As always, there were surprises galore at the Summer Session NAMM Show in Nashville. From the latest developments in 24-bit multitracks and high-end guitars to DJ gear and beyond, our team of reporters take you down every aisle at the show to give you this exclusive first-hand look at the hottest new products from all the big name manufacturers.
Your NAMM Report Staff has agreed not to begin another Summer NAMM report by whining about how hot Nashville can be in July. We also swore there would be no peevish little digs at country music this time around. So, please consider the suffocating heat and clammy blanket of humidity unmentioned, the ubiquitous country music uncommented on, and follow us into the much more pleasant, air-conditioned confines of Summer NAMM 2000 in Nashville.
Ahh, there’s nothing like a NAMM show to bring out the “Gimme!” impulse in even the most composed gear head or audiophile, and it would take superhuman strength to resist the goodies at this year’s show. Summer NAMM 2000 had it all — innovative recording gear, beautiful instruments, cutting-edge software, and mind-blowing effects machines. Drums thundered, guitars screamed and synthesizers did both. We glimpsed exciting new developments in audio. We explored the most sophisticated, innovative equipment. And we saw demonstrations that made us gape like hooked sharks. Through it all, your NAMM report staff has tried to keep it all straight for you, collecting everything we can about the next big things in professional music making equipment.
Our usual disclaimer: Please keep in mind that this is not intended as a complete listing of all new or relevant products debuted at NAMM, nor is all of the information here guaranteed to be 100% correct. The key phrase here is “subject to change.” In many cases, manufacturers are still solidifying things like price, availability, and features. Note that prices, where mentioned, are retail. We gathered all we could from the things that caught our eye. We hope you enjoy this first sneak preview.
AKG: First up was the C2000B ($289), a versatile recording mic designed to bridge the gap between the extreme high-end studio microphones and the more affordable models. It produces a very clean, clear "up-front" sound. For vocals, there’s a switchable bass rolloff filter for close-up miking of the singer. But there’s also an extremely flat frequency response with a slight high frequency boost for clarity during far-miking. Then, there’s the C3000B ($520), an excellent additon to AKG’s already impressive line of large diaphragm cardioid condensers. Features include a 1-inch condenser capsule of gold-sputtered mylar for optimum transient response, and a switchable internal pad for high SPL environments.
They also introduced their Emotion II solid pro-quality mics for use on stage. These included the D 440, a cardioid dynamic mic for percussion instruments as well as guitar amps and winds, and the D 550, similar to the D 440 but with a lower frequency range for bass amps and baritone wind instruments. The D 660 S ($98) is a dynamic mic with a hypercardioid polar pattern for all types of stage use. The D 770 MkII ($129) is a cardioid vocal/instrumental microphone fitted with a dent-resistant, spring steel wire-mesh grill. Finally, the D 880 MkII ($142) and D 880 S MkII ($155) are supercardioid mics designed especially for vocals.
APOGEE: They unveiled a great piece of hardware called the Trak2, a mic preamp / conversion system that packs practically every audio tool you need for professional digital recording into a single rack space. Listen to all these features: Balanced sends and returns; auxiliary universal 1/4 inch / XLR front panel inputs; pristine 24-bit / 96kHz analog to digital conversion; two AMBus digital I/O slots; a built-in AES-S/PDIF digital output; word clock I/O; comprehensive peak / average / phase metering. The front panel is chimp-simple to navigate, and there’s also a communications port enabling remote operation via MIDI and / or RS-232. Then there’s firmware upgrades via the Internet, optional video synchronization, optional two channel 24-bit / 96kHz D/A and optional eight channel 24-bit / 96kHz D/A. See what we mean? Also showing at the Apogee booth were their two 8-channel converter cards for Yamaha systems equipped with Yamaha General Digital Audio Interface card slots. The AP8AD (A/D) card and the AP8DA (D/A) offer full 24-bit conversion and an up to 96 kHz sample rate. The AP8AD converter card (that’s A/D) includes Apogee’s proprietary Soft Limit system to deliver maximum digital level without overs. These will even work with the new Yamaha AW4416 workstation (see Page 2).
