Monthly Archives: January 2013

Computer Music - Hardware

TASCAM Announces the US-322 and US-366 Audio Interfaces

Two budget interface announcements from TASCAM building on the rugged designs offered by the previous generation of models.

The US-322 and US-366 are the next line of interfaces from the leading professional and home recording manufacturer, TASCAM. These interfaces combine compelling new technologies like on-board digital mixers (DSP Mixer) and on-board digital effects (DSP Effects) along with advances on the wildly popular US-122mkII and US-144mkII interfaces. The US-322 and US-366 sport similar aluminum casings for the same rugged reliability plus new improved HDDA (High Definition Discrete Architecture) mic pres. These HDDA Mic Pres offer a wider frequency response (10Hz to 68kHz), high S/N ratio (98dB), low EIN (-120dBu) and low THD+N (0.0045%); qualities rarely achieved in interfaces this affordable.

These all-new interfaces boast low S/N ratio, low THD and the US-366 flaunts 24bit/192kHz recording; certifying these as the best sounding interfaces to be released by TASCAM yet. The 2-in/2-out US-322 features 1 Mic XLR/Line-Guitar TRS input, 1 Mic XLR/Line TRS input, 2 Line TRS and 2 Line RCA outputs. The 6-in/4-out or 4-in/6-out US-366 adds 2 Line RCA inputs and 1 Digital RCA/Optical input/output. One click of the top-loaded “Mixer Panel” button will access TASCAM’s new mixing console screen and on-board insert/send effects for easy-to-use, versatile recording. The digital mixer offers two operational modes, multi-track mode and stereo-mix mode.

TASCAM US-322 and US-366 Features

  • 2 – XLR mic inputs with HDDA mic pres and +48V phantom power
  • On-board digital mixer – “Multi-track mode” or “Stereo mix mode” selectable
  • On-board Effects:
    • Insert: Compressor, EQ
    • Send: Reverb
  • Low latency monitoring
  • Prepared for Internet broadcasting and movie file creating/editing (Stereo Mix Mode)
  • Dedicated monitor mixing (Multi-Track Mode)
  • Mixer panel provides users intuitive operation on PC for sound mixing and activating effects.
  • MON MIX volume provides easy operation for adjusting level balance from external devices and PC.
  • Output selector for each output; selectable between internal mixer output and PC sound.
    • 2 balanced XLR microphone/TRS line inputs. L channel can be switched to Guitar Input for high-impedance support.
    • TRS balanced Line Outputs
    • 1/4” TRS headphone output
    • USB 2.0 bus-powered
    • Cubase LE6 is included
    • Windows XP, Windows 7 and Windows 8 support
    • Mac OSX Snow Leopard, Lion, and Mountain Lion support

 

TASCAM US-322 Specific Features

  • 2-in/2-out USB audio interface
  • Up to 24bit/96kHz recording
  • RCA line outputs (Signal is the same as the TRS balanced line outputs)

TASCAM USS-322

TASCAM US-366 Specific Features

  • 6-in/4-out or 4-in/6-out USB interface depending on the setting of line 3 and line 4.
  • Up to 24bit/192kHz recording
  • RCA or optical digital input
  • RCA and optical digital output
  • REMOTE connector: The DAW transport can be controlled by an optional remote controller, RC-3F: foot switch.

TASCAM US-366The TASCAM US-322 @ TASCAM

The TASCAM US-366 @ TASCAM

TASCAM Products @ SCAN

 

Equipment & Instruments

Korg MS20 Mini

Another interesting announcement from Korg as they take their classic MS20 synth, shrink it almost 20% and re-issue it again after 30 years! A VSTi version of this synth cropped up a few years back with a mini controller also in this vain but this synth is a standalone monster just waiting for you to get to grips with all it’s loverly controls once more.

Today, the sounds of the MS-20 have been reborn as the MS-20 Mini. The same engineers who developed the original MS-20 have perfectly reproduced its circuitry and fit into a body that’s been shrunk to 86% of the original size, yet retains the distinctive look of the original.

