Welcome to the Special NAMM Show Report, brought to you direct from the floor of the show by our guest columnist and roving reporter, David Klausner. After a 3 year hiatus in LA, the historic 100th NAMM Convention has returned to its old home at the Anaheim Convention Center. Especially exciting is the fact that the show is the very first event held here since the complete renovation of the facility. But the real reason we’re all here is the gear, right?

Now, before we dig into the meat of the report, remember that a lot of this equipment is so new that prices and specs may not be completely finalized. We’re reporting information given to us by the manufacturers, which may change by the time these products actually hit our shelves. As always, there are many new products that just didn’t make it into this report due to space limitations

AKAI had its own entry into the all-in-one 24-track digital recorder field. The DPS24 has 12 mic/line inputs (four with phantom power) and 12 100mm touch sensitive motorized faders. There are also 8 channels of ADAT lightpipe (expandable to 24 with an optional card), a 30GB internal drive and a built in CDR. DSP includes a 56-bit, four bus effects processor with a real-time vocal pitch corrector, and dynamics on each channel. An ASCII keyboard port allows for track naming, and a USB port allows connection to a PC for software control and track view display via Ak.Sys software. Additional options include a SPMTE/word clock sync card and a 68 pin ultrawide SCSI port. Also on display was the latest version of the company’s sampling drum machine / sequencer, the MPC2000XL.

AKG was showing a new front address, large diaphragm condenser mic, designed for broadcast applications. Dubbed the C4500B-BC, it has a transformerless output, excellent electromagnetic screening and an internal pop filter. Proximity effect is significantly reduced by the capsule design, which is optimized for a working distance of two to three inches.

Wherever you went on the floor of the show, everyone asked “So what’s hot? What have you seen?” Whatever else they had to say, almost everyone referred to a new piece from ALESIS that attendees were given a first look at. After inventing the ADAT, which revolutionized project studio recording, and the MasterLink, which allowed Alesis to get their feet wet with hard disk recording and editing, speculation was that a hard disk multitrack recorder couldn’t be far behind. Well, the wait is over as Alesis showed the new HD24, a 24-track, 24-bit recorder — the first such to carry the ADAT logo. Sporting a full 24 analog inputs and outputs (all on balanced 1/4" TRS connectors) plus 24 channels of ADAT lightpipe all built in, the HD24 has twin removable drive bays in the front for storage, and full cut / paste / copy / move editing. In addition, ADAT sync ports will allow it to integrate easily into any existing ADAT system, even running off the same BRC as existing ADATs (and at the same time). Alesis is using a new proprietary method of writing data to the disk, which unlike traditional data formats, results in much lower fragmentation. What this means, is that this “music friendly” format puts much lower demand on the drive, producing glitch free operation of 24 tracks of 24-bit material on standard IDE drives as slow as 5400 RPM. With drive costs constantly plummeting, such storage is now about the same cost per gigabyte as ADAT tape. The real revolution here just may be the price point, however. Fully loaded, list price is expected to be just $2499, meaning this 24-bit, 24 track machine should street at about half the cost of the initial ADAT when it was first released! The show consensus is that Alesis has hit yet another home run with this unit.

Alesis also had a pair of sharp looking processors on display. The PEQ450 (list $399) is a dual channel 5-band fully parametric EQ plus high pass filters. The CLX440 (also $399 list) is a dual channel compressor, limiter, expander and gate. Both units have an analog knob for every function, but are actually digital processors. The company was also displaying a new set of powered studio monitors, the Pro Linear 820s. With a 150W amp for the 8-inch woofer and a 60W amp for the 1-inch cloth dome tweeter, these speakers have plenty of power. What really sets them apart is the unique onboard DSP engine that allows the user to compensate for listening room anomalies or simply alter the response curve to suit individual tastes or music styles.

ANTARES has announced an update to their ground-breaking Autotune plug in. Dubbed Autotune 3, the new software delivers even faster and more accurate pitch detection due to algorithms optimized for specific inputs, including Soprano Voice, Alto/Tenor Voice, Baritone/Bass voice, Instrument and Bass Instrument. In addition, Autotune 3 will include phase coherent pitch correction for stereo tracks, a Bass Mode that lowers the lowest detectable frequency by about one octave, the ability to detect target pitches in real time from a MIDI keyboard or sequencer, compatibility with higher sample rates (88.2 and 96kHz), and enhanced efficiency on Pro Tools Mix systems. There is also a new “Make Scale From MIDI” function, where an unknown or unconventional scale may be set up simply by playing a line from a MIDI keyboard or sequencer. With all these enhancements, it’s likely that every current owner of the plug-in will want to upgrade.

AUDIO EASE has a new plug in for the MAS platform and Digital Performer. Called the Altiverb, this super reverb takes full advantage of the Altivec Velocity Engine in the Apple G4s, but what’s even more exciting is the sampling technology at its core. Not unlike some hardware reverbs costing megabucks, the Altiverb’s algorithms are derived from the impulse responses of actual acoustic spaces. Unlike those boxes, with this plug-in you can actually create your own reverbs by sending an impulse (starter’s pistol, or swept sine wave) into an actual space, recording it, and processing with the software to derive the new reverb. There is also a place in the interface to attach a JPEG picture of the space. Best of all, you can buy the Altiverb and a G4 for thousands less than the cost of the hardware sampling based reverbs.

BIAS was showing off a new control environment for VST plug ins for the Mac. Vbox can combine, repatch and mix in real time any of the plethora of VST plug-ins out there. Plug-ins can be routed in series, parallel, or in combinations, solo&Mac226;ed, muted, hot swapped or bypassed, all in real time. Vbox will also ship with more than 25 VST plug-ins to get users started.

The Twin Pedal Series from BOSS is a new line of high quality single effect floor processors. The GP20 Amp Factory is the lowest priced COSM modeling processor on the market. With 22 onboard amp models and 5 cabinet models, tonal possibilities are really stretched with this pedal. The EQ20 Advanced EQ is a programmable 10 band parametric EQ with 9 internal memory settings. The RC20 Loop Station has 5 1/2 minutes (yes minutes!) of total sampling time, and can store up to 10 looped phrases and a single “one-shot” phrase, even after the processor is turned off.  All these pedals feature the Boss quality all metal chassis construction, simple knob based operation and two footswitches for for easy performance control.

DIGIDESIGN. There was a lot of activity at the Digidesign booth as always. In addition to the folks straining for a look at ProTools 5.1, lots of necks were craned toward the new Digidesign / Focusrite Control / 24. Incorporating 24 touch-sensitive motorized faders and 16 Focusrite Class A mic preamps, this is an incredible front end to a Pro Tools system. Lots of dedicated switches make recording and mixing a “mouse-free” breeze, and the extensive analog routing section means this all in one controller / preamp / router may be all you need on your desk with your Pro Tools rig.

DIGITECH introduced a new line of guitar processors, using a modeling technology called GeNetX. Going beyond merely modeling existing amps, this new system allows the user to create entirely new sounds and unique individual tones. With the ability to alter even cabinet resonances, and create multiple generation “hypermodels” the GeNetX processors have virtually unlimited tonal possibilities. The GN1X ($499.95) and GN2X ($599.95) are floor boards complete with expression pedals and tons of effects, while the Genesis3 ($499.95) is a tabletop unit.

DYNAUDIO had their new BM5.1A mixing system, which consists of five matched BM6A nearfield monitors and one BX30 Bass Extension System. The BM6As feature a 7-inch woofer with a 2-inch voice coil, a 1-inch soft dome tweeter, two high performance 100W MOSFET amps and an electronic 4th order crossover. The BX30 uses a 12" woofer with a 4" voice coil in a ported cabinet powered by a 130W amp. At a list price of $9497 this system is not inexpensive, but quality like this doesn’t come cheap!

On a more personal note, Sweetwater was presented with an award as “Dealer of the New Millennium” by Earthworks. Yes, you heard correctly, the entire New Millennium! . . . Hold all calls, we have a winner! Seriously though, it is truly an honor to be presented an award like this by such a classy company. Thanks Earthworks!

