By Michael Summers

The word for this year’s Summer NAMM in Nashville was “hot!” — and we don’t just mean the new equipment. The weather this NAMM weekend combined the elements of a scorching kiln and a steaming swamp. It made checking out Nashville’s vibrant music scene a little taxing for your NAMM Report staff; we often were caught between heat exhaustion and country music, and I now can testify that anyone who claims they would rather endure any manner of excruciating hardship than listen to country music is not speaking from experience. But the Jurassic climate couldn’t dampen our enthusiasm for checking out the great new gear Summer NAMM ’99 had to offer, and there was quite a lot of gold to be found on the vast, air-conditioned floor of the Nashville Convention Center.

We waded through the crowds, poked among the booths, and asked lots of questions – the most oft repeated of which was: “Could you repeat that again? I couldn’t hear you over the noise from the acoustic drum displays.”

Sweetwater’s Summer NAMM ’99 report is a compilation of the most exciting brand new music technology equipment we found, as well as some important upgrades, progress reports on up-coming gear, and a few hidden gems we thought you should know about. Please keep in mind that this is not intended as a complete listing of all new or relevant products debuted at this NAMM show, nor is all of the information here guaranteed to be 100% correct. In many cases, manufacturers are still solidifying things like price, availability, and features. We gathered all we could from the things that caught our eye. We hope you enjoy this first sneak preview. A full report is available on our Web site. All prices quoted are retail.

AARDVARK. The makers of some of the world’s finest sync devices have released the Aark DirectPro ($645). It’s a direct-to-PC studio interface box with 24-bit shielded converters. It features very nice software-based digital signal routing and onboard no-latency, real time DSP effects that can be routed to monitor only, record tracks, or route to external paths. Effects include reverb, EQ, dynamics, etc. The Direct Pro also comes with Aardvark’s usual low-jitter clock. They claim this box does away with the need for analog mixers and outboard effects and it got great reviews from your NAMM Report staff.

ALESIS. Generating the most interest from recording professionals was their new MasterLink ML9600 ($1,699), a high-resolution Master Disk Recorder that combines hard disk recording, digital signal processing, mastering and CD creation in one device. They assert that, at its price point, it effectively replaces DAT machines and CD Recorders. But the really remarkable thing about MasterLink is Alesis’ patent-pending CD24 technology. This means that MasterLink is the world’s first system capable of producing CDs that record and play with up to 24-bit, 96kHz resolution. The MasterLink doesn’t require special, expensive CD-Rs; it works with the same CD-Rs you use right now. Future upgrades for the MasterLink can be uploaded as they become available via the internal CD-R drive. If you own a recording facility of any size the MasterLink is something you should definitely look into. There were also a few new additions to Alesis’ excellent GT line of microphones. The AM30 ($499) and the AM40 ($799) Slimline Condenser microphones are designed for close-miking acoustic or amplified instruments, and can be used in both live and studio work. The AM30 uses high quality, low noise Class-A FET circuitry, while the AM40 is one of the only mics that uses tube technology in a front-addressed slimline condenser. Another new GT microphone, the AM11 ($399) is a large diaphragm studio condenser made for recording vocals. The sound and performance of the AM11 are definitely up to professional standards, and it’s surprisingly affordable.

Several manufacturers weighed in with electronic drum kits this year, though if the thundering from the acoustic manufacturers’ booths is anything to go by, the electronic sets are still some ways away from becoming the dominant drum life-form. The Alesis DM Pro Kit ($2,599) combines the authenticity and variety of sound found in their DM Pro drum machine with a great-feeling drum pad set. It’s a full package that includes the Drum Module, snare pad, tom pads, cymbal pads, beater kick drum (can be used with almost any pedal) high-hat pedal, cables, drum rack and module mount. The pads and triggers have very good sensitivity and response. As far as sounds go, there are total of 1,664 sounds in the DM Pro Drum Module, with a PCMCIA-format card slot in the expandable drum module for adding more sounds. Another cool thing about the DM Pro Kit: the cymbals are mounted on springs, so there’s a little give when they’re struck, like a real cymbal. Finally, the DG8 64-voice Expandable Digital Grand Piano ($2,499) held a prominent position in the Alesis booth, and for good reason. The sound was gorgeous, and the keyboard, with 88 velocity sensitive, hammer-action style weighted keys, was extremely playable. Inside the DG8 are some of the most high-quality stereo piano sounds we’ve heard, and if the sounds stopped at the pianos it still would have been a pretty amazing instrument. But there are a total of 88 preset programs in the DG8, all of which can take your breath away. With 24 megabytes of sound ROM onboard, there are very few other digital pianos or synths that can match the DG8 for quality and performance. It’s also expandable. Easily one of the most impressive instruments we saw this year.