Korg MS20 Mini

Korg MS20 Mini Developers Comments

Fifty years have passed since Korg was founded, and we have once again put our hand to an analog synthesizer. We took particular care to deliver smooth parameter adjustments, which are a distinctive feature of analog synthesizers. We also took special care to completely reproduce the original specifications of the MS-20. The analog circuits we designed 35 years ago still deliver the same unbeatable, powerful sound, from the ultra-low to the ultra-high range.

Highlights:

    • Overseen by the engineers of the original MS-20, a complete replication of the original analog circuitry
      • 2VCO / 2VCA / 2VCF / 2EG / 1LFO structure
      • Self-oscillating high-pass/low-pass filters with distinctive distortion
      • External signal processor (ESP)
      • Extremely flexible patching system
    • Miniature MS-20 that’s 86% of the original size
    • MIDI IN and USB connector
  • Replicates every detail of the original, down to the package binding and the included manual

The MS-20 mini painstakingly replicates the original MS-20. A development team led by the original engineers themselves worked to recreate the original circuitry, and when it was necessary to substitute a part, these engineers made the decisions based on careful listening, in order to reproduce the original sound faithfully. In fact, the sound of the MS-20 mini has a somewhat bright and extreme quality to it because its sound is that of an original MS-20 in mint condition at the time it went on sale, before any of the components aged.

2VCO / 2VCF / 2VCA / 2EG / 1LFO structure
The MS-20 mini reproduces the distinctive synthesis of the MS-20; two oscillators with ring modulation, and envelope generators with hold and delay. The VCA maintains the basic design of the original, but it’s been modified to produce less noise than the original.

Self-oscillating high-pass/low-pass filters with distinctive distortion
One of the greatest characteristics of the MS-20 was its powerful filters, which provided resonance on both the high-pass and the low-pass. Maximizing the resonance would cause the filter to self-oscillate like an oscillator, producing a distinctive and dramatic tonal change that was acclaimed as inimitable, and was later used on the monotron and monotribe. The filter circuit was changed mid-way through the production lifecycle of the MS-20; the MS-20 mini uses the earlier filter, which was felt to be superior due to its more radical sound.

External signal processor (ESP) for processing an external signal
The ESP carries on the experimental spirit of MS-20; it allows you to use the pitch or volume of an external audio source to control the synthesizer. For example you can input an electric guitar and use the MS-20 mini as a guitar synthesizer, or input a mic and use it as a vocal synthesizer.

Extremely flexible patching system
The patching system provided to the right of the panel lets you create complex sounds by plugging-in cables to change the connections between the various units. The possibilities are limited only by the user’s imagination; different combinations of the modulation input/output and trigger, sample and hold, and noise generator can produce an incredible variety of sounds. By patching according to the MS-20 flow chart that’s printed on the panel, even the beginner can start taking advantage of these possibilities right away.

Korg MS20 Homepage

Korg@ Scan

 

 

 

Equipment & Instruments

All hail the King(Korg)

Korg have unleashed a new VA synth of epic proportions in the shape of the KingKorg. A full sized 61 key,  3 OSC  synth,  with Korgs own newly developed XMT modeling sound engine. XMT (Xpanded Modeling Technology) is proprietary Korg technology that was created in order to produce a broad range of sonic variations while keeping operation simple. In a conventional synthesizer, the sound-creating process requires you to adjust the oscillator settings one by one, making it difficult to see the overall picture. In contrast, KingKORG provides pre-set algorithms that contain combinations of various types and numbers of oscillators, letting you easily and quickly sculpt stage-ready sounds. The wide range of oscillator algorithms includes the choices you’d expect from an analog synthesizer–sawtooth wave, square wave, and noise–in addition to numerous PCM/DWGS algorithms, giving you plenty of scope choices for creating highly personal sounds.

Other key features are 3 effects sections on the master allowing you to apply effects from a choice of 6 different effects, filters modeled upon classic Korg filter sections and a vacum tube section to add overtones and some extra drive and all this is constructed around a virtual patch system ensuring that you should have plenty of ways to help you sculpt your sound.

KingKorg topdown

KingKorg Features

  • A full-fledged, 61-key analog modeling synthesizer designed for live performance
  • Powerful oscillators that are understandable to the beginner, yet satisfying for the expert
  • Modeling filters that reproduce the sound of classic instruments
  • Three master effect sections (each with six effect types) add the finishing touch to your sound
  • Vacuum tube driver circuit adds rich overtones and powerful distortion
  • New panel layout designed for intuitive operation
  • CV/GATE OUT jack lets you control a Korg monotribe or MS-20
  • Support for librarian software that lets you manage programs

KingKorg Rear

Features In Depth

Powerful oscillators that are both understandable to the beginner and satisfying for the expert
KingKORG features a 3-oscillator x 2-timbre design allows you to generate thick and rich sounds, plus a newly developed XMT modeling sound engine. XMT (Xpanded Modeling Technology) is proprietary Korg technology that was created in order to produce a broad range of sonic variations while keeping operation simple. In a conventional synthesizer, the sound-creating process requires you to adjust the oscillator settings one by one, making it difficult to see the overall picture. In contrast, KingKORG provides pre-set algorithms that contain combinations of various types and numbers of oscillators, letting you easily and quickly sculpt stage-ready sounds. The wide range of oscillator algorithms includes the choices you’d expect from an analog synthesizer–sawtooth wave, square wave, and noise–in addition to numerous PCM/DWGS algorithms, giving you plenty of scope choices for creating highly personal sounds.

Modeling filters that reproduce the sound of classic instruments
While designing KingKORG, extreme attention was paid to the filter section, which is crucial to a synthesizer’s character. A diverse variety of filters is a unique advantage of analog modeling, and KingKORG’s filters add unparalleled flexibility. In addition to a variety of essential analog modeling filter types, you get faithful models of filters that reproduce the analog monophonic synths used for lead and bass in the ’70s, the polyphonic synths used in new wave music of the ’80s, and the filters of Korg’s classic MS-20 analog synth. These filters can also be made to self-oscillate by raising the resonance setting– a unique capability of analog synthesizers.

Three master effects, each with six effect types, add the finishing touch to your sound
KingKORG provides three master effect sections, each giving you a choice of six effect types: PRE FX, with types such as distortion and amp simulator; MOD FX, with classic effects like phaser, chorus, and tremolo; and REV/DELAY, with ambience effects such as hall reverb and modulation delay. Each effect processor has a dedicated front panel dial that selects the effect type. To choose the ideal effect type, simply turn the dial to hear the result, and use the FX control knobs located below these dials to adjust the effect as desired.

Vacuum tube driver circuit adds rich overtones and powerful distortion
KingKORG provides a full-analog vacuum tube driver circuit as a mastering effect. You can use it to add warm fullness, a powerful overdrive, or anything in between.

Vocoder function
The built-in vocoder uses audio from the onboard mic input to modify the sound, creating an effect as though the synthesizer were talking. The vocoder features Formant Shift to dramatically modify the tonal character, as well as Formant Hold, which allows you to “freeze” a vowel sound and play it back using the keys. Thanks to the KingKORG’s dual-timbre architecture, you can even combine the vocoder with another timbre, either as a complementing sound or a modulation source.

Virtual patch function
On many classic synthesizers (such as the MS-20), the signal flow could be reconfigured using patch cables to physically connect one element to another. KingKORG reproduces this function with an intuitive Virtual Patch system. With six Virtual Patch assignments per timbre, control signals such as EG, LFO, or joystick movement can be virtually connected to sound parameters such as pitch or cutoff, allowing you to modulate a parameter for even greater sound-shaping possibilities.

Step arpeggiator function
The step arpeggiator automatically generates an arpeggiated phrase (broken chord) according to the chord you hold on the keyboard. You can choose from six arpeggio types, and specify the duration, interval, and on/off status of each step to enjoy a wide variety of performance possibilities.

