hard to use. I have found with practice that the MIDIBOARD's menu interface is actually much faster to navigate once you know "what you want" (no fun for the lost).

Because the MIDIBOARD is not equipped with a tone generator, and because it is designed to be a master keyboard to even larger setups of equipment, it was never mentioned in theory what the polyphonic limitations were. It has been my experience that the limitations you will meet with the MIDIBOARD are a limitation of how much information the MIDIBOARD can send over a MIDI line without noticeable delay as the bandwidth becomes constrained. Hence, the polyphony, is limited only by the constraints of the physical hardware. I describe the keyboard action to be a heavy semi-weight or low regular-weighted, but I have found many pianos with a lighter touch than the MIDIBOARD. Deep, but pretty solid wooden-action, which seems to meet a neat balance between the action fit for piano pieces and that fit for synth leads. The keyboard can be split into three regions which can be taken advantage of by any number of "instruments" in a setup. The MIDIBOARD is fully aftertouch sensitive, with real-time sliders (values of which can be set by default in setups) which allow configuration of attack and release velocity, as well as pressure sensitivity and touch sensitivity which deal with the thresholds and sensitivities concerning the aftertouch response. An odd feature I noted was the "retrigger threshold", that allowed the keys to retrigger with added pressure (initiated in the same manner as aftertouch), which can be fun for things like drum rolls and guitar strums, although admittingly very hard to master. The MIDIBOARD has four fully assignable buttons, two assignable sliders, and four assignable pedals, which means that the MIDBOARD can be customized to accept everything from breath controllers, to control pedals, to damper and portamento pedals (the default settings) etc. It is clear that this machine is wonderful for the musician who wants complete control over the MIDI output of their master keyboard. "MIDI lists" allow arpeggiator note lists and the use of system-exclusive messages individualized per setup. Another neat feature is that the control wheels are two-way, and dual-function...meaning you can assign either wheel to anything you want, in either direction. (ie. I prefer my pitch-bend to be reverse-orientation than the "norm" and my modulation wheel to be "dual" orientation (meaning it functions the same in both directions, meaning the center is value '0')).

As previously mentioned, the MIDIBOARD allows keyboard velocity and pressure-sensitivity maps to choose from, using several mappings that emphasize certain aspects of velocity that conform to the response of a particular type of sound-module, even the notorious Yamaha DX7, of which it was well-known that it was very easy to "over-power" the velocity on that synth if using external devices. I found both the aftertouch and the retrigger threshold to be quite a bit more difficult to initiate than a lot of synths, even when using the alternative pressure maps and using the real-time sliders to bring the sensitivity and threshold down to a minimum. The flexibility of the arpeggiator to be a real gem on this machine, controlling everything from how the note is latched to how the tempo and velocity of latched notes are played, and in the sequence of which they can be played, including "random" sequences as well. Not to mention note-lists which add even more functionality to a cool arpeggiator. To be perfectly honest, the MIDIBOARD offers a lot of opportunity for expression once you know how to use it, but it doesn't generate any sounds, so I am not sure how to rate it. So I will rate according to expressiveness only.

The MIDIBOARD has two input and output jacks for cassette-dumping (backups and restoring) of setups, instruments, and is perfectly capable of dumping the same information through system-exclusive messages. I have had no trouble whatsoever with crashes in the software, or any problems that might make me think twice able not backing up. I am very confident in the use of the MIDIBOARD without a backup. The MIDIBOARD is also built like a tank, weighing around 75 lbs. with an all metal chassis. Levers and switches seem reasonably resistant to damage. A great studio keyboard, although I am not sure because of it's great size if I would want to bring it on a gig (although I would love to). I am quite confident the MIDIBOARD will last yet another ten years, and continue to provide me with contentment I find in playing and composing music with MIDI synthesizer. note: the midiboard also has a physical diagnostic facility which will notify you of errors ranging from memory problems, to power problems, to velocity checks upon bootup to make sure no keys, sensors, buttons or sliders are broken, malfunctional etc. A wonderful aid to "checks" before the performance.

Kurzweil seems pretty reasonable concerning repairs, and pretty up to par concerning software updates and online help, even with facilities that appear very limited. I have no problem with dealing with them.

Under the assumption my MIDIBOARD was taken, or stolen from me, I am quite sure that within due time I would be definitely searching for a replacement for the functionality that the MIDIBOARD has offered me. I have found no suitable replacement, nor do I think I will anytime soon, so I have come to the conclusion that certainly, even in it's age, it would be worth digging up another from someone who condemned it to closet or attic. My only quibbles with the MIDIBOARD is the size/weight, the need for yet more assignable levers (more than two please), and perhaps allowing the assignment of "midi lists" (MIDI messages) to be assigned to buttons (rather than just plain on and off values corresponding to a destination. I don't hate the MIDIBOARD for any reason, and besides it's strange interface, I get much joy from playing it, almost a sense of pride.