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KeyboardMag.com >> This Month >> A To Z: The Keyboard Online Namm Report
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We take you inside the nation’s biggest musical instrument trade show
A To Z: The Keyboard Online NAMM ReportApril, 2008There are two questions you can count on musicians asking each other mid-winter. Once “Where’s your new year’s gig?” has been answered, “Going to NAMM?” is never far behind. Here at Keyboard, the answer is always “yes.” The National Association of Music Merchants trade show — the NAMM show — is a convocation of nearly every musical instrument maker on the planet. Top-call session and touring cats play at what seems like every other booth, brass from big retail chains meet with manufacturer reps to write orders for the year, and the occasional star roams the aisles, entourage in tow, checking out the new gear. For music journalists, it’s four straight days of meetings and press conferences in a total sensory-overload environment. It’s like being the ball in a giant pinball machine, only this ball has to absorb information every time it hits something. We wouldn’t have it any other way. We love this stuff, and here’s a complete list of the stuff we loved. We even did a realtime photo and video blog that you can check out at livefrom.musicplayer.com. Where possible, each product entry has a link to the individual video or photo we grabbed live from the NAMM show. Also, be sure to scroll down to the very bottom of this screen, where you’ll find our special sections on music notation software and studio monitor speakers. by Stephen Fortner, Ernie Rideout, and the Keyboard team ABLETONlivefrom.musicplayer.com/clip.aspx?key=BC4DE2DCC4C4411B&ctx=feat Having just released Live 7 and Ableton Suite, Ableton didn’t make any major product announcements at the NAMM Show itself, but Live 7 was in full effect, attracting a lot of attention. One demonstrator even played it using a modified (to put it nicely) Novation ReMote SL keyboard — click on the Livefrom NAMM blog link above to check it out. ACCESS MUSIClivefrom.musicplayer.com/clip.aspx?key=1BAA1295ED079808&ctx=feat With virtual analog, wavetable, and granular synthesis, Access’ Virus synthesizers are extremely versatile. But they’ve built a particular following among trance and electro musicians for their aggressive, edgy sound and floor-stompin’ modulation capabilities. Now, all that power is squeezed into a compact tabletop module, the Virus TI Snow ($1,350). Contributing editor and acclaimed remixer/producer Francis Preve said, “Trance-heads everywhere are going to flip out for a Virus they can put in a backpack.” ACOUSTICAlivefrom.musicplayer.com/clip.aspx?key=19423B5C8023C959&ctx=feat Frankly, we’re a little embarrassed that Mixcraft ($74.95) hasn’t much been on our radar until now. Version 4 of this Windows-only sequencing and multitrack audio recording app is optimized for Vista and multi-processing, and can import Sony Acid loops. It also comes with a well-rounded arsenal of soft instruments, including a virtual Minimoog and B-3 organ, a virtual analog polysynth, a 250MB quad-strike grand piano sample, and a General MIDI library. We heard all of these at NAMM, and couldn’t believe that you really get everything for 75 bucks. The price and ease of use tempted us to slap the “Windows answer to GarageBand” label on it, but that understates its power — with VST instrument and effect hosting and recording at up to 192kHz, Mixcraft is really a sleeping giant that could compete with “professionally” priced software. AKAI PROFESSIONALlivefrom.musicplayer.com/clip.aspx?key=81BB83FDA5094651&ctx=feat Maybe it’s the feel of the pads. Maybe it’s something ineffable about the timing and rhythm compared to other ways of sequencing drum parts. Whatever it is, “MPC” means “production” to generations of hip-hop and R&B musicians. Like some of its predecessors, Akai’s new MPC5000 ($3,499) is much more than just a drum machine. Unlike any of them, it includes an eight-track hard disk audio recorder as well as a built-in virtual analog synth with 20 voices and three oscillators. Expanded effects and more realtime controls round out the box that’s sure to become the new urban standard. ALESISlivefrom.musicplayer.com/clip.aspx?key=EDC7569A260A0201&ctx=feat Alesis continues their tradition of bringing technology working musicians need (anyone remember the ADAT?) in at prices that won’t max out their credit. Case in point: the new MasterControl ($1,099). It’s both a moving-fader control surface and an audio interface, and actually as a lot of I/O - 8 analog ins (2 on XLR combo jacks; 6 on balanced 1/4" TRS), MIDI ports in and out, and built-in talkback. Also new is the iMultimix 16 ($799), a 16-channel mixer and USB audio interface that includes an iPod dock. That’s not just for playing backing tracks — you can record directly to the iPod as well! If recording to an iPod is all you need to do, try the Multiport ($299), which features stereo mic/line inputs and a handy charging switch. We also got to check out the new DM5 Pro Drum Kit ($999), which includes the time-tested DM5 sound module, five pads, and what Alesis calls “Surge” cymbals: triggers that look and feel like acoustic cymbals. True, you can go a lot higher-end with electronic drums, but this rig offers so much power and great feel for so little money that we recommend trying it regardless of whether your price range is higher — you might decide it’s all you need. The M1 Active 320 USB monitors ($199/pair) build a stereo, 16-bit USB audio interface into the speakers. This includes 1/4" and RCA inputs, as well as a 1/8" stereo mini input. In the late ’80s and early ’90s, it seemed like every budget-conscious project studio had an Alesis HR-16 drum machine. Today, the SR-18 ($399) is what dishes out big drums for small bucks. Its pads can play individual hits from the 32MB of sound ROM, or trigger entire patterns. Onboard reverb, compression, and EQ add further value. APOGEElivefrom.musicplayer.com/clip.aspx?key=E594471589AFEBBE&ctx=feat Not only were folks crowding around the Apogee booth to cop a feel of their sleek Duet audio interface ($495), but it seemed like the Duet was the interface of choice for many, many other NAMM exhibitors. That tells you something right there, because these guys all pay thousands of dollars to rent showfloor space, they’re running presentations and product demos day in and day out, and they need ’em to sound great and go off without a hitch. It makes it a bummer that the duet doesn’t work on Windows. Read our full review in the April ’08 issue of Keyboard. APPLIED ACOUSTICS SYSTEMSlivefrom.musicplayer.com/clip.aspx?key=EB6FFE842B05AD59&ctx=myclips Strum Acoustic GS-1 ($229) is a highly sophisticated software instrument that uses the latest state-of-the-art physical modeling code to emulate the sound of an acoustic guitar. Both steel and nylon strings are represented, as are guitaristic voicing and strumming techniques. It’s capable of analyzing chords played on a keyboard and “guitar-izing” them with an auto-strum algorithm. Compatible with both Mac and