Specifications

System

    XMT (eXpanded Modeling Technology)

Program

Number of programs:

    300 (Preset: 200)

Number of categories:

    8 categories

Number of timbers:

    Up to 2 Timbres (Layered or Split)

Maximum voice polyphony:

    Up 24 voices

Oscillator

Structure:

    3 Oscillators (Analog, Noise, DWGS, PCM, MIC IN)

Number of Types:

    127 types (Analog & Noise: 32 + DWGS: 64 + PCM: 30 + MIC IN)

 

Filter

Structure:

    1 filter per timbre (LPF, HPF, BPF)

Number of Filter Types:

    18 types (LPF: 7 + HPF: 5 + BPF: 6), including modeling filters

Modulation:

    EG: 2 units, LPF: 2 units, AMP

Virtual Patch:

    6 Virtual Patches per timbre

 

Effect

Sections:

    Program effects x 3 (PRE FX, MOD FX, REV/DELAY) + EQ (2 Band) + TUBE (Stereo)

Types:

      PRE FX: 6 types (DISTORTION, DECIMATOR, RING MOD, GT AMP, EP AMP, TONE)

 

      MOD FX: 6 types (FLANGER, CHORUS, U-VIBE, TREMOLO, PHASER, ROTARY)

 

    REV/DELAY: 6 types (HALL, ROOM, PLATE, TAPE ECHO, MOD DELAY, BPM DELAY)

 

Vocoder

    16-Band Vocoder with Formant Shift and Formant Hold

 

Arpeggiator

      Up to 8 steps (The number of steps can be changed)
    6 types (UP, DOWN, ALT1, ALT2, RANDOM, TRIGGER)

Audio

Input:

      Mic In
        Connection: XLR-3-31 Type (Balanced)
        Input Impedance: 6.8 kO
        Maximum level: -12 dBu

Output:

      Audio Output
        Connections: 6.3 mm, TS phone jack (Unbalanced) “L/MONO, R”
        Load Impedance: More than 10 kO
        Maximum level: -12 dBu
      Headphone

 

        Connection: 3.5 mm, Stereo min phone jack
        Maximum level: 60 mW + 60 mW @33O

 

Display

Main Display:

    16 characters x 2 lines / OLED (Organic Light-Emitting Diode)

Sub Displays for Oscillator and Filter Sections:

    128 x 64 dots / OLED (Organic Light-Emitting Diode)

Keyboard

      61 notes (Semi-Weighted Keyboard)
      *Velocity-sensitive
      *Adjustable Key Response (NORMAL, SHALLOW, DEEP)

KingKorg @ Korg

Korg @ Scan

Computer Music - Hardware

Presonus Announce the Sceptre Series Monitors

PreSonus announces the Sceptre CoActual™ series studio reference monitors. Featuring an advanced coaxial design that works integrally with a 32-bit, 96 kHz, dual-core processor using Fulcrum Acoustic’s TQ™ Temporal Equalization technology, Spectre CoActual monitors deliver clarity and coherence that has previously only been available in ultra-high-end systems. Yet they are an affordable investment for project-studio owners—a first for DSP-controlled, TQ-based systems.

The series includes two models. The Sceptre S8 CoActual Studio Monitor features combines an 8-inch low/mid-frequency driver and a 1.73-inch (44 mm), horn-loaded, high-frequency transducer into a single coaxial unit with aligned voice coils. The Sceptre S6 CoActual Studio Monitor’s coaxial speaker integrates a 6.5-inch low/mid-frequency driver and a 1.34-inch (34 mm), horn-loaded, high-frequency transducer. Both models have acoustic ports.

“Speaker designers have long been aware that coaxial designs offer the advantages of a single point source for a consistent acoustic center and a symmetrical dispersion pattern,” notes PreSonus Executive VP of Product Development John Bastianelli, “ but until time-based DSP became affordable, designing coaxial systems without a variety of acoustic anomalies has been extremely expensive.”

Through intensive collaboration with Fulcrum Acoustics’ Dave Gunness, PreSonus software designers were able to incorporate Fulcrum’s Temporal EQ algorithms employing multiple, fully addressable Finite Impulse Response (FIR) filters. Gunness was also responsible for final tuning and voicing of both Spectre-series monitors.

