Eric Levy of Garaj Mahal demos the Minimoog Voyager – Old School at NAMM 2008.

The amazing Jonathan Herrera (www.myspace.com/jhebass) sits in on bass.

via MoogMusicInc:

Here are some performance clips from a couple of leaders in the controllerism movement, Dj Moldover and Ean Golden.

They each demonstrated some new performance ideas at the Albeton Live and Vestax booths at the 2008 NAMM show. 

via eangolden

One of the most interesting introductions at NAMM this year wasn’t a synth or new control surface, but KRK’s ERGO – a digital room analysis and correction system.

ERGO analyzes and compensates for bad room acoustics, which can negatively effect your mixes.

The unit connects to a computer via Firewire when it is performing its room analysis, but since all correction processing resides in ERGO, no overhead is needed from the computer audio system. This means that ERGO can function in pure analog systems since it can work as a stand-alone room correction/speaker control unit after room analysis is complete.

Acoustic treatment room correction isn’t as sexy as a new synth, but it can make a big improvement in your mixes.

ERGO is $799, but you can expect this technology to drop in price in the next few years and become a standard part of home studios.

Steinberg and Yamaha have introduced a new MIDI controller for Cubase, the CC121 Advanced Integration Controller.

Features :

• Advanced Integration controller knob with ‘point and control’ support: controls any visual Cubase 4 parameter, internal FX setting or VSTi parameter using mouse pointer selection
• Instant plug and play with ‘Cubase Ready’ LED – no additional setup or parameter assigning required
• One motorized 100mm touch-sensitive fader
• Dedicated control of Cubase channel settings including solo/mute, record arm, ‘e’ settings button, automation read/write, pan and VSTi editor
• Full Cubase EQ section in hardware with 12 dedicated rotary encoders, with mode selection and bypass switches
• User-assignable section with Cubase-integrated presets for Control Room studio sends and monitoring setup.

CC121 will support Windows XP Windows Vista and Mac OS X, and will be available in Q3 2008 with price TBA.

Eric wasn’t demoing the amp, though. Fortunately, the guys at Big City Music have posted a video that gives you a taste of what this thing can do:

At the 2008 Winter NAMM Show, Analog Suicide’s Tara Busch talked to Peter Grenader and got the latest scoop on the Plan B modular synthesizer.

At the 2008 NAMM Show, Waldorf was showing this diminutive synth in a tiny booth in an obscure area of the show basement.

Not an auspicious display, but at least the Blofeld synth has a good pedigree.

The Blofeld engine delivers the same sound that so many Waldorf users worldwide love when they play their Pulse, Q, Q+, Micro Q, Microwave, Microwave II/XT, or Wave.

The Blofeld is based on the PPG Wave synthesizers of the early 80s. When you listen to the Blofeld for the first time, you may recognize those timbres from the PPG era.

You can preview the Blofeld sound below.

Highlights:

• 7 endless stainless steel Dials
• Graphic Display 128 x 64 pixels, b/w, white background LED
• more than 1000 Sounds
• 3 Oscillators per voice
• Frequency Modulation between the Oscillators
• All Q Oscillator Models
• All Microwave II/XT/XTk Wavetables
• 2 independent Multi Mode Filters per voice
• Filter FM
• 2 Drive stages per voice with selectable Drive Curves
• 3 fast LFOs per voice
• 4 fast Envelopes per voice
• powerful Arpeggiator
• freely programmable Arpeggiator Pattern with up to 16 Steps per Sound

General Features

• up to 25 Voices
• 16 part multi timbral
• more than 1000 Sounds
• sturdy Metal Enclosure
• 7 endless stainless steel Dials
• 5 Buttons
• Graphic Display 128 x 64 pixels, b/w, white background LED
• MIDI LED
• Volume Control
• Power Switch
• Stereo Output
• Headphone Output
• MIDI In
• USB Connector for MIDI In / Out
  • uses standard USB MIDI Driver provided by host computer OS
  • Windows ME minimum, Windows XP or newer recommended
  • Mac OS X 10.2 minimum, Mac OS X 10.3 or newer recommended
• External Power Supply