ARMOURED CABLE. In the “why didn’t we think of that” department comes Armoured Cable. Also distributed by Samson, they make instrument cable that’s . . . well, armoured (armored?). The wires are covered by the same flexible, stainless steel outer jacket that you’ll find, still intact, in vandalized pay phones everywhere. In fact, we’re told that’s where the idea came from. The wires on the inside are George Ls, a time-tested brand that offers great, dependable performance and low noise. ASHDOWN. Distributed in the US by HHB, this company makes some funky, retro-looking bass amps with high-tech innards. The ABM (that’s Ashland Bass Magnifiers) Series of heads, cabinets and combos deliver a full, fat, mud-free bass sound while offering bass players the control they need. They also have two Acoustic Radiator cabinets that sport a cool '50s design while delivering the kind of modern clarity and tone any '50s guitar slinger would have killed for. This gear has such a distinctive look that it’s tempting to get a little suspicious about the quality of the stuff inside, but you should — Continued from Previous Page
definitely try them out. You just might be surprised.

AUDIO-TECHNICA had a fine new large diaphragm condenser microphone, the AT-4047 SV ($635), which deserves to take its place among the best of Audio-Technica’s recording mics. It features transformer coupled output and a specially tuned element. The AT-4047 SV is designed to deliver sonic characteristics similar to old FET studio microphones, and it does, bringing out all the nuance and subtleties of quieter, more textured sounds that are sometimes difficult to capture during recording.

BOSS. We saw a great demo of the PS-5 Super Shifter ($249), their new guitar effects pedal. In this one pedal you get an arsenal of great pitch shifting and tremolo effects, including “intelligent,” key-specific pitch shifting of single notes using simple Pitch and Key knobs with scale display, and more. With the PS-5 you can stretch and contort your guitar strings to your heart’s content, coming out with the most hellacious sounds imaginable, and your guitar doesn’t go out of tune!

BROWNSVILLE. Named after a neighborhood in Brooklyn and distributed by Samson, Brownsville makes electric guitars that will have you smokin’ in any room. The Choirboy ($439) is a slim, hollow body guitar with a bound body, three single-coil pickups, and a five-way position switch. Its F-hole gives it a unique sound that mixes grit and chime. It comes in three colors: Sea Foam, Burgundy Mist, and Midnight Black. The Thug ($369) is a flashier proposition. It’s also a hollow body, with two single-coil pickups and a three-way position switch. You have a choice of three “sparkle” finishes: Red, Laser Blue, and Silver. Both the Thug and the Choirboy are very lightweight and feature an adjustable bridge and truss rod.

CAKEWALK. Their Guitar Studio 2 ($249) Multitrack recording software looks very good, and more than lives up to Cakewalk’s promise to create a program that specifically addresses the needs of guitarists. Guitar Studio 2 now works with any type of guitar, providing you with up to 16 tracks of audio along with MIDI, and up to 16 simultaneous, realtime audio effects. The Session Drummer plug-in is included so you can create exciting, professional drum tracks. Also just out is Metro 5 ($249), Cakewalk’s complete Multitrack Mac Recording Studio. It features up to 64 tracks of audio along with MIDI, and provides all the tools you need for producing fully professional audio recordings, composing and recording songs, and even syncing to film, video and QuickTime movies. They were also showing the GrooveMaker ($55), a DJ / dance-styled digital audio tool with an eye-catching graphics layout: Circular rather than the usual display configuration. You can call up random effects, and the beats and sounds are all license free, so you can use them where you will.

DIGIDESIGN. Great stuff! See this issue’s cover story.

