This is a sneak preview/teaser, via moonmodular, of “the last analog moon module you´ll ever need…”

When it comes to teaser, there’s usually a little steak to go along with the sizzle.

If you’re a Moon Modular user and you have any ideas on this, leave a comment!

Berlin, July 7th, 2009 – Native Instruments today announced that it will no longer maintain a booth presence at industry tradeshows like the NAMM Show, Musikmesse or AES in the future. The company has decided to instead prioritize online communication channels to engage with customers directly even stronger, and to allocate budgets accordingly.

This shift in priorities is exemplified by the new sophisticated rich-media website that Native Instruments launched recently, and will be continued through the establishment of further innovative online channels and other means of direct communication in the future.

“Times are changing and we have seen tradeshows become increasingly less relevant for our industry,” says Pablo La Rosa, International Marketing Director at Native Instruments. “By focusing our efforts in online communication and direct-to-customer events, we reach out to today’s musicians and producers in a way that we believe is more efficient for us and more engaging for them.”

This is bad news for music trade shows, because if Native pulls out, others are likely to follow. This may make sense for individual companies, but may be a loss for the music industry as a whole.

The announcement is a sign of the decline of the music trade show as an event to get excited about. It’s always been fun to see the smorgasbord of announcements that come out of an event like NAMM, and also to get the perspective of seeing and hearing a huge variety of gear in one location. It remains to be seen whether something new will emerge that can match the excitement of huge trade events.

It’s puzzling, though, that Native Instruments cites its new website as one of the reasons for the move.

Native calls Native-Instruments.com a “new sophisticated rich-media website”.  Synthtopia readers, though, call the new site “rubbish” and “a post-apocalyptic view of Flash hell”.

Native Instruments new site seems amateurish, as if the company paid no attention to usability, accessibility or findability in creating it. They’ll need to fix the site quickly if they expect it to be able to take the place of their presence at trade shows.

What do you think about the announcement? Are music trade shows dead? Or do you think this is just a cost-cutting measure for Native Instruments?

Leave a comment with your thoughts!

Roland ARX-03 SuperNATURAL Expansion Board “BRASS” demonstration by Luke Edwards at Musikmesse 2009.

via RolandChannel

Saturday Synth Porn: Moonmodular modular synthesizer at Musikmesse Frankfurt 2009.

via moonmodular:

Impressions from the full moon party at Frankfurt Music Fair 2009.

Soundtrack: HAN10 moonmodul sequencing and Cosmic Hoffmann-Hoock [Mind over Matter] is playing the “flying” space guitar.

Musikmesse 2009: Some more German coverage, this time of the Reactable Systems Reactable. Audio demo section kicks in about halfway.

via musotalk

This is a demo video, in German, from Musikmesse 2009 of the Microkorg XL mini synth.

via musotalk

Teenage Engineering OP-1 at Frankfurt 09

Musikmesse 2009: This is a short video overview of the Teenage Engineering Operator-1, Teenage Engineering’s portable synthesizer. It’s a synth, sampler, drum sequencer and controller, all in one.

via musicradartv

Musikmesse 2009: Doepfer has introduced a variety of new synth gear at this year’s Frankfurt Musikmesse.

The introductions include:

• Dark Energy Analog Synth
• A-100 monster case with 2 x 9U
• A-138m 4×4 Matrix Mixer
• A-183-1 Dual Attenuator
• A-183-2 Offset Generator/ Polarizer
• A-183-3 Amplfier
• A-111-5 complete miniature synthesizer voice with VCO, VCF, VCA, 2xLFO and ADSR
• A-187-1 Voltage Controlled DSP Effects Module
• A-190-3 Polyphonic Midi CV/Gate Interface
• A-174-2 Pitch Bend/ Modulation Wheel module
• A-177-2 Connection module for foot controller and foot switch

The A-111-5 complete miniature synthesizer voice & A-187-1 Voltage Controlled DSP Effects Module look especially interesting.

Details at the Doepfer site.