Per Voice

• 3 Oscillators
  Virtual Analog Models:
  • Pulse with Pulse Width Modulation and adjustable Brilliance
  • Sawtooth with adjustable Brilliance
  • Triangle
  • Sine
  • Q Alt 1 and Alt 2 Wavetable with adjustable Brilliance
  • All Wavetables from Microwave II/XT/XTk Series with adjustable Brilliance
  • Separate Wavetable selectable for Oscillator 1 and 2

Wavetables:

• Frequency Modulation between the Oscillators
• Oscillator Synchronization
• Ring Modulator for Osc 1 / 2
• Noise Generator with Noise Colour
• 2 independent Multi Mode Filters
  • Filter FM
  • Resonance up to Self-Oscillation
  • Low Pass 24 dB / 12 dB
  • Band Pass 24 dB / 12 dB
  • High Pass 24 dB / 12 dB
  • Notch 24 dB / 12 dB
  • Comb Filter with positive / negative Feedback
  • PPG Low Pass Filter
• 2 Drive stages per voice with adjustable Drive Gain and selectable Curves
  • Clip
  • Hard
  • Medium
  • Soft
  • Sine Shaper
  • etc.
• Modulation Matrix with 16 Slots, freely programmable
  • Modulation Speed far into Audio Range
  • Modulation Sources include all internal Modulation Sources plus various MIDI messages
  • Modulation Destinations for almost all continuous sound parameters
• various pre-routed Modulation Destinations with selectable Sources
  • Pitch Modulation
  • Oscillator 1 / 2 / 3 Frequency Modulation
  • Oscillator 1 / 2 / 3 Pulse Width Modulation
  • Filter 1 / 2 Cutoff Modulation
  • Filter 1 / 2 Frequency Modulation
  • Pan 1 / 2 Modulation
  • Amp Modulation
• 4 Modifiers for transforming Modulation Sources with various Algorithms
• 3 fast LFOs
  • syncable to MIDI Clock
  • Note Retrigger with adjustable Start Phase
  • monophonic LFO
  • Keytrack
• 4 fast Envelopes with selectable types
  • Single Trigger / Retrigger per Envelope
  • ADSR
  • ADS1DS2R (2 Decay/Sustain stages plus adjustable Attack Level)
  • One Shot
  • Loop S1S2 (Loop between Sustain 1 and 2)
  • Loop All (Loop over all stages)
• Poly, Mono, Dual or Unisono Mode with selectable Voice Count

Per Part

• powerful Arpeggiator
  • Hold and One Shot modes
  • syncable to MIDI Clock
  • Direction Up, Down, Alternate
  • Range up to 10 Octaves
  • various methods to modify Note Sort Order
• freely programmable Arpeggiator Pattern with up to 16 Steps per Sound.
  programmable per Step:
  • Accent
  • Timing
  • Length
  • Glide on/off
  • Pause
  • Chord
  • Previous note
  • Random not from Note List
  • first and/or last note from Note List
• 1 Effect slot per part
• 1 Effect slot globally for all parts
  Effect types:
  • Chorus
  • Flanger
  • Phaser
  • Overdrive
  • Triple FX (S&H, Ring Modulation, Chorus)
  • Delay (only available on global Effect slot)
  • Clocked Delay (only available on global Effect slot)
  • Reverb (only available on global Effect slot)

We’ve already mentioned tons of great new gear that we saw at NAMM in the last couple of weeks, but, following in the footsteps of last year’s modular analog synthgasm, here are our picks for 2008’s most synthgasmic gear:

Future Retro XS Semi-modular Analog Synthesizer

We saw the XS in a sort of beta state last year, but this year the Future Retro XS is ready to play.

The XS is a semi-modular synth, with internally normalized routing. Plug it into a MIDI controller and it’s ready to play. Put in a patch cord, though, and you can do some mad science.

Designer Jered Flickinger (interview link) says the XS is designed to be used as either a rackmount or desktop instrument, and its compact size makes it an ideal modular synth for musicians on the go.