ART: A whole mess of cool stuff from ART! Their HPFX Headphone Monitoring System ($359) was designed for computer-based audio recording. It lets you monitor yourself without hearing the latency delay caused by a computer’s soundcard. Anyone who has worked with computer-based audio knows that latency can make it impossible to listen to yourself while you play. The HPFX system gets rid of that problem. It also gives you the power and control to sound any way they want in your headphones when recording. You can change the monitoring level of the mic, the level and type of effects applied and overall level of the backing tracks. The system consists of four independent adjustable headphone outputs, two high-quality monitor mic preamps, built-in stereo and dual digital effects with a 24-bit DSP and 20-bit D/A and A/D converters, as well as monitor level, mix and effects adjustment controls.
Two new EQs — the Model 342 ($389) and the Model 352 ($389) — were also making their appearance. The Model 342 is a dual channel 15-band EQ with constant Q circuitry, 70mm center detent sliders with a selectable boost range of 6dB or 12dB, high and low pass filters, new analog level meters, and more. The Model 352 is a single channel 31-Band EQ with constant Q circuitry, 70mm center detent sliders with selectable boost or cut range of 6dB or 12dB, balanced XLR, and unbalanced RCA input and output connections, high and low pass filters, new analog level meters, and more. The Model 342 and the Model 352 each take up 2 rack spaces and come in rugged, all-steel chassis.
AUDIO-TECHNICA: Their exciting new UHF hand held wireless microphone system is called the ATW-7373 ($1149). Features include true diversity operation that selects the best signal from the system’s two independent receiver selections, reducing dropouts and minimizing multipath distortion. It also provides operation in the 700 MHz frequency band and a choice of over 100 PLL-synthesized channels. The capsule is the same as their legendary 4033 studio microphone giving you phenomenal, studio-quality sound! It’s already being used in some pretty big tours, and getting great reports. The Backstreet Boys are using the ATW-7373 on their tour. Hey, millions of screaming 14-year-old girls can’t possibly be wrong, can they.
AURALEX: Have you ever seen that sweet set up on the cover of the Auralex literature? You know the one I’m talking about: Lots of panels, MAX stands, and a window panel with the window. Well, now it comes in one convenient package. The MAX-Wall 831 Kit comes with eight 20"x 48" panels, three MAX stands, and one window panel with window included. All that for a list price of just $749!
BITHEADZ: Like always, the new releases at Bitheadz are sure to take computer-based audio up a notch. First up is the Retro Lite Software Synthesizer ($79), an “entry-level” version of their highly-acclaimed Retro AS-1 Analog Synth. We heard it in action and there’s nothing entry-level about the sound or the performance. It’s fully polyphonic and multi-timbral, with lightning-fast response time, and you get real-time control of all parameters thanks to extensive MIDI implementation. Another exciting new release from Bitheadz is the Unity Player Software Suite ($199), based on their DS-1 Digital Sampler. The Unity Player offers all the great sample playback features of the Unity DS-1 and provides extremely fast load times and huge sample storage capacity. It looks like an excellent solution for anyone who doesn’t need the advanced editing features of the Unity DS-1, but needs professional quality sample playback.
Then there was Bitheadz’s software for loop-based composition and arranging, dubbed Phrazer, which lets Mac users combine different loops and phrases and change the tempo and key of any file imported into a Phrazer session. Then, you can assign volume and panning per track and add DSP effects. Bitheadz also introduced the “Tubes, Tines & Transistors” keyboard sample library in the Native Unity DS-1 format. There’s over 300 megabytes of sound, everything from the classic sounds of a Hammond B-3 to vintage Oberheim, Moog, Sequential, and Arp synths.
BOSS: Two old faves were enjoying a triumphant return in the Boss booth in new and improved versions. The AW-3 Dynamic Wah and PH-3 Phase Shifter ($179 each) expand on the originals, delivering the vintage effects that have made the pedals guitar staples, while at the same time adding some great new features.
CAKEWALK: MP3s — The Brave New World of music distribution or the end of Western civilization as we know it? If you were an artist struggling to gain some kind of recognition and exposure over all the other acts out there clamoring for the public’s attention, you might consider pitching your tent in camp #1. If so, you’ll dig what they were showing off at the Cakewalk booth. Cakewalk’s Pyro is a complete system for recording, playing and organizing your digital music. With Pyro you can not only create MP3s of your music, but also you can burn CDs and listen to music on your PC. Operation is easy, clear and intuitive. Of course, the sound quality of some MP3s can leave a lot to be desired, but Pyro boasts a technology called ESP — Environmental Signal Processing — which optimizes the sound quality of your CDs in any environment you choose.