EMAGIC had a number of cool new things to check out at their display. The EMI 2/6 is the first truly mobile multichannel audio interface for USB. Delivering six playback and two recording channels on analog plus S/PDIF I/O, and taking its power directly from the computer, this diminutive interface offers plug and play functionality for laptops or any USB equipped computer. They were also demonstrating the EVP88 Emagic Vintage Piano software instrument. Not a sample playback instrument, the EVP88 uses real time tone generation to create all the expressive nuances of real Rhodes, Wurlitzers, and other electric pianos. Already garnering praise from such luminaries as Herbie Hancock, the EVP88 does for vintage electric pianos what the Native Instruments B4 did for the Hammond organ. Last but not least, Logic 4.7 was being previewed. This new update to Logic’s flagship digital audio/sequencer software will include such features as support for surround and I/O inserts on Mac TDM systems, support for the EVP88 virtual instrument, addition of hierarchical flip menus, extended zoom functionality, etc. They’re definitely not resting on their laurels in the further development of their software.

E-MU had heads turning with the new XL-7 and MP-7. The first tabletop sequencers from E-MU since the legendary SP1200, these units build on the same ROM sounds as the XL-1 and Mo Phatt respectively (but with all new presets). Blending these powerful tone modules with a 16 track sequencer, 16 realtime control knobs, pitch ribbon, latch keys, and 13 trigger pads laid out like a keyboard octave (much like the ASR-X), these units may be all you need to create complex grooves, beats and sequences. With 16 simultaneous arpeggiators, up to 12 pole filters, and the ability to expand the sound set with any Proteus 2000 series ROMs or custom ROMs burned from E-MU E4 series samplers, these tabletop music production stations are ready for anything you throw at them. With a list price of $1695, E-MU have packed an awful lot of technology into these guys!

GENERALMUSIC was showing off the new PRP-6 and PRP-7. These 32-voice portable digital keyboards feature some great piano sounds using the same sort of FFT Merge technology used in the highly respected Pro-1 and Pro-2 series, in addition to hundreds of orchestral sounds. The PRP-6 (MSRP $795) has 76 semi-weighted keys and a 12-watt stereo sound system. The PRP-7 (MSRP $995) has 88 hammer action keys, an 8,000 event sequencer and a pitch/mod joystick.

GIBSON had a few new high end models to fill a guitarist’s heart with lust. Among them was the L5 Signature, a beautiful archtop with maple back and rims and a carved spruce top. Drawing on the legacy of the Classic L5, the Signature brings all the tone and vibe of a large jazz box to a smaller, more compact instrument that’s easier to manage and play. Another stunner was the Les Paul Acoustic. With its highly figured maple carved top, hollow one-piece mahogany back and sides and no pickups except for the LR Baggs piezo under a unique bridge carved right into the top, the Les Paul Acoustic is at once a bold new instrument and an instant classic.

KAWAI had its ESX Digital Piano out for display and listening enjoyment. With 88 keys and Kawai’s wonderful feeling Advanced Hammer Action II, this compact digital piano is great for stage, studio, home and teaching environments. With a 14 Watt sound system, aimed out the back of the instrument to point toward the audience or classroom, and featuring the same sort of Harmonic Imaging sound technology used in the award winning MP9000 stage piano, the $1299 MSRP ESX brings audiophile quality sound and pro feel to a new price point.

KIND OF LOUD was showing Smart Code Pro, a new surround encoding utility for ProTools. With 3 different applications for DTS, DTS-CD and Dolby Digital, Smart Code Pro covers all the popular bases. Able to work as an AudioSuite plug in for both TDM and LE systems, and featuring one step encoding, Smart Code ushers in the final step in affordable surround mixing/mastering. The ability to burn a DTS-CD, which can play on any home theater CD or DVD player equipped with a DTS decoder, gives users the previously difficult to obtain opportunity to preview surround mixes outside the studio.

People gathered at the KORG booth were treated to a first look at a new twist in synth technology as the new Karma synth was unveiled. An instrument seven years in the making, the Karma has the same sound engine, effects and sequencer as the Triton, and can even take the same expansion boards. The difference lies in revolutionary technology which uses Generated Effects, or GEs. GEs are somewhat of a cross between arpeggiators and MIDI phrases, but which can be highly manipulated, altered and even randomized in real time. The applications run from things like strummed or fingerpicked guitar parts, to incredibly rich, lush pads, to impossible to play musical phrases. Certainly the dance market will jump on this new workstation, but its potential will stretch far beyond into other types of music as well.

DJs will be excited about the new KAOSS mixer from Korg. Combining a full functioned DJ mixer with the KAOSS touch screen effects controller, the KAOSS Mixer can sync its 60 effects to an incoming BPM sensor, sample up to 23 seconds of audio which can be triggered from buttons even while using the touch pad to control effects, or even be used as a super crossfader.

KURZWEIL is working on a new, high end outboard effects processor called the KSP8. Based on the technology which led to KDFX, this new processor takes it quite a bit farther. Sporting super high-quality A/D and D/A converters, this multiple bus powerhouse will be great for surround and other applications, and for the folks who like to roll up their sleeves and do some serious tweaking, the KSP8 will let users actually get in and modify things at the algorithm level. The sounds we heard ranged from great reverbs to spectacular distortion programs, to unique effects that really twist and bend your signal. These units will shortly be given over to some top industry pros for custom programming before shipping out to the public. At a list price of $2895, the KSP8 will not be for the faint of heart (or wallet!) but it’s sure to find its way into many a high end rig.

MARTIN had a host of new guitars to show off. The limited edition Cowboy II features a unique high pressure laminate soundboard with a painting by Robert Armstrong of an old West scene complete with a chuck wagon cook who looks suspiciously like Martin CEO C.F. Martin IV. The ALternative X actually has an aluminum top (hence the capitalized "AL") — quite a radical departure from a company so steeped in tradition. A number of more traditional models were displayed as well, including limited edition commemorative guitars for Clarence White, Elizabeth Cotton, Kenny Wayne Shepherd and Merle Haggard. The real showstopper, however, was the new D50 Deluxe. The most ornate production guitar in Martin’s history, the D50 has Brazilian rosewood sides, back, headplate, end piece and heelcap, a heavily “bearclawed” Sitka spruce top and Adirondack red spruce bracing. A dark heart abalone “Tree of Life” inlay, bordered with pearl, runs the entire length of the ebony fingerboard, and up onto the headstock. There are also inlays on the back, endpiece, heelcap, bridge and pickguard, and the tuners are hand engraved gold vintage “butterbean” style, all in all making these unique instrument a true work of art and immensely collectible.

The BRIAN MOORE booth was a tour de force in the modern luthier’s art. Incredible woods, eye-popping inlays, outrageous electronics and above all, top-notch craftsmanship reigned supreme as a number of one of a kind instruments from the custom shop were on display. Brian Moore is completely open to work with customers to design and realize the guitar of their dreams. In this writer’s opinion, these custom instruments offer a rare chance to invest in a top of the line guitar at a surprisingly reasonable price.

MOTU. The Convention Center wasn’t the only thing showing signs of a major overhaul. There was quite a buzz over at the Mark of the Unicorn booth, where crowds were treated to a preview of Digital Performer version 3.0. DP 3.0 completely updates MOTU’s flagship digital audio/sequencer software. In addition to revamping the entire look of the software, 3.0 will have an incredibly comprehensive surround matrix and graphic user interface built in. It is structured in an "N".1 configuration, which will allow 5.1, 7.1, and future larger systems. Similarly, the multiple processor support will take advantage of not only dual processor Macs, but future quad+ machines down the road. The MIDI side is vastly improved as well, with new graphic editing options, the ability to view multiple windows, strip chart behavior similar to Vision (trying to take care of you “Opcode orphans!”), a stationary playback head with more intuitive zoom behavior and more. In addition, “keyboard equivalents” allow templates to be stored that mirror the quick key functionality of Pro Tools, Cubase, etc. This major upgrade won’t be released for a few more months, but it gives a great look at where these guys are heading. Nice work, MOTU!

Mark of the Unicorn also gave us a sneak peek at a new Firewire audio interface, the 828. With 8 channels of analog I/O, including 2 inputs with mic preamps, plus 8 channels of ADAT lightpipe, stereo S/PDIF and an ADAT sync port, this will be a full-featured, professional interface. There are trims and meters for each input, and the monitor section has separate controls for master and studio levels. A number of companies are working on Firewire interfaces, but the 828 is the first one we have seen working, and it sounded great. This could be the solution for all those owners of laptops, iMacs and G4 Cubes, who have been frustrated at the difficulties of getting multiple channels of high quality digital I/O for their machines.

MARSHALL was showing off a wall of its latest amplifier line, the AVT, or Advanced ValveState, series. Combining a real ECC83 tube in the preamp section, with enough plate voltage to push the tube into true overdrive, and a newly designed solid state amplifier section which uses frequency dependent power amp damping and a proprietary dynamic clip level to emulate the power performance of a tube amp, the AVT series delivers the sort of warm, musical, 3 dimensional sound that is usually only associated with all tube amps costing several times more.

The folks at NEUMANN had a working model of their impressive M150 microphone. The successor to the legendary (and virtually unobtainable) vintage mic, the M50, this pressure gradient omni tube mic will surely find a home in studios who need the best in natural, warm reproduction. The M50 has long been known as one of the premier mics for string scoring and orchestral recording, and from what we could tell a the show, fans of that mic will not be disappointed with this modern, quiet successor.

PRESONUS was showing off a new combination EQ and dynamics processor, called the DEQ624. This 2 rack space unit looks like a traditional stereo 31-band graphic EQ married with a complete dynamics section with compressor/limiter and gate, but is actually a completely digital piece. With high quality 24-bit A/D and D/A converters, this great-sounding EQ will be familiar to use, but also boasts features like the ability to lock out the front panel controls when the device must be left unattended, and an adaptive 60 cycle hum canceling circuit that removes hum while leaving low end information intact (and it really works well!). This EQ looks as though it can compete with the real high end units, but comes in at a price that was a real shocker to those of us who checked out the unit: List price is just $595.

PROPELLERHEADS new Reason software was making quite a stir. Long available only as a downloadable demo, the full version of the software was finally on display. Reason has a full-featured audio mixer and a complete sequencer, as well as a number of modules for generating, playing back, and processing sounds. Included are the NN19 Sampler (complete with 294 patches), the Subtractor synthesizer, the ReDrum drum machine, and the Dr. Rex Rex file player. Rex loops, created in ReCycle, automatically match the tempo of the sequencer they are used with, and Reason includes 300 drum loops and 100 music loops to get you started. Digital effects are also available, including reverb, digital delay, distortion, envelope controlled filter, chorus/flanger and parametric EQ. All this for a list price of just $399.

The market is getting pretty crowded with good, low cost condenser mics these days, but RODE, one of the companies that started that revolution, has introduced a pair of new mics that up the ante a bit more in that arena. The NT1000 has a true large (1" diameter) diaphragm capsule and new transformerless electronics, giving it excellent sound and dynamic range. The NTK sports a similar capsule with tube electronics. These exceptionally well-built mics come with a very modest price tag as well &Mac246; the NT1000 lists for just $395 and the NTK will be just $595.

The 600 foot long (yes, more than two football fields) ROLAND booth was easily the largest display at the show and they certainly had a lot of new gear to gawk at. Perhaps causing the most commotion was the latest in the VS series of recorders &Mac246; the VS2480. A little over two feet across, this incredible all-in-one studio can record and play back up to 24 tracks of 24 bit audio. It sports 16 analog inputs (all balanced mic/line, with 8 on balanced XLR with phantom power) plus 2 R-Bus 8 channel digital I/Os and 17 motorized faders. Using all the optional I/O yields a possible total of 36 inputs and 32 outputs — not a problem for the 64 channel digital mixer. There are built-in dynamics on every channel and with one VS8F2 effects card pre-installed and the option to add up to 3 more, 16 simultaneous stereo effects (or 32 mono) are possible at once. For ease of use, there is a port for an optional mouse and ASCII keyboard, and for those who need a larger viewing surface than the already expanded LCD screen, there is an optional meter bridge and a VGA out to connect a standard computer monitor. With MIDI and SMPTE sync, word clock input, the SCSI port for connecting to external storage devices and/or Roland&Mac226;s CD burners, 24-voice phrase trigger pads which play direct from disc (complete with WAV file import/export) and the ability to do 96kHz recording (albeit at 12 tracks), Roland has made this a truly professional piece of gear. Hats off to the inventors of the all in one hard disc recorder for raising the bar once again with this winner! Obviously, there’s a lot more Roland gear to talk about, but there’s enough cool gear from other manufacturers that we’ll have to wait for a later report.

As promised, there’s still more Roland gear to talk about. Roland’s V-Drums have changed the way many drummers thought about electronic kits, but there has always been a complaint about the feel of the cymbal pads. Now with the CY-14C 14" crash cymbal, the CY-15R 15" ride cymbal with 3 way triggering (edge, bow and bell) and the CY-12H12" dual trigger hi-hat cymbal, Roland has answered the critics. These new triggers accurately mimic the movements, inertia and feel of acoustic cymbals, while maintaining the low volume of the rest of the electronic kit. They will be available both as upgrades for existing electronic drum kits and as part of Roland’s new Session Set, which will be similar to the V-Pro Set, but with the addition of two crashes, one ride and one hi-hat trigger. In addition, the set will have a TD10 module expanded with the TDW1 board and a KD120 mesh head kick pad, all mounted on a snazzy new red stand system. This deluxe package is sure to please even the pickiest acoustic drummer.

More goodies from Roland: The SRJV8019 House Card, taken from Ueberschall’s acclaimed “Houseworx” and "Jambox" CD-ROMs, is the latest in the series of expansion boards for the JV, XP and XV series instruments. This new card fills the void left by the discontinued SRJV8006 Dance card. The VPZ05 Solo Sax and VPZ06 Solo Trumpet and Trombone discs further broaden the choices for owners of the VP9000 Variphrase processor. The RS9 88 note and RS5 61 note performance synths are Roland’s latest entries in affordable, high-quality keyboards. With waveforms derived from the acclaimed XV series and SRJV expansion boards plus some all new waveforms, these easy to use synths have a number of features that will make them popular for live and studio musicians. The SPD6 percussion pad has 6 individual pads which can be played either with sticks or by hand, thanks to a convenient toggle switch. With 113 onboard sounds, 2 footswitch inputs, and the ability to be powered either with an AC adapter or 6 AA batteries, the SPD6 is a compact, affordable, easy-to-use addition to the Roland line of digital percussion.

SENNHEISER was showing a new microphone, the MKH800. This multipattern mic has an extended frequency response up to 50 kHz and a dynamic range of 126 dB with a self noise of just 10 dB. Sennheiser hopes this mic will help users capitalize on the higher fidelity of audio storage media such as DVD Audio and Super Audio CD. The company was also showing off four new models in their RS wireless headphone series, the RS30, RS40, RS60 and RS80. The top of the line RS60 uses SRS Labs&Mac226; technology based on the same principles that allow us to hear natural sounds in three dimensions. By recognizing, and then emphasizing these sound localization cues, SRS processing removes the recorded sound from “between the ears” and places it in surround. The RS40, 60 and 80 all feature “on hook charging,” which allows the battery to recharge whenever the phones are set on the base transmitter.

PAUL REED SMITH was showing two new models to their Santana series of guitars. The Santana III is a somewhat less expensive version of the current Santana II, with an Indian rosewood fingerboard with visible fret tines, as opposed to the Brazilian board with its unique hidden tines on the Santana II. The new model also has covered pickups, more similar to the ones Carlos uses today. Perhaps the bigger news, however, was the introduction of the Santana SE. This incredibly affordable instrument features a solid mahogany body and glued in mahogany neck with a slightly longer (25") scale length. With two humbucking pickups, 3 way pickup selector with master tone and volume controls and available in four translucent finishes (Vintage Cherry, Royal Blue, Teal and Grey Black), the stunning thing about this guitar is not the smooth playability and great tone, but rather the price: The Santana SE lists for only $738! How well does this budget beauty play? The master guitar player himself had to sign off on both the Santana III and SE. After playing the SE he said "This is great! Now where’s the inexpensive one?"

Over at the STEINBERG booth, the new Houston control surface was catching the eye of many a show attendee. This classy new controller is designed specifically for VST software, and as such, integrates beautifully into the system. Providing a level of direct control that is very hard to match with a generic controller which is not designed expressly for a single software, the Houston will be on the wish list of many a Cubase user. Steinberg was also showing off new VST sample playback software called HALion. This plug in can play back samples in Akai, .AV, AIFF and REX file format, and can do so at resolutions of up to 32 bits. Using a technology that allows the first part of the sample to play from RAM and the rest of the sample to stream off the disc, huge sound files can be accommodated. How much of the file comes from RAM vs. the hard drive can be adjusted to make the best use of your computers resources. HALion also includes a great filter set, and the editing features are among the most intuitive you will find on a product like this. All in all, this should be a very cool addition to the arsenal of any VST user.

SUMMIT AUDIO was displaying two new half-rack size units designed to bring some of the well-known audiophile sound of their more expensive pieces into the budget of the project studio. The TLA-50 tube leveling amp is the little brother to the top end TLA-100 compressor. This classy little powerhouse will fatten up any signal thrown at it, and at $695 list, won’t thin your wallet out too much. The D-100 is a tube direct box and instrument preamp. With the same sort of input impedance control as found on their MPC-100A (which this author owns and uses constantly), this $495 list unit will be perfect for warming up keys, bass, guitar, and anything else you care to run through it. Summit has always been synonymous with great sound, and at these prices, more engineers will be welcoming a bit of the Summit magic into their studios.

TAKAMINE was showing off the 2001 version of their heralded LTD series guitar. Sporting a solid rosewood back and new, lighter scalloped bracing, the LTD2001 has increased sustain, volume and acoustic purity. Known for their unique tasteful inlays, the current version of the LTD line doesn’t disappoint here either. The leaping dolphin motif around the rosette and at the 12th fret inlay is stunning, and a portion of the profits from the sale of this instrument will be donated to the Cousteau Society to continue its work in ocean ecology.

TRUE AUDIO, distributed by Neumann, was showing off two new stereo mic pres. These serious audiophile units feature a true 24 volt, discrete front end, M/S stereo decoding, a stereo phase correlation display (perfect for positioning stereo pairs of mics), front panel discrete direct inputs and more. The P2analog has standard analog outputs, while the P2digital has A/D converters which can do 16, 20 or 24-bit word lengths, and sample rates of up to 96kHz, with outputs on both AES/EBU and ADAT optical (with multichannel digital routing options).

SOUNDCRAFT was heralding the introduction of the Spirit M Series of compact mixers. With 3 frame sizes, having 4,8 and 12 mono mic/line inputs respectively, plus 4 stereo inputs and 4 stereo returns, the M4, M8 and M12 deliver Soundcraft quality in a sleek, new, compact package. With the same preamp technology used in the revered Ghost console, inserts and direct outs on each of the mono channels, 100mm faders and great “British” EQ, these small format mixers will fit the bill for a number of users. With ingenious integral rack mounting hardware, hidden under the side panels, the Spirit M Series will be equally at home in the studio or on stage.

Over at the TASCAM booth, folks were given another peek at the D24 Digital Console. First previewed at the AES show, the D24 will sport 16 analog inputs, 24 moving faders, 24 channels of TDIF I/O and 8 channels of ADAT I/O built in (with expansion slots for additional I/O options), dynamics, optional effects and more. While this console is still some time away from being released, at a target price of only $3000, with features like that, it should really shake things up. Tascam was also previewing some software upgrades for their popular MX2424 hard disc recorder, which will include 96kHz support and HFS+ disc formatting for support of larger drives (18 GB is the largest currently supported). In addition, version 2 of ViewNet, the cross-platform graphic user interface software which ships with the unit, will include such features as true waveform editing and the ability to edit on multiple machines at once.

Looking to get more DSP power for plug-ins with your DAW? TC ELECTRONIC was demonstrating the new Power Core, a PCI card with extremely powerful DSP chips. The card’s four Motorola 56362/100 MHz chips and single Power PC 8240/200 MHz chip deliver professional signal processing into any VST compatible software, such as Cubase, Nuendo, Logic, Spark or Peak. Plug-ins must be re-written specifically for this format, but TC has already ported over their previously TDM-only TC Tools suite, complete with Mega Reverb, TC EQ and TC Chorus/Delay. By the time this card is released (projected for April) all of TC’s TDM plug-ins should be released in this format including the multiband mastering processor, MasterX. How powerful is this card? According to TC, it can run eight of the high end reverbs or mastering plug-ins simultaneously. Ask any ProTools TDM owner how much power that takes!