Arturia Analog Factory Experience Hybrid Synthesizer

Based on Analog Factory 2.0, a software instrument offering 3500 classic synthesizer sounds, Arturia’s Analog Factory Experience includes a 32-key MIDI keyboard that’s designed to make virtual analog synth-tweaking a no-brainer.

Spectrasonics Omnisphere Virtual Instrument

Spectrasonics previewed their new flagship virtual instrument Omnisphere, and kicked off what looks like it will be a massive hype campaign for a synth that’s not due until September.

While it is the most vaporous of the synths that made the list, it looks like it will definitely be synthgasmic.

Omnisphere combines a wide variety of hybrid realtime synthesis techniques, an epic library of ‘Psychoacoustic’ sounds, and some innovative features. The new instrument is the first to be based on Spectrasonics’ STEAM Engine, the company’s newly developed core technology.

And it sounds pretty wicked.

Roger Linn & Dave Smith’s LinnDrum II

Speaking of vaporous, Dave Smith was showing the LinnDrum II.

Last year, he was showing the Boomchik, a new drum machine that we called NAMM’s sexiest vaporware.

Well, the new drum machine is still a bit vaporous, the Boomchik is now the LinnDrum II, and Smith had a full scale model of it on hand.

And while it may be vaporware now, Smith has delivered some of the most exciting analog synths ever designed over the last few years, and we’ve got no doubt that when he and Roger Linn are done with it, the LinnDrum will be one of the coolest drum machines ever created.

Two models are planned: the all-digital LinnDrum II and the LinnDrum II Analog, which adds a 4-voice analog synth and 27 dual-function voicing knobs.

Prophet 8 Monster Synth

The most drool-worthy new synth at the show was probably Dave Smith’s Prophet ‘08 – an eight-voice synthesizer with a 100% analog signal path.

While the Prophet ’08’s overall sonic character will be familiar to anyone who knows Dave’s work from the ’70s and ’80s, its got massively improved modulation possibilities, starting with 4 LFO’s per voice.

MicroKorg Bizarro Edition

Nothing too innovative here, but the reversed-color keyboard is a funky throwback to old synths.

The Limited Edition microKORG is a portable synthesizer offering modeling synthesis, vocoding, real-time control, onboard effects and external audio processing.

Quantum Leap Forbidden Planet

EASTWEST previewed Quantum Leap Forbidden Planet, a virtual sample-based synth collection focusing on edgy sound design and controls that let you easily combine, morph, process and modulate the sounds.

Yeah – it’s another big sound library – but it’s got over 1000 presets and offers parallel programs using the unprocessed analog waves and all of the digital filters, modulators and FX.

If you like abstronica – this could be up your alley.

Livewire Modular Synthesizer

Nothing can beat a large format modular synth, but they were hard to find at this year’s NAMM show. In fact, most of the modular synth action seems to be happening in the smaller formats.

One of the most interesting new modular synths is Mike Brown’s Livewire line of Eurorack synth modules. I had a chance to talk with Mike in depth about his modules, and he’s doing some really interesting things.

He’s got some great new modules in the works, including an amazingly non-boring VCO. You can’t build a complete Livewire synth at this point – Mike is more interested in creating new modules designs that no one has ever though of before than in making a Livewire envelope generator.

Roland FR-2 Series V-Accordions

Finally – something out of left field.

While the most interesting gear seemed to come out of smaller manufacturers, Roland introduced the slightly out there FR-2 series V-Accordion.

The virtual accordion offers physical behavior modeling technology, providing the tone and characteristics of the world’s best accordions, plus MIDI so you can lay on so funky-ass bass while you play Lady of Spain.

At the Winter NAMM Show, Edirol released another portable recording unit. The Edirol R-44 4-Channel Portable Recorder is a 2 lbs. device that offers professional recording options, up to 24-bit and 192kHz, and uses SDHC cards to store the audio recorded.

The Edirol R-44 features

• 4 channels
• XLR (with phantom power) & balanced/unbalanced TRS combo inputs
• digital RCA and headphones outputs
• 20Hz to 40kHz frequency response
• built-in effects (limiter, low cut filter, 3-band EQ, 6-band GEQ, Enhancer and DeEsser)
• built-in stereo mic and speaker
• pre-record function (captures the sound from few seconds before you press the rec button),
• level control per channel
• transport controls
• OLED display
• USB and control sync mini jack connections.