According to Bastianelli, “This high-tech approach requires massive amounts of DSP and subtle, sophisticated transducer design, which is why such systems have, in the past, been limited to very high-end systems with external processors. Clearly, PreSonus Sceptre CoActual studio monitors represent a huge price-performance breakthrough.”

Presonus Sceptre monitors

Sceptre monitors include controls that enable full integration into any studio environment. A four-position Acoustic Space switch controls a second-order shelving filter center at 100 Hz, with four attenuation settings (no attenuation, -1.5 dB, -3 dB, and -6 dB) so that you can account for the bass response relative to room dimensions and speaker placement. A High Pass switch sets the second-order slope, 12 dB/octave filter’s low-frequency cutoff to linear, 60 Hz, 80 Hz, or 100 Hz. A High-Frequency Driver Adjust switch adjusts the tweeter’s overall level to linear (0 dB), +1 dB, -1.5 dB, or -4 dB. The Sensitivity control ranges from +4 dBu to -10 dBV.

The systems are biamplified: Each transducer is powered by a 90W RMS, Class D power amp with an internal heat sink. All Sceptre-series monitors have a balanced XLR and ¼-inch TRS line-level inputs with A-taper level control.

Presonus @ Scan

 

Equipment & Instruments

Presonus Announces Its New Eris Series Studio Monitors

PreSonus today unveiled its new Eris™-series studio reference monitors. These ultra-affordable, 2-way, bi-amped monitor speakers are designed to deliver accurate response with a tight bass and very clear upper end. They can also be user-adjusted to the acoustic space, allowing you to create a more accurate listening environment or to simulate different common listening environments – a feature not typically provided by studio monitors in this price point.

The Eris E8 features an 8-inch, Kevlar low-frequency transducer, driven by a 75 watt, Class D power amplifier; and a 1-inch (25 mm), silk-dome, high-frequency tweeter with a 65W, Class D amplifier. It can deliver up to 105 dB SPL, peak. Frequency response is rated at 45 Hz to 22 kHz.

The compact Eris E5 sports a 5.25-inch, Kevlar low-frequency driver, mated with a 45W, Class D amplifier; and a 0.79-inch (20 mm), silk-dome tweeter powered by a 35W, Class D amplifier. It can crank out a clean 102 dB SPL, peak. Frequency response is rated at 64 Hz to 22 kHz.

Both Eris models have individual balanced XLR and ¼” TRS input connections in addition to unbalanced RCA inputs. Both offer RF shielding, current-output limiting, over-temperature protection, and subsonic protection.

Presonus Eris

Users also can make several types of custom adjustments. A four-position Acoustic Space switch controls a second-order shelving filter, centered at 100 Hz, that provides three attenuation points (no attenuation, -2 dB, and -4 dB), allowing you to control the bass response relative to the wall proximity of your speakers. A High Pass switch sets the low-frequency cutoff (second-order slope, -12 dB/octave) to be flat, 80 Hz, or 100 Hz. You also get continuously adjustable High Frequency and Midrange controls from -6 dB to +6 dB.

Presonus @ Scan

Computer Music - Hardware

M-Audio Announces M-Track, M-Track Plus & M-Track Quad Sound Interfaces

Along with the new Axiom controllers announced at NAMM the newly re-vitalized M-Audio introduce us to a hat trick of new interfaces too.

Offering three distinct models, the M-Track Series combines a robust feature set with extreme ease of use to create versatile audio/MIDI interfaces for every level of musician.
Starting with phantom-powered XLR jacks, line inputs with guitar-level switching, TRS audio inserts, and latency-free monitoring, the M-Track Series provides a comprehensive
range of inputs, outputs, and connection options designed to work efficiently in the modern studio or on the go. Simple controls, effective metering, and rugged chassis make the M-Track Series ideal for withstanding the rigors of day-to-day use. From the entry-level M-Track to the pro-line M-Track Quad, each model offers a reliable platform that can accommodate the myriad of devices that can come and go in a changing project studio.