The monster-synth Doepfer A-100 Analog Modular System, on display at the Frankfurt Musikmesse 2009.

via musicradartv

Musikemsse 2009: This is a video overview of the new Cakewalk Sonar V-Studio 100.

via musicradartv

Musikmesse 2009: German language coverage of the Doepfer Dark Energy introduction.

It’s surprisingly tiny, isn’t it?

via musotalk

Frankfurt Musikmesse 2009. Newly-formed company Reactable Systems has announced plans to put the Reactivision-based Reactable into production.

The Reactable is a new electronic musical instrument that combines state of the art technologies with a simple and intuitive design, which enables musicians to experiment with sound, change its structure, control its parameters and be creative in a very direct way.

The kind of interface that the Reactable uses is called tangible, because the musicians use different shaped tangible pucks in order to control the system. The Reactable is based on a translucent and luminous round table, and by putting these pucks on the Reactable surface, by turning them and interacting them with each other, performers can combine different elements like synthesizers, effects, sample loops or control elements in order to create a unique and flexible composition.

via musicradartv

Musikmesse 2009: Video coverage from Frankfurt of the Akai APC 40.

Multilingual language alert!

via musotalk

Musikmesse 2009: Like tiny synths? Vocoders?

Then Akai’s got you covered.

The Akai Miniak is the first synthesizer from Akai Professional developed in partnership with the Alesis synthesis team. The Miniak is extremely compact and portable, but is also a powerful instrument for creating sounds for performance and production.

Description:

The Miniak lets you create programs with up to eight multi-timbral voices, each with three oscillators. The Akai Miniak comes with more-than-600 preset sounds. You can create complex sounds using the Miniak’s two multimode filters, three envelope generators, two LFOs, stereo effects and 40-band vocoder with gooseneck microphone. The Miniak also has a comprehensive sequencer with step and dynamic real time phrase sequencing, a drum machine/rhythm sequencer and an arpeggiator.

The Miniak also contains high-resolution, 24-bit balanced quarter-inch inputs and outputs and a 37-key semi-weighted keyboard with velocity sensitivity. It can also be used as a sound source for MPCs, computer software and keyboards via MIDI.

The Akai MINIAK will be available from musical instrument and professional audio retailers Q3, 2009. No pricing has been announced.

This is the first synth announcement out of Musikmesse to get me excited. Let me know what you think of the Akai Miniak in the comments!

Musikmesse 2009: At the 2009 Musikmesse in Frankfurt, Nord will be previewing the new Nord C2 Combo Organ. This is a direct descendant of the C1, with the addition of many exciting features.

Updated features include new keyboard action, monitor input, controls moved to “classic” positions, enhanced click and drawbar preview.

Nord will also present two new accessories at the Musikmesse: the new aluminum stand for the C2 and a bass pedal keyboard – the Pedal Key 27.

Details below. If you’ve used the Nord C2 Combo Organ, leave a comment with your thoughts!

Description:

The sound of the C1 with its faithful tonewheel organ, Vox* and Farfisa* models has been augmented with a beautiful baroque pipe organ. This makes the C2 even more versatile, providing not only rock organ players a new palette of sounds, but also makes the C2 a great instrument to use in churches, concert and congregation halls or any other venue where a high quality pipe organ instrument is paramount. It is also a fantastic solution to the pipe organ player who needs a portable dual manual practice instrument that can be equipped with a large pedal board (extra accessory).

New features in the Nord C2:

• Pipe Organ: The Nord C2 is equipped with a beautiful baroque pipe organ that compliments its tonewheel and transistor organs. This new organ has a total of 21 stops distributed across the Swell (9 stops) manual, the Great (9 stops) manual and the bass section (3 stops). The pipe organ is – contrary to the C2’s tonewheel, Vox and Farfisa models – sampled, using Clavia’s longtime experience and expertise in the sample acquisition and sample playback technologies.
• New keyboard action: The keyboard have been enhanced with a firmer action to better provide you with the rock solid feel of an original tonewheel instrument. The ultra fast response time is of course still there.
• Improved output routing capabilities: The C2 treats the main left and right outputs as one group, separated from the other group which consist of the Leslie 11-pin and High Level outputs. This provides an improved flexibility in the routing of the organ models. A tonewheel organ can e.g. always be routed to a rotary speaker connected at the 11-pin or High Level jack output and the pipe organ can be routed to the PA through the main outputs. Another scenario would be for the Vox* and Farfisa* to be routed to a combo amplifier via one of the main outputs, and the tonewheel organ to a rotary speaker connected at the High Level outputs. Other combinations of the organ models and outputs are also catered for.
• Monitor input: Just plug in your mp3 or CD player to the C2 to be able to play along, rehearse or jam with previously recorded music without the need of an external mixer or sound system. The signal that is present at this input will be monitored through the C2’s headphone output.
• Percussion controls moved to the “classic position”: The switches for the percussion controls on the panel have been moved, to the classic tone wheel organ position at the lower right.
• Vibrato and chorus controls moved to the “classic position”: The switches for the vibrato and chorus controls on the panel have been moved, to the classic tonewheel organ upper left position. When the pipe organ is used, these controls activate the tremulant effect.
• Enhanced click: The click level can now be adjusted. The essential click artifact in the tonewheel organ model has been further enhanced. The level can be adjusted and the key-release component of this click has been specifically modeled to further improve the authenticity of the tonewheel organ sound.
• Drawbar Preview: This new function allows you to dial in a new sound while still playing without any changes being heard. When you are ready, the new setting can be instantly activated.

New Accessories

• Pedal Keys 27: This MIDI pedalboard has 27 keys and an integrated Swell pedal, with a sturdy chassis of aluminum. The long keys have a wooden finish and a length of 350 mms, to facilitate the use of a proper toe-heel technique when playing. It is very portable weighing in at only 15.5 kg, 34 lbs. Just connect it to the C2’s Bass Pedal MIDI Input and you are ready to perform. Not included with the C2, available as an extra accessory.
• Aluminum stand: The C2 can be used with a new stand, a very sturdy but lightweight stand made of aluminum. This stand is specifically designed to make room for a large set of pedals underneath the organ. Not included with the C2, available as an extra accessory.

Nord Digital Modeling

The classical sounds of the tonewheel, Vox* Continental and Farfisa* Compact Deluxe are all carefully modeled from their originals. The C2 also features Nord’s famous tube style overdrive, rotating speaker simulation, delay, reverb and 3-band EQ effects. It will tailor sounds for your body, mind and soul. The original mechanical tonewheel design as well as the Vox* and Farfisa* transistor designs result in diverse interactions between the different parts involved in the sound generating process. Modern sampling technology is able to play back the result of these interactions, but cannot duplicate the dynamic and random processes involved. Without these crucial steps represented, the response and feel of actually playing the instrument is inevitably lost. The solution is a real-time, DSP-based model describing the construction and interaction between each part of the tonewheel and transistor designs recreated faithfully.

No two manual organ would be complete without the ability to play bass notes on a pedal board. The Nord C2 includes two additional bass register drawbars with selectable timbre from either vintage tonewheels or a synth bass. The bass can be controlled with any MIDI-enabled bass pedal board, or by splitting the lower manual.

…COMBINED WITH SAMPLING TECHNOLOGY

The baroque pipe organ presents another challenge which we have addressed using our longtime experience and expertise in the sample acquisition and sample playback technologies, combined with digital signal processing. The wonderful sound of the flue and the reed pipes have been captured using state-of-the-art equipment. The pipe organ has 21 stops in total, distributed as 9 stops for each of the two manuals – called the Swell and the Great manuals – and 3 stops for the pedal section.

The C2 stops and couplers behave just as their real-world counterparts, the 7 couplers allow you to combine stops and manuals in a very effective way. This is necessary to be able to perform the typical organ music in various genres. The couplers make it possible to e.g. play the swell manual stops, on the great manual, or to add a bass stop to the lowest key on the great manual and many other combinations.

The C2 has a swell functionality that can be controlled with a foot pedal (extra accessory). This allows you to use the pedal to close the swell box with the decrease in both volume and frequency content that results in that great sonorous and modest character of the pipe organ sound. The tremulant functionality reproduces the tremolo/vibrato effect from the original instrument.

KRK Systems has released the VXT Series of studio monitors. The series was created using stringent design philosophies similar to KRK’s flagship close-field monitor, the Exposé E8B. The VXT Series has been designed to reproduce the true nature of the audio material and raises the bar for recording monitors used by professional engineers, musicians and DJs world wide. .

The VXT Series includes new proprietary woofers and tweeters, a newly designed curved face plate for excellent imaging, a new cabinet design that provides low resonance, improved structural integrity and extended low-end and slotted ports that greatly reduce port turbulence.

KRK engineers started with the functional cabinet design of the flagship monitor, the Expose? E8B to create a high performance yet attractive line of monitors. The curved cabinet and faceplate provide excellent imaging characteristics and a wider “sweet spot”. The use of ABS structural foam as the cabinet material provides excellent damping characteristics and extended low end due to more internal volume. The ABS foam also absorbs shocks really well so the cabinet is extremely impact resistant.

With the VXT Series, KRK engineers set out to improve transient response in the system. The tweeter’s dome is comprised of true silk, as opposed to cloth, which translates to fast transient response, excellent imaging and extended frequency response.

The new woofer inside the VXT Series has improved transient response by using a stiffer, lighter cone that provides very low distortion and extended low-end.

“It was important for us to have the VXT Series mirror the same look and performance of our flagship monitor, the Exposé E8B” commented Mike Newman, KRK System’s Product Manager. “The same expertise and care that went into the design of the Exposé, went into the design of the VXT Series. The wider sweet spot, excellent imaging and extended frequency response will make the VXT Series the preferred choice for recording professionals and musicians worldwide.”

The VXT Series features tamper resistant switch covers to protect against others changing your personal settings, integrated Omni Mount support for easy wall or corner mounting, ground lift, defeatable limiter and auto mute controls, and high and low frequency adjust switches on the VXT6 and VXT8.

The new KRK Systems VXT Series monitors will be in stores in late May and have the following list prices (per individual speaker): VXT8: $799, VXT6: $599, VXT4: $399.

For more information on KRK Systems and KRK Systems complete product line, go to www.krksys.com. To request additional information or images of the VXT Series, please contact PR Representative Brian Metcalf at (305) 576-1171 x11 brianmetcalf@maxborgesagency.com

Description:

Not only the name Phanthera relates to the big wild cats. It appears dynamic, powerful, ductile and charming. It is hard to put its sonic character into simple words. Therefore Brauner emphatically recommends prospective buyers give the Phanthera a serious try within their well-known studio environment.

All microphones are entirely manufactured in Germany.

Technical Data:

• Acoustical Principle pressure gradient transducer
• Equivalent Noise 11 dB A (IEC651)
• Signal to Noise 83 dB (1Pa/1KHz-Cardioid)
• Sensitivity 33mV/Pa-Cardioid
• Polar Pattern Cardioid
• Frequency Range 20 Hz-22 KHz
• Circuit Design Solid State ( FET )
• Maximum SPL 142 dB SPL @ 0.3 % THD
• Power Supply 48V Phantom Power
• Accessories Suspension, aluminium case, Vovox Sound Conductor

Musikmesse: Steinberg launched Sequel, a new entry-level music studio. Sequel features studio-grade technologies within a unique, “one-window” user interface that opens up music creation and performance to anyone with a computer, and requires no knowledge of music or recording to produce songs and mixes.

“Sequel is a brand-new and exciting way to experience making music on a computer,” states Arnd Kaiser, Senior Product Manager for Music Technology at Steinberg. “Combining intuitive tools to record, edit, mix and perform music with great-sounding loops, instruments and effects, Sequel is the perfect first step into music production and performance. ”

Sequel is priced at €99.00 and is shipping now to music instrument stores worldwide.

