This is an exceptional controller that both plays and feels outstanding. Its key pivot length is approximately 24 cm, compared to the VPC1's roughly 25 cm, placing both firmly in the concert‑grand action class. The pressure difference between the SL88 GT and the VPC1 at the fallboard—measured at the SL88 GT's maximum key length—is only about 3%, which is the fairest point of lever comparison and speaks to how similar their mechanical leverage really is.

This is a modern MIDI 2.0 keybed. While the onboard firmware offers modest velocity‑curve adjustments, today's VST3 instruments—such as Native Instruments' Claire (Fazioli 308) and Noire—rightly handle velocity shaping inside the plug‑in, where it belongs in 2026. The optional SLP3D three‑pedal system also expects its damper engagement point, sostenuto behavior, una corda response, and even Claire's optional fourth pedal to be configured in the plug‑in. It's refreshing to have a sostenuto pedal that behaves like a true grand piano's rather than the gravity‑independent simulated upright mechanism we've all experienced. For serious pianists, the three‑pedal system is highly recommended. I set my sustain pedal engagement at the value of 68 for the NI Claire piano.

The built‑in audio interface is excellent, but for the lowest latency you'll want to use WASAPI Exclusive Mode. Exclusive Mode bypasses the Windows mixer, avoiding the ~30 ms penalty it introduces, and makes the controller very playable on its own. That said, I use a MOTU M2 with its dedicated ASIO driver, which remains the fastest and most reliable option. The M2 is the go‑to interface for live virtual‑instrument performance and uses the same chipset found in MOTU's top studio rack units. With a 128‑sample buffer setting, I achieve about 5 ms of latency. For context, a concert grand's hammer swing introduces 8–12 ms of latency depending on the register. Modern workstations typically sit at 15–20+ ms because their internal hardware simply cannot match the performance of modern laptops and desktops. None of the Yamaha, Roland, Korg, or Kurzweil workstations come close to the responsiveness of this MIDI 2.0 high‑resolution keybed paired with a proper ASIO interface.

The graded velocity across the keys feels natural and consistent, as expected from a well‑regulated instrument. The built‑in hard, soft, and normal curves are convenient as quick settings. If needed, the SL88 GT allows per‑key velocity fine‑tuning across all 88 keys—useful as rubber strips age or become dirty over time. This supplements the modern primary philosophy that velocity curves belong in the VST, while the controller provides quick offsets for maintenance.

I also own a Nautilus 88 with Korg's RH3 action, which I consider exceptional and fast. However, the RH3's pivot length is about 19 cm, compared to the SL88 GT's 24 cm. That places the RH3 in the "baby grand" category, while the SL88 GT clearly sits in the "concert grand" class. The SL88 GT also includes simulated escapement for added realism.

The chassis isn't a heavy, road‑ready tank, but that makes it more portable. It's clearly designed as a superb studio controller, though with a proper hard case it could certainly handle gigging. Studiologic is Fatar's house brand, built in Fatar's own factory in Italy, and this keybed feels like a preview of the next generation of premium MIDI 2.0 keybeds that will soon appear in other manufacturers' controllers and workstations.

Finally, it's important to note that this is an exceptional grand piano keybed, but for workstations and studio controllers, there are keybeds that are more multi-purpose to play synth and organ techniques. That's why Fatar has the TP/110 88 key common in the Native Instruments S88 Mk3 MIDI 2.0, Arturia Keylab 88 mk3 (MIDI 1.0), and non-wood Studiologic SL88 Mk2 MIDI 2.0.

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Lack in the department of velocity, it is impossible to adjust to play as you want....

I've owned a number of hammer-action controllers and boards over the years, but this tops them all. In the past I've used lighter boards that did double-duty as live gig boards and studio, but I purposefully wanted a solid board that would just live permanently in my studio and never leave! Coming from FATAR TP/100LR beds, the TP/400WOOD feels like a dream. Through my favorite piano VIs I was able to get dynamics like never before. In the past, controllers would feel limited in their dynamic range, that I was always playing around 80-100% velocity unless I really held back. Not so here, it feels just like a grand, where I'm playing between 50-75% most of the time, but can give it an extra something-something, just like an acoustic. Material or been practicing on my Yamaha upright just flows naturally to this board.

I haven't dug into the extended features too much as I do most of my complex routing in software, but it looks pretty deep. The velocity settings and curves are quite tweakable.

I was worried about the pitch stick and mod, but I actually like them quite a bit. I have a Nord Stage 3, which has my favorite pitch control of all, but I'll take a joystick over a wheel any day, far better control for vibrato than a vertical controller. It's not the greatest out there for sure, but I like it better than my Arturia Keylab wheels. That said, I won't use this much for synths. My Nord Stage3C waterfall board is the world's best synth controller IMO, so I'll stick with that for most synth material.

But it's good to have something. That finally does piano material like a champ!

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If you are looking for a midi keyboard experience that feels as close to a accoustic piano as possible this is for you. If you want more of the midi functionality with pads and more controls then look elsewhere.