Artoria’s KeyStip is one of the most popular MIDI controllers of all time, especially with modular synth users and the double-less crowd. It’s small, cheap, easy-to-use, and offers decent connectivity. But it was also released in January of 2016. The world of music gear moves more slowly than smartphones, but Artoria has released a number of controllers. After The keystroke that is already on its third generation. 9 The 139K Step MK2 takes this classic and updates it with new layout and design features developed by Artoria over the years.
Compared to the original, the KEYSTEP MK2 has double the number of arpeggiator modes (16), eight times more sequencer save slots (64), generative sequence features, a chord mode, and a scale mode. Scale mode can be useful for those of us who are less skilled players, making sure every note is in key. But I’ve always had this slightly unnatural feeling on traditional keyboards. (Although this is my preferred setting on a pad controller.)
The more interesting things for me are the new arpeggiator modes, spice and variable production features, and the way they interact with the sequencer. When I’m feeling stuck or unhinged (which is often these days), they offer a shortcut to idea generation that goes beyond randomly spitting out notes.
A lot of any creative process is about getting into a state of flow, but that takes time. You don’t just sit down and immediately enter a flow state. You need to find it. And when your time is limited by a demanding job or kids, it can be hard to find. When I sit down to make some music, Keystop’s productivity and repeatability features make it easy to get through that initial whiplash.
Often, I’ll start by playing a simple ARP. I’ll pick a chord—just three or four notes, usually, nothing wild. Then press the Change button. This starts the notes moving around, adding octave jumps and rests, usually just introducing a bit of chaos. A quick press adds just a dash of randomness, while holding it too long can turn your original arpeggio into something completely unrecognizable.
I’ll usually do this until I find something I like. Then I’ll dial in the spice price. This is another generative feature, changing the gate length of notes and adding ratchets. If the spice isn’t doing anything interesting to my ear, I’ll roll the dice by holding shift and tapping the spice touch strip three times. This “rolls” a new set of random variables for me to dial in using the spice parameter.
Once I have a short phrase I like, I can save it to the sequencer, and that’s where things get more interesting. I can replicate this sentence, extending the sequence to 32 or even 64 steps. And, since KEYSTEP’s sequencer is polyphonic, I can play overtubes, counterchords, chords, or bass lines alongside this semi-random arrangement.
I’m quick to hit the mutate button again here or fix the spice setting, but once I have a rich sounder going through it, I can pass it on. back Arpeggiator by selecting “User Continuity” ARP mode. It uses the last sequence you loaded as the basis for your arpeggio. It doesn’t just play notes, though. It maps the order pattern that your notes play. If you play the same notes, it will sound the same, but it’s more fun to play completely new chords or chord progressions. If you have a chord progression for a song, but it seems like it sounds a little lifeless, this can be a great way to liven it up.
Now, when I’m stuck, I don’t feel like 30 minutes of noodling and scrolling through presets or feeling discouraged because my drum pattern is so boring. I just start playing. The point isn’t even necessarily what configuration or ARP I use, although I often do. Instead, it’s about making something — anything — and seeing where my creative impulses take me.
The Artoria cleverly kept the price and basic design more or less the same—32 keys in a shallow body with minimal hands-on controls. But there are some clear differences. The knobs and switches for controlling the sequencer and arpeggiator have been replaced with some light-click buttons, and there’s now an infinity encoder and a small OLED in the middle of the keyboard.
Physically, the biggest change is build quality, and that’s not a good thing. While the KEYSTEP MK2 doesn’t feel cheap, it certainly isn’t up to the quality of the original. OG’s Stip had a metal base. It was heavier than you’d expect looking at it, and felt like it could not only withstand the rigors of tour life, but could also be used as a self-defense weapon. The MK2 trades the metal base for plastic, and the controls feel less solid overall.
That’s my only real complaint, though.
Keystop MK2 is not a magic bullet that will cure your writer’s block or instantly put you in a state of flow. But it’s already proven to be a handy tool when I’m feeling discouraged or unmotivated while staring at an empty Ableton Live session.
