2018 Winter NAMM Jan 25-28

Started by Elantric, November 28, 2017, 11:58:45 AM

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Elantric


Smash

If it's based on fret I'm guessing nite bending is out which is potentially big disadvantage

Brak(E)man

zeta mirror 6 midi guitar had fret "scan" and worked great.
Bends an' all
swimming with a hole in my body

I play Country music too, I'm just not sure which country it's from...

"The only thing worse than a guitar is a guitarist!"
- Lydia Lunch

Smash

Cool! Can't get my head round it being a bear of very little brain lol

Elantric

https://www.gearnews.com/namm-2018-panoptigon-player-optigan-orchestron-discs/


No, we don't know what that means either. Apparently back in the 1970's Mattel (I know!) invented an "Optical Organ" to play back real sounds encoded on celluloid discs. It's a bit like a futuristic Mellotron. We understand that it was pretty terrible but that never stops enthusiasts from being enthusiastic about things.

Robert Becker has built a device to play these discs via MIDI. He's calling it the Panoptigon and he's taking it to NAMM to let people have a bit of play. He stresses that this is a prototype and more of a proof of concept – which usually means it will probably fall apart.

It looks a lot like a record player, which is pretty close to what it is. The unit comes with an onboard DSP effects processor including reverb and a flanger.

It will play all original Optigan/Orchestron discs as well as new ones created by Optigan.com which have handy strobe lines on them for automatic tuning – nice!

If you're at NAMM you have to go and check this thing out.

More information
Optigan website
http://optigan.com/2018/01/panoptigon-prototype-new-2018-optigan-orchestron-disc-player/

Video


Elantric

https://www.gearnews.com/namm-2018-strymon-magneto-four-head-dtape-echo-looper/


NAMM 2018: Strymon Magneto Four Head dTape Echo and Looper
Strymon Magneto
Strymon Magneto  ·  Source: Strymon

They call it an Interstellar Space Machine and instantly make it to my most-wanted list. It's a four-head tape delay and phrase sampler and it looks simply fabulous. The Strymon Magneto will be the next classic module that everyone should own.

Magneto
It's a stereo multi-head tape delay that also functions as a looper, phrase sampler, vintage spring reverb unit, phase-aligned clock multiplier, chaotic oscillator, zero latency sub-oscillator and a few more things besides. It looks modern, dangerous and exciting with a very pleasing layout that invites you in without being too boggling.

Check out the videos and you find yourself nodding and smiling. And Strymon's DSP and Sound Designer Pete Celi gives some really insightful thoughts into his first foray into the Eurorack community.

Strymon is known for their boutique stomp boxes. They have increasingly found their boxes used with Eurorack setups and have been thinking for some time about building something in that format.  The BlueSky and El Capistan being favourites I think. Strymon had a go a couple of years ago with the Generalissimo but it never made it to market. This time around I really hope they've done it right.

They say they focused on making it as musical as possible, allowing it to be played and rewarding the performer with luxurious sounds. I'm pretty sure they nailed that.

There are some great videos going into all sorts of detail. I'm going to enjoy seeing the reaction at NAMM and what people think of it.


https://www.strymon.net/products/magneto/

Elantric

#156
https://www.gearnews.com/namm-2018-blue-cat-audio-intro-axiom-virtual-amp-multi-fx-suite/

NAMM 2018: Blue Cat Audio intros Axiom virtual amp and multi-FX suite
Blue Cat Audio Axiom Amp Simulator software
Blue Cat Audio Axiom Amp Simulator software  ·  Source: Blue Cat Audio

Blue Cat Audio has been in touch to tell us about Axiom, a new suite of multi-effects and amp simulation software. With tech based on its existing Destructor product, the first list of specs sounds impressive: two virtual amp channels, hundreds of preset amp models, 32 plug-in slots that can host external plug-ins and 30 included plug-ins such as built-in versions of the Destructor distortion and Late Replies echo tools.

Blue Cat Audio will be presenting this at NAMM this week on booth #16300, with a release slated for in Q2 2018. We'll be adding more details to this post soon!

https://www.bluecataudio.com/Blog/preview/blue-cats-axiom-your-axe-beyond-the-limits/
Blue Cat's Axiom: Your Axe Beyond The Limits
Posted on January 23, 2018
Please welcome Blue Cat's Axiom, our new multi effects processor and amp simulation software for guitar and bass.

Based on the acclaimed Destructor plug-in for amp simulations, Axiom offers an infinite number of exceptional tones for your axe.



Two Amp Simulation Channels
Blue Cat's Axiom includes two amp simulations channels (with pre and post effects) that can be mixed together or used alternatively like a real amp. You can choose your amp models from hundreds of presets or launch the amp editor (based on Blue Cat's Destructor) to build your own, with complete control over all the parameters.

Additional input and master sections let you adjust the tone at the input and the output of Axiom, with 4 additional effect slots each. A brickwall limiter also protects the output from overshoot.

