MELT IN THE SOUTH, GEAR UP YOUR BANDS
Sep 1, 2006 12:00 PM, Markkus Rovito
The oppressive heat in Austin, Texas during the 2006 Summer NAMM convention from July 14–16 may have contributed to the show’s more relaxed, languid pace that distinguishes it from the all-out gear blitz of January’s NAMM show. But attendees could still put their sweaty palms on plenty of new toys.
Ableton kicked off the show with perhaps the highlight of the whole event, the debut of Live 6 ($599). This update adds QuickTime video support, multicore/multiprocessor support, expanded track freeze capability, a new library of multisampled instruments, new and/or improved effects devices and new Racks for saving instrument/effect setups. Ableton’s new optional upgrade instrument for Live 6, Sampler ($199), adds multi-zone multi-sampling to the platform. Sampler reads the new Essential Instrument Collection that comes with Live 6, as well as AKAI S1000 and S3000 discs, GigaStudio formats, Apple GarageBand and Logic .exs Files, SoundFonts, (non-encrypted) Kontakt sample banks and other formats. Sampler also performs unique processing, modulation and morphing on sounds.
Steinberg also dropped some software bombs. Its Groove Agent 3 ($299) VST instrument adds sample importing, new effects and several playing and programming features to the virtual drummer. An upgraded EQ and compressor give finer detail control, and the cool AutoFill feature intelligently generates varying fills. WaveLab Studio 6 is a new scaled down version of Steinberg’s flagship audio editing and mastering suite. Also, Cubase SE1 ($149) bundles the entry-level DAW Cubase SE with the Steinberg Virtual Instruments Collection.
Some underdog softsynth outfits also shared new creations. KeyToSound showed Nexsyn, a highly configurable and diverse, true stereo hybrid synthesizer for Mac or PC. NexSyn allow you to build your own synthesizer into a virtual rack of components including vintage oscillators, filters, LFO’s, envelopes, effects, arpeggiators and a modulation matrix. Oscillators 2 and 3 are really sample players, which access a 4GB sample library by Big Fish Audio, allowing you to mix a wide variety of sampled sounds with classic synthesis techniques. It also comes with two effects sections with eight stereo effects, an advanced arpeggiator and NetNotes, which allows online sharing of sounds and settings with other users.
Sample Logic also demoed it’s A.I.R. (Ambience Impacts Rhythms, $299) instrument based on Native Instruments’ Kontakt 2 Player sample engine It’s a 2-DVD set including more than 300 ambient instruments, 100 “Impact” instruments and kits and 300 tempo-adjustable rhythms. A.I.R. works with Audio Units/DXi/RTAS/VST formats.
The biggest DJ announcement surprisingly came from M-Audio, which has started a new SynchroScience division for DJ gear. Its first product, Conectiv ($299.95), is a 4x4 USB DJ audio interface and controller for the new Torq software it includes. Two big knobs on the Connectiv balance the laptop and input levels; three knobs provide cue and microphone control; and two pairs of RCA jacks supply analog I/O. The Torq software builds on established DJ software by adding a 16-slot, tempo-synced sampler for live sampling and more sophisticated control. Torq accesses existing iTunes libraries, supports VST plug-in effects and operates as a ReWire slave to be used with Ableton Live or other ReWire software. A special feature lets DJs control either the left or right track in Torq with a single CD player or turntable. Torq also takes Snapshots, which saves all the software settings for instant recall later.
In DJ/live performance accessories, Odyssey debuted its Laptop Stand, a stand aimed at digital DJs. It can stand on its own or attach to a DJ coffin or tabletop. Adjustable widths and clamps make the Laptop Stand appropriate for virtually any size laptop. Disc Storage Solutions also displayed its notable live performance cases for laptops, microphones and disc cases for all optical disc media. These disc cases feature an innovative vertically hanging storage methods that makes discs easier to locate, remove and put back, as well as maximizes the space needed per disc.
No NAMM would be complete without some choice new hardware. Novation busted out its XioSynth, an audio/MIDI interface combined with a hardware synth. Some of the 200 patches were programmed by the likes of Rennie Pilgrem, James Zabiela and Roots Manuva. The 2-in/2-out audio interface includes one phantom powered XLR mic pre and one ¼-inch guitar jack for high-quality audio conversion, recording and playback using class-compliant USB (no drivers needed). The XioSynth also acts as a MIDI controller for software with 22 knobs (doubled to 44 using the A/B switch), an assignable touchpad and an assignable joystick. There are 16 onboard templates, 12 of which come with pre-assigned layouts, and the included Template Editor software can create templates to be uploaded to the unit. The onboard synth signal can be routed through the USB connection to record directly into a computer.
