midiplus SP-2 Sustain Pedal

100% Recomendado.- Hace muy poco ruido- No se mueve- Es grande y fácil de pisar- Tiene un perfil bajo, no tienes que levantar mucho el pie para pisarlo.- La acción es suave- Cable largoEl cable no se puede desconectar del pedal, para mi no es un problema pero es algo a tener en cuenta.

First off, I’m giving this a review based on the price point. Of course a $100 pedal may be better, but for the money this is a great buy. This leans more towards synths and midi controllers than pianos as the name and look might suggest, though would work fine for any keyboard with an external pedal jack (1/4” ts/trs style), and does what it’s supposed to do.For those that know exactly what they’re doing, this is a long and unnecessary review. As it’s just a simple sustain pedal with a polarity switch, if that’s all you need to know then all I can add is it’s durable and well made, especially for the price point.. 5/5 sums up my feeling. There is a slight click sound people complain about but I can’t think of many situations where that matters in a non-acoustic set up, unless you’re playing an instrument while singing and recording the vocals. If you’re not so clear on what exactly that means, then the below info might help, or if you just have multiple pedals inputs and no clear idea how to make good use of them.The polarity switch is a useful and uncommon feature at this price point. Again, especially for synth enthusiasts, who may have many pedal jacks between desktop synths and midi controller keyboards, along with all-in-one or semi-modular keyed synths or fully modular setups (though the latter will have much more customizable options and applications and may want a more expensive metal pedal to be secured in place, etc), being able to effectively control a lot via simple square pedals is useful, and if you want 5, it’s not a big cost considering some sustain pedals cost 10x as much. That’s useful when you might have multiple keyboards and multiple synths or other hardware (including some rack mounted gear), and don’t want to spend an arm and a leg. The polarity switch allows you not to worry about potential mismatches.If you’re using one and it seems ineffective despite being set up correctly, don’t forget to switch the polarity as that likely will make it work immediately. Note that’s when set up correctly, if you’re using it as a sustain pedal, going into a sustain jack is often enough, though with modern keyboards and synths there can be multiple input jacks and sometimes set up within the onboard software can be required so it works correctly. As an example, I use one with a Novation Peak synth, and I had to set the pedal input slot to sustain (and switch polarity) for it to work correctly. I believe the pedal defaults to “sustain while pressed” (standard piano style), though again, that may be an option you can change on your hardware so that it’s a simple on/off trigger for sustain or can work in an opposite fashion, where sustain is on by default unless the pedal is pressed. If it’s a keyboard, and/or if it especially lacks much of an onboard computer, it likely will work like a traditional sustain pedal on a piano (where you press down and hold for sustain).That particular synth (Novation Peak) also is one that demonstrates other potential uses for the pedal. It has two “Animate” functions that have buttons on the face of the unit but also can be linked to one or both of the pedal jacks. They can be linked to many functions or changes in modulation depending on the setup, and anything that would be controlled by pressing the buttons can also be controlled via the pedals, making them very versatile for more advanced applications.What it doesn’t do is allowed a gradation of effects application, ie, it only ever can work as on/off while held or as an on/off trigger when pressed, it doesn’t allow you to tell a piece of hardware that you want something at 25% or 75%, etc. For that you generally want an expression pedal or occasionally a volume pedal though that is largely used more with guitar/bass etc. Expression pedals are generally more expensive given they allow more precise control than what is essentially a simple binary switch. Something like the Moog EP-3 is a good example of an expression pedal tailored to synths and keyboards. If you’re not sure what you’re doing, you probably want one with just an output jack (or occasionally jacks), as those with input/output tend to be made for guitars, such as anything on the Ernie Ball line. Unfortunately keyboard ones tend to be almost always plastic, though are also therefore cheaper and can still, like this, be very durable.Anyway, enough about Expression Pedals as that’s not what this is for (though definitely something you’ll want if you have multiple jacks and want to get the most control.Style wise, I personally prefer the square style pedals for keyboards and synths over traditional piano-style pedals, and tend to think they’re better suited for multi-keyboard, multi-instrument set ups. but that’s mainly just preference. The other style can work perfectly well and when mounted may be a better fit, I find these are preferable for portable and flexible set ups.I mentioned I wished there were metal pedals readily available and I still do, at the end of the day metal is more durable and resistant to potential issues than plastic. I think I found a decent one to try but only will because I still have empty pedal jacks on instruments I use concurrently and am curious to see, however I have 4 or 5 of these specifically as they’re cheap enough to have a few in use at once and have others stay in bags for travel. So far none have broke in any way and seem just as good as new no matter how much they’re stomped on. This has primarily been just for home use or for jamming with friends, I haven’t taken it gigging, where you may reasonably want to spend for metal pedals, but it seems durable enough even for that abuse. At the price, as well, it’s cheaper to keep a backup or two of this than to buy a metal one that may