Effects And Plug-Ins
Axiom includes more than 30 built-in effects that can be loaded in any of the 32 plug-in slots, including a built-in version of Late Replies for creative delays and reverbs, and a built-in version of Destructor to let you create your own distortion pedals, cabinets or additional amp simulations.

But Axiom is not limited to its included effects: these slots can also host third party Audio Unit, VST or VST3 plug-ins, so that you can use your favorite plug-ins anywhere in the signal chain and expand Axiom's capabilities.

Tools And Instruments
Because playing alone is not so much fun, we have added a tools section with 3 additional slots to host virtual instruments: load a metronome, a drum machine, sequencer or your keyboardist's favorite synthesizer there, it will be mixed with the guitar.

StandAlone or Plug-In
Blue Cat's Axiom will be available as a standalone application or plug-in (VST, VST3, AAX, Audio Unit) for Mac and Windows. It will be demoed at the Winter NAMM Show  later this week on booth #16300, and the release is expected in Q2 2018.

By the way, upgrade paths will be available from the Destructor and Late Replies plug-ins, so we offer you 20% off these plug-ins until the end of the NAMM show.
https://www.bluecataudio.com/Products/Product_Destructor/
https://www.bluecataudio.com/Products/Product_LateReplies/
Keep Connected!


Elantric

http://www.palmer-germany.com/mi/en/BATPACK-4000-Rechargeable-Pedalboard-Power-Supply-4000mAh-PBATPACK4000.htm




Model name: PBATPACK4000
Rechargeable Pedalboard Power Supply, 4000mAh
The Palmer BATPACK is purpose-designed for guitar and bass players to provide ultra-quiet power to pedalboards and high current draw stompboxes. Utilizing advantageous lithium polymer battery technology and specially designed active filtering circuitry, they are absolutely free from buzz, hiss or whine unlike lesser power bank designs. The BATPACK comes in a rugged low-profile aluminium enclosure and delivers 500 mA each from electrically separated and regulated 9 volt DC centre negative barrel outputs. It features short circuit protection, 5-segment battery status indication and a convenient type A USB port for charging smartphones or tablets. A charger is included.

Elantric



Technology
RED's Hydrogen One smartphone will ship this summer
Engadget  Rachel England,Engadget 4 hours ago
Reactions  Like  Reblog on Tumblr  Share  Tweet  Email

RED's much-hyped Hydrogen One smartphone is edging ever-closer to market, according to an update from its creators.
RED's much-hyped Hydrogen One smartphone is edging ever-closer to market, according to an update from its creators. In a thread on the camera company's reduser forums, the makers of the holographic-display phone have revealed pre-order will open "probably in April," with an official ship date "sometime in the summer". Details beyond this are vague, but according to the post carrier support for the phone is "unprecedented" and social media partners will include "big dogs."

The update also included a reiteration of the phone's specs. It'll come with a Qualcomm Snapdragon 835x processor (unlocked or carrier specific), one headphone jack and a dual SIM slot. It's also slated to be slightly bigger than other 5.7" cell phones and slightly thicker. "Think SOLID," writes co-creator Jim. The internal battery is also sizeable at 4500mA, although this isn't a surprise given the phone's 4V purpose.

This 4V -- or 'four view' -- tech is what makes the Hydrogen One exciting on paper. With it, the phone can handle normal 2D media, stereo 3D, augmented reality, virtual reality and mixed reality, without additional glasses or headsets. The company hasn't been forthcoming in explaining how this will work, although it did offer a slightly bemusing description in its update: "The 4V files match the pixel resolution of a traditional 2D file, which is great for downloading. The resolution perception is just different. The horizontal resolution of 2D is now split into depth layers. It gives a completely different feeling. All the pixels are there... but instead of 'looking at' a pic, you are immersed in the image. It is quite spectacular." RED is best known for its high-spec cameras, so if it pulls this off, it certainly will be quite spectacular. At least both skeptics and supporters will only have to wait a few months to find out.
http://www.reduser.net/forum/showthread.php?164930-HYDROGEN-Update-January-22nd
reduser.net
This article originally appeared on Engadget.

https://www.engadget.com/2018/01/23/red-hydrogen-one-smartphone-release-date/

Elantric

http://www.musicradar.com/news/namm-2018-is-headrush-frfr-112-the-perfect-character-free-cabinet-for-fxamp-freaks






NAMM 2018: HeadRush, feisty new kid on the modelling block, has followed up its all-in-one pedalboard, released last year, with what they claim is the perfect output for it, or any other multi-FX/amp modeller.

Its new FRFR-112 powered cabinet is a 2000W full-range flat response unit, packing a 2-inch 2-way speaker and an extremely respectable range of input/output options and EQ/tuning capabilities.

That 12-inch woofer and high-frequency compression driver aim to deliver a precise, full response across the full frequency range (46-22kHz), specifically to avoid any artificial coloration - critical when you've got your FX or modelling set-up tweaked just so.