They also had the new version 2 of Guitar Tracks, their complete multitrack recording and mixing system for guitarists. This newest version boasts much improved editing features and an better overall sound quality than previous editions, as well as a very convenient portable studio console.
CLAVIA: They unleashed the Nord Lead 3 ($2600), their latest “virtual analog” synth. The Nord Lead 3 features many upgrades from previous models, including an expanded 20-voice polyphony, making it capable of some extremely fat sounds. It also boasts a new interface that looks even better than previous units. It’s practically bristling with rotary knobs for fine tuning your sound. An LCD replaces the old LED display. A new Morph function lets you control defined ranges of up to 26 parameters in a sound, using a single control source.
Another new instrument was the Nord Electro ($2000). They didn’t have a working unit available, but according to what they told us, it’s a 61-note keyboard that will deliver astounding reproductions of classic electromechanical keyboards, like the B-3, for example. The object was to make a compact, portable keyboard ideal for performance, and if it sounds good will be a big help to those lugging their own gear around.
DIGITECH: Their RP100 Modeling Guitar Processor ($129.95) packs a whole lot of cool modeling stuff into a sleek, compact floor unit. There are 25 fully programmable effects, plus several amp types and 40 factory presets. In addition, there are 40 user presets for your own sound creations. You can use 10 effects at once, and the user interface is incredibly simple to follow and use and it looks way cool. For practicing your chops, there’s the Rhythm Trainer function, which plays sampled drum loops (tempo and patterns are fully adjustable) so you can jam along.
DYNAUDIO ACOUSTICS: We got an ear and eye full of their very cool mixing system, the BM5.1A Complete 5.1 Mixing System ($9,497). From what we saw and heard, it looks to be an excellent system for postproduction, broadcast and audio for film facilities. Basically, the system consists of five matched dual 100W amplified BM6A nearfield monitors and one active (and very powerful) BX30 Bass Extension System.
FOSTEX: Another return from last Winter’s NAMM was the VF-16 Digital Multitrack Recorder and Mixer ($1500). It’s a little sleeker than when we first saw it a few months ago, and it has also been given a makeover for a more eye-catching front panel. The specs, for the most part, remain the same: 24 recording tracks (16 real tracks with faders, plus 8 “ghost tracks”) to an internal, user-upgradable E-IDE hard disk with no data compression. You have 8 tracks of simultaneous recording using analog inputs, 16-track simultaneous recording with an ADAT interface plus the analog inputs. What sets the VF-16 above most other digital multitracks in its class are its sophisticated digital mixing capabilities and two built-in multi-effects using acclaimed Fostex A.S.P. technology.
GEMINI: The company has made quite a reputation for itself as a manufacturer of distinctive turntables for pro applications. Their PT Series of turntables look set to win a few more high marks with the debut of the PT2100 ($429) and the PT2400 ($499). Features on both include 33/45 RPM speed selection, high-torque direct drive platter, quartz speed lock, and locking reverse button. What’s the difference? The PT2400 features a large LCD display and can play at 78 speed, presumably so you can go buck wild on your grandparents’ Bull Moose Jackson records.
GIBSON: Four cool new signature electric guitars were at the Gibson booth. Legendary guitarist Gary Moore of Thin Lizzy gets his own Gibson, a Les Paul Standard with "Lemon Burst" finish ($2876). Being a huge fan of early Fleetwood Mac maestro Peter Green, Moore’s signature guitar is designed accordingly: The neck pickup has been set in backwards, giving this axe a distinctive sound, bluesy yet blistering. It’s a limited edition of only 1250 models. Second up is an electric bass bearing the signature of Nikki Sixx ($2604), bassist/songwriter for rock monsters Motley Crue. It’s a Thunderbird bass in a "faded" black color, with a thumb rest that lets you hold the bass for better balance during stage antics. There’s no tone and no volume knobs on the instrument, just a kill switch – all you really need to rock like it’s 1989. The pick guard has an engraving of the Maltese cross.
The third signature guitar from Gibson belongs in the "it’s-so-obvious-why-hasn’t-anyone-done-this-before" category. It’s the Angus Young Signature SG ($2840). Featuring an especially hot pickup in the bridge position, this SG features a caricature of Angus (with devil horns) on the head of the guitar instead of the name. Angus’ signature is engraved on the silver tailpiece. The Angus Young SG has a run of 1400 copies. The final signature electric is another SG commemorating a rock legend. The Pete Townsend SG ($4600) is based on the ’68 SG Special that Pete played at Woodstock and used on the monumental “Live At Leeds” album, and comes in an exclusive heavy-duty flight case. It has a run of 250 units. Each unit comes complete with a hand-signed and hand-stamped certificate of authenticity, with Pete’s signature replicated on the back of each individually numbered headstock.
On the opposite end of the spectrum is Gibson’s line of MasterBuilt “J” Series acoustic guitars: As unpretentious, yet musically rich as they come. They run the gamut in price, from the somewhat expensive reissues like the SJ-200 reissue model to the more affordable J-200. What makes these instruments such a good thing for musicians of all budgets is that a decrease in price does not signify a decrease in quality. All the guitars are made with the same excellent materials, fine woods, and detailed craftsmanship; it’s just that Gibson has done away with all the "frills" and extra features on the more affordable models. Keep your eye out for these Masterbuilt acoustics.
KIND OF LOUD TECHNOLOGIES: The company announced that RealVerb now comes in TDM and RTAS platforms for Digidesign users and MAS for Mark of the Unicorn users. If you haven’t had a chance to hear what RealVerb can do, you really should check it out. It allows you to customize a virtual room and pan within the stereo spectrum. You can spread and control the signal between stereo speakers, giving your listener an impression of center and width, essentially “enveloping” your listener. They were also showing off a new surround production tool called the SmartCode Pro. There were two versions, for both DTS and Dolby formats. Both versions are AudioSuite software programs that allow Pro Tools users to preview their 5.1 surround mixes in real time 5.1, then encode and decode the mix to create a 6-channel surround master. Finally, Kind of Loud unveiled a suite of surround sound production tools for Pro Tools users including SmartPan Pro, which brings true discrete 5.1 surround panning to the Pro Tools platform; the RealVerb 5.1 Surround Reverb for Pro Tools and Tweetie and Woofie, a monitoring and calibration plug-in and a bass management plug-in respectively.
KORG: The mighty Triton synth was there in its new configuration, the Triton Rack ($2500). Just like the name says, it’s a rack version of Triton, with a whopping eight expansion slots! There was also a Triton ADAT interface ($200) specifically for the Triton Rack. Then, for those keyboardists who love the unique sound and feel of a Hammond organ, the CX3 Combo Organ ($2600) is just what the tone doctor ordered. Thanks to some incredible modeling technology and a keyboard action that you’ve got to try to believe, the CX3 brings you the distinctive sound and feel of a real Hammond organ.
The latest addition to Korg’s Toneworks line is a guitar pedal multi-effects unit called the AX100G ($250). It offers some great models on everything from acoustic to high-gain amplifiers, and features two drive channels so you can switch the same program between clean and drive channels. It also packs a tuner, a variety of drum patterns, and phrase sampler. There’s even something called “virtual feedback” meaning you can get feedback without having to crank up the amp. Yeah, we know. Where’s the fun in that?
LINE 6: And along came a cool amp from the increasingly visible Line 6. They were showing off the Spider Series of combo amps, the Spider 212 ($899), the Spider 210 ($699) and the Spider 112 ($599). All these amps have six amp models and four user programmable channels, with Smart Control FX giving you fast and easy control of all the essential guitar effects. These combos are extremely lightweight and compact, yet can kick loud enough for your gig. There’s also the Flextone II HD ($1449), a stereo head that isn’t strictly new, but bears looking into because . . . well, because it’s a big, freakin’ monster that can’t be ignored with 300 watts of earth-shaking power! But if it were just some Neanderthal of an amp we wouldn’t be going on about it. The truth is, it’s a darn good amp, especially for performance, and via Line 6’s ToneTransfer feature, perfectly delivers the different tones and sounds of the Line 6 amp modelers. It’s capable of much more than blowing your ears off. Though it’ll do that, too.
MARTIN: Do you like purdy guitars? So do we. It’s always exciting seeing all the digital marvels and fantastic new gear available out there, but there’s something about going to the Martin booth . . . One of the standouts this year was the “Edmund Fitzgerald”, the Gordon Lightfoot Limited Edition signature guitar ($3500), essentially a vintage D-18 dreadnought made of genuine mahogany. Country legend George Jones also gets the signature guitar honors with a D-41 dreadnought acoustic crafted from select solid tonewoods. Part of the proceeds will be donated to support the work of the Vanderbilt Children’s Hospital in Nashville (the guitar retails for $4750). Guitar hero Steve Miller gets not one, but two signature guitars to his name. The 00-37K SM ($5750) and the 00-37K2 SM ($6250) are traditional 00 12-fret instruments and feature back and side of rare flamed Hawaiian koa. Each instrument has a limited run of 68, to commemorate the year of the first Steve Miller Band’s debut record. Another limited edition guitar, the Cowboy X ($999) features a 000-sized body with a fantastic reproduction of artist Robert Armstrong’s “Dreamy Illusion” painting on the soundboard. You obviously won’t be taking this one to open mic night, but it’s an impressive looking instrument. The Cowboy X is a limited edition of 250 instruments.
In the realm of “normal,” non-signature guitars, Martin had plenty to offer, with some impressive editions to their many guitar lines. Three new guitars join their X Series of “entry level” instruments, all constructed of solid spruce soundboards and high pressure laminate mahogany motif back and sides. First up is the 000X1 Auditorium ($649), a small-bodied six-string. Second is the D12X1 ($749), a beautiful 12-string dreadnought. Finally, there’s the DCX1E ($899), a dreadnought cutaway with Fishman electronics.
MOTION SOUND: You can always count on them to deliver something interesting in the speaker department. First up is the SR-112 Rotary Sound Speaker, a real mechanical drum type cabinet that utilizes your own amplifier to power the cabinet’s 12", 150-watt speaker. The Base Speed Control sets a preset speed, ranging from stop to fast, and delivers some great three-dimensional chorus and tremolo effects. Then there’s Pedal Speed Control which sets a second preset speed and toggles between base speed and pedal speed settings (via footswitch). Finally, Acceleration Control lets you set the time it takes to speed up and slow down between the base and pedal speed settings. A built-in dynamic microphone to XLR output provides convenient PA connections. A combo amp adapter is also available. Their KT-200S is an awesome 200-watt keyboard amp with two channels. The first is a stereo channel with 3-D expand for clean transparent amplification of piano and synth. The second is a real tube channel that adds warmth and overdrive to organ and electric piano.
MARSHALL: A Marshall guitar and amp package. What took them so long? This one features 15-watt Marshall amp with a custom built guitar. The guitar boasts custom wound hot humbucking pickups in the lead position, plus two single coil in the middle and bridge positions. It comes with a strap, tuner, gig bag, set of strings and Marshall picks and retails for just $429. And it looks cool, too!
OVATION: They had several new models of their distinctive roundback acoustics to show us, including an Adamas SMT with a grey carbon graphite top for a sleek, smooth look. Another version of the Adamas featured a woven graphite top of cobalt blue. The look on this is almost a sort of 3-D, holographic effect. Of course, what counts is the sound, and like all Adamas guitars the tones were bright and punchy with great sustain. They also had an Adamas Special Edition guitar honoring Melissa Etheridge. Etheridge has used Ovation acoustics throughout her career, and the Melissa Etheridge Adamas ($2295) is a 12-string guitar with a striking sunburst finish and carbon fiber soundboard. The electronics on this instrument feature the complete Optima system with flexible EQ, anti-feedback notch filter and an on-board chromatic tuner.
PARKER: Two new guitars were garnering a lot of attention at the Parker booth. The first was the latest model to join the lightweight and innovative Fly Series, the Fly Deluxe Single-2 ($3050), which boasts all the qualities that have made the Parker Flys “must have” instruments for serious guitarists, but features a humbucker and two single coil magnetic pickups. The Single-2 comes equipped with three custom-wound DiMarzio magnetic pickups and a Fishman active piezo pickup system producing both electric and full-frequency acoustic sounds, as well as any blend of the two. A 5-way magnetic pickup switch, allows guitarists the ultimate in flexibility for creating their own unique sound. But perhaps most exciting to the budget-minded musician is the release of the new P-38 ($849), which features a select ash body, chosen specifically for its classic look and mid-range growl. The neck is constructed of maple with a rosewood fingerboard and features 22 jumbo nickel frets. A custom Wilkinson vibrato bridge, featuring Fishman piezo pickups, provides smooth vibrato action while maintaining excellent intonation. The P-38 offers custom wound Parker Alnico pickups (Hum, Single, Single) which are mounted to a Pearloid pickguard. Each string also drives a custom Fishman piezo pickup, providing the complex full-range tones of an acoustic without the typical feedback problems. This piezo signal is routed through a Fishman-designed active preamp with a “Smart Switching” output jack that can blend the magnetic and piezo signals together or split them to two separate amplifiers for added sonic flexibility.