or may not actually be more durable. So far this pedal has taken any abuse it’s got, and seems well made, especially for the price point. Even if one fails after a long time, I’d consider them well worth the money.I’m planning to make a custom keyboard-synth pedalboard of sorts, and likely at the price these will be my main choice except for an expression pedal or possibly a volume pedal if I find it worthwhile enough for certain parts. Besides the Peak, I have an Arturia Matrixbrute (which has keys), Digitakt/Digitone (which don’t directly take pedals but I’m looking into MIDI based options), a couple other drum machines including an Akai MPC Live, a couple Behringer synths and hopefully soon a completed modular synth, except for the matrixbrute controlled mainly by an NI S88 Mk2 88-key controller and MIDI USB interface and splitter, along with an Arturia Keystep, Akai MPK 225, Samson Graphite 49, and a few more. So, a lot of things with sustain jacks and a use for a sustain function. With 4 keyboards, even without synths, softsynths or VSTs alone could be a reason to buy 4, though as mentioned many hardware synths such as the Peak or Matrixbrute have 2 custom pedal inputs thenselves. When creating a live set through sequencing, looping, and constantly switching focus, there’s a lot of use for discrete sustain and modulation control. I’ll have to update my review if I do use these as the primary option in what will likely be a 4-5 x 2 grid of square sustain pedals with 1 or 2 expression pedals as a “control center” while playing everything. Note that I reference modulation only in terms of turning on or off a specific effect on a signal, as again, expression pedals allow you to control the actual amount of various types of modulation and is essentially the pedal version of a mod wheel.The only note I’d make is that, if you only want to send an on/off trigger signal and *never* want it to be a holdable trigger (ie, default sustain pedal), Fender does make an on/off pedal that simply sends a signal but doesn’t care if you keep it pressed afterwards. It’s a bit more expensive but is smaller and metal, and is mainly intended as an FX trigger for guitars (hence it’s Fender) and looks like it - the metal guitar “switch” found on most guitar “pedals”. I use one as an on/off switch for my subwoofer as I live in an apartment and usually keep it off to be a considerate neighbor, though occasionally want to hear what headphones can’t reproduce in the low end. It could be used, though, for any application where a simple trigger signal is required, or where ‘latch’ is an option for a particular target parameter / feature, though that’d be rare. The only benefit is size and potential durability and size for gigging, etc., though it is good to be aware of.Basically, consider what it is you want to do with the pedal, or at least what sort of things, and determine if that can be accomplished within the limitations of a sustain pedal. If it can, great, I’d recommend this unless you’re used to or just set on the traditional piano style pedals. If not, and you need different levels of effect / control input, then an expression pedal is likely what you need. For a modern desktop synth, I’d personally have one of each on the synth itself mapped to relevant functions, as well as one of these on the keyboard controller as a traditional sustain pedal. If the keyboard has a second jack, it’ll depend on the keyboard itself whether an expression pedal can be useful, or a second sustain for that matter. Note a piano has 3 pedals, one being sustain/damper, one being ‘soft’ - or quieter, and one usually being sostenuto, or as I like it put, ‘selective sustain’. A sostenuto pedal only sustains the notes played when the pedal is pressed, which has obvious uses if you want to, say, sustain deeper notes and not have a sustain effect on higher notes played on top. Not all electronic keyboards or synths will allow sostenuto “mode” for a pedal, but for those that will it can be very useful. In this case, two of these may be perfect for your needs, especially if you have jacks in both keyboard and instrument (and generally, they will all work if correctly set up, ie, a keyboard will transmit the notes as ‘sustained’, meaning setting one up on a connected synth also as sustain would be redundant. It essentially allows up to 4 pedals or more for a synth and midi keyboard set up). Also note traditional pianos have no equivalent of an expression pedal, because there is no frequency modulation to control. In many cases as well a mod wheel is plenty, though for more complicated set ups or just very busy hands, relaying the control to a foot can be an effective tool. In many modular or semi modular synths, you can specify expression to just about anything that has a knob, and sustain to just about anything controlled by a button or switch. Obviously if there’s no onboard cpu to assign them this isn’t the case, but they’re as capable as the hardware they’re plugging in to.Well, that turned out to be a lot longer than expected, but I figured I’d address some of the common points of confusion since people looking at this are more likely to be in the midi controller / synth camp than gigging with a stage piano (though this is no less useful to such a user, they just definitely won’t need any explanation).So.. hope that helps someone. Hands down would recommend this unless money is no object, and even then I’m not sure if I like the more expensive options any more. The EP-3 is probably your best bet for a synth expression pedal, though if you understand what you’re doing you could get fancy and try incorporating a nice volume pedal as an end-stage modulator of the line output. Good luck!

Excelente producto!!! Me gusto mucho su diseño y practicidad!!!

The pedal arrived early. It's wide enough for a footwear or shoe. I used it with my yamaha dgx and work perfectly.

A nice large pedal that works as it should. The only downside is that it makes a loud click when pressed. Not a problem when I'm playing live, but annoying when at home.