It's also relatively transportable, at just over 16kg, and is pole-mountable. The HeadRush FRFR-112 will be available this Spring, at a US retail price of $299.

FRFR-112 features and specification
• 2000 watts of peak power (1000W continuous)
• (2) XLR/TRS 1/4" combo inputs with independent volume controls and clip indicator
• LF Driver: 12-inch (304.8mm) 3-inch (76.2mm) high-temperature voice coil
• HF Driver: 1.5-inch (38.1mm) neodymium HF driver with precision waveguide
• Crossover: 2000Hz
• Maximum SPL: 127dB peak, 124dB continuous (dB SPL @ 1 m)
• Frequency Response: Frequency Response: 53 Hz – 20 kHz (±3dB)
• Frequency Range: Frequency Range: 46 Hz – 22 kHz (-10dB)
• Horn Coverage: Horn Coverage: 90° H x 60° V nominal
• Contour EQ switch cuts through muddy-sounding stage mixes
• Ground-Lift switch eliminates unwanted noise at venues with grounding issues
• XLR output sends mix to the front of house or links additional FRFR-112 cabinets



Smells like a refresh of my Alesis/ Alto Powered Cab ( Alesis is owned by InMusic, who also owns Akai, Alto and Headrush 

in other words  - a rebadged Alto TS212
https://www.altoproaudio.com/products/ts212


Elantric

#160

NAMM 2018: Pioneer's DJM-REC iOS app makes it easy to record, share and livestream your DJ mixes
NAMM 2018: Pioneer DJ is aiming to simplify the process of recording DJ mixes with DJM-REC, a new iOS app that promises simple set-up, high-quality audio and easy sharing.

Once the app is installed on your iPhone or iPad you need to connect your iOS device over USB to the digital/send return on your mixer. You can then control the peak limiter on your mixer via the app to prevent digital clipping and record your mix.

The app enables you to livestream your mix to various social media platforms and upload to services such as Mixcloud and SoundCloud. Editable time-stamps are automatically added based on fader information transmitted to the app, making it easy to create tracklists.

There's also the promise of "club-standard sound"; you can use the Loudness slider to increase audio pressure and dial in sub-bass, too.

DJM-REC is free for 30 days, after which you'll have to upgrade to the paid version if you want to continue to use all its features. Compatible Pioneer mixers include the DJM-TOUR1, DJM-900NXS2, DJM-750MK2 and DJM-450. You'll need to update the firmware on your mixer in order to use DJM-REC.

The app is available now on the Apple App Store.

Elantric

NAMM 2018: The Blipblox makes synthesis child's play, but could keep you entertained as well
By Ben Rogerson 5 hours agoTech

This kids' groovebox could be more serious than it looks




NAMM 2018: Playtime Engineering's Blipblox could well be that rare thing - a child-friendly electronic instrument that actually feels like a proper synth. In fact, although you might buy it for your kids, you may end up playing with it yourself.

The Blipblox definitely has a 'my first synth' appearance: there are colourful knobs and buttons; the plastic casing is designed to be durable and splash resistant; and a multi-colour LED light show is synced to the music. However, it features a proprietary algorithm that enables you to synthesize unique waveforms, so there's a real sound design element to this, too, and it's designed to encourage experimentation.

Spec-wise, there are eight 'unique oscillator modulation schemes', a low-pass filter, two EGs, two LFOs and a 3-in/3-out modulation matrix. You can switch to Performance mode when you want to do some 'proper' music production, and there's even a MIDI input for a keyboard. 

That said, even young kids should enjoy the Blipblox. There's a built-in sequencer with hundreds of pre-loaded melodies, and an integrated drum machine. Other features include a battery power option, a built-in speaker and an audio output.

The Blipblox will be making its debut at the NAMM Show, and it's definitely on our must-try list. A price and release date are to be confirmed, but you can sign up for updates on the Playtime Engineering website.

Image
Kid-friendly & kid-safe.

Colorful knobs & buttons are easy for little hands to twist & press.
Multi-color LED light show is synchronized to the music.
Durable plastic design is drop & splash resistant.
Algorithm & system flow learning provides STEM experience beyond music play.
"Active capture" knobs & buttons so little hands can't remove them.
Powered by batteries or AC adapter.
Image
Professional features.

MIDI input for an external keyboard or sequencer controller.
Eight unique oscillator modulation schemes.
One Low Pass Filter.
Two Envelope Generators.
Two LFOs.
3-in/3-out modulation matrix.
Performance Mode optimizes device display for music production.
Audio Output jack.
Image
Synthesis for all.