The device can be powered by DC adapter, external battery and six AA batteries and with the sync connection you can use 2 recorders at the same time – offering 8 channels controlled by one device.

The Edirol R-44 4-Channel Portable Recorder price and availability have to be announced yet.

The MXL USB.009-24 features 24-bit A/D and D/A converters with up to 96 kHz recording capability. They recommend the mic for home recording, podcasting, as well as adding dialog to business presentations and other multimedia projects. They also recommend the mic for re-recording voice tracks to accompany video shot in the field.

Compatible with both USB 2.0 high speed and USB 1.1 protocols, the MXL USB.009-24 is a plug and play device.

The MXL USB.009-24 ships with a desktop microphone stand, a mounting clip, a flight case, cleaning cloth, one USB cable, an owner’s manual and an applications guide.

The MXL USB.009-24 carries a MAP of $399.95. The product is expected to be available Spring of 2008.

Details:

The MXL USB.009-24 is designed as a general purpose studio condenser microphone. It is equally suited for voice applications (both vocals and dialog) and makes a compelling choice for recording acoustic instruments as well as amp miking. The MXL USB.009-24 features a 32 mm pressure gradient condenser capsule with a gold sputtered diaphragm. Combined with its 24-bit A/D and D/A converters, this versatile new microphone delivers a full bodied sound with pristine highs, a smooth and silky midrange, and a rich low-end presence. The microphone supports recording with sampling frequencies up to 96 kHz.

MXL’s new USB.009-24 offers a comprehensive set of controls that enable the microphone to integrate into any audio environment. With its 1/8th-inch stereo headphone jack and adjustable level control, the USB.009-24 provides a convenient means to monitor during recording—with zero latency, bypassing the computer entirely. For added convenience, the MXL USB.009-24 even has a mix control for adjusting the balance between playback (the audio stream from one’s computer, for example) and the source signal via the microphone’s capsule—providing a fully self-contained monitoring solution for multitrack recording. Capping the microphone’s feature set is an analog gain control, for adjusting the level of signal from the capsule that feeds into the computer. With its blue LED capsule illumination, the MXL USB.009-24 provides visual confirmation that the microphone is powered and active.

Wayne Freeman, MXL’s Global Sales Manager, commented on the company’s latest microphone offering. “The new MXL USB.009-24 is unquestionably the most advanced USB microphone our industry has encountered. With first-class sound quality and a comprehensive assortment of features and accessories, everything one needs to start recording with a computer is included in this package. The latest advances in digital technology, along with years of research, have enabled us at MXL to produce the audio quality normally associated with expensive multi-channel computer interfaces within the body of this microphone. What this means for the end user is a simple, elegant, all-in-one recording solution that is completely professional.”

The ARX-01 Drums Expansion Board offers complete control of the elements of each drum, such as shell depth and muffling. Once each drum is crafted, you can further refine it with the built-in compressor/EQ, reverb, powerful multi-effects, and an onboard mixer for adjusting the volume and pan position.

The ARX-02 Electric Piano Expansion Board lets you create unique electric piano sounds. You can change the position of the pickup and choose from five amp models with dynamic control. Volume and tone change smoothly and realistically, based on the strength and weakness of the keyboard performance.

Optimized effects and custom graphic interfaces are exclusive to each ARX board.

For variety, the upright bass is played with three different sets of strings:

• steel-strings for the classic jazz sound;
• nylon-strings for a high-fidelity sound
• gut-strings for the old-school swing sound of the 40’s

The collection supplies users with 112 MIDI-controllable features including the groundbreaking repetition-hotkeys, fall-control, keys-vibrato, bridge/center playing, pickup micro-blending, expression-samples, pinch-harmonics, automatic-mode, slide-mode, chord-mode and more. To incorporate more sound variations to the natural, basic bass instruments, Chris Hein Bass also includes an IK Multimedia Ampeg SVX Uno bass-amp plug-in.

The collection retails for $449.95 and is available in the following formats: PC: VST 2.0, RTAS, and stand-alone; Mac: AU, VST 2.0, RTAS, and stand-alone.

NAMM Show Update: Korg’s new Pa500 uses the same EDS (Enhanced Definition Synthesis) sound engine that powers the Korg M3 workstation, Pa800 and the new Pa2XPro.

For the songwriter, the Pa500 features both traditional “workstation” sequencing, as well as Korg’s time-saving Backing Sequencer that can record each Style part to its own track in a single pass. Step editing quickly re-writes all Style parts without the need to play new data. For the guitarist, singer or novice keyboardist, chord changes can simply be “typed” into the Backing Sequencer to create complete backing tracks without playing a note.

The Pa500 features 61 velocity sensing keys and delivers 80-note polyphony along with 880 pre-loaded sounds (plus 128 user locations) and 56 preset drum sounds (64 user-programmable kits) and includes a GM2 soundset. In addition, four simultaneous Effects (124 types) can be used.

A USB jack allows the Pa500 to communicate with a computer and supports USB/MIDI. The onboard sound system features two dual-cone speakers powered by 15-Watt amplifiers housed in a bass reflex enclosure with a tuned EQ for rich musical sound quality.

The Pa500’s 240 x 320 pixel TouchView display offers two interface modes. For beginners or live performance, the EASY mode uses enhanced graphics to display common performance controls, while EXPERT mode offers full editing control.

The new Guitar Mode transforms the keyboard into the fretted strings of nearly any chord/neck position for authentic picking patterns, slides, strums and more. In addition, the piano from Korg’s flagship C720 concert piano is included.

Korg’s Style Engine

The center of all Korg Pa instruments is the Style engine. By following the performer’s chord changes, timing and voice leading, each Style can provide anything from a simple drum and bass groove to a full blown R & B rhythm section to create a complete performance — all in real time and on the fly, with no programming required.

In addition to Drums, Percussion and Bass, a Style can add up to five additional musical parts. Each of the 320 editable Styles is a complete musical environment for either performing a song or composing a new one, with four variations, introductions, endings, fill-ins and more. Musicians can create their own Styles from scratch, or combine various elements from existing Styles to create their own custom settings.

Details:

As the Style engine follows the left hand chording, the performer can play up to four additional sounds in real time. Single Touch Settings (STS) allow these sounds to be quickly changed with a single button. Four STS settings can be saved with each Style. The SongBook feature allows all settings — Style, STS, Tempo, Transposition, MIDI file, etc. needed to recreate a song to be organized into a quickly searchable database for instant access.

In performance, Korg’s XDS twin, multi-mode sequencer allows users to load one sequence while the other plays and use the DJ-style crossfader for smooth transitions between them. The Jukebox mode allows a single file to play back multiple songs for non-stop entertainment. The sequencer is compatible with standard SMF or Karaoke files. Karaoke lyrics will appear in the display. Sequence files — as well as sound, style and other data — can be saved and loaded via SD card or MMC memory stick.

Additional features include:

• Joystick
• Two audio outputs
• MIDI In/Out
• Two unbalanced line audio inputs
• Damper pedal input and user-assignable pedal input

The Korg Pa500 is available now with a U.S. MSRP of $1899.00.

For the first time, anyone with an interest in DSP software development can write, develop, test, and manufacture digital effects hardware without needing any hardware expertise or developing or tooling any electronics or enclosures. This is made possible by the combination of Line 6’s ToneCore modular effects platform and Freescale Semiconductor’s software development tools.

Thanks to its unique modular design, every ToneCore pedal can be transformed into any other effect by inserting a new ToneCore Module into the ToneCore Dock. The ToneCore DSP Developer Kit (TCDDK) provides everything a developer needs to create their own Modules that contain any effect that they create, and can then be used in any existing ToneCore pedal. No hardware development or expertise is required, since the ToneCore platform already provides all the hardware needed.

Included with the TCDDK is a new ToneCore Programmer Dock. This Dock contains all of the functionality of Line 6’s existing ToneCore Stereo Dock, but adds a mini-USB connector that is used for programming and testing development using a PC. The TCDDK also includes a new ToneCore Programmable Module that can be programmed via a PC through the Programmer Dock to produce any effect that the developer creates for download. Since the Programmable Module is Flash memory based, it can be used over and over again while experimenting with different algorithms. Once the desired algorithm is complete, the ToneCore Programmer Dock can be used to program additional ToneCore Programmable Modules (available separately) that can be resold directly by the developer.

The ToneCore Developer platform makes use of two powerful Freescale Semiconductor devices. The Programmer Module contains a product from the Freescale JM family of USB microcontrollers, a versatile single chip solution that handles all of the DSP firmware storage and downloading, user interface (including A/D channels for the pots), Flash memory, and a USB port for downloading and debugging of software.

The ToneCore Programmer Dock (and every Dock and ToneCore pedal Line 6 has ever produced) contains a Freescale Symphony audio DSP56364 signal processor, a 100 MIPS, 24-bit device ideally suited for high performance, low power consumption products like ToneCore. This Symphony DSP provides more processing power than the solution in Line 6’s original POD, making it powerful enough for a wide range of audio applications.

Thanks to Freescale’s new Symphony Studio Development Tool, everything required to develop software with the TCDDK is available online. By using the extensible development platform Eclipse, Symphony Studio provides DSP users a fresh way to develop, debug and simulate through an Integrated Development Environment (IDE). The software can be downloaded for free at www.freescale.com/symphonystudio.

In addition, the source code for a fully functional stereo 2-band state-variable filter is provided that demonstrates the complete functionality of the user interface and the audio processing. With this code, the developer can immediately start modifying the example to create their desired effect.

“The ToneCore DSP Developer Kit begins a new era in audio effects creation,” says Marcus Ryle, senior vice president of research and development at Line 6. “Now anyone with a PC and the aptitude can aspire to develop the new effect that becomes a ‘must have’ sound for musicians.”

The ToneCore DSP Developer Kit will be available directly from Line 6 in the Spring of 2008, and will sell for $199 (USD). Additional ToneCore Programmable Modules will also be available for direct purchase.

2008 Winter NAMM Show Update: BOSS announced the GT-10 Guitar Effects Processor.

According to Boss, the GT-10’s DSP engine provides a more natural and musical response. It also offers Phrase Loop,and Parallel Effects Chain, while new USB audio/MIDI capabilities add flexibility.

The GT-10 also offers the COSM technology found in many BOSS and Roland products, including the popular BOSS Legend Series pedals and the Roland VG-99.

Here’s Boss’ demo video for the GT-10:

The GT-10 also comes equipped with a rear-panel USB port, where audio and MIDI data can be streamed digitally to computers, digital recorders, or other compatible devices. The port also allows for quick transfer of data.

The GT-10 retails for about $500.

At the 2008 Winter NAMM Show, BOSS announced the BR-900CD Version 2.

With Version 2., BOSS has added the GT-Pro quality COSM guitar amp model, a new drum-editing software application (downloadable from the web), and 500 minutes of recording time via 1GB Compact Flash.

The BR-900CD features an 8-track recorder with phantom-powered mic inputs and built-in CD burner, 46 types of BOSS GT-Pro class COSM amps, pro-quality effects for every instrument type, plus mastering and pitch correction, and a programmable drum machine with a Rhythm Editor software (free download for PC and Mac).

1 GB Compact Flash card included.

The BR-900Cd retails for about $700.

At the 2008 Winter NAMM Show, M-Audio announced Torq 1.5 DJ software.

New features in Torq 1.5 software include:

• Tempo Anchors
• Tempo Master
• zplane élastique time stretching
• send/receive MIDI clock
• a new toolbar and a variety of workflow enhancements

The software’s new Tempo Anchors allow users to set the phase grid exactly on the beats of the song, even if the song changes tempo. The new Tempo Master function assigns a playing track to serve as the master BPM for everything in Torq, so looped samples, VST effects and other tempo-based features will follow in perfect sync. These new features are enhanced by the addition of zPlane Elastique time-compression/expansion technology, a powerful new algorithm designed for stretching full music tracks without rhythmic anomalies.

Torq 1.5 software allows performers to incorporate outboard MIDI hardware into their audio production setups. Torq 1.5 software can send and receive MIDI beat clock for total synchronization with drum machines, effects boxes and other computers. Multiple DJs can connect with each other and share the same tempo across systems, which improves collaboration between artists.

The initial release of Torq software revolutionized digital DJ performance and production by introducing a broad assortment of cutting-edge effects. Torq 1.5 goes even further by adding new features that improve effects processing and inspire creativity. The built-in effects can now be formed into Effects Chains, facilitating greater innovation than ever before. Torq 1.5 also supports VST Tempo so external effects can be automatically synchronized to the playing track.

In addition, Torq 1.5 incorporates several refinements to the user interface. The Hide Mixer option conserves screen space by removing the mixer from the user interface and expanding the file browser window. The Browser Preview function allows DJs to preview songs in their headphones before loading them into a deck. Torq 1.5 also displays a warning message when exiting the program or loading a song onto a deck that is already playing in order to prevent accidental set interruption during a live performance.

“The initial release of Torq changed the definition of DJ software by combining studio production tools with a robust DJ performance solution, blurring the line between DJs and producers,” said Adam Castillo, marketing director at M-Audio. “Torq 1.5 goes even further by delivering a host of innovative new features. With a compatible hardware interface like Conectiv or Xponent, Torq 1.5 DJ software becomes a powerful performance rig that enables DJs and producers to explore new creative directions.”

Torq 1.5 Key Features:

• Tempo Anchors allow marking tracks with varying tempos—Torq’s effects and samples follow the tempo changes in the song
• Tempo Master assigns a playing track to serve as the master tempo source for all tempo-related functions
• zPlane Elastique time-stretching/compression technology for sophisticated beat matching and pitch alteration
• Transmit/receive MIDI beat clock for sync with other hardware/software and easy switching between DJs
• Hide Mixer option conserves screen space
• Preview songs in headphones before loading to deck
• New Toolbar buttons and MIDI/tempo indicators
• Skip Protection keeps the music playing even if the Control Vinyl or CD skips
• True Key Lock keeps the pitch constant when adjusting external turntable speed
• Internal effects can be grouped into Effects Chains
• VST effects synchronize with tempo of playing deck
• Auto Gain feature matches the gain levels between decks
• Additional workflow and interface refinements enhance user experience

Pricing and Availability

Torq 1.5 DJ software is currently expected to be available for Windows XP, Windows Vista and Mac OS X-based systems in the first quarter of 2008. The cost of upgrading from any previous version of Torq is USD$50.

At the Winter NAMM Show, DigiTech introduced the Vocalist Live Pro vocal harmony and effects rack processor.

The Vocalist Live Pro can create multi-part harmony by analyzing a musical accompaniment signal. The Vocalist Live Pro accepts MIDI, so you can get musically intelligent harmonies just by playing in a natural accompaniment style.

You can choose harmony shifts in a four-octave range, including unisons, to create up to four-part harmony.

Features:

• Four-part intelligent vocal harmony using guitar or MIDI-based musIQ note detection and harmony engine
• Selectable harmony shifts ranging up to two octaves above or below the lead vocal
• Alternate harmony modes including Fixed Shift, Scalic, MIDI Chordal and MIDI Notes
• Pitch correction with 4 adjustable parameters
• Lead Persona Models with Gender Shifting
• Vocal Pre-Effects including Compressor, De-esser, Preamp, Band-Limiting, and EQ
• Lexicon Reverb and Delay post-effects
• Edit, store and recall 99 user or 99 factory presets
• On board guitar tuner
• XLR mic /line with level adjustment, studio grade preamp and 48V phantom power
• 1/4″ guitar input, 1/4″ guitar pass-through, 1/4″ line in.
• L/R Stereo 1/4″ aux outputs, L/R XLR main outputs, S/PDIF out, ground lift, selectable output routings
• MIDI in/thru, USB for preset editing, backup and exchange
• Footswitch and expression pedal jacks for remote control of presets and effects
• Power supply included

Winter NAMM Show Update: MOTU introduced the 828mk3 ($795), a cross-platform FireWire audio interface with on-board effects and mixing.

New features include a 32-bit floating point DSP for digital mixing and effects processing, more I/O, 192 kHz operation, true hi-Z guitar inputs, signal overload protection, digitally controlled analog input trims on all inputs, two banks of ADAT/TOSLink optical and MIDI I/O.

The 828mk3 lets you connect a wide variety of studio gear, including microphones, guitars, synths, keyboards, drum machines and even effects processors. In addition to the two mic/guitar preamp inputs on the front panel, the 828mk3 provides two independent headphone jacks with independent volume knobs, one of which also controls the XLR main outs on the rear panel. This “master vol” knob can also be programmed to control any combination of outputs (analog and/or digital). For example, it can control monitor output for an entire 5.1 or 7.1 surround mix.

Eight balanced (TRS) 24-bit analog inputs and outputs, as well as two XLR main outs and the two preamp inputs, can operate at sample rates up to 192 kHz (a total of ten analog inputs and outputs). Two optical banks provide 16 channels of ADAT optical at 48 kHz, 8 channels of S/MUX optical I/O at 96 kHz or two banks of stereo TOSLink at rates up to 96 kHz. The banks operate independently, allowing users to mix and match any optical formats. RCA S/PDIF connectors also supply independent stereo digital I/O.

Each mic input has a corresponding rear panel send that allows users to insert outboard gear before the signal goes digital. Any input can be used as a return.

The 828mk3 will ship in February 2008 for a list price of $795.

Synchronization

The 828mk3 is equipped with Direct Digital Synthesis™ (DDS), a DSP-driven phase lock engine and internal clock source that produces imperceptibly low jitter characteristics (below the noise floor), even when the 828mk3 is resolved to an external clock source via either word clock or SMPTE time code. The 828mk3 can directly resolve to (or generate) time code via a dedicated quarter-inch time code input and output, without the need for an extra synchronizer.

Expansion, drivers and AudioDesk

As with other MOTU FireWire interfaces, the 828mk3 supplies two FireWire jacks so it can be daisy-chained with additional MOTU FireWire audio interfaces or other devices. The 828mk3 is also fully compatible with the 8pre, a single rack MOTU interface that adds 8 mic preamp inputs to the 828mk3. Because the 8pre connects to the 828mk3 via ADAT optical, its mic inputs are fully integrated into the 828mk3’s on-board CueMix FX digital mixer.

The 828mk3 provides CueMix FX and drivers for Mac (OS X) and Windows (XP and Vista) for cross-platform compatibility with virtually all audio software via WDM/ASIO/Core Audio drivers. The included AudioDesk workstation software for Mac provides 24-bit recording/editing and 32-bit mixing/processing/mastering.

NuSofting has introduced Broken Drum Machine, a VST inspired by a combination of several old school beat boxes and the circuit-bending culture around the “toy” Casio and Yamaha keyboards of the 80s.

BDM is a plugin instrument designed for the musicians who love chaos and usually find the unpredictable behaviour of an uncontrollable sound machine stimulating and inspiring.BDM offers four drum pads in the style of an old beat box- one each for Bass Drum, Snare, Hi-Hat and Stick.

Each pad features the usual suspects for shaping the synthesized sound, including tone, decay, pitch, pan and gain. On top of the standard controls comes the broken factor – each pad features its own sliders for chaos and chance. Chaos sets the amount of variations to the original sound, and chance is the probability algorithm for the chaos to occur. By varying and automating the chaos and chance sliders, you can achieve a infinite range of wild and unpredictable sounds, similar to creating glitches and bleeps by manipulating an analog circuit.

Features:

• Addictive ever changing sound
• Blend of acoustic and electronic sound, PCM + VCO generation
• Seven “Chaos” Modulations of various parameters
• Controllable random crackles generation.
• 4 Mono + 1 Stereo out
• MIDI Learn for each parameter
• Customizable default PCM sound bank and skin using the Modpacks

BDM is available for the PC/VST for$44.90.