Guitar players also had a reason to check out the TC Electronic booth. The new G Major processor and G Minor controller will be on a lot of players wish lists. The single rack space G Major includes such essential effects as reverb, delay, compression, chorus/flange, tap delay and gate. Programming is intuitive, routing is flexible, and preset change is fast and smooth for live performance (you can even get true overhang of echos!). The G Minor is an easy to use, programmable foot controller which can be used with any MIDI device, but will integrate seamlessly with the G Major.

UNIVERSAL AUDIO had their new 2-610 Vacuum Tube Microphone Preamplifier on display for viewing and listening pleasure. Based on the preamps from the classic UA 610 rotary knob console, known for its signature sound on countless classic recordings from Sinatra to Van Halen and the Doors, the 2-610 remains true to the classic circuit while adding more boost/cut settings, phantom power, direct inputs and impedance controls. Having had a chance to hear it in action, this reporter can tell you it is warm, creamy, detailed and musical — full of that three dimensional sound that only a really well-designed tube circuit can deliver.

YAMAHA had a new production workstation called the RS7000. This unit seamlessly integrates audio and MIDI, allowing up to 64 MB of samples to be imported (with optional memory expansion) which can then be time stretched or compressed, in real time, to fit any tempo. The 62 voice synth has over 1000 sounds, and the ones we heard were quite impressive. The sequencer offers both pattern-based recording with 16 sections of 16 tracks each, or a 200,000 note per song linear sequencer. Add to that effects, including a separate Master section with multiband compression, slicer, isolater, and other DJ-style tools, 18 assignable knobs and 2 pads for real time control, plus flexible I/O and this production station will find a home in a lot of studios.

Also at the Yamaha booth, attendees were treated to some sounds from a new, affordable synth, the S03. This 64-voice polyphonic, 16 part multi-timbral instrument has over 25 MB of ROM taken from the S series, organized into over 700 patches. With full GM/XG compatibility, and shipping with XG Works Light software, at a list price of just $629, these keyboards will make a great addition to many a musician’s rig. Next up, Yamaha’s new 9000Pro takes the stunning sound engine of the PSR9000 keyboard and puts it in a professional instrument. Sporting 76 synth-weighted keys, the 9000Pro delivers top notch sound quality with its sets of Cool, Live and Sweet voices, plus a brand new digitally modeled vintage organ. The 9000 can play sequences and styles directly from disk, so there’s no wait time for loading. With two expansion slots for additional voices, and pro performance features like the built in BNC lamp sockets, Yamaha has revamped the king of the PSRs into an instrument any pro would be happy to play. It’s about time too, as we were all blown away by the sound quality of the original PSR9000 when we first heard it, but wished that with that level of quality, the instrument could have been aimed more at the pro market.

Yamaha also had some upgrades for their popular AW4416 hard disc recorder to check out at their display. Version 2.0 software will make a number of operations more efficient, and analog input and output expansion cards from Apogee will give audiophile quality I/O options. The real stunner however, was the Y56K DSP card from Waves. Designed to install in one of the expansion slots in the rear of the AW4416, the Y56K card has 2 Motorola 56000 series DSP chips to run Waves plug-ins. The L1 Ultramaximizer, Renaissance EQ and Compressor, TrueVerb reverb, SuperTap 2 tap delay and De-Esser are all included, and ADAT lightpipe I/O on the card means you won’t have to sacrifice extra I/O for processing power.

And that's it! While there were certainly more new tools and toys on display at the convention, I hope I have been able to hit some of the highlights for you. For now, however, I am going to beg the Sweet Notes editors to let me out of the dungeon they keep the writers in and get on with my regular duties here at Sweetwater. This is David Klausner, guest reporter, signing off, and saying thanks for the opportunity to give you my take on the show.