No music experience needed!  Have fun just exploring the new sounds, or dig deeper to learn the signal path and master the synthesis engine.
Built-in sequencer comes loaded with hundreds of unique melodies to explore.
Integrated drum machine.
All of the fun of sound synthesis in a simplified, low-cost device.
https://blipblox.com/meet-the-blipblox/


admin

http://shop.line6.com/refurbished/live-sound/

https://www.guitarworld.com/gear/nu-x-announces-new-atlantic-delay-and-reverb-pedal


NU-X Announces New Atlantic Delay & Reverb Pedal
The new pedal comes with three classic delays and three classic reverbs, plus a bonus "Shimmer" effect.
GUITAR WORLD STAFF2 HOURS AGO
NU-X Effects

30
SHARES
NU-X has announced its new Atlantic delay & reverb pedal. The new pedal comes with three classic delays and three classic reverbs, plus a bonus "Shimmer" effect.

The pedal—which comes with NU-X's latest Core Image Technology, allowing for pro-level sound enhancement—features an inside routing control between its effects and a Serial Mode, with which guitarists can create a deep-reflection reverb with wet or dry repeats or split their guitar signal, and add both effects in parallel chain. Each effect will be mixed with separated dry signals.

Features:

3 Delay Effects - 70's Analog, 60's Tape and 80's Digital
Delay Level, Time and Repeat
TAP TEMPO w/ Tap Subdivision Options
3 Reverb Effects - Spring, Plate and Hall
Reverb Level and Decay
Plate Reverb with Shimmering Effect
TRS Input - Effect Loop Connection via Insert or "Y" cable
Input Level Switch (-10dB / +4dB)
Parallel or Serial Output and Inside Routing
Stereo Output
USB Port for firmware updates


admin




Nux Announces Mighty Lite Bluetooth Desktop Amplifier
The ultra-low-wattage practice amp can be used in any room, on any desk.
GUITAR WORLD STAFFJAN 19, 2018
78
SHARES
Screen Shot 2018-01-19 at 11.08.22 AM
NUX

Nux has announced its new Mighty Lite Bluetooth Desktop amplifier. It's an ultra-low-watt practice amp that can be used in any room—or on any desk—via a battery-powered operation or USB-to-power bank connection. It features three channels, built-in digital reverb and delay, an Aux line in or Bluetooth connection for jamming along with your own music, a headphone out and an emulated line out for silent practice or recording.

The amp also features built-in drums (with nine different drumming styles), a built-in metronome and a tempo control that controls the delay speed and the drums.

The Mighty Lite Bluetooth Desktop amplifier runs with a 9V power adapter, USB connection via power bank or 6 AA size batteries. It has an MSRP of $99.



For more information, stop by nuxefx.com.




http://www.nuxefx.com/index.php?m=content&c=index&a=show&catid=45&id=89

http://www.nuxefx.com/index.php?m=content&c=index&a=show&catid=45&id=89

Press Release: Solid Studio IR & Power Amp Simulator
Update Time: 2018-01-16 09:51:33     Author: NUX
NUX is proud to introduce the new Verdugo series SS-5 Solid Studio IR & Power Amp simulator, a pedal version of the most classic amp/cabinet scenarios including microphones and power amp tubes.

NUX Solid Studio comes with 8 cabinets, 8 microphones, and 3 power amp tube simulations, all of which are the most commonly used models in the world. You can also upgrade and add other cabinets (IR files) through Solid Studio Software. Virtual mic-ing is achieved by choosing 1 cabinet and 1 microphone, and fine-tuning the position of the microphone using the mic position switch. Plus, power amp simulation comes with Master, Drive, and Presence controls, and 3 Power Tube selections, offers more variation for sound enhancement.

\

You can use NUX's Solid Studio Software to load any of your favorite IR files and save presets as your own files.
You can connect your pedal or your amplifier to NUX Solid Studio and get a variety of speaker cabinets and microphone simulations from main output via 6.35 jack cable or DI Output via XLR cable.


Features:
8 speaker cabinets
8 microphones
3 microphone positions (Center, Middle, and Edge)
3 power amp tubes
Power Amp simulation with Master, Drive and presence controls.
Simulation dedicated output and DI output
Dry signal output




If you would like to have more information about this product, please contact Ersin Seker, send an e-mail to ersin@cherubtechnology.com





admin

http://www.harmonycentral.com/news/category/0

http://www.harmonycentral.com/news/nexi-industries-showcase-new-rock-starter-kit-at-namm




AMSTERDAM (Jan. 22, 2018) — The analog wizards at NEXI Industries are making a name for themselves by solving the problems that have plagued guitarists for generations. They take an insane amount of pride in the fact that they are always looking to provide the most convenient solution to guitar-playing frustrations. It is with this ethos that NEXI now offers their new Rock Starter Kit designed to get players shredding in record time.



Offered at a reasonable €399.95 (approx. $490 USD), the Rock Starter Kit includes NEXI's award-winning The Solution pedal board and three analog plug-and-play pedals forged in rock and designed to unleash their mighty power. The NEXI Delay, Overdrive, and Dutch Screamer effect pedals form the backbone of any serious rocker's arsenal and are presented in the new special edition Urban Design.