PRESONUS: We got a taste of the BlueTube Microphone Preamp ($199) at Winter NAMM, but they were showing the real deal this summer in Nashville, so we thought you should know about it. It’s a very high-quality stereo tube mic pre that features two XLR inputs and two High Z inputs on the front panel.
RAXXESS: Next time someone asks what you’re going to do with all that noisy rack gear, tell them you know just where to put it. The IsoRaxx cabinet ($1299) is an excellent — and very organized — way to reduce gear noise in the studio. Essentially, it’s a wheeled cabinet with a clear front panel of Lexan. Inside are shock-mounted rack rails and 1" acoustical wedge foam lining. Variable speed fans keep your gear cool while a rear panel provides unlimited access and cable passage, plus power distribution.
ROLAND: The VGA-7 COSM guitar amplifier ($1695) is an impressive entry into the performance arena. Guitarists have their pick of 20 authentic amp models, including vintage tube amps, solid state and acoustic instrument amps and also speaker cabinet simulations. Six of the amps included here have never appeared in any previous Roland product. There’s also the ability to simulate 26 guitar types — electric, acoustic, hollow-body, and even synth guitars. Add to that a full-range speaker system, multi-effects system and loads of memory. Most of the controls are analog style, easily accessible via knobs and buttons for quick, precise selection.
The latest entry into their V-Drum line was the budget conscious Studio Set ($2595). Any of you who have ever heard any of Roland’s V-Drums in action know how great they sound. Powered by the TD-8 percussion sound module, the Studio Set gives drummers access to over 1200 high-quality drum, percussion and instrument sounds and 64 distinct drum kits. All the other features which have made the V-Drums so popular are also here, like V-Editing, positional sensing, and ambience effects.
And what about workstations? The VS-890 ($1995) is a self-contained 8-track digital studio with 24-bit sound. In many respects, it’s like the VS-880EX, with two stereo effects processors, a Mastering Tool Kit and COSM speaker modeling. Best of all, you can create your own mastered CDs with Roland’s optional CD Recording System. A dedicated CD-RW Mastering button gives you instant access to the mastering menus, while a new CD Writing Mode feature provides fast CD burning. Their second offering in the workstation category was the VS-840GX ($1295) which seems to cover all the bases: COSM speaker modeling, jam tracks, WAV file conversion — all at a great value. Essentially, the VS-840GX expands on the concept of Roland’s VS-840EX by offering twice the virtual tracks of the previous model (128 in all) and a 250MB Zip drive. Roland is also bringing out a rackmount CD burner ($795) specifically for the VS models.
They were also showing off their new 24-bit digital reference monitor, the DS-50A,compact nearfield monitors with built-in bi-amplifier design and flat frequency response. Another new monitor, the RSM-90, is a two-way passive monitor based on Roland’s acclaimed DS-90 design. Made for nearfield monitoring, home theaters, and multimedia presentations, the RSM-90s can handle up to 270W of input power.
Roland’s newest entry into the DJ market is the EF-303 Groove Effects ($595), a tabletop effects mixer for DJs and remix artists. As far as effects for DJs go, the EF-303 is sort of like Roland’s Greatest Hits with reverb, flanger and delay, cutting-edge filter, Isolator, Slicer, Voice Transformer and even a cool DSP monosynth. Like all the best DJ gear, the EF-303 is very “hands on” with four control knobs, 16 sliders and a grab switch.
