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Digital Subscriptions > MusicTech > May 2019 > Komplete Kontrol M32 £99

Komplete Kontrol M32 £99

The A-Series took some beating, but now Native Instruments’ compact keyboard does Komplete Kontrol and NKS even cheaper. We unbox the M32

It only seems like a couple of months since I reviewed the latest in Native Instruments’ Komplete Kontrol series of keyboards, that being the A-range. Native is on fire at the moment and seemingly intent on driving the entry price point to music production down to affordable levels. The A49 I tested is streeting at just £149 and you get a full suite of NI software bundled in with it, plus the reassuring feeling that your keyboard will bring the best out of that software using the NKS standard.

This Native Kontrol Standard is Native’s way of integrating its ever-cheapening hardware with it and third-party software, with hardware controls automatically assigning themselves to much-used software parameters, thus making the whole software-hardware thing very seamless.

You’d think that £149 for a piece of hardware that controls a bunch of great software is a great price, and I certainly did, concluding that: “You get a full-sized keyboard, a bunch of high-quality plug-ins and a great conversation between the two of them. I’d buy that for less than 200 quid.”

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About MusicTech

Many, many years ago, when pop music was in its infancy, artists would record at multi-purpose recording facilities that were typically designed simply to capture the live performances of the bands and artists. During the 1960s, when pop music had seized the mantle as the dominant entertainment medium in popular culture, bands such as The Beatles and The Beach Boys grew frustrated by the limitations imposed on them by the technology of the time. Their desire to sonically innovate (not to mention the genius-level work of the producers and engineers they worked with) spearheaded the advancement of multi-track recording technology, as well as several techniques and recording approaches that are still widely used today. In our cover feature, John Pickford examines how much of this classic technology was used – and how we can replicate those approaches today in our own home studios, using very faithful recreations of key kit from decades gone by. Elsewhere this issue, we learn more about the art of stem mastering from London’s Wired Masters; discover how an effective understanding of social media can hep you grow your audience; talk to a range of producers and engineers (including the Grammy-winning Darrell Thorp) and review all the latest hardware and software. I hope you enjoy the issue.