The Solution itself is a wonder of modern engineering. The completely waterproof (and by default beer-proof) board features a built-in tuner and boost with a massive light-up display. No more patch cables or power supply issues means more time playing and less time swearing at faulty gear.

The all-inclusive Rock Starter Kit gives both beginners and seasoned players the best of both worlds—an easy-to-use pedal board combined with true analog tone pedals. No more fiddling with an effects processor with more options than the starship Enterprise or burning fingers on soldering irons for patch cables. With this innovative design and offering, NEXI's engineers, the Vintage Analog Protection Squad, declare "Let there be rock!"



Learn more by visiting NAMM Booth #4049 or online at https://nexi.eu/products/rock-pedal-board



admin

http://www.harmonycentral.com/expert-reviews/roger-linn-design-linnstrument-128


EXPERT REVIEW: ROGER LINN DESIGN LINNSTRUMENT 128 Back
By Anderton | January 15, 2018
Roger Linn Design LinnStrument 128

This just may be the droid you're looking for...



by Craig Anderton









The LinnStrument MIDI controller crosses over the line into a new musical instrument, because it proposes a new playing technique as well as the technology that makes this technique possible. The goal is to liberate electronic music instruments (hardware and software) from the conventional "on-off switch" limitations of conventional keyboards. To be fair, these switches have been augmented with velocity, aftertouch, and in some cases, polyphonic aftertouch and the extremely rare release velocity—as well as modulation and pitch bend wheels. However, these seldom translate the immediacy of acoustic or electric instruments, where (for example) how you hold a guitar pick influences the sound of an electric guitar.



The LinnStrument really needs multiple reviews: The note layout, the technology it uses, the instruments with which it's compatible, and the musical impact. But is it compelling enough to take the time to learn a new instrument? Let's find out.



THE NOTE LAYOUT



For those not familiar with Roger Linn, he's contributed to our world of musical electronics as much as other pioneers like Bob Moog and Dave Smith. However he's too modest to tell you that, which leaves it up to people like me to let you know that when Roger Linn invents something, it's worth paying attention. It just might be the next sampled drum machine (his Linndrum powered the synth-pop genre), MPC-style beat machines that have become universal fixtures in dance, rap, and hip-hop, or tempo-synched guitar effects like the AdrenaLinn.



The main interface is an 8 x 16 matrix of 128 pads; each pad represents a musical note (the LinnStrument 128 is a smaller version of the LinnStrument, which has 200 pads, covers five octaves, and costs 50% more). The pads respond to velocity, pressure, side-to-side motion, front-to-back motion, release velocity, and sliding (e.g., like sliding up and down a guitar string—try that with a conventional keyboard). They're laid out sort of like the notes on a guitar neck, except the default interval between rows is fourths; the default row offset can be (in semitones) 3, 4, 5, 6, 7, or 12. However, you can enter any interval from -Guitar (backwards guitar tuning), then -16 (high pitches in front) through zero to +16. I stuck with the default, although it's good to know options are available.







The layout is significant. Back in the 80s, I wrote up a project called "the matrix keyboard," which used an identical keyboard layout based on Chomerics membrane switches. It was indeed just on-off switches, but with my first instrument being guitar, it made sense because I could think in shapes, and those shapes were the same in any key. I found I could play wicked fast solos spanning note ranges that would be impossible to play with a conventional keyboard, and the LinnStrument layout has the same attributes. It will remind many people of a Chapman Stick.



Although you can play the LinnStrument standing up like a guitar (there are included guitar strap pins), I found treating it as a tabletop device and laying it on a surface more friendly. Then again I never really got along with playing strap-on keyboards, so I guess that's not too surprising. Playing with one hand works for solos, but two-handed technique is definitely a better way to exploit what the LinnStrument can do.



Make no mistake: this requires new muscle memory. Although laid out like a guitar, guitar technique won't do you much good unless you're into tapping; keyboardists need to think in terms of shapes and intervals, like a guitarist. Physically, the LinnStrument is easy to play. Mentally, it's a new instrument and it takes time to develop the kind of unique physical dexterity needed by any musical instrument. I don't want to make it sound tougher than it is, but I don't want to make it sound easier, either.



THE INTERFACE



The user interface itself works by holding down control keys (momentary if pressed for > 0.5 sec, toggle if pressed for < 0.5 sec.), then tapping pads to make your selection. Most of this involves set-and-forget functions (velocity curve, setups for splits, pressure sensitivity, row offset, footswitch assignment for the dual footswitch jack, and the like). This is fortunate because the labels aren't exactly readable under stage lights, however the most important functions are laid out in a vertical strip of eight switches along the left side. You'll be able to make adjustments on the fly after a period of familiarization.







Note that all of the user-editable functions are available from the front panel—you don't need a computer editor to alter parameters, although that could be a welcome addition. (Side note: Not needing a computer editor also means you won't end up in the same kind of situation as M-Audio Venom owners, who are reliant on computer-based editing software that may or may not ever be updated to deal with newer operating systems. What's more, the LinnStrument software is open source. If someone wants to write an editor, they can.)





