by Matt Bell, Dave Lockwood & Paul White

This year's Winter NAMM show seemed the busiest music trade show for several years -- all the major equipment manufacturers launched several new products, and the SOS team were kept busy rushing around the newly rebuilt Anaheim Convention Centre making sure that nothing was missed. This issue of SOS went to press straight after the show, but we still squeezed in a roundup of all the highlights, and we'll be bringing you more news and a summary of all the new products in next month's News pages.

As at last year's NAMM show, the major manufacturers continued to launch integrated mixer/recorders in the budget digital multitracker vein, but where last year's Akai, Yamaha and Roland machines were 16-track systems aimed at the home-based musician, this year saw the boundaries being pushed further. Both Akai and Roland announced 24-track machines with moving faders and a host of music-for-picture-friendly features, and Alesis showed a surprisingly cost-effective stand-alone digital 24-track recorder with no built-in mixer. At the other end of the scale from stand-alone hardware, 'do-it-all' software-based recording systems continued to grow in complexity; Digidesign, Emagic and MOTU all announced the new versions of their flagship packages. In this climate, it wasn't too surprising to see several manufacturers, such as Digidesign, Emagic (in collaboration with Mackie) and Midiman, unveiling hardware control surfaces at the show, all aimed at making life easier for the mouse-bound PC or Mac musician.

A surprising joint Yamaha and Roland press conference was announced just days before the exhibition opened, and speculation was rife that some form of agreement about a jointly-backed protocol for FireWire transmission of audio and MIDI might be on the cards, along the lines of the proposed mLAN system. To the disappointment of many who attended, the announcement turned out to be one concerning collaboration on a revised General MIDI v2.0 spec. In fairness, this is still a positive development, and will prevent the further fragmentation of the GM standard into manufacturer-specific protocols, like Yamaha's XG and Roland's GS; it just wasn't the joint Roland-Yamaha announcement that many had been hoping for! Elsewhere at the show, Apple representatives confirmed that Mac OS X will contain specific support of the mLAN protocol, not just general support for the concept of FireWire audio, as had previously been suspected.

However, even as this announcement was made, US companies Digital Harmony (+1 206 682 3600 or www.digitalharmony.com) and Crest Audio (Protech +44 (0)1295 817625 or (www.crestaudio.com) unveiled a jointly produced FireWire MIDI + Audio interface which works on DHIVA, a different protocol from mLAN. Apparently DHIVA and mLAN are compatible at a basic level, and one will at least recognise MIDI and audio being transferred down the other, but some of the more complex control protocols will not be mutually intelligible. This is a shame for the end user, as the last thing anyone needs is a FireWire format war...

The ever-increasing amount of processing power available to hardware and software designers alike was reflected in a couple of powerful new audio manipulation products, which simply wouldn't have been possible a couple of years ago. The remarkable new VoicePrism Plus from TC-Helicon (+44 (0)800 917 8926 or www.tc-helicon.com) takes vocal harmony processing to the next level, allowing you to synthesize natural vocal performance qualities such as rasp, growl, and breathiness from a vocal performance and add them to the original voice -- and all in real time (for more details of the VoicePrism Plus, as well as TC Electronic's G-Major guitar effects, which was also on display on the TC NAMM stand, see page 7).

New German company Celemony (www.celemony.com) were also exhibiting their striking software Melodyne, which detects the pitch of incoming monophonic audio and renders it as freely repitchable or time-stretchable data, or even as a MIDI file with pitch controller data if you wish. The basic idea is similar to that used in Roland's Variphrase processing (although we understand from designer Peter Neubäcker that it's achieved in a rather different way to Variphrase), but Melodyne's graphical user interface renders it superbly easy to use. (Having said that, Roland announced a computer-based front-end for Variphrase at the show-- Ed.) Also, judging by the demonstration we had, the process is capable of producing some amazing changes in source material without compromising the natural sound of a performance too much. For more information, see the full news item on page 7.

These were perhaps the most striking technological developments, but as already mentioned, this show offered no shortage of products which refined existing technologies or offered them at new price points.