Alesis debuted two FireWire audio/MIDI interfaces, the IO/14 ($499) and IO/26 ($599). These bus-powered, tabletop units with controls on the front and jacks on the back offer analog inputs (on XLR/TRS combo jacks with inserts and optional phantom power), S/PDIF and ADAT digital inputs and 16-channel MIDI I/O. Hi/Lo impedance inputs for recording guitars or synths are available, as well as ¼-inch stereo output and two headphones jacks. Each input channel has a bright 5-segment LED meter for viewing signal level and clipping. The package includes Cubase LE software and the ability to daisychain multiple units over FireWire.
Sony flaunted its new MDR-7509HD ($265) high-definition headphones and the MZM200 Hi-MD recorder ($439.95), a USB 2.0-equipped recorder and player of Hi-MD and MD formats with an included stereo mic. It records to uncompressed, CD-qualtiy PCM audio, and the included Mac and PC software converts this to WAV files. It accepts 1GB Mini Discs, which provide 94 minutes of uncompressed recording, and also includes a rechargeable lithium ion battery.
The MDR-7509HD was designed for high sample rates, featuring an unusually wide 80kHz reproduction range for hearing the crisper high end and deeper low end associated with high-quality PCM and DSD recording types. Sony even designed these cans partly with the needs of hip-hop producers in mind, who would blow out other headphones with too much bass. Both louder and more comfortable, the 3,000mW power capacity means hotter signals coming to the headphones while the Auranomic, circum-aural design is tailored to the shape of the ear to reduce pressure on the ears after extended use. The high-powered neodymium magnets deliver a hot midrange signal from the drivers that is both louder and less fatiguing on the listener.
Samson introduced its most professional microphone yet, the VR88 ($499) ribbon microphone, a result of five years of intense research and development. The limited-run ribbon mic comes handcrafted with all the fidelity of much higher priced models. It features a pure aluminum corrugated foil ribbon suspended within an intense Neodymium field, and its response is even from the top to the bottom of its range. Capable of handling up to 138 dB SPL, the VR88 is just as happy on guitar stacks as it is on acoustic instruments or vocals. A lightweight aluminum case holds the mic, a yoke mount, spider shockmount and a custom XLR cable.
Several other new microphones also showed up at Summer NAMM. Audix had its new FireBall mic ($99 street price), which is perhaps the first mic designed in part for beat boxers. The dynamic mic isolates other sounds coming from around it, and it’s made to be cupped in the hand very close to the mouth without impacting sound quality. There is built-in volume control on the handle and handles 140 dB SPL without distorting. The FireBall is also suited for MCs and harmonica players.
Audio-Technica reengineered its classic Artist Series of live sound microphones, which includes handheld vocal mics, drum mics and other optimized specifically for instruments. The updates were based on martket research and artist consultations and focused specifically on producing accurate response and low-distortion characteristics. The new Artist Series includes the ATM410 cardioid dynamic vocal mic ($169), the ATM610 hypercardioid dynamic vocal mic ($249), the ATM710 cardioid condenser vocal mic ($299), the ATM250 hypercardioid condenser instrument mic ($329), the ATM250DE dual-element instrument mic ($549), the ATM350 cardioid condenser clip-on instrument mic ($449), the ATM450 cardioid condenser side-address instrument mic ($369) and the ATM650 hypercardioid dynamic instrument mic ($169).
The cool prototype award goes to Zoom for its H4 ($495) four-track flash recorder that records to SD memory cards and has built-in effects for use during or after recording (compressor, EQ, mic modeling, guitar effects). Dual 10mm-diaphragm electret condenser microphones are configured in an x-y pattern and can handle up to 120 dB SPL. Recording formats include 96 or 48kHz (at 24-bit), 44.1kHz (at 16-bit) or direct MP3 compression. It includes a 64MB memory card but can accept up to a 1GB SD card, which would provide 190 minutes of recording in 16-bit mode. The H4 comes bundled with Cubase LE, a windshield cover and a tripod attachment. —Markkus Rovito & Asher Fulero
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