Windows in VST, AU, and RTAS formats, it also has a standalone mode. ARTURIAlivefrom.musicplayer.com/clip.aspx?key=6BBC34F8D8007E1C&ctx=feat In 1986, PPG debuted a monster synth called the Realizer which was downright spooky in its foreshadowing of how modern soft synths handle. It could do virtual analog, wavetable, FM, and sample-based synthesis. Its screen graphically depicted whatever was being emulated (most photos show a virtual Minimoog in glorious monochrome green), and was surrounded by soft knobs that mapped to the onscreen controls. Due in part to its $65,000 price tag, only a tiny handful of units saw the light of day before PPG went out of business. Why the history lesson? Because Arturia’s Origin Keyboard ($TBA), realizes the spirit of the Realizer in a more powerful, affordable, and commercially viable form. We previewed the keyboard-less Origin ($2,999) in last year’s NAMM report in our March ’07 issue. The concept is the same here: Dedicated audio DSP hardware (a pair of Analog Devices TigerSHARCs, if you’re a chip-spotter) runs embedded versions of all Arturia soft synths. You can also combine, say, oscillators from one synth with filters from another, which isn’t possible with the computer-based versions. There’s also a 32-step, analog-style sequencer that you program with knobs. All this we knew, but what really impressed us was the ergonomics and aesthetics of the keyboard version. The fit and finish are super-tight. The keys feel great. Aftertouch response is smooth and even. The ribbon controller rocks. The flip-up control panel and overall design are simply striking — even if they do make placement beneath another keyboard on a stand impractical. Our verdict? Not since the Synclavier was new has any electronic keyboard oozed with this much status-symbol appeal . . . and the Origin costs a lot less. AUDIO-TECHNICACurious but mystified about the benefits of using in-ear monitors onstage? A-T’s new M2 and M3 systems (respectively $799 and $1,099) take a musician-friendly approach. The main difference is the number of UHF channels — 100 on the M2 compared to 1,250 on the M3 — but it’s what they have in common that makes them appealing to weekend warriors who don’t tour with a monitor engineer. In-ears can give you a sense of isolation, so they added a 3.5mm line input that lets you mix in your own ambient mic, an XLR output to send your monitor mix anywhere else you need, and best of all, a personal mix control. This is a “more me” knob, adjusting the balance of your own voice or instrument channel relative to everything else. Heading in a somewhat new direction, A-T also introduced the AT-LP2D-USB ($229), a complete solution for recording vinyl records into the digital world. It includes a two-speed turntable with stereo cartridge and USB output, plus Audacity (Mac or PC) and Cakewalk Pyro (PC only) recording software. AURALEXThe big news from the go-to purveyors of acoustic treatments for studios of all sizes isn’t a particular shape or size of foam thingy. It’s what they’re making the stuff out of. Their new Studiofoam Eco line uses soy-based products to cut the use of petroleum by up to 60%. “We’re committed to getting even further from oil-based foam, without sacrificing either sonics or durability,” says David Paxton of Auralex. Also a plus: It won’t cost any more than their conventional line. BEATHIVEIf you haven’t heard about BeatHive.com, you probably don’t make music with loops. It’s the largest site of its kind, a searchable online marketplace where anyone can sell their original loops in Acidized WAV or Apple AIFF formats. You don’t need to create a “loop shop” to just buy stuff, but if you do set up a shop, you have complete control — you set your prices, you put loops up, you take ’em down. There are no up-front costs; you simply split the revenue 50/50 and BeatHive makes quarterly payments to your PayPal account. BEHRINGERBehringer may well be the most aggressive manufacturer on the planet when it comes to making the stuff musicians need affordable. Keyboard players often use powered monitor/PA speakers as keyboard amps, and their new offerings caught our attention for their punchy sound and rugged construction. The B512DSP (both $589.99) is a two-way speaker with 12" woofers, 600W of power, and a built-in mixer with two mic/line inputs. What held our attention, though, was that these ordinary-looking powered wedges take a page from high-end concert systems — they convert the incoming signal to 24-bit digital so that an internal computer can control the crossover and correct for phase and EQ issues. The B415DSP ($739.99) does the same, only with a 15" woofer. BEST SERVICEChris Hein Bass ($449.95) was over a year in the making, comprising about 12.7GB of exhaustively-sampled articulations of all manner of electric and acoustic basses. Composer Marcel Barsotti’s Ethno World 4 ($499.95) lets composers integrate sounds from all over the world without leaving their workstation. Samples new to the fourth edition of this collection include saron, Tibetan bells, saz, kantele, Irish flutes, military cassa, angklung, Egyptian fiddle, Chinese erhu, gaohu, scale changer harmonium, bouzouki, santoor, hulusi, dung dkar horns, cajon, balafon, Western fiddle, monochord, Dilruba and Esraj Indian string instruments, and voice samples of a Mongolian choir with overtone singing and individual female and male voices. BIG FISH AUDIOThis Los Angeles house may well be the most prolific loopware developer on the planet, and they also distribute Ueberschall’s soft instruments in the U.S. The latter feature “Liquid” and “Elastik” technologies culled from Celemony’s state-of-the-art Melodyne time- and pitch-shifting software. Just a handful of the spankin’ new loops and construction kits from Big Fish themselves includes Straight Outta NYC (East coast-style hip-hop, $69.95), Plush (smooth R&B, $129.95), Kontrol Freaks 2 (urban library from producer Soul-G, $99.95), Retro Cool (spy movie-inspired ’60s and ’70s funk, $99.95), Funk City 2 (classic old-school funk à la James Brown and Tower of Power, $69.95), and Aquasky Electro House and Breaks (acclaimed dance producers Aquasky and Loopmasters, $49.95). Moving away from the urban and dance categories into unique territory you don’t see from just any loopware company are new titles such as Latin Jazz by Peter Michael Escovedo ($99.95), Nu Metal City 2 ($99.95), and even the Indian cinema-inspired Bollywood Grooves ($149.95). Just as we went to press, they released Bone Crushing Drums ($99.95 in Apple Loops/REX/WAV; $149.95 in Pro Tools session and OMF formats), a punk, heavy, and garage rock collection. Big Fish has also developed a line of great Kontakt Player-based virtual instruments, and to distinguish them from all the loops, they have their own brand. Check out our entry on Vir2 Instruments for more. JOHN BOWEN SYNTH DESIGNlivefrom.musicplayer.com/clip.aspx?key=7FE8AA5E7B3CAE78&ctx=feat John Bowen is famous for his work on sound and interface design for the Korg Wavestation and just about every Sequential Circuits Prophet model. Bowen’s company Zarg Music developed plug-in synths exclusively for the Creamware Scope platform, and Solaris started out as one of them. At NAMM, we got our hands on the way-sexier hardware Solaris ($3,999 list; $2,800 if pre-ordered directly from Bowen and paid in advance) and man, it sounds even more impressive than it looks. Its basic structure includes four oscillators. Each oscillator can do quite a number of things, including virtual analog, FM, PPG-style wavetable synthesis, and even straight-ahead sample playback. You can also plug different filter models into each of four filter slots, and the production model will include a joystick for vector synthesis à la Prophet-VS. Unique to John’s design are “rotors,” which are four-step repeating wave sequences. Honestly, nothing we’re saying here can match walking up to the thing and just playing a major triad. It really does sound huge. CAKEWALKlivefrom.musicplayer.com/clip.aspx?key=0959F07105FEC144&ctx=feat A big buzz at NAMM was the acquisition of Cakewalk by Roland. Given that they’ve worked together on a number of products (e.g. Roland’s Edirol MIDI controllers come bundled with Sonar LE), it’s not as huge a surprise as it might be, but we’re told big business-phobes have nothing to fear: Unlike when a certain computer company bought a certain DAW developer, Cakewalk will retain their own brand identity, logo, and R&D structure. Their biggest product announcement involved our very own Craig Anderton. His Minimoog Tribute ($49.99) is a set of sound patches for Cakewalk’s Rapture soft synth (reviewed Sept. ’06) That’s Craig in our “Live from NAMM” photo, doing a remix of Pink Floyd’s “Interstellar Overdrive.” CASIOlivefrom.musicplayer.com/clip.aspx?key=99E7EA7CEF127F8E&ctx=feat The NAMM show marked an important anniversary for Casio. Five years ago, the Privia digital piano line was introduced, initially amid the skepticism of some who identified the brand with cheap, department-store keyboards. The Privias’ silky weighted actions and high-quality piano samples re-branded the company to pro musicians, and two new models help celebrate this success. The Privia PX-320 ($699) and PX-120 ($499) weigh less than 30 pounds, feature an improved sound engine based on AIFF samples, and sport dual headphone outs so that teacher and student can work together. The PX-320 adds stereo 1/4" line outputs, plus a USB port for MIDI connection to a PC. CENTRANCEHot on the heels of their MicPort Pro USB mic interface comes the AxePort, which lets you plug your electric guitar or bass, or acoustic pickup, right into the computer via USB. It works on Mac or PC, comes with Native Instruments Guitar Combos (a “lite” version of their Guitar Rig amp modeling software), and includes the Centrance Universal Driver, which’ll let you use the AxePort alongside other audio interfaces on Windows XP and Vista machines. CHICKEN SYSTEMSFor some reason, Chicken Systems still isn’t a household name. We say that ain’t fair, because they’ve been producing some of the best conversion and other utilities for sample freaks for 20 years. They’ve upgraded Translator Professional ($149.95; Mac, PC) to work with 66 sample formats — from the ancient to the latest, from the universal to the proprietary — with nearly every format available as a source or destination. Other features include bulk conversion and the ability to find and replace, to create new instruments, to audition samples, and much more. Constructor ($149.95; Mac, PC) is a keymapper’s delight with strong group editing, proportional editing, importing of whole or partial programs from any source, and more. CLAVIA DMIlivefrom.musicplayer.com/clip.aspx?key=411BC76570039DA8&ctx=feat The buzz around the Clavia booth, and one of the big buzzes of the show in general, was the Nord Wave ($3,300), the newest, baddest lead synth from the Swedish synth innovators. It packs all of the virtual analog abilities of the Nord Lead 2X and the multi-parameter “morphing” of the Lead 3, but most importantly, it adds multisampled waves, single-cycle digital waves, and FM as synthesis types. Yes, you can combine sampled and modeled-analog synthesis in the same patch, as well as import your own samples in WAV format. The best part is that the entire 185MB of sample memory is flash ROM — you can write into all of it, but it retains its content with the power off. Read our full review of the Nord Wave in the March ’08 issue, or click here. CMElivefrom.musicplayer.com/clip.aspx?key=AEF164671ECA7C29&ctx=feat This Chinese MIDI controller company is best known for their UF series, which delivered great-feeling keyboard actions at low prices. Their VX series (reviewed Sept. ’07) does the same, and still represents the only MIDI controllers we know of that combine black ’n’ whites with motorized faders. At NAMM, there was a lot of progress in the “U-Ctrl” templates that make those faders work with your DAW software of choice — we observed smooth operation with Cubase, Logic, Pro Tools, and Sonar. It’s not a brand-new announcement, but we also got to see the ASX synth card (shown, $430) in action. It plugs into a UF or VX keyboard, and runs synths adapted from Creamware plug-ins — including Minimax, Lightwave, B-4000 clonewheel organ, and Vocodizer. You can work the user interfaces on an attached laptop, but the card is doing all the real work. DAVE SMITH INSTRUMENTSlivefrom.musicplayer.com/clip.aspx?key=8889C611E256E46F&ctx=feat In our Nov. ’07 issue (click here), we called the Prophet ’08 “possibly the best-sounding, most fun-to-play analog polysynth in the history of keyboards.” What if you want all the analog and all the fun, sans keyboard? The Prophet ’08 Module ($1,649) can live on a desktop or in a rack, and has all the guts of the keyboard version, not to mention a hard-to-resist price. Using its special “Poly Chain” MIDI ins and outs, you can daisy-chain a keyboard and module (or two keyboards, or two modules) together, and they become one big Prophet with twice the polyphony! DBXlivefrom.musicplayer.com/clip.aspx?key=102BD448E39678CC&ctx=feat Live road warriors will appreciate the sturdiness and transparent sound of two new direct boxes: the passive DB10 ($99.95) and active DB12 ($129.95). DBX’s Driverack technology has built a proven rep for optimizing and EQ’ing PA systems. The Driverack PX ($399.95) is the first such processor in the industry that’s specifically geared for the powered speakers so many gigging bands now rely on for monitors and even for mains. An included measurement mic helps the PX auto-EQ itself to the room. Advanced Feedback Suppression kills feedback, and the Subharmonic Synthesizer enhances the bottom end. The PeakStopPlus limiting feature protects your speakers without sacrificing sound quality. If you do a lot of weddings and corporate gigs with a powered PA, this box could be a real reputation-saver. DIGIDESIGNThere’s a huge new feature of interest to musicians in Pro Tools 7.4: Elastic Time. It lets you conform loops, or anything in an audio region, to your session’s tempo, bringing — heck, we gotta say it — Ableton Live-like functionality into the Pro Tools world so many musicians and producers are comfortable navigating. We heard an early version at Digidesign’s headquarters a couple of months prior, and to say the least, were impressed at the immediacy of it and the cleanliness of the time-processed audio. (Check out the April ’08 issue of Keyboard for a complete Elastic Time tutorial.) PT 7.4’s other improvements focus on tighter integration with post-production systems from Digi’s parent company, Avid. Upgrade pricing on host-based Pro Tools LE systems is $49 from version 7.3 or $79 from older versions. On hardware-based HD rigs, it’s $79 from 7.3 or $199 from older versions. They’ve been busy improving their soft instruments, too. Ever wish that Strike (reviewed Nov. ’06, or click here) had vintage electronic drum machines on par with its acoustic offerings? Now it does, thanks to the new Strike Content Expansion. What’s more, the Hybrid 1.5 virtual analog synth has been treated to a filter upgrade that makes it sound a lot more, well, analog. Either update is free to registered users until March 22, 2008, or $19.95 thereafter. DIVERSIlivefrom.musicplayer.com/clip.aspx?key=0F7182594F966BFD&ctx=feat Diversi’s big news involved more than just their new clonewheel organs: Joey DeFrancesco and Papa John DeFrancesco are now Diversi artists. Joey liked ’em so much, he bought into the company — literally. At the top end, the DV-Duo Plus is a two-manual instrument with pedals ($14,500, black finish; $15,500, walnut). The single-manual DV-Solo Plus also has pedals and stand ($8,996, black; $10,995, walnut), whereas the pedal-less DV-Solo KB ($2,795, black; $2,995, walnut) is geared for gigsters. Their common features include the ability to add physical models of any particular tonewheel organ that exists, capturing the idiosyncrasies and qualities of the individual instrument. Oh yeah, and an amazing rotary speaker emulation. Check out the “Live from NAMM” videos to hear what Joey D has to say about it. EARTHWORKSlivefrom.musicplayer.com/clip.aspx?key=205781E63CC3A5A6&ctx=feat Earthworks’ new PianoMic System ($4,495) is simply the best solution we’ve seen for miking an acoustic piano in a live setting. Invisible from outside the piano, it consists of a horizontal bar that holds two “Random Incidence” omnidirectional mics. Earthworks’ Larry Blakley took us through the PianoMic system in the accompanying NAMM videos. You get the details, but you won’t hear how good it sounds. Keyboard editor-in-chief Ernie Rideout listened to some recorded examples on headphones, and he was truly impressed. Granted, it’s not cheap. But if it turns your favorite piano into a recording studio, or makes it possible to take your piano on the road with you and not suffer feedback or crappy sound, it'’s well worth it. EASTWESTlivefrom.musicplayer.com/clip.aspx?key=54B1B2CAB3BCEE0F&ctx=feat Forbidden Planet ($TBA) is a sound designer’s dream, or quite possibly the stuff of nightmares if smooth jazz is your idea of exciting. It’s based on sampled analog waves recorded through a variety of filters, modulators, and a vintage Neve 8078 mixing board, but that really doesn’t describe why it’s so unique. Two central features that help you create radical new sounds are “Riptide,” a wave-sequencer that uses acoustic waveforms, and “Q-Fusion,” a convolution engine that lets you imprint qualities of one sound onto another. What does it sound like? Other-worldly. If you make good use of Forbidden Planet, your productions won’t sound like anyone else’s. We also spent a lot of time playing Quantum Leap Pianos ($495). Four virtual grands are on hand (a Bechstein D280, a Steinway D, a Bösendorfer Imperial, and a Yamaha C7), and QL Pianos is loaded with selectable mic positions, as well as articulations that follow your fingers so well it almost seems like the instrument is looking a few seconds into the future. It’s official: Synthogy Ivory now has a worthy adversary. Have we directly compared the two? Not yet. Will we? Magic 8-ball says, “Signs point to yes.” Quantum Leap Goliath ($495 or $149 upgrade from Colossus) is an all-around “soft workstation” that includes everything from the best-selling Colossus library, plus 8GB of new samples and programs. For serious film work, the Complete Composers’ Collection ($1,195) bundles several of the company’s must-have libraries, each in its entirety: Quantum Leap Symphonic Choirs, Orchestra Gold, Colossus, Ra, and Stormdrum, plus Percussive Adventures and the PMI Bösendorfer piano. Eastwest also distributes Best Service and Zero-G in the U.S., so be sure to check out our entries on those developers. EUPHONIXlivefrom.musicplayer.com/clip.aspx?key=199AA805AD6D786B&ctx=feat This is a company normally associated with high-end mixing consoles used by the film industry, as well as DAW control surfaces that sell for five figures. The MC Artist Series are their first controllers to come in at an affordable price point for home-based musicians — there’s the MC Control ($1,499.99) and MC Mix ($999.99). While both can emulate the familiar and widely-implemented Mackie Control standard, Euphonix’s own protocol, called “EuCon,” promises much faster response and higher control resolution. Why? For starters, it uses Ethernet instead of MIDI, and Euphonix has been working with Apple, Cakewalk, MOTU, and Steinberg on native support within those companies’ DAW programs. The MC Mix features eight 100mm touch-sensitive, motorized faders, eight endless knobs, and a graphical “scribble strip” across the top. The MC Control has four of the same faders, eight endless knobs, transport buttons, and a gorgeous OLED touchscreen in the middle. Though either model can work on its own, you can piggyback multiple Mixes on a Control to build a mega-surface of up to 36 faders. We got up close and tried both models, and they work so elegantly and so well that Euphonix has greatly raised the bar for how a DAW control surface is supposed to handle. Not only do you positively fly across them as you work within a particular program, but in Mac OS X, they automatically sync up with whatever application is currently in the foreground. Plus, you can use them to switch between what Apple calls “workspaces,” which are different sets of open programs for different tasks. Bottom line: The MC Artist series is much more than just the latest flavor of control surface. In fact, we think it’ll significantly expand the market for hardware DAW controllers. ESIlivefrom.musicplayer.com/clip.aspx?key=E6F14BB652AC8001&ctx=feat If you know ESI, it’s probably for their audio interfaces — the now-discontinued WaMi Rack was a go-to low-latency box for Gigastudio users for years. The 88-key, weighted K.ON could make them just as well-known for MIDI keyboard controllers. Its action feels much more expensive than the U.S. list price of $599 would suggest, and its thick aluminum chassis and glossy black end caps look that way, too. It also packs nine faders and nine endless encoders. FOCUSRITElivefrom.musicplayer.com/clip.aspx?key=5CB644CAEE538BB3&ctx=feat Focusrite’s ISA-1 mic preamp ($799) looks pretty simple at first glance: a single-channel high-end mic preamp in “lunchbox” format. That it is, featuring the transformer-input design that makes Focusrite a top choice for that “big iron” British sound. But it also has a DI instrument input on an independent channel, a send/return loop for inserting things like compressors, and a separate stereo mix input on the back. You can feed this, along with the live signal, to the onboard headphone output — so if you put the ISA-1 in a vocal booth or tracking room, it can also be the cue system for the artist. GARRITANCreated in cooperation with Steinway, the Authorized Steinway Piano software instrument is a virtual Steinway Model D concert piano with more than seven different listening perspectives, including a player perspective from the bench, a classical recording perspective, an under the lid perspective, and a 5.1 surround sound hall perspective (Professional version, $399). The interface is very intuitive, and the sound, in our experience, is incredible — the demo personnel on hand at the Garritan booth were most impressive indeed. Powered by the new ARIA Player, it runs on MAC OS X 10.4 and higher and Windows XP/Vista (both 32 and 64 bits). A Linux version is being developed, too. It operates as a standalone app, a plug-in (VST 2.4 -VST 3.0, Audio Units, RTAS), as well as in supported notation programs. Two additional versions will be available: Standard ($199) has an under the lid perspective and a classic perspective, while Basic ($99) is a downloadable “lite” edition for students and educators. GLYPH TECHNOLOGIESlivefrom.musicplayer.com/clip.aspx?key=ED211F7C6C9E6B81&ctx=feat The latest generation of PortaGig 800 hard drives are ideal for mobile recording or for storing large sample libraries for instruments such as Synthogy Ivory, Eastwest Goliath, or Vienna Instruments for playing live. Internally, they feature Seagate SATA II drives; on the tiny little case are dual FireWire 800 ports, mini-USB (make sure you connect to a USB2.0 port), and a jack for an optional AC adapter, in case you don’t want to use FireWire bus power. Capacities range from 120GB to 250GB at 5400rpm, or if you wan’t a desktop-speed 7200rpm drive (highly recommended for large track counts), 80GB to 200GB. Prices range from approximately $300 to $600. HAMMONDlivefrom.musicplayer.com/clip.aspx?key=E014C15EADACD233&ctx=feat Jazz organ great Tony Monaco spent most of the show throwing down righteous riffs at the Hammond booth, on the new XK-3c organ ($2,999), which improves upon the respected XK-3 (see the “Clonewheel Heaven” roundup in our Nov. ’04 issue) with features B-3 enthusiasts want. As on a real Hammond B-3, you now get separate vibrato/chorus toggles for the upper and lower manual parts. The Leslie and vibrato/chorus emulations have been audibly improved. MIDI controller features are expanded, with six assignable knobs and buttons on the front panel, and an enhanced dual-tube output stage delivers everything from subtle warmth to Deep Purple grunge. Like the previous XK-3, it fits on top of the lower manual assembly of the Pro-XK or Traditional-XK system, creating a dual-manual virtual B-3 (with optional full pedalboard) that one person can easily strike and transport. Guitar greats such as Jimi Hendrix, Stevie Ray Vaughn, and David Gilmour often played through passive Leslie speakers, which they put downstream of their favorite amp heads, to create modulation you just couldn’t get from effects pedals. The Leslie G37 ($1,095) is the first Leslie you can plug a guitar directly into, featuring a 100W solid-state amp with tube preamp. It has real treble and bass rotors, and its unique speed control pedal gives you not just the usual two speeds, but a continuously variable range between them. Prefer your own amp head? The Leslie G27 ($995) is identical to the G37, only without the amp. IK MULTIMEDIAlivefrom.musicplayer.com/clip.aspx?key=886B04253A0DE0F8&ctx=feat The highly-anticipated Stomp I/O guitar audio interface and pedalboard controller ($1,099) is finally shipping, and not all by its lonesome, either. Included is Amplitube X-Gear, a new software shell-host that lets you mix and match models from all “Powered by AmpliTube” products, and provides control over every parameter directly from the Stomp I/O, with no need for your mouse, keyboard or screen. Advanced Room Correction ($699) is also now shipping. Based on technology from boutique home hi-fi developer Audyssey, it helps you get better mixes by compensating for the one thing many home-based musicians aren’t in a position to alter: the room itself. You take a picture of your room’s acoustics using the included measurement mic; a software “wizard” guides you painlessly through this process. Then, the program surgically applies EQ so that you hear a flat frequency response in spite of all the ways in which your room might . . . uh, suck. This means your mixing decisions will better translate to listening systems outside your studio. ILIOlivefrom.musicplayer.com/clip.aspx?key=E571C1B3852764CB&ctx=feat
IZOTOPEIzotope’s big announcement was that its acclaimed audio restoration suite RX ($349) is now available in plug-in versions for use within every major Mac and Windows DAW. Formerly, it had been a standalone program only. Plug-ins and standalone app alike will ship as a bundle for the same price — the boxed version is distributed in the U.S. by M-Audio, or you can download directly from Izotope’s web site. RX Advanced ($1,199) adds professional delivery-oriented features such as 64-bit dithering and sample rate conversion, as well as deeper “expert” manual modes. JBL PROFESSIONALlivefrom.musicplayer.com/clip.aspx?key=43C32711F9E25AE9&ctx=feat In studio monitors, JBL’s (www.jblpro.com) product line hasn’t changed since last year, but they’ve added the RMC Room Mode Correction system ($TBD, shown with LSR-4300 series active monitor) to tune speakers to make up for acoustic imperfections in your room. Companies such as IK Multimedia have also released software designed to do this with any speakers, but JBL’s proprietary system is optimized for JBL speakers. In the “Live From NAMM” photo, tech editor Steve Fortner is holding up a two-way, 8" main speaker module from the new VRX Vertec series, a portable, scalable line array system featuring internal Crown amps and daisy-chainable AC and Speakon connections. If you’re responsible for the live sound of a regional band that does lots of corporate gigs, these are the first line arrays we’ve seen that you can really manage without deep pockets and a crew of burly dudes. KETRONwww.youtube.com/watch?v=EIC8NOqUu4w&feature=related Ketron is a small Italian company that focuses on arranger keyboards for solo entertainers. The SD-5 keyboard (in our April ’07 arranger roundup), Midjay multi-purpose module (reviewed Sept. ’07), and SD-2 sound module (to be reviewed April ’08) put them on our radar. What stole the show at NAMM, though, was the Audya ($TBA), a high-end arranger workstation that we think will give the big Japanese models some serious competition. One of its most notable features is its rhythms: Instead of MIDI patterns playing individual sampled sounds (as is the case on every other arranger keyboard), it uses actual audio phrases, with time-stretching technology under MIDI tempo control. Other big plusses include an internal 40GB hard drive and onboard mixdown directly to MP3 format, but this list barely scratches the surface. Watch Keyboard’s pages for a full review as soon as we get our hands on one. KORGlivefrom.musicplayer.com/clip.aspx?key=B19CE9544FDDAA89&ctx=feat The Keyboard crew couldn’t get its collective hands off the brand-new Kaossilator ($249.95). It’s a complete synthesizer and loop recorder in Kaoss pad’s clothing. Move your finger around the touchpad to play rhythm loops or pitched instrument sounds (according to any of 30 preset internal scales), then hold the record button to lay down up to two bars of the resulting action. You can stack up as many loops as you want, and with a little practice, we found we could nail single notes accurately on the touchpad. It’s so much more fun than you’d initially think, even for advanced keyboardists. So you trained at Julliard? Pick one up — we dare ya — and see if you can put it down. Korg is also doing “limited edition” runs of the MicroKorg and X50 synthesizers. The MicroKorg-BK ($550) features reverse-color keys, and the X50-CF ($950) sports a military camouflage look. KURZWEILlivefrom.musicplayer.com/clip.aspx?key=5852C662C97F82AA&ctx=feat It may have been announced at 2007’s NAMM show, but in 2008, we got to see and hear a lot more of the PC3X ($3,300), now in a retail-ready state. Tech editor Stephen Fortner spent a bunch of time on this synth-workstation-meets-stage-piano, and couldn’t believe how good it sounded. Almost every sound program makes you want to play or quote some song you know. In addition to all the sample-based sounds, which include some amazing acoustic pianos, vintage keys, and orchestral sounds, it has the complete VAST synthesis engine from the K series. An upgrade effectively adds the entire guts of the VA-1 — a killer virtual analog synth that Samick killed off during their abortive attempt to own Kurzweil parent Young Chang in 2005. Like on most Kurzweils, “X” in the name denotes 88 weighted keys, so there’s a 76-key semi-weighted model, simply called the PC3. L. L. ELECTRONICSlivefrom.musicplayer.com/clip.aspx?key=25211C1DA6D07E63&ctx=feat Eric Barbour of Metasonix makes some crazy analog synths and effects pedals out of vacuum tubes, and always shows off his incredible wares at retailer/distributor Big City Music’s booth. He also showed us the Rozzbox One V2 ($1,950) from German synth boutique L. L. Electronics. This five-voice polyphonic synth has four digital oscillators per voice, plus two independent filters per voice. You get three filter types, and most notably, one of the analog types goes through a circuit built entirely out of vacuum tubes. M-AUDIOlivefrom.musicplayer.com/clip.aspx?key=A9A764E439E27596&ctx=feat You probably know that M-Audio makes everything from MIDI controllers to studio monitors to computer recording interfaces to mics. Their philosophy, though, is the same across everything they produce: Make stuff that’s way better than it should be for the price, to turn people on to creating music. With the Evolution digital pianos line, that ideal has found its way into a new area for the company: home digital pianos. Check out the NAMM video accompanying this paragraph for details. In more familiar territory, the ProFire 2626 ($899.95) is M-Audio’s latest flagship interface. It records at up to 192kHz and features eight analog inputs on XLR/TRS combo jacks along with 1/4" guitar inputs on the front panel for channels 1 and 2. You also get eight balanced 1/4" analog outs, and 16 channels of lightpipe I/O, plus 1x1 MIDI, stereo S/PDIF, and word clock. MACKIElivefrom.musicplayer.com/clip.aspx?key=C2E79BAB32EE96F7&ctx=feat Has it really been ten years since Mackie launched the SRM450 powered speaker? On how many gigs have we used one or two with a compact mixer as a take-no-prisoners keyboard amp . . . or as the entire PA? Too many to count — they raised the bar for what you could expect from a speaker one person can carry. With the SRM450v2 ($899.99 each), Mackie raises it again. New EAW drivers and amp technology make it smoother and punchier than its predecessor, and best of all for weekend warriors, it’s 11 pounds lighter. Of course, it has a little brother: the 10"-woofered SRM350v2 ($699.99 each). Speaking of compact mixers, two new, ultra-compact entries in Mackie’s household-name VLZ3 series are the 402-VLZ3 ($129.99) and 802-VLZ3 ($259.99). The 402 has two XLR mic inputs and one stereo channel with balanced 1/4" jacks; the 802 ups that to three mic inputs and two stereo line-level channels. Hmm . . . that’s perfect for two synths in stereo plus the traditional three mics on a Leslie. Named for their woofer size, the MR-5 ($199.99 each) and MR-8 ($329.99 each) studio monitors aim to bring the high quality of Mackie’s acclaimed HR series in at a lower price point. McDSPlivefrom.musicplayer.com/clip.aspx?key=6FA49F2371629E28&ctx=feat Those purveryors of fine filters at McDSP are adding three new plug-ins to their industry-standard Emerald Pack (visit www.mcdsp.com for pricing structure). FutzBox emulates the sonic characteristics of devices such as analog telephones, digital telephones, cellphones, radios, and televisions, and everything is adjustable via a very cool and understandable interface. The NF575 noise filter offers five notch filters that are harmonically linkable, which makes it a powerful tool for combating hum, rumble, and hiss. The DE555 de-esser has a variety of automatic and manual options for eliminating sibilance while preserving dialog. MODARTTSince we first reviewed it in the June ’07 issue, the physically-modeled Pianoteq virtual grand piano (€249; approx. US$360) has added a number of specific piano expansion packs, may of rare European grands. Most recently, a model of the Yamaha CP-80 electric grand piano has been released for Pianoteq. If you think large sample libraries are needed to produce a convincing, playable, detailed grand piano sound, Pianoteq will alter your view. It uses no sampling whatsoever. MOOG MUSIClivefrom.musicplayer.com/clip.aspx?key=2DD7FC091D2FE9F8&ctx=feat When does “OS” not stand for “operating system?” When it means “old school,” as in the Voyager Old School ($2,595). Poetically enough, this all-analog mono monster don’t need no steenkin’ operating system. Other than having stereo outputs, it’s essentially a brand new Minimoog model D, and is aimed at those who don’t want their analog synth polluted by even the minimal amount of digital stuff involved in MIDI and preset memory. We got to play it, and yes, we think that while both it and the “regular” Minimoog Voyager are true to the original, the Voyager OS does sound a little more like a vintage Mini. In our “Live from NAMM” video clip is the MP-201 Multi-Pedal ($499), a four-channel, programmable control pedal that puts out analog control voltage as well as MIDI controller messages. Each of its four output channels also has a fully-adjustable LFO, with which you can further modulate destinations such as Moogerfooger effect pedals, synths with CV or MIDI inputs, or even your laptop if you add a USB MIDI interface. MOTION SOUNDlivefrom.musicplayer.com/clip.aspx?key=0F7182594F966BFD&ctx=feat The new Motion Sound MS360 speakers have treble horns and bass speakers, but nothing rotates. Instead, they’re designed to work with the rotary effect in the new Diversi clonewheel organs. Wanna hear Joey DeFrancesco play it? Click the “Live from NAMM” link. The MS360 comes in three power levels: 100W ($1,299, a small cabinet that looks like an end table for a living room set), 200W ($1,795) and 500W ($TBA); the latter two are the size of a Leslie and look like they’re built for the road. MOTUlivefrom.musicplayer.com/clip.aspx?key=6849268B62F38F28&ctx=feat Digital Performer is the DAW that’s made many a film composing career, not to mention the one that most touring pros reach for to run arena shows. We’ve been backstage at Mariah Carey, Madonna, Billy Joel, Justin Timberlake, and tons of others, and there’s always a DP rig running the backing tracks, time code for motion control of lights and moving stage props, and a bunch of the soft synths. DP6 ($795) is a major new upgrade that makes us wonder if the MOTU people ever sleep. DP6’s interface is flatter-looking and easier to see, and new “inspector” windows (floating or not) give important info about whatever object is currently selected. The most dramatic enhancements are in the area of comping: assembling bits of different tracks to create the ideal vocal or instrument take. You can view all takes side-by-side, and selection of non-contiguous regions is quick and not at all fiddly — the process is really as good as, or better than, any multitrack app we’ve seen. There are also new commands to “explode” all takes into individual tracks, or “collapse” separate tracks into takes. In the effects department, there’s a new convolution reverb plug-in called ProVerb, and a spot-on recreation of the Teletronix LA-2A optical limiter. Audio file handling now includes native support for Sound Designer II, Broadcast WAV, AIFF, interleaved, and floating-point files. Final Cut Pro folks will appreciate DP6’s XML format session interchange with Apple’s video editing program. Neither last nor least (there are a lot more new features than we have room to list), you’ll be able to run more soft instruments in DP6, thanks to the fact that the program now pre-renders instrument tracks before playback begins. This isn’t “freezing” — it’s a far more transparent process. Speaking of soft instruments, MOTU also released a massive 40GB collection of virtual vintage keyboards called Electric Keys ($295). Running on the UVI sample engine, it covers 50 instruments, including Rhodes, Wurly, Hammond organ, Mellotron, Clavinet, Italian transistor organs such as the Farfisa, and a few rare models known to serious keyboard geeks. Ever wish for an RMI Keyboard Computer soft synth? Wish no more. MOTU’s hardware designers were in the insomnia club, too. The 828mk3 ($795) boasts 10x10 analog I/O at up to 192kHz, plus two banks of ADAT lightpipe that can go up to 96kHz. What sets it apart, though, is the new internal DSP stuff. You’ve probably heard of MOTU’s CueMix DSP, the software console that comes with every MOTU interface and lets you set up monitor mixes that have no latency because they’re being handled by the interface box itself, not going “all the way” through the computer. The 828mk3 takes a major leap forward from there — it adds effects to the equation. Yes, the unit itself runs the effects. Yes, you can track through them. Yes, you can give that picky singer just the right amount of sweet reverb in her headphones while printing a dry signal to hard disk. No, there’s no latency. Of course, the 828mk3 can also work as a standalone digital mixer and A-to-D converter. MUSE RESEARCHlivefrom.musicplayer.com/clip.aspx?key=44ECF3E13C6AB9B0 Muse Research Announces Antares Software Support, the Komplete 5 edition, and a ton of new comppatible plug-ins. Muse Research, Inc. has announced that their highly versatile Receptor is now running the entire line of Antares Audio Technologies' vocal and instrument processing software. Antares Technologies software is well known for its Auto-Tune pitch correction software, and the Receptor now runs Auto-Tune 5, along with the AVOX collection of vocal processing plug-ins that includes THROAT, DUO, CHOIR, PUNCH, and SYBIL. In addition, the new Antares Harmony Engine Vocal Modeling Harmony Generator, which features four independently controllable formant-correct voices, runs on the Receptor as well. Receptor with Native Instruments Komplete 5 inside is a special configuration of the Receptor hardware plug-in player with Native Instrument’s Komplete 5 pre-installed, pre-authorized, and ready to make music. Receptor is the platform of choice for many of the world’s biggest bands and artists, and Komplete 5 is the “go to” collection of virtual instruments and effects software. When the two are combined, you achieve a remarkable synergy that combines amazing sonic power in a robust and portable package. Receptor with Komplete 5 Inside is available immediately through authorized Muse Research dealers and has a list price of $2,499. Muse now has a new technology that allows you to install Windows VST plug-ins on your Receptor hardware plug-in player without requiring any additional files or preparation. Receptor previously required installer files provided by Muse Research. Muse Research’s new Direct Install technology will let you install software using just the installation program that comes with the virtual instrument or effect itself, vastly expanding the range of software that you can run on the platform. Receptor is well known as a versatile product that performs equally well as a sampler/synth/sound module, a guitar/bass/vocal processor, or as a drum module. The Receptor now has new software that supports all of these configurations, including BFD 2.0 from FXpansion including new expander packs, Addictive Drums from XLN Audio, TimewARP 2600 and KickAxe from WayOutWare, StudioDevil from Gallo Engineering, the SyntAX Vir2 instrument from Big Fish Audio, Pianoteq version 2.2.2 from Modartt, Virtual String Machine (VSM) from G-Media, and the comprehensive Total Effects Bundle collection from IK Multimedia which includes Amplitube 2, T-Racks, Ampeg SVX and Classic Studio Reverb. Learn more about Receptor by visiting www.museresearch.com sending email to info@museresearch.com or by calling (650) 326- 5400. For more information about the Antares range of vocal processing software visit www.antarestech.com. NATIVE INSTRUMENTSlivefrom.musicplayer.com/clip.aspx?key=10776CD86EF3E2F7&ctx=feat We enjoyed a thorough tour of Native’s Kore 2 “Universal Sound Platform” ($495), originally previewed in our Aug. ’07 “New Gear” spread. It combines 500 new sounds drawn from NI’s best plug-ins, including Absynth, Massive, and Reaktor, and the slimmer hardware controller ditches the old Kore’s audio interface abilities in favor of seamless integration with the software. Check out the accompanying video for a demo from NI’s Josh Fielstra. New at NAMM was Kore Player, a FREE piece of software that includes a solid library of great, usable Kore sounds taken from NI’s Komplete package. You can also expand it with paid-for sound packs. The target customer is anyone who doesn’t need the sound design features of the full, editable NI software instruments, but just wants to play the heck out of 'em. Click here for Josh’s video demo of Kore Player. NOVATIONlivefrom.musicplayer.com/clip.aspx?key=E7332CCEB7C0919C&ctx=feat Designed for personal recording, the Nio 2/4 audio interface ($299.99) features an XLR mic input and a 1/4" high-impedance guitar input, MIDI in and out, and uses RCA jacks for the line-level ins and outs, for compatibility with home theater and hi-fi equipment. What makes it special, though is the included FX Rack: Amp and pedal modeling from Overloud; EQ, compression, gating, and reverb from Focusrite; and filter, chorus, delay, phaser, and tremolo from Novation. Thanks to the Nio’s ultra-low-latency drivers, you can jam in real time with up to four of these effects at once. Our “Live from NAMM” photo shows Novation’s new DJ crossfader controller, the Nocturn ($199.99). Despite being the most affordable Novation controller ever, it makes full use of their Automap Universal technology for seamless integration with your DAW. A semi-transparent window you can open in your DAW shows you what all the knobs are doing at any given moment. OLYMPUSlivefrom.musicplayer.com/clip.aspx?key=BD6B352C8432BE61 Though Olympus is associated with digital voice recorders for journalists and business people, their new LS-10 ($399.99) is far more musical, jumping into the stereo recorder fray with a lot for the price: Built-in X-Y mics, recording at up to 24 bits and 96kHz (as well as directly to MP3 format), 2GB of internal flash memory plus an SD card slot, and even built-in stereo playback speakers. With batteries, it weighs a hair over five ounces. OVERLOUDlivefrom.musicplayer.com/clip.aspx?key=60E15B0C705A3715&ctx=feat Distributed in the U.S. by Ilio, Overloud debuted Breverb, an algorithm-based reverb designed to re-create the sounds of sought-after vintage hardware reverbs, with remarkably low CPU usage. NAMM was also our first glimpse of TH-1 ($TBA), which looks like it’s going to be a guitar amp- and stompbox-modeling powerhouse. Notable is the ability to morph between amp models, stopping halfway between to create a hybrid if you want to. P5 AUDIOJudging from the never-out-of-date sound of their hip-hop, R&B, and electronica loops, not to mention the huge variety of formats they support, you’d think P5 Audio was a seasoned industry veteran — not the relative newcomer to the loopware scene that they are. They offer downloadable beats and construction kits, but most remarkable are what they call “Liberator” live drum loops. These are audio file sets with all the drums broken out onto separate tracks (kick, snare, overheads, etc.) for processing in your favorite DAW. This definitely ain’t your father’s loopware. There’s a completeness about P5’s tool sets that really lets producers get from idea to finished product more quickly. Keep an eye on these cats. PEAVEYlivefrom.musicplayer.com/clip.aspx?key=5C4AD33467A16D8B&ctx=feat One of the hits of the show, Peavey's new ReValver mkIII amp modeling software ($299, Mac/PC) sounds great, and has a ton of cool amp models . . . and not just Peavey amps, either! But what really kicks butt is that by clicking on a small button on the amp faces, it takes you directly into . . . the mind of Hartley Peavey! Behind the slick graphic interface is the most insanely detailed amp design program imaginable. You pick the tubes, you design the cabinet, you spec out the transformer, you choose the signal flow, and presto — you might have the best-sounding virtual amp ever! Or you may have created nothing but horrible noise. It takes a bit of study to get the hang of this, since all of the virtual tubes and circuits behave exactly as their real counterparts do. The only thing you don't have to worry about is soldering! PERCUSSAlivefrom.musicplayer.com/clip.aspx?key=8385FB2D2C66D0DB&ctx=feat The Audio Cubes (pair, $599; set of four, $999) are just too freakin’ cool. They’re MIDI controllers. They’re audio processors. They can switch loops in Ableton Live (or your program of choice), sweep filters, or do just about anything else, based on their proximity to each other and to the surface they rest on. Look, just watch the “Live from NAMM” clip — this is one product it’s way easier to show than to tell about! PLANET WAVESlivefrom.musicplayer.com/clip.aspx?key=368448676DA02CAF&ctx=feat This is one of those things that makes you mad at yourself for not thinking of it first. Planet Waves’ new Modular Snake System ($59.99-$159.99, depending on components and length) uses a core cable in 5', 10', or 25' lengths to carry up to eight channels of balanced audio. Then, you pop breakout fans of whatever kind of connectors you need onto the DB25 jacks on either end. The applications for general PA work are endless, but think of the “spaghetti control” this could bring to a larger keyboard rig. PLATINUM SAMPLESJoe Barresi Evil Drums ($249.95) is the latest in the “Master Engineer” line of expansion packs for FXpansion BFD. Barresi is renowned for engineering and producing heavy rock, and this extensive collection of head-bangin’ drums was recorded onto Studer analog tape machines through analog consoles. PRESONUSlivefrom.musicplayer.com/clip.aspx?key=8BF2D6BFC8CACD0C&ctx=feat Maybe it’s that their home state of Louisiana loves music so much, but PreSonus continually delivers recording products that not only sound much more expensive than they are, but are built like it, too. The brand new Monitor Station ($349.95) is “listening command” for your desktop or mixerless studio. It provides talkback, speaker switching, input source switching, and four headphone outputs with separate volume controls. You can listen to your mixes on different speakers (with and without subwoofer), compare your mixes to your favorite CD’s and vinyl, check how it sounds in mono, and send a cue mix to the four headphone amps while the main mix goes to your speakers. Scheduled to arrive in spring ’08, the FireStudio Tube ($999) is PreSonus’ latest 24-bit/96kHz computer recording interface (Mac/PC). It features eight class A mic preamps, two of which also have instrument inputs and whose XLR/TRS combo jacks are on the front panel. To sweeten the pot, it ships with PreSonus’ ProPak software bundle, plus Steinberg Cubase LE. Newest in the DigiMax line of multi-channel preamps with ADAT lightpipe out is the DigiMax D8 ($499), which has eight class-A mic pres, plus eight direct analog outs in addition to lightpipe. This makes it perfect for live recording, as you can route the lightpipe into your main recording interface and the direct outs to the PA console. Need a super-compact, USB bus-powered audio interface, but with two killer mic preamps? PreSonus does super-compact really well, and the AudioBox USB ($199) also ships with the ProPak suite and Cubase LE. Just add computer, and start making music. PRIMACOUSTIClivefrom.musicplayer.com/clip.aspx?key=28D4FE4C2C22FE2B&ctx=feat Our “live from NAMM” photo shows Radial president Peter Janis holding up the new Radia |
