Novation’s ReMote SL line aims to be different on both points, with hardware that feels like an instrument, and intelligent “Automap” capabilities to save us from the drudgery of programming MIDI assignments one-by-one. So, is this finally the MIDI keyboard you’ll keep for years into the future?
Overview
The SL commands a higher price than many compact MIDI controllers, but the unit gives the impression that you’re getting what you pay for. From the moment you take it out of the box, the keyboard feels like a serious instrument, from the quality of its controls and construction to its smart-looking exterior.
All ReMote SL models share a common layout, with eight each of endless and non-endless knobs on the left, and faders and transport controls on the right. The SL packs a lot of control into a small space while keeping everything well-ordered, and the LED displays are easy to read without being blinding in low light. A very cool feature is that you can choose whether the Y-axis of the pitch-mod joystick snaps back or stays where you put it, thanks to a lever underneath the unit that toggles the spring-loading.
As nice as its controls are, the SL’s superb semi-weighted action is the star. Velocity response is extremely tight and consistent across all octaves, enough that I was comfortable playing Native Instruments Akoustik Piano through its full dynamic range. It’s refreshing when a semi-weighted ’board is this expressive, and while I’d stick to hammer action keyboards for serious piano work, the SL is ideal for synths, orchestral sounds, and percussion programming.
Automap
The hardware quality alone might be enough to recommend the SL, but a new feature called Automap assigns software parameters to physical controls automatically. Instead of mapping controls one at a time via “MIDI learn,” or switching templates for your various instruments, simply selecting an instrument or effect automatically assigns pages of parameters to the SL’s controls. Configure the SL as a control surface, and you should be able to operate your software’s mixer, built-in instruments and effects, and even third-party AU and VST plug-ins, without adding any specialized software.
The system is immediately compatible with any plug-in that supports host automation: parameters just magically show up. Of course, not all automatic assignments may be exactly what you would have chosen. It works beautifully for simpler plug-ins, and I tested several from Audio Damage with great success. With more complex instruments like some in Apple Logic, there are more screens of parameters to page through.
In Use
Since Automap is so new, there’s no standard for how software works with it. I tried it with Propellerhead Reason 3, Ableton Live, and Apple Logic Pro, along with a range of plug-ins from Native Instruments, Applied Acoustics, and others.
Reason was built with the original ReMote protocol, so Automap in Reason is an utter joy. Since Reason lacks plug-in support, there’s also just one developer’s software to worry about. The result is that everything works perfectly, with controllers mapped in a logical, intuitive layout. Steinberg Cubase SX also has mature Automap support, though I did not get the chance to work with it extensively.
In Live, I encountered a few issues. Live’s controls aren’t “sticky;” onscreen faders and knobs jump to whatever new position is sent to them by the hardware, rather than waiting for you to move the physical control through the parameter’s current value. Also, while it’s possible to switch from the Live Automap to a template, the LED screen will momentarily switch back to the Automap parameters instead of the template’s, an acknowledged bug. In general, Live’s Automap template fit the way I work with the program: faders always control the mixer, and since the pads and bottom eight knobs are unassigned, you can use MIDI learn to assign these to whatever you like. If the other issues are resolved, the SL would be my perfect keyboard for Live.
In Logic, it’s easy to switch instruments using the arrow keys next to the SL’s display, something you can’t do in Live. But controls for Logic’s instruments and effects were placed in a non-linear fashion. Where Reason’s Automap kept envelope controls on the faders, Logic’s showed up on the rotaries, differently for each instrument. Also, Logic’s controls would sometimes momentarily fail to respond, and the sustain pedal wasn’t mapped correctly. You can adjust some of these settings using the included editor, and Novation has acknowledged these issues and promised a fix. Their documentation for the Live and Logic Automaps also needs to catch up to their excellent, extensive video tutorials and manual chapters on Cubase and Reason.
Despite its hitches, I enjoyed using Automap overall, and found I preferred the feel, controls, and layout of the ReMote SL to the similarly-equipped Korg Kontrol49 (reviewed May ’05). While automatically-mapped hardware parameters get you up and running more quickly than having to program your layouts, I preferred to balance both methods, browsing parameters with Automap, then assigning them permanently using MIDI learn and templates. The presence of Automap certainly made this process easier.
Conclusions
I can’t think of a single semi-weighted controller that matches the ReMote SL’s feel, its balance of plentiful controls with a logical arrangement, large and readable LED screens, and good looks. The SL feels and behaves like a premium instrument, with unusually extensive MIDI implementation. Though Automap doesn’t yet function how it should with some supported hosts, it’s easy enough to use the ReMote SL with traditional MIDI templates and MIDI learn while awaiting the improvements promised in coming months. Even if Automap didn’t exist, the SL would be an excellent choice for players addicted to software instruments.
The 37-key SL happens to fit perfectly in the small desk space next to my computer, and that’s where it’s staying. This a keyboard I want at my side at all times.