Affordable Nektar Impact GX controllers offer DAW integration

Sweet Nektar?
Sweet Nektar?

Nektar has added two new models to its Impact range of MIDI controller keyboards: the GX49 and GX61.

Designed for "composition and performance", these 4- and 5-octave keyboards sport pitchbend/modulation wheels, octave shift and transpose buttons and a single assignable knob that defaults to controlling volume.

Nektar has also implemented its DAW integration technology, which is compatible with a wide range of music production applications. Eight buttons are designed to be used for DAW control, and enable you to activate your transport, navigate tracks and perform other tasks without touching your mouse. You can also assign other MIDI messages to these buttons should you wish.

The Impact GX keyboards work with PC, Mac and iOS via a camera connection kit and will be available at the end of May. The GX49 will cost £75/€100/$100, and the GX61 will retail for £83/€110/$120. You can find out more on the Nektar website.

Nektar Impact GX49 and GX61 features

Impact GX DAW integration features

  • Extended Transport includes Loop on/off, Click on/off, Go To Locator, and Undo controls in addition to the more familiar Play, Stop, Record, Forward and Reverse controls
  • Track Select for navigating tracks in the DAW project
  • Patch select for navigating the sounds in instrument plug-ins

Other GX key features

  • Control of mixer volume with the potentiometer (also MIDI assignable to other functions)
  • Comprehensive MIDI Controller specification (18 MIDI assignable controls)
  • iPad compatible
  • Includes Bitwig 8-Track DAW software, a compact edition of the highly-acclaimed Bitwig Studio DAW providing powerful composition and production tools. Supported by Nektar DAW integration for Impact GX.
Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.