There are two 5-pin DIN MIDI jacks, a USB port, and a footswitch jack that can accommodate single or dual footswitches



In addition to controlling expected functions like sustain and tap tempo, the footswitch(es) can also control the arpeggiator, jump octaves, send control change messages, and the like.



MUSICAL IMPACT



Let's skip ahead to the bottom line. The LinnStrument is one of a handful of electronic controllers, like the ROLI Seaboard and Haken Continuum, whose expressiveness goes way beyond a standard keyboard. Sure, I can make very expressive synth sounds—if I add controller data manually, after playing the notes, using a process that Quincy Jones likened to "painting a 747 with a Q-Tip." The LinnStrument places that kind of control under your fingers, in real time. This allows for a far more spontaneous musical experience because to alter a phrase from the Department of Homeland Security, "If you feel something, play something."



At some point, you'll be familiar enough with the LinnStrument—and the synthesizer it controls—to make the kind of sounds you want to make. Interestingly, I didn't sense a conventional learning curve; it's more like everything (except the muscle memory) falls into place over a short period of time...although it did take some floundering around to get to the point where I could make that transition.



The LinnStrument web site is loaded with helpful information, so if you're going to learn the LinnStrument—bookmark it. 'Nuff said.



THE INSTRUMENTS AND TECHNOLOGY



The biggest hurdle with the LinnStrument isn't the controller itself, but the instrument it drives. The LinnStrument speaks MPE (MIDI Polyphonic Expression) and there aren't very many instruments that respond well to polyphonic aftertouch, let alone allow each individual note to receive its own data—the main goal of MPE. It's kind of like having a Testarossa, but only a couple highways where you can really open it up.



However, it's a misconception that you need an MPE synth, because of how the LinnStrument implements one-channel MIDI—you can do polyphonic pressure, 3D-Expressive solos, and performed chord vibrato all on one channel. The main perceived limitation is that polyphonic pitch slides will be automatically quantized; unless you need polyphonic pitch slides, MPE's benefits aren't all that noticeable. The web site explains the one-channel MIDI implementation, which is quite clever. The LinnStrument adds expressiveness to any synth that can respond to controllers.



There's a set of instruments available for Logic Pro (and Mainstage), so I took a leave of absence from my Windows workhorse and booted up my MacBook Pro to check them out. They give a good taste of what you can do with the LinnStrument, and before too long I was sliding around the upright bass, playing intervals more associated with bass than keyboards, and adding hand-controlled—not LFO-controlled—vibrato. But while sampled acoustic instruments make a fine match for the LinnStrument, it's the synths where you get the most visceral experience. I normally don't associate touchy-feely control with synth sounds, yet that's precisely what the LinnStrument delivers.



You also need a DAW that's up to the task, although those requirements aren't that difficult; for MPE, you just need to be able to record multiple different channels in the same MIDI track. I tested the LinnStrument with Cakewalk SONAR, which worked fine. Handling MPE splits was more of a challenge—SONAR can record all MIDI channels into a track, or one MIDI channel. Ideally, you'd want something that can restrict a track to, for example, channels 1-8 with another track handling channels 9-16. To deal this with this, I just put two pairs of eight tracks, each responding to a single channel, in two track folders.



That said, while few instruments can make full use of what the LinnStrument can do, the expressiveness you can add to any instrument is noteworthy. For example, I have a lovely feedback guitar patch where pressing on a LinnStrument pad brought in the feedback, while side-to-side motion created vibrato. I should add that the pressure response is not the "afterswitch" you find on many keyboard controllers. Compare the screen shots below with the controller data many keyboard controllers generate; it's extremely consistent. If you think you're pressing down a key by a certain amount, if you apply what you think is the same amount of pressure to another key, you'll get the same results.





Here's what aftertouch looks like, with me trying to apply as even pressure as possible.





The backward/forward motion produces CC#74. Again, note the consistency.





The pitch bend is smoother than some synths with hardware wheels.





Something that really appeals to me is how you can do pitch bend wiggles, like on guitar...





...and here's what happened when I tried to strike a pad with ever-increasing force until I hit maximum velocity.



I particularly like how the feel from no pressure to full pressure is linear and consistent. This is one area where if the LinnStrument had gotten it wrong, that would have been a deal-breaker. Fortunately, that's not the case. You feel like you're interacting directly with the instrument parameters, not changing something that changes something else on the way to changing the parameter.



The bottom line is that while I hope new virtual instruments will take full advantage of the LinnStrument—and some already do—it's nonetheless an excellent controller for whatever synthesizers or samplers you already use. If you take the time to "LinnStrumentify" your patches to take advantage of the added expressiveness, you won't regret it.



SO WHAT?



Roger Linn has often said that electronic instruments have more or less eliminated the concept of the instrumental solo in electronically-generated tracks. While you can debate that, there really hasn't all been much progress since Jan Hammer got guitar envy with his Minimoog. When synths have been used for solos, they tend to be more along the lines of single-note instruments like sax, because for any kind of expressiveness, you needed to dedicate a hand to the wheels or levers, while the other hand played the notes; now both hands can play and add expressiveness.



In fact, it took me awhile to get used to using both hands, rather than using my right hand to play notes, and the left hand to work mod wheel and pitch bend. I didn't have to move the pitch wheel back, hit a note, and then rotate the pitch wheel forward; I just hit a pad a couple semitones below the target note, and slid to the right along the row of pads—assuming, of course, that I'd set the pitch bend range to +/- an octave.



BUT WAIT...THERE'S MORE!



After all, this is an electronic controller...so there's no need to limit it just to playing notes. There's an arpeggiator where you can influence the arpeggiator expressively, which (in conjunction with swing) makes for a more organic and playable experience. There's also a step sequencer that's unlike anything you've ever played, because you can make each step expressive—as just one example, imagine step sequencing where you can alter the velocity and pitch bend on each step.



There's also an ergonomic nod to those of you (you know who you are) who dedicate a keyboard's top or bottom octave to MIDI control. The lowest row of pads can be assigned to multiple functions—for example a modulation-like ribbon controller, sustain pedal, and more.



One really wild feature that pushes the MPE envelope is being able to split the pads into groups. This not only allows playing two different sounds—not that novel a concept—but you can finger notes on one split, then "strum" them on the other split. A split can also provide a "control surface" for real-time parameter control of sounds being made on the other split.



SO IS IT WORTH LEARNING A NEW INSTRUMENT?



This is not a toy, or a "let's push the buttons and make sounds!" kind of controller. It's a real instrument, with real capabilities. As such, it's quite easy to find your way around initially and the barrier to entry is low (e.g., you don't have to build up callouses like a guitar). And the $999 price is certainly reasonable, given the LinnStrument's custom and precise nature. However like any instrument, becoming a true virtuoso takes effort.



If you play virtual instruments, then those efforts will be rewarded if the synths themselves are up to the task. For example, some synths that respond to "polyphonic aftertouch" do indeed respond to it, but convert it into something more like channel aftertouch. Very few instruments have release velocity, which the LinnStrument can generate predictably. That said, even today's "standard" instruments can benefit from the five modes of expression, although you may need to dig into how to assign parameters to controllers.



After playing with the LinnStrument for an extended period, I have no doubt that I could become very good over time at playing it, and I also have no doubt that my music would benefit. Yes, I can "overdub" expressiveness, but is that really expressiveness compared to real-time playing that reacts to the music? And even if it is—which I doubt—with the LinnStrument, that expressiveness is spontaneous. I suspect that as useful as the LinnStrument is in the studio, it has a bright future ahead in live performance.



So the bottom line is that Roger Linn has done it again: come up with something musically relevant and novel that opens up new musical paths. Will the LinnStrument power the same kind of electronic music revolution that his sampled drum machine did in the 1980s? Time will tell...but I hope it does, because it allows inserting an element of emotion so often lacking with today's synthesis.


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That's what I call an interesting presentation for an effect pedal: Empress uses the Zoia on a pad matrix that allows a variety of effects on a modular kit. An SD card can also be inserted. Only why?

Zoia Multithing
Multithing is definitely a program, because the amount of possible effects on Zoia is not really obvious. This is also because Empress has not yet presented anything except the video.

You get several modules that are configurable via the pad matrix . In addition to effects and " modulators " (LFO, sequencer, etc.) it seems that instruments can be created with them. Then you can save everything on SD card . Why you should do that is not fully understood.


These are joined by MIDI IO, stereo input and output, CV and clock inputs, random function and a fairly free routing that can link different sources and destinations together. Sounds like a lot of fun - especially for synthesizers. Because guitarists would have to stoop constantly for effect control.

450 USD should cost it. During the NAMM Empress will surely show even more of the Zoia. We are curious.

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https://www.premierguitar.com/articles/26816-premier-guitar-gear-guru-livestreams-coming-to-namm-2018

Premier Guitar Gear-Guru Livestreams coming to NAMM 2018!
Press Release
January 22, 2018

Gear Gurus

Premier Guitar Announces Daily Winter NAMM 2018 Livestreams with Electro-Harmonix's Mike Matthews, Paul Reed Smith, EarthQuaker Devices' Jamie Stillman, and More!

Winter NAMM 2018, Booth 6210

Anaheim, CA –– Premier Guitar presents an amazing livestream schedule with the best and brightest in the guitar, pedal and amp world coming together to deliver some serious guitar knowledge.  Builders and luthiers join forces for four days of guitar discussion panels, diving deep into the art and science of their inspiration. Stop by booth 6210 to get a full dose of the experiences, stories and designs that turn builders into legends.