M-Track QuadM-Audio M-Track Quad

Four-channel USB Audio/MIDI Interface

  • 24-bit / 96 kHz audio resolution
  • Zero-latency audio monitoring
  • 4 XLR+1/4” combo inputs accommodate any source
  • Selectable phantom power and guitar-level switching
  • 4 TRS 1/4” inserts; MIDI in and out
  • 1/4” balanced outs; monitor (1, 2) with level; fixed (3,4)
  • Headphone out with independent level control
  • USB connection; powered USB hub with three ports
  • Ignite™ by AIR software quickly captures musical ideas
  • Includes Avid® Pro Tools® Express for advanced production

M-Track PlusM-Audio M-Track Plus

Two-channel Portable USB Audio/MIDI Interface With Digital I/O

  • 24-bit / 48 kHz digital audio processing
  • Zero-latency audio monitoring
  • 2 XLR mic inputs with selectable phantom power
  • 2 balanced 1/4” line inputs with guitar-level switching
  • 2 TRS 1/4” inserts; MIDI in and out
  • Balanced 1/4” main outputs with level control
  • Headphone out with independent level control
  • USB powered for ultra-mobility; sturdy aluminum shell
  • S/PDIF coaxial digital in/out
  • Ignite™ by AIR software quickly captures musical ideas
  • Includes Avid® Pro Tools® Express for advanced production

M-TrackM-Audio M-Track

Two-channel Portable USB Audio/MIDI Interface

  • 24-bit / 48 kHz digital audio processing
  • Zero-latency audio monitoring
  • 2 XLR mic inputs with selectable phantom power
  • 2 balanced 1/4” line inputs with guitar-level switching
  • 2 TRS 1/4” inserts; MIDI in and out
  • Balanced 1/4” main outputs with level control
  • Headphone out with independent level control
  • USB powered for ultra-mobility
  • Includes Ignite™ by AIR and Ableton® Live Lite

M-Track Quad

The flagship of the family, M-Track Quad offers up to four simultaneous audio inputs. As with the entire M-Track family, the M-Track Quad features four individual mic inputs with
selectable 48V phantom power, 1/4″ line inputs with guitar-level switching, and per channel audio inserts. A second set of outputs operates independent of the monitor level control, providing extra versatility.

M-Track Plus

At home in the more advanced digital studio, the step-up M-Track Plus is built on the M-Track’s foundation, with the addition of coaxial S/PDIF digital input and output jackson the back panel and a robust metal casing.

M-Track

This entry-level model offers two-channel operation. Each channel provides both XLR and 1/4″ inputs. Phantom power (48V) and guitar-level switching are provided. Professional audio converters and discrete preamp design deliver up to 24-bit, 48 kHz digital audio for use with virtually any software. 4-segment LED metering and multiple status lights provide real-time visual feedback. A single USB cable provides both power and data, making setup a snap. Intuitive controls include individual gain knobs, a convenient zero-latency mix knob, plus a headphone output with its own level knob. MIDI in and out jacks are provided, in addition to the balanced main 1/4″ outputs.

M-Audio @ Scan

Dj Tech

Mixtrack II and Mixtrack Pro II

Here at Scan the budget friendly Mixtrack II and Mixtrack Pro II controllers from Numark have always been a popular choice for those just starting to get into mixing. Indeed we them so capable that our Dj tester in chief DJ Rasp has been known to do scratching master classes on these, which is pretty amazing that you can get something so fully featured for such a great price.

So we’re happy to see that the guys at Numark have refined and refreshed the two models.