The star product unveiled by Akai (AMIC UK +44 (0)20 8614 2592, or www.akaipro.com) was undoubtedly the new DPS24. Far from being simply a 24-track version of their compact DPS16 digital multitracker, the DPS24 is a much physically larger recorder with a built-in 44-channel mixer. This features semi-parametric EQ and dynamics on every channel, plus balanced analogue insert points on the first four inputs, 12 long-throw 100mm motorised faders, a four-channel effects processor and CD-RW drive, and 12 infinite 'soft pot' rotary encoders with LED surrounds. Just as with many digital mixers, an entire virtual channel strip 'turned sideways' may be assigned to these soft pots. Waveform editing is possible via the LCD large display, or with an attached computer running Akai editing software, and as on the DPS16, recordings can be made at up to 24-bit, 96kHz if you wish, though this halves the number of available recording tracks. With its built-in two-channel talkback system, switchable Nearfield and Main monitor outputs, SMPTE sync options and other features derived from the broadcast-oriented DD series of Akai recorders, not to mention its sheer physical size, the DPS24 is clearly aimed at a slightly different market to the home-oriented DPS16.

The big launch from Alesis (Sound Technology +44 (0)1462 480000 or www.alesis.com) was the HD24, the company's first non-ADAT multitrack recorder. This no-frills, sub-£2000 24-track hard disk recorder functions much like a tapeless ADAT, right down to its three ADAT digital I/Os, nine-pin ADAT sync and BRC compatibility. Two hot-swappable EIDE drive trays are fitted as standard and basic cut/copy/move editing is available. Analogue I/O is built in and sample rates of up to 96kHz are supported.

Big Briar (Turnkey +44 (0)20 7419 9999 or www.bigbriar.com) announced a competition to help them find a name for founder Bob Moog's as-yet-untitled new performance synth, due this summer. Entries are welcomed from all over the world, and the prize will be one of the new synths. You can find an entry form and terms and conditions on the Big Briar web site. The other big announcement was that the new synth will incorporate a controller pad made from Tactex, the space-age material used in Midiman's new hardware controller (more on this below).

Cakewalk (Et Cetera +44 (0)1706 228039 or www.cakewalk.com) exhibited their new flagship PC-hosted Sonar digital multitrack recording system, which claims an "unrestricted" number of audio and MIDI tracks. It supports multi-processor PCs and dual-monitor setups and is based around a stylish user interface. Features include looping tools, comprehensive audio and MIDI editing, and automatable DirectX plug-ins and synths. Sonar is even supplied with a version of AAS's Tassman software synth.

Carillon (+44 (0)20 7692 7628 or www.carillondirect.com) didn't have a stand of their own at the show, but Propellerhead were using one of the UK company's new custom-built music PCs on their booth to run Reason (see last December's News pages. Carillon have now finalised the makeup of their 16 PC packages, which range from basic Cubase VST systems up to broadcast-oriented NT-based Pro Tools setups, and they should be shipping by the time you read this. Certainly the PC on the Propellerhead booth looked impressively sturdy.

Digitech (Arbiter +44 (0)20 8 202 1199 or www.digitech.com) premiered a new angle on amp modelling with their GeNetX technology that allows the user to blend the characteristics of different amp and speaker models. The first guitar processor to use this system is the GNX1 floor unit and it will also be used in what looks to be the successor to the J-Station, the forthcoming Genesis3 (below).

Emagic (Sound Technology +44 (0)1462 480000 or www.emagic.de) demonstrated the forthcoming v4.7 release of Logic Audio, which now has proper support for VST plug-in automation and can support up to 24 virtual instruments (Platinum only). A host of improvements to the EXS24 sampler was also announced, but the new kid on the block was the EVPS88 software instrument, which models Rhodes, Wurlitzer and Hohner electric pianos. As hinted above, we also discovered that Emagic are working with Mackie (+44 (0)1268 571212 or www.mackie.com) to produce a series of modular, moving-fader hardware controllers for Logic Audio, with the overall title of Logic Control. Apparently, the first eight-fader version will cost around $500 and be expandable in eight-fader blocks.

Emu-Ensoniq (+44 (0)131 653 6556 or www.emu.com) were showing their new PARIS Pro hardware and software computer-based recording system. Like the original Ensoniq PARIS, the Pro system is based around a PCI card with onboard DSP for effects processing, cross-platform software with support for the major MIDI + Audio sequencers, and a hardware Modular Expansion Chassis (or MEC) via which further I/O cards and options may be added. The PARIS Pro also includes a C16 Pro non-motorised hardware fader controller. The basic system provides 256 tracks of audio recording.

Also new from Emu were two dance-oriented desktop hardware sequencing workstations with built-in Proteus 2000 synth engines, and three Emu sound expansion ROM slots. The orange XL7 (pictured here) takes its sounds from the XL1 Xtreme Lead rack synth, while the purple MP7 borrows the soundset of the Mo'Phatt hip-hop module (reviewed on page 162 of this month's issue). As you can see, both units are highly 'knobular' offering one-knob-per-function access to the filters and envelopes, and can double as MIDI control surfaces. MIDI events can be recorded in grid, real-time or step modes, or you can import Standard MIDI Files.