Schedule:

Thursday, January 25 at 1pm PST

Analog vs. Digital—Past, Present & Future: Premier Guitar's "The Recording Guitarist" columnist Joe Gore with Positive Grid's Sean Halley and Line 6's Eric Klein


Friday, January 26 at 11am PST

The Wild Pedal Frontier: Death by Audio's Oliver Ackermann and Dwarfcraft's Ben Hinz


Saturday, January 27 at 11am PST

Stompbox Heavyweights: Electro-Harmonix's Mike Matthews and EarthQuaker Devices' Jamie Stillman


Sunday, January 28 at 11am PST

Fine Lutherie Today: Paul Reed Smith and Nik Huber of Nik Huber Guitars


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https://www.gearnews.com/namm-2018-mark-tremonti-mt-15-lunch-box-amplifier-announced/


NAMM 2018: Mark Tremonti MT 15 Lunch Box Amplifier announced


PRS has just announced the new Mark Tremonti MT 15 Lunch Box Amplifier and with its tone set squarely at high gain and lots of drive, this little 15-watt amp aims to pack a punch.



Mark Tremonti MT 15
The new Mark Tremonti MT 15 is a two channel amp powered by two 6L6 tubes and 6x JJ EC83S preamp valves and aims to pack a punch into a small package, so expect articulate tones and high gain shenanigans from this little box of joy. It comes with a half power switch that knocks it down to a meagre 7-watts if you are in need of more gain, but less output than the standard 15-watts can achieve.



Mark Tremonti PRS MT 15 amp head
Mark Tremonti PRS MT 15 amp head



"We knew we wanted a low-wattage amp. The challenge was getting a lot of tone and features in a little box. We're all blown away with how it turned out. It's going to be great for someone to take it out of the box, set everything to noon, and have it sound great." – Mark Tremonti

Heavy Gain
The Gain channel has Gain, Master, Treble, Middle, Bass controls, whereas the Clean channel comes with Volume, Treble (with pull Boost), Middle and Bass.

On paper is it sounds interesting and with companies like Orange, Friedman and Victory amps all proving that you can make smaller amps with plenty of decent controlled gain, then this new PRS model could be pretty sweet.

The long-standing relationship between PRS and Mark Tremonti has bought the world some really good quality guitar products with the SE Tremonti signature models being a huge seller worldwide and renowned for their quality at a price, so I have high hopes for this new amp. Shipping is expected to begin in March of this year, but we have no information on price as yet.



RRP – TBC including 1-Button Footswitch (Channel Gain/Clean) and Amp Cover

More Information
Product Page

http://www.prsguitars.com/amplifiers/mt/mt_15


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This surprise is a success: Ibanez presents the first E-Uprightbass in the company's history at the NAMM Show. The good piece listens to the names UB804 and "Upswing".

The bass stands on its own tripod and has a 34-inch scale, a maple body, a five-lobed maple and walnut neck, and a Jatoba fingerboard. White inlays ensure a good orientation on the fretboard.

The special AeroSilk Piezopickup ensures the sound pickup and transmits the obviously very contrabass-like sound warm and round. The "Upswing" can even be played authentic style with bow!

More information can be found here: www.ibanez.com

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NAMM 2018: TC Electronic presents the Teleport GLT Guitar Transmission System
by Christian Hautz 01/16/2018





NAMM 2018: TC Electronic presents the Teleport GLT Guitar Transmission System
by Christian Hautz 01/16/2018 74
NAMM 2018: TC Electronic präsentiert das Teleport GLT Guitar Transmission System NAMM 2018
(Picture: provided by TC Electronic)

The TC Electronic Teleport GLT Guitar Transmission System Teleport is a powerful active system designed to convert a balanced low-impedance (Lo-Z) signal back to a non-balanced (Hi-Z) signal. This allows distances of up to 300 feet (100 meters) with absolutely zero signal loss - the ideal solution for long cable runs on large stages and in the studio. The system consists of a transmitter (GLT) and a receiver (GLR).

The guitar is connected to the high-impedance jack input, while the Neutrik XLR output is connected to the Teleport GLR receiver. The GLT Transmitter ensures the highest sound quality and transmits the signal unadulterated.

The Teleport comes in a red aluminum case with protective silicone rubber corners, and is therefore also prepared for the rough stage everyday ..

More information at www.tcelectronic.com


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https://www.guitarworld.com/tag/namm-2018




Ormsby Guitars has unveiled its new GTR Headless Multiscale guitar.

The guitar's headless design reduces its weight and length, while its chambered body adds a pleasant mid-range, weight relief and acoustic resonance. The guitar also features a multiscale fret system, which is designed to improve ergonomics and intonation.

The GTR Headless Multiscale also comes with a number of finishes—including Ormsby copper—custom Hipshot USA hardware, stainless steel frets and a custom gig bag.

Street prices for the GTR Headless Multiscale are $1,699 AUD(~$1360 USD) for the six-string model, $1,769 AUD (~$1415 USD) for the seven-string model and $1,849 AUD (~$1480 USD) for the eight-string model.

For more information, stop by ormsbyguitars.com.