HARTKE. After changing the face of bass with their spectacular amplifiers, Hartke is bringing their expertise with the low end into some new areas – the bass itself! Their series of 4 and 5 string basses are sure to be greeted with enthusiasm by bass players everywhere. Sound-wise and performance-wise, these instruments offer the excellence and playing ease bass players have been looking for. They sound as good on the high end as they do on the low: Precise, driving, and powerful. Their top-of-the-line XL Basses include the XL-4 four-string ($2,399) and the XL-5 five-string ($TBA). These handcrafted guitars feature a patented chrome headstock and EMG P-J active pickups w/preamp. Next up are the XK-4 ($999.99) and the XK-5 ($TBA), with a poplar body, P-J pickups and that patented chrome plated headstock. Finally, there are the AK-4 ($499.99) and the AK-5 ($569.99), featuring a contoured Basswood body, two active “soap bar” pickups and 2-band active EQ. Believe it or not, Hartke is also coming out with a series of amplifiers for acoustic guitar. The AG30 ($279.99) and the AG15 ($199.99) promise to do for acoustic guitars what Hartke has already done for basses.

KAWAI. Their MP9000 Professional Stage Piano ($1,317 or $1,442 w/case) boasts Enhanced AWA Grand Action, which means its 88 wooden keys operate a series of hammers that are perfectly balanced and weighted to recreate the feel of an authentic Grand Piano. The MP9000 also serves as a full function MIDI controller, with two Internal Zones and two External MIDI zones combined to create one of 64 performance setups. You can chain up to 16 setups for instant access using Link Mode.

KORG. Their new OASYS CPI audio card ($2,399) ranks as one of the most unique things we saw at this year’s Summer NAMM. It integrates top-of-the-line synthesis, effects processing, and computer audio I/O. The sounds are great, especially the organ tone modeler. OASYS also features 24-bit processing, open architecture, 100 effects, and MIDI syncable LFOs. The Mac version will be out in a few months, the version for other systems following soon after. Korg also showed off the D16 ($2,399), a 16-track, all-in-one digital recorder, mixer and effects machine. It’s sort of like a bigger, improved version of their popular D8, with fantastic performance, convenience, and the versatility every artist looks for in their gear. What impressed us most was Triton, Korg’s very powerful keyboard / workstation / sampler. There are three models, the basic 61-key Triton ($2,700), the 76-key Triton Pro ($3,200), and the 88 weighted action key Triton Pro X ($3,800). They have a very extensive list of capabilities and feature the new HI (Hyper Integrated) synthesis system, which includes 62 voices of unbelievable quality. See Page 11 for more.

LINE 6. They had three cool new Stomp Box Modelers ($289 each) that could easily turn out to be as successful as their incredibly popular POD. The DL4 Delay Modeler features programmable delay and a 14-second loop sampler, with digital modeling of 16 different vintage delay and echo effects. The MM4 Modulation Modeler includes amazing modulation effects like Uni-Vibe, Phase 90, CE-1 Chorus, and many others. Finally, the DM4 Distortion Modeler delivers some very tasty distortion tones that sound every bit as nasty as their names: Fuzz Face, Big Muff, Rat Octavia, and others. All of the boxes have 4 programmable presets; bass, middle and treble controls; true bypass switching; and work with an expression pedal.

MACKIE. Now get this: their 1642 VLZ Pro ($999) has a higher model number than their other VLZ mixers, but it’s less expensive. In fact, this mixer is a streamlined version of their popular 1604VLZ mixer. It’s an excellent solution for home recording, live-sound reinforcement, DJs, permanent installations . . . in short, everything you’ve come to look for from Mackie – a versatile, no-nonsense mixer you can count on for great performance. It features 16 channels – 8 mic/line, 2 mic/stereo line and 2 stereo-line – 4 subs, and Mackie’s XDR professional-grade microphone preamps.

MARSHALL. “A perfect replica of a Marshall Stack – at one-eighth the size.” Well, not quite that small, but even though the sight of the new Micro-Stacks ($399) from Marshall might remind you of the Stonehenge scene from Spinal Tap, there is nothing laughable about their sound. They are indeed tiny Marshall stacks, and by that I mean they are powerful! And in all seriousness, they make a lot more sense in a small venue than the big towers of your guitar god dreams. Check them out. There was also an effects pedal board called Toneworks ($350), a versatile device for live applications. If the demonstration we got was anything to go by, Toneworks is a great tool for guitarists who want to expand what their instrument can do on-stage. It models not only vintage effects from all eras of rock, but vintage heads and cabinets. The distortion effects are labeled by decade rather than type. You can choose from '60s, '70s, '80s, and '90s distortion (think Kinks to Limp Bizkit), as well as a host of other variations from all kinds of genres. It can even create guitar loops and samples. Very cool.

MARTIN. As usual, they were showing some beautiful new acoustics. The SPD12-16R ($2,200) is a 12-string guitar from their 16 Series with a solid East Indian rosewood top, back and sides and a gentle cutaway. The guitar player in search of something a little different from the norm should check out the SP00-16RST ($2,500). It’s called Stauffer and features a 12-fret neck and a headstock designed after the original model from the 1800s. It’s the first Stauffer model from Martin in over 150 years! Martin also had an amazing acoustic bass: The BC-15P ($1,500) boasts a jumbo mahogany top and a deep, rich tone. Like many of Martin’s great looking and sounding guitars, the acoustic bass is based on an earlier 1930s model. Another entry in the “unusual” category is Martin’s Mandolin Backpacker ($289). It has a great sound with a scale length comparable to a standard bluegrass mandolin. Any guitar player looking for a different kind of sound — Continued from Page 4 should give the Backpacker a try. Martin also showed us some special limited edition guitars. There’s the Woody Guthrie 000-18WG commemorative guitar ($3,150), based on the pre-WW2 Martins Guthrie favored and noted for their light, clear tone. Similarly, there’s the D-18GE ($3,500), a distinctive, powerful sounding instrument that takes its inspiration from the Martin guitars made circa 1934 – considered to be some of the finest acoustic stringed instruments ever made. It features Adirondack red spruce for the soundboard and ebony for the fingerboards. In a more modern flavor, there’s the DM3MD ($3,250), which stands for Dave Matthews 3-Piece-Back Martin Dreadnought.

MICROBOARDS. Makers of some of the world’s most trusted CD duplicators, Microboards is developing a device called the StartREC. The specifications haven’t been absolutely finalized yet, but the StartREC Digital Audio Editing System promises to combine Microboards’ well-known success with CD-R duplication with extensive professional editing functions. Studio owners will have access to hard disk editing tools and be able to create up to 4 custom audio CDs simultaneously. It will also be available in a rackmount module configuration – good news to any studio owner who wonders where to put those big duplicator towers.

MOTION SOUND. They were showing a cool keyboard amp, the KT-80 ($499). Weighing in at 25 lbs. and packing 80 watts of power, this seems like an excellent amp for the keyboardist busy moving from gig-to-gig. It has two channels, and you can switch (via an optional foot pedal) between the clean, high-fidelity channel and the warm 12AX7 tube channel. The tube channel gives you a funky, low-down Booker T. type tone – very sweet and meaty.

ROLAND had a plethora of new equipment on display, and there’s some exciting news on the V-Mixing Consoles we’ve been telling you about for a little while now (see cover story). Of course it wouldn’t be Roland without keyboards, and we weren’t disappointed on that score. Their new series of digital pianos, the EP-70 ($895) and the EP-90 ($1,195) feature authentic piano playability, 64-voices, a built-in metronome and a few more surprises you may not expect to find in a digital piano. Also new is the EM-10, a powerful, surprisingly inexpensive ($395) keyboard with 64 styles.

But as exciting as the keyboards and consoles were, there were two things that had us slack-jawed and shaking with gear lust. The first was the latest edition of the incredible V-Drums, the V-Custom Drum Set (basic set: $3,295; module alone: $995). It’s cheating to say "you’ve got to hear it to believe it," but really, the level of realism is remarkable. There are a lot of new sounds (for a total of 1,286!), 800 patterns, 50 songs, and 10 ambient environments, and stunning positional sensitivity in the drum heads. The sound subtly changes depending on where you hit the drum pad, just like a real kit. It’s also less expensive than the previous V-Drums. The second was the VF-1 effects processor ($495) which catches the eye as well as the ear; it’s bright red on the outside, with most of Roland’s extraordinary effects from prior units on the inside. It also has a 24-bit digital output and a direct guitar input.

SAMSON. There was a lot going on at the Samson booth, including their new series of headphones: The RH600 ($69.99), the RH300 ($54.99), and the RH100 ($44.99) are for studio use and feature thin, responsive 40mm diaphragm drivers with special neodymium magnets and different grade transducers for each model. The PH60 ($21.99) is their personal headphone, offering you the kind of great quality usually found in high-end pro audio. They were also showing two high-powered stereo amplifiers, the S2000 ($999.99) and the S1500 ($799.99). At 1,000 watts per side (at four ohms), the S2000 is perfect for live SR and many other PA applications. The S1500 is almost as powerful, capable of delivering 750 or 1,500 watts.

SONY. Their new MDS-JE630 MiniDisc Recorder ($360) is in many respects like the previous 520 – same price, but with more control and access capabilities. It features CD text and custom file transfer, and a PC keyboard input so you can edit your disc and track names. They were also showing two new additions to their popular line of headphones. The MDR-7509 ($250) and the MDR-7505. The MDR-7509 is made for high-quality, professional applications and includes circumaural earcup design, a 50mm driver unit for fantastic sound, and high power handling capacity. The MDR-7505s are excellent monitor headphones for DJs and remix use. And speaking of DJs, Sony also announced a major price drop in the MDS-DRE, their superb DJ / rhythm machine. Now you can drop the block rockin’ beats for $799.

TASCAM. Besides some updates on the progress of their TMD-4000 recorder / mixer ($4,299), Tascam was also showing their new CD-A700. A combination of a high-quality CD Player and auto-reverse Cassette Deck, the CD-A700 ($629) is designed to provide DJs, dance studios, restaurants or other background installations continuous CD-to-tape, tape-to-CD play. You get precise pitch control and state-of-the-art logic control features on both CD and cassette deck. It’s very easy to operate, and wouldn’t be out of place in a home entertainment system.

YAMAHA. Among the arsenal of new keyboards Yamaha had to show us was their very impressive S80 ($1,995). Borrowing a few features from the much-loved KX88, the S80 seems to combine the best qualities of a digital piano, synthesizer, and controller. You get 88-noted weighted keyboard action and a full menu of top-notch effects – including 4 different pianos. There’s also a wide selection of great-sounding voices, 64 notes of polyphony, and it’s 16-part multitimbral. But what really makes the S80 stand out is its expandability; it’s one of the only digital pianos out there that lets you add expansion boards for more effects and a wider palette of tones. For very little extra expense, you can have a fully professional synthesizer.

Another keyboard, the P80 ($1,299) is more along the lines of a high performance digital piano than a synthesizer. Like the S80, you get 88 note graded hammer action keys for an excellent playability. At only 32 lbs., it’s perfect for serious working keyboardists who want to take great sound and performance with them anywhere they go.

In the portable keyboard category is the PSR Series and they seem to be multiplying like rabbits, with 9 different models currently available. The first, the PSR140 ($149.94) has 49 full-sized keys; the rest of the keyboards in the series have 61 full-sized keys with touch response. Yamaha calls the PSRs "personal keyboards," but if that brings to mind images of your 4th grade music class picking out “Mary Had A Little Lamb” on some battery operated toy,well think again. The PSR140, the PSR248 ($219.95) and the PSR270 ($295.95) are each loaded with 100 voices, including a remarkable sampled grand piano voice. The PSR340 ($499.95) and the PSR540 ($699.95) add more quality features, as well as a built-in floppy disk drive so you can save your compositions and ideas. The PSR640 ($1,095.95) and the PSR740 ($1,395) really start to blur the line between "personal" keyboard and “professional.” The 640 and the 740 start to move the PSR Series into the realm of performance and serious songwriting, with 160 fully arranged musical styles to backup your performance and much, much more. Finally, there’s the PSR8000 ($2,995), which is one serious keyboard by any standard. You can use it on stage, in your home studio, for composing and performing complicated arrangements, etc. The wild card of the PSR Series is the PSRD1, also known as the DJX ($395.95). If there’s a frustrated dance music artist, sound designer, or DJ-style musician bottled up inside you, the PSRD1 is exactly what you need to let him or her out: 100 preset rhythm styles, great drum kits, a sampler with 7 seconds of time and a ton of cool effects are just the beginning. In fact, there’s more to tell you about the PSR Series than we have space for here, but trust us, these keyboards really are remarkable. They sound fantastic, they’re full of amazingly useful features, plus they look pretty nifty, too, which is okay in our book.

Still more: Yamaha’s brand new C86X ($1,795) is another device that left us dizzy, and should be on the “must check out” list of any dance, techno, or sound design artist – though it’s really for any musician who wants to push his or her sound into uncharted territory. Yes, it’s a “techno synth” with 4MB of sample RAM, and the ability to read data from your computer. It features Beat Remix and Loop Divide capabilities, expansion via Modular synth plug-in and Smart Media. With or without its companion piece, the CS6R tone generator, you could really work up some serious, mind blowing, cutting edge music on this synth.

Keep watching these pages for more detailed information on many of these items. Of course, if you can’t wait, just call your Sales Engineer for information, availability and super Sweetwater pricing on all of this exciting new equipment.