Sequel is custom-designed for newcomers to music production. A uniquely accessible GUI gives intuitive access to recording, mixing and editing features engineered for the first-time producer. Over 5000 loops that cover just about any modern musical style are supplied, and combined with over 600 instantly playable instruments on board provide first-time music producers and composers with a huge sonic armory to get their first productions rolling.

With advanced Steinberg audio technology used by professional composers and producers around the world, Sequel features discreet yet powerful audio warping functions that keep first-time users in key and in time. Sequel also includes an extremely accessible live performance mode, that allow Sequel songs to be rearranged, remixed and remolded live for performance on stage and in clubs or at parties. Integrated FX including EQ and dynamics on every channel provide all the tools needed to produce outstanding mixes.

Musikmesse: Steinberg announced a new DVD-ROM tutorial series that offers a complete guide to digital audio mastering. The new three-part series covers almost every aspect of producing a professional master, and provides both digital audio essentials and expert techniques, supported with practical examples throughout. Audio Mastering will be available in Q2 2007.

“This series offers one of the most complete step-by-step tutorials on audio mastering in digital environments that are available today,” states Frank Seidel, Steinberg’s Product Manager for Audio Mastering. “This series opens up areas of mastering and digital audio technology in a very accessible way to anyone who wants to produce their own masters, and offers an immense resource of detailed knowledge for both newcomers and experienced engineers.”

Audio Mastering offers a complete, authoritative library of mastering knowledge, all the way from fundamental principles behind digital audio through to highly specialized mastering techniques and strategies. Using Steinberg’s industry- standard WaveLab 6 mastering software as its reference application, Audio Mastering also provides practical examples that make the expert knowledge and techniques contained easily accessible.

About the author Friedemann Tischmeyer has been working professionally in audio mastering and mixing for more than 15 years. Being an engineer for countless well-known artists and the owner of his own independent mastering facility, Friedemann has also published his two extremely well-received books ‘Audio Mastering with PC Workstations’ and ‘Internal Mixing’.

Content Overview:

Volume I
“What is mastering”
Defining the goals of mastering
CD mastering of stereo tracks
CD mastering from groups
Time management
Studio acoustics & room acoustics testing and calibration
Choice of speakers & speaker layout
Equipment requirement for mastering
Cabling
Operation system settings
Audio interfaces
Frontend & backend
Our sense of hearing
The Fletcher-Munson curve
Listening strategies
Ear training
Frequency distribution
Metering for mastering

Volume II
Loudness and peak levels
What are interleaved sample-overs?
Headroom for encoding
Normalization
Judging loudness
Reference values for loudness
PCM – the principle of digital audio
Basics of bit resolution
What is truncation?
Sample rate basics
Sample rate conversion (SRC)
All about dithering
What is jitter?
AES/EBU & S/P-DIF
Wordclock and houseclock
What is DC offset?
ISRC / EAN
Redbook & DAO/TAO
Optimal workflow
Phase 1: Preparation
Batch processing

Volume III
Phase 2: Creative sound processing
Optimizing the best-sounding track
Using the leveler for A/B comparisons
Saving master section settings
PQ editing
Editing CD text & EAN / ISRC
Final master montage
Phase 3: Follow up
Verification master
Error elimination
Choice of master medium / DDP versus CD-R/CD-ROM
Audio CD report
Creative Processing: Basic strategies
Order of processing steps
Working with EQs
Fletcher-Munson curve and EQing
Important filter types
Compressors
Typical examples and strategies
Practical editing examples with master section

Price and availability
Audio Mastering will be available in three volumes priced at €49.00* each.

Musikmesse: PreSonus announced the FireStudio LightPipe, a 24-bit/96k, 32-channel ADAT to FireWire recording system for Macintosh and Windows computers.

The FireStudio LightPipe features JetPLL jitter elimination technology for ultra-tight digital synchronization, a 34×4 zero-latency monitor mixer, balanced TRS stereo analog outputs, word clock input/output, MIDI input/output and headphone output. The FireStudio LightPipe is a perfect recording solution for digital mixers and AD/DA converters including the PreSonus DigiMax FS 8-channel microphone preamplifier.

The FireStudio LightPipe is scheduled to ship in May 2007.