The Eclipse Harmonizer from Eventide (HHB +44 (0)20 8962 5000 or www.eventide.com) marks a new low price point for Eventide effects processing (it's planned to come in at around £2000 including VAT). Despite this, the Eclipse has five times the processing power, and double the features of the renowned H3000. Its dual-engine architecture is configurable in series, parallel, stereo or dual mono. 24-bit, 96kHz sampling is supported with S/PDIF and AES/EBU I/O plus analogue balanced and unbalanced I/O, and an ADAT lightpipe. The unit delivers Eventide-quality pitch change, reverb and special effects programs.

Fender (Arbiter +44 (0)20 8202 1199 or www.fender.com) launched their hi-tech CyberTwin guitar amp -- not a modelling amp, but a valve/solid-state hybrid that can adopt a number of different circuit configurations, thereby effectively becoming the amplifier it is emulating, they claim.

Hughes & Kettner (Sound Technology +44 (0)1462 480000 or www.hughes-and-kettner.com) joined the growing number of manufacturers building modelling guitar amplifiers with their high end, 200-Watt Zentera 2x12 combo. This offers 11 different amp models plus a range of digital effects, including emulations of vintage stomp boxes and a modelled spring reverb. Other features include a serial effects loop and analogue and digital recording outputs.

The name of iZ Technology (+1 800 776 1356 or www.izcorp.com) may not be familiar to many SOS readers, but their RADAR multitrack recorder, which they have been building for Otari for many years, certainly will be. The company are now marketing the RADAR line directly, and were exhibiting their new low-cost RADAR 24 at the show. The RADAR 24 retails at under US $5000, which, when converted to pound pricing, is a tremendous saving from the previous RADAR's retail price of just under £20,000. Like its more expensive predecessor, the RADAR 24 records up to 24 tracks of 24-bit, 48kHZ audio, but options are available to allow recording at rates of up to 192kHz. Recording takes place to a built-in 9Gb SCSI drive, and a range of backup drives are available.

Kenton (+44 (0)20 8337 0333 or www.kenton.co.uk) demoed their 1U Plugstation PLG card expander, which accommodates up to four Yamaha PLG-format cards, with or without connection to a PC. It can be used with any device that supports PLG cards, and an optional card provides eight audio outputs. The optional DS2416 interface card allows the outputs from a Yamaha SW1000 to be routed to the audio card. PLG card outputs can be routed back to the SW1000 for output or sent via the optional audio out card.

Korg (+44 (0)1908 857100 or www.korg.co.uk) debuted several new products at the show, such as the Karma workstation, but the only one which hasn't already been mentioned on page 6 of this month's SOS was the new v2.0 software for the OASYS PCI card. The upgrade, which is free, includes 24-bit, stereo PCM support, and almost all the waveforms from the Triton internal ROM and first three Triton expansion boards (see page 46). 16 new sample-based synth plug-ins are also bundled with the upgrade.

Midiman (+44 (0)1423 886692 or www.midiman.co.uk) released a host of PCI cards at the show, and announced an alliance with Emagic, details of which will have to wait until next month for space reasons. However, their big news was the Surface One hardware controller. Slightly reminiscent of Don Buchla's old Thunder controller in appearance, the Surface One is a user-configurable control surface with 16 rotary encoders and a series of user-configurable strips (arranged ergonomically in approximately the shape of an outstretched hand) made from Tactex, a fibre-optic touch-sensitive material developed by the Canadian Space Agency. Because the Tactex strips can detect whether you are rubbing your fingers vertically or laterally on them (or pressing down on them, for that matter), a variety of MIDI controllers can be output from each strip. Depending on how you configure the controller, it could therefore behave as a virtual instrument controller, an interface for an on-screen mixer, a hardware synth programmer, and so on. It's much harder to describe than to understand when you stand in front of it, so perhaps the picture below will help!

MOTU (Musictrack +44 (0)1767 313447 or www.motu.com) took the wraps off v3.0 of their Digital Performer software, which features a completely redesigned visual interface including a unified Sequence Window for simultaneous editing of MIDI and audio. DP3 offers plug-ins for surround mixing, and support for multi-processor Macs and Rocket Networks' Internet collaboration system.