Mixtrack IINumark Mixtrack 2

2-Channel DJ Controller

  • Illuminated, capacitive touch-activated platters
  • 16 backlit rubber drum pads, 16 dedicated effects controls
  • Complete mixer section with crossfader and 3-band EQ
  • Virtual DJ LE audio/video/karaoke software included
  • USB-powered and class-compliant

Mixtrack Pro IINumark Mixtrack Pro II

2-Channel DJ Controller with Audio I/O

  • Illuminated, capacitive touch-activated platters
  • 16 backlit rubber drum pads, 16 dedicated effects controls
  • Complete mixer section with crossfader and 3-band EQ
  • Audio interface built in, Serato DJ Intro software included
  • USB-powered and class-compliant

 

The Mixtrack & Mixtrack Pro II feature new streamlined designs and new expanded layouts of professional controls, including 16 backlit multifunction drum pads and illuminated touchactivated platters. Hot cues, looping, and effects controls are all onboard, along with a built-in professional DJ audio interface. Building upon Numark’s longstanding partnership with Serato®, Mixtrack Pro II comes with Serato DJ Intro. DJs can also easily use Mixtrack Pro II with most popular DJ software, and it also comes pre-mapped for an optional upgrade to Serato DJ, the latest state-of-the-art professional software from Serato. Serato DJ includes a wide range of all-new features and capabilities, including stunning new effects powered by iZotope®, ultra-flexible and intuitive MIDI mapping, and the ability to set and trigger up to eight cue points.

Numark @ Scan

Dj Tech

Numark Announces The Orbit Wireless DJ Performance Controller

Now anyone who’s seen us at any shows around the country over the last few years will have seen Tom mixing it up using Wii controllers and showing off just how much fun you can have performing when your free to move about. In the light of so many people trying it out by hacking other hardware out there its kind of surprised us that no one has developed a more simple solution that works over WiFi… well it seems like Numark has taken up the mantle with the Orbit.

Orbit Features

Wireless Handheld MIDI DJ ControllerNumark Orbit

  • 2.4 GHz ultra-low-latency wireless performance control
  • 16 backlit pads, 4 selectable banks, 16 virtual knobs per bank
  • Internal two-axis accelerometer with shoulder trigger controls
  • Use handheld, strapped to belt or body, or hung around neck
  • Illuminated aluminum-faced control wheel
  • Rechargeable lithium-ion battery

Whilst the design looks a little gamer like the big solid controls should make it very easy to use, even whilst having it on the dance floor yourself! The inclusion of the two axis accelerometer should give you some interesting options in regards to effect mapping and triggering and with a bit of tweaking we reckon this could be a really fun and pretty inspiring product.

Numark @ Scan

Computer Music - Hardware

Akai Announce The MPX8 SD Sample Launcher

The MPX8 Sample launcher takes one of their controllers and adds the capabilites to load your own samples into the unit allowing you to use it for playback in a live situation. Using a standard SD card, users can load virtually any sample onto MPX8 and then assign it to any of the unit’s eight backlit velocity- and pressure-sensitive pads. The MPX8 also comes with a large library of standard samples built in, which can be used for live performance in front of a crowd, on a radio show, or for in-studio production. Its bright blue backlit display and intuitive interface make for easy operation in any amount of light.

The Akai MPX8 features a 1/8-inch headphone output, two balanced 1/4-inch outputs, and five-pin MIDI and USB MIDI inputs and outputs are onboard.

Akai say:

“With MPX8, we’re giving musicians a quick and convenient way to have one-touch access to a virtually unlimited number of sounds, shots, stabs, and drops,” said Dan Gill, Akai
Professional Product Manager. MPX8 comes with a drag-and-drop sample editor for Mac® and PC for easy sample conversion. Users can also save sample sets together as kits for
easy recall and even tune and add reverb to samples.

MPX8 Features

Akai MPX 8

SD Sample Pad Controller

  • Add sound samples via standard SD card (sold separately)
  • 8 velocity-sensitive and pressure-sensitive pads
  • Drag-and-drop sample editor for Mac and PC included
  • Built-in library of popular sounds, samples, and bumps
  • Tune, add reverb, save sample sets for easy recall
  • USB MIDI plus standard MIDI inputs and outputs
  • 1/8” headphone output and balanced 1/4” outputs

Akai Hardware @ Scan.

Computer Music - Hardware

M-audio Announces Axiom AIR 61, 49, 25 and Air Mini 32 MIDI Keyboards

Another raft of controller keyboards, this time coming from the M-Audio camp bring us a complete refresh of their Axiom range.

