Just got back from NAMM last night. This is the first time I drove (from SF to LA) instead of flying. Believe it or not, it’s actually not much faster now to fly. Because of the new three hour pre-flight check-in requirements and lengthy airport/NAMM ground transportation time, I decided to drive the 6-1/2 hours ‘straight down’ I-5 . . . cruise control set to 80 .
With NAMM badge in hand, I battled the herds of people streaming into the Anaheim Covention Center. It’s virtually impossible to catch everything at NAMM in one day (or even 2 or 3), so I’m glad I brought my Palm IIIC (with list of must see products/booths) to make sure I didn’t miss a beat. My first stop was at Native Instrument's booth where they were demonstrating their impressive new software sampler: Kontakt. Also got a chance to play around a little with the B4 Organ software synth. This really sounds impressive! I will probably end up purchasing this soon. I then stopped by Terratec’s booth (distributed by Fostex here in the US) as I was eager to checkout the new DMX6 fire soundcard Roel just recently purchased. Impressive 24/96 specs at a great price which includes a 5-1/4” front module box which in addition to stereo/ins & outs (analog & digital devices: optical & coaxial), supports midi in/out, and headphone & mic too. Terratec isn’t as well known here in the US, but this new card will definitely give the US sound card makers a run for their money. I’m now looking forward to hearing some recordings make on this card by Roel Jonge. I then went to the Cakewalk booth to see a great demo of Sonar XL featuring their new Dxi software synth plug in standard for Windows-based music production. I think Windows PC midi-digital audio sequencing has finally come of age to meet (and surpass?) the Mac platform for professional music production. I’ve been a long time Mac fan, but just recently switched from Logic Audio (Mac) to Cakewalk Sonar (PC). Some great new features of Sonar include 100% compatibility & increased speed with Windows XP, support for the Microsoft’s newest greatly improved WDM drivers. You can also monitor live input and apply real time efx during recording as well as play/record software synths (such as Native Instruments B4) with extremely low latency. VERY cool !
Next stop: the GEM booth where Chris Anthony was demonstrating the protