Your intrepid InSync Team ventures further into the heart of the NAMM Show to bring you advanced word on some of the great new gear that will shape the future of professional music. As always, the NAMM Report isn’t intended to cover every single thing unveiled at the show, nor is it guaranteed to be 100% accurate as far as technical specifics; some manufacturers are still tweaking and finalizing their new releases. We gathered all we could from the things that caught our eye. So, on with the show. . .
How do you make a super synthesizer even more super? Ask Korg. They unleashed the Triton Studio, an even more powerful version of their amazing Triton synthesizer. New features include processor speeds up to 6x faster than the previous Tritons (which were pretty darn speedy in the first place), with a touch screen interface as responsive as you could ever want. It also offers complete sampling functionality, with the ability to pull samples from just about anywhere, including the program, combination, or sequencing modes of the unit, as well as from the external inputs and the optional CDRW-1 CD drive. The synth comes in 61 ($3,400), 76 ($3,800) and 88 ($4,200) key versions – the 61 and 76 key models offer synth action, while the 88 key is weighted. A unique weighting scheme for the 88-note version provides graduated weighting as you move down the keyboard, similar to the action on a real piano. Other features include a 5 GB hard drive, a 6 channel ADAT Output connector, 6 channel support for the new mLan digital audio/MIDI network, and room for 96mb of Sample Ram. You can add up to 7 PCM Expansion boards (16mb each). Options? The Triton Studio offers plenty of options, like the aforementioned optional CD Recorder, and a 6-voice MOSS Synthesis Engine. There’s a lot more to tell you about the Triton Studio than we have room for here, but you’ll get the full story very, very soon.
In case you haven’t noticed, we at Sweetwater are real microphone nuts. Honestly, we love them. So for us the Shure brand new ULX Series Wireless Mic System was a showstopper. Available in Standard and Professional packages, the ULX Series is a fit for just about any application. If you’ve ever used a wireless mic system and were disappointed due to interference, Shure’s latest is an excellent choice. The ULX Series utilizes a technology called Automatic Frequency Selection (AFS), standard on both frequency agile UHF receivers. AFS scans open frequencies and takes you there instantly. Frequency jamming due to increasing wireless traffic will never be a problem again.
Not to be outshone in the wireless arena, AKG was showing off their MP40 mic, which easily ranks as one of the coolest things we saw all day. This microphone is about the size of a cigar, making for discrete placement an inconspicuous delivery of a speech signal to any sound system. The MP40 has an integrated, detachable lavalier with cable and attachment clip. The lavalier is inside the transmitter; an integrated antenna and allows for input gain control. Operation is via a single, inexpensive AAA battery, or you can opt for the rechargeable base station for extensive flexibility.
The MP40 is part of a new series of mics by AKG called the WMS40 Microtools Series. The series includes similarly compact options for instrument and handheld applications. E’ll be bringing you more on these exciting new mics as soon as we know more, so keep an eye on InSync in the coming weeks for more on the WMS40 Microtools Series.
Marantz was showing off their new PSD300, an excellent portable CD recorder designed for the performing arts industry. The PSD300 is unique in that it is a CD-RW recording system with a separate CD-R/W player with realtime manipulation controls. It’s a fantastic rehearsal and practice tool. Did you ever want to change your favorite song by a half step? Or slow it down a bit without changing key? The PSD-300 can do it, as well as allow you to create A-B practice loops or tone down your lead vocals. Other features include a built-in microphone and speaker, stereo XLR & 1/4″ mic/line inputs, programmable mic/line EQ and filtering, and automatic record level control.
Our friends at Mackie were boasting some impressive new hardware at their booth. First up is the SDR24/96 hard disk recorder, an affordable addition to their line of powerful standalone hard disk recorders. Ready to go right out of the box with 24 channels of analog I/O, the SDR24/96 includes a built-in 20GB internal hard drive for up to 90 minutes of 24-track recording time, 12-channel 24-bit recording at 96kHz, non-destructive cut/copy/paste editing controls, and a 9-pin serial control.
Mackie is following up their HR824 active monitor with the HR624. This 6-inch, 2-way active near field monitor could be described as a more compact version of its predecessor, delivering a very similar performance to the HR824. Like its bigger cousin, the HR624 utilizes passive transducers (not porting) for amplification, delivering an amazingly clear, powerful sound. It’s an excellent monitor for rear surround channels or main monitors in your control room.
And speaking of excellent monitoring systems, Mackie has finally unleashed a subwoofer that does justice to the quality of their HR824 and HR624 monitors. It’s called the HRS120, and it delivers a powerful low end punch without sounding muddy or too “boomy.” We heard this thing in action and it’s stunning!
Tune in tomorrow for our next exciting installment of. . . the NAMM Report!