MOTU's other big product was the 828 FireWire audio interface, a 1U rack device with eight channels of both analogue and digital (ADAT optical) I/O, as well as co-axial S/PDIF, mic preamps and an ADAT Sync input for sample-accurate synchronisation. The 828 is bundled with MOTU's AudioDesk digital recording application for Mac, and is expected to retail for well under £1000. However, it doesn't work via the mLAN or DHIVA protocols (see above), so it won't be compatible with other FireWire audio interface hardware that uses these protocols.

The music production system Reason (see review on page 198) was pumping out impressive electronic music out on the stand rented by Propellerhead (Midiman UK +44 (0)1423 886692 www.propellerheads.se). Aside from Reason, the company were also showing a late beta version of Recycle v2.0, which (at last) supports stereo files. The upgrade should be "imminent" by the time you read this...

Soundcraft (+44 (0)1707 665000 or www.spirit-by-soundcraft.co.uk) launched their M-series of analogue mini-mixers (below). Three types (the M4, M8, and M12, each with the corresponding number of analogue inputs) are available, all offering 100mm long-throw faders, the mic preamps from Soundcraft's impressive Ghost console, three-band EQ, global 48V phantom power, four effects returns and four aux sends, as well as four stereo inputs and a built-in S/PDIF stereo digital output.

Roland (+44 (0)1792 515020 or www.roland.co.uk) launched another flood of products (more details on these next month), but the hottest product on their vast stand was unquestionably the aforementioned VS2480 (shown above). Like Akai's DPS24, this is much more than a 24-track version of the company's 16-track machine, as it offers a VGA monitor output, 96kHz capability, drag and drop editing and a 64-channel automated mixer with 17 motorised faders. Its two effects processors include COSM amp modelling and mastering tools while phrase pads allow 24-voice sample triggering. Up to three additional dual effects cards can be added and there's a SCSI port for CD burning or connecting an external hard drive. The projected UK price was keen, too, at under £3000.

In addition to the Houston motorised-fader hardware controller first seen in prototype form at September's AES show, Steinberg (Arbiter +44 (0)20 8970 1909 or www.steinberg.net) were showing Nuendo for Macintosh with a TC Works surround reverb and the new Nuendo 8 I/O 24-bit AD/DA interface. Also being demoed was the new Halion VST sampler, which has an embedded loop editor, sophisticated crossfade handling and drag-and-drop key zoning. Sample formats supported include WAV, AIFF and Akai, with others planned.

There was more good news for plug-in users from Universal Audio (SCV +44 (0)20 7923 1892 or www.uaudio.com) The company were launching a new DSP card dedicated to running plug-ins, similar in concept to TC's Powercore card, which also debuted at the show. However, the Universal Audio card has a significant price advantage -- it's expected to retail for below £600.

Like Roland, Yamaha (+44 (0)1908 369269 or www.yamaha.co.uk) were not backward in coming forward with their new products at NAMM, but space prevents us from covering them all here. Of particular interest were the dance-friendly desktop AN200 and DX200 hardware sequencers. Like Emu's XL7 and MP7, these feature step sequencers and a knob-driven user interface, but as the names suggest, the AN200 contains a synth derived from the physical modelling AN1x, while the DX200 uses a six-operator FM synth! One AN or FM part may be driven by the internal sequencer (with up to five-note polyphony on the AN200 and up to 16 notes on the DX200) alongside three drum parts per pattern. Resonant filters, ring modulation, oscillator sync and effects are built in to both synths, and voice editing software for Mac and PC is also included.

Another dance-friendly Yamaha exhibit was the RS7000 sampling workstation (shown below), Yamaha's long-awaited take on Akai's MPC series of hardware sequencers/samplers. Like Akai's machines, the RS features plenty of knobs and sample-playback pads, plus a built-in effects unit and 16-part, 62-note polyphonic sample-and-synthesis-based synth engine (including six filter types). MIDI data can be input in grid, step, or real-time modes, and arpeggiators and MIDI delay effects may be applied. 4Mb of sample memory is supplied, expandable to 64Mb via SIMMs, and samples can be recorded at a variety of sample rates, or imported in WAV, AIFF, Akai and Yamaha A-series formats. A Recycle-type loop slicer-and-sequencer function is also included.

Finally, a bit of a teaser. The Yamaha stand contained a sign saying 'Motive: Coming Soon...'. Tight-lipped Yamaha staff eventually admitted that this was the name for a new sample-and-synthesis-based workstation synth range costing somewhere between £1500 and £2000. We'll be bringing you more details of this and all the other new products over the coming months.