M-Audio Axiom Air 25

Axiom AIR 25

Premium Keyboard and Pad Controller

  • 25 expressive synth-action keys with aftertouch
  • 16 great-feeling trigger pads respond to pressure and velocity
  • Roll button aids in creating realistic drum parts
  • Assignable controls offer front-panel programming:
  • 8 rotary encoder knobs plus 1 long-throw 70mm fader
  • 3 banks of pad and knob assignments with color-coded illumination
  • HyperControl automatically maps controllers to popular software
  • Drum Pad Learn feature and Identify button
  • Dedicated transport and navigation buttons make recording easy
  • Octave/Transpose buttons access the entire note range, in any key
  • Assignable pitch bend and modulation performance wheels
  • Selectable velocity curves to match any playing style
  • 128 memory locations for saving custom settings
  • Functional design provides backlit LCD plus under-keyboard cable routing
  • Includes AVID Pro Tools® Express and Ignite™ by AIR

M-AudioAxiom AIR 25

Axiom AIR 49

Premium Keyboard Pad Controller

  • 49 expressive synth-action keys with aftertouch
  • 12 trigger pads respond to pressure and velocity
  • Roll button aids in creating realistic drum parts
  • Assignable controls offer front-panel programming:
  • 8 rotary encoder knobs; 9 long-throw 70mm faders; 9 buttons
  • 3 banks of pad and controller assignments with color-coded illumination
  • HyperControl automatically maps controllers to popular software
  • Drum Pad Learn feature and Identify button
  • Dedicated transport and navigation buttons make recording easy
  • Octave/Transpose buttons access the entire note range, in any key
  • Assignable pitch bend and modulation performance wheels
  • Selectable velocity curves to match any playing style
  • 128 memory locations for saving custom settings
  • Functional design provides backlit LCD plus under-keyboard cable routing
  • Includes AVID Pro Tools® Express and Ignite™ by AIR

M-Audio Axiom Air 61

Axiom AIR 61

Premium Keyboard Controller

  • 61 TruTouch® semi-weighted piano-style keys with aftertouch
  • 12 trigger pads respond to pressure and velocity
  • Roll button aids in creating realistic drum parts
  • Assignable controls offer front-panel programming:
  • 8 rotary encoder knobs; 9 long-throw 70mm faders; 9 buttons
  • 3 banks of pad and controller assignments with color-coded illumination
  • HyperControl automatically maps controllers to popular software
  • Drum Pad Learn feature and Identify button
  • Dedicated transport and navigation buttons make recording easy
  • Octave/Transpose buttons access the entire note range, in any key
  • Assignable pitch bend and modulation performance wheels
  • Selectable velocity curves to match any playing style
  • 128 memory locations for saving custom settings
  • Functional design provides backlit LCD plus under-keyboard cable routing
  • Includes AVID Pro Tools® Express and Ignite™ by AIR

M-Audio Air Mini 32

Axiom Air Mini 32

Mobile Keyboard and Pad Controller

  • 32 low-profile, velocity-sensitive mini keys
  • 8 assignable velocity-sensitive drum pads (x2 banks)
  • 8 assignable knobs deliver immediate control
  • HyperControl® interactive controller mapping
  • Dedicated transport and navigation buttons
  • Sustain, pitch bend, and modulation buttons
  • Octave +/- buttons access the entire note range
  • Velocity curves to match your playing style
  • Includes Ignite™ by AIR and Ableton® Live Lite

 

On top of all this inlike other keyboard controllers that include trial and demo versions of music software, M-Audio’s strong partnerships with AIR Music Technology and Avid® allow each Axiom AIR 61, 49 and 25 model to come complete with two exclusive and complementary music creation applications: Ignite by AIR and Pro Tools® Express from Avid.

By removing many of the hurdles associated with computer-based music-making, Ignite delivers the most streamlined means to quickly capture your best musical ideas.
According to AIR Product Manager Samara Winterfeld, “Ignite was designed from the ground up to provide instant integration and controller mapping with Axiom AIR and
every M-Audio keyboard. This is one less thing a musician has to worry about when inspiration strikes.”

M-Audio @ Scan.