SONY: In the “big-things-in-small-packages” department were two nifty portable, compact Minidisc recorders. First up is the versatile MZ-R70, which looked suited to practically any audio application you can think of. An extensive list of features includes stereo or mono digital recording, 40-second shock resistant memory on playback, up to 6.5 hours recording / 12 hours playback, digital recording level control, LCD wired remote, and more. Next is the MZ-B50, the ideal MiniDisc recorder for “on-location” or “in-the-field” recording. Features include stereo or mono recording, and built-in mono mic and speaker and more. But the coolest feature had to be the voice-activated recording.
STEINBERG: Hard-core enthusiasts of classic synths were clustered around the Steinberg booth to check out their new, state-of-the-art virtual synthesizer, the Pro-52, a virtual synth that is able to actually import sound data from the legendary Prophet 5 via SysEx. This means it can read and accurately reproduce all the existing sound libraries made for the original. We heard the Pro-52 in action, and the sonic detail is amazing! One other item: Pro-5 users need not worry — an affordable upgrade is available.
But the really big news from Steinberg has to be the unveiling of Cubase VST 5.0. They’ve given Cubase a whole new graphic makeover as well as a huge list of new features for some remarkable improvements in sound quality and usability. Cubase now boasts analog warmth with Magneto technology and 32-bit recording, output and mixdown. It’s also optimized for Power Mac G4 with Velocity Engine for speedy audio processing.
TASCAM: They were showing off their new 788 Portastudio ($1149), a sleek, silver 24-bit digital workstation with hard disk recorder for mixing and recording professional quality CDs. Features include 8 tracks and 256 virtual tracks, integrated effects, and a built-in digital mixer and high-powered digital editing functions. Also from Tascam was the PCI-822 Computer Interface Card ($369) for digital audio recording and MIDI sequencing. It can handle 32-channel MIDI and works for both Mac and Windows.
YAMAHA: Every once in a while, your NAMM Report staff comes across something that reminds of us of just how much fun music technology gear can be. This year, the prize goes to the DJX-IIB ($299), a compact console DJ box that threatens to make DJs of us all. Basically, you have a pattern section and a scratch section. The pattern section is full of some seriously infectious dance beats – just follow the lighted buttons to go from one groove to the next. You can add all kinds of effects, and even scratching via a CD-sized platter. It has built-in speakers, and the ability to play with an external source, so you can pop in your favorite Parliament CD to an external CD player, adjust the tempo on your DJX-IIB to the time on the CD, and mix and scratch along. For those party people with more advanced skills, there’s the DJXII keyboard ($459), a much revamped and expanded version of their DJX, made specially for performance. Both the DJXII and the DJXIIB are MIDI capable, and can be upgraded via grooves on Yamaha’s Web site.
Yamaha’s latest electronic drum kit looks like a serious contender. It’s called the DTXTREME ($4700) and it packs 1,000 incredible hi-resolution drum voices. It uses real drum heads, shallow versions of acoustic shells and features some cool spatial effects, great touch sensitivity for expression, and the ability to program and “trigger” songs parts to play along with. It also lets you add up to 4MB of sample RAM into the kit and assign your own samples to the pads.
Meanwhile, guitarists will find plenty to keep them busy with the DG-Stomp ($499), an amp and effects modeling stomp box that sounds good enough for the studio but is rugged enough for the stage. You get 90 preset tone settings and 16 speaker simulation types, digital out, a tap function, and an optional expression pedal. Yamaha was also displaying their professional recording workstation called the AW4416 ($3599 – see Page 2 for more information). Each AW4416 will come with a free CD-ROM containing upgradeable versions of Acid Style, Sound Forge XP4.5, and Siren Xpress (MP3 encodes and unlimited WMA).
ZOOM: The PS-02 Palmtop Recording studio is slightly bigger than a deck of cards and twice as much fun on a plane trip. If you've been looking for a workstation that truly lets you nail down a musical idea the second it pops into your head, any place and at any time, the PS-02 is it! You get rhythm tracks, guitar and amp modeling, bounce capabilities, a built-in mic and three audio tracks. You can record up to 2 hours of music onto the Smart Memory card! But the PS-02 is no novelty item; all the features sound fantastic! This is the convenience and quality musicians and DJs of all styles have been waiting for!
Okay, that’s it. Our longest ever official Summer NAMM report is now complete. As we’ve said with some repetition, we know we didn’t get to everything — that would be impossible. We will be following up in future inSync editions and in Sweet Notes with a lot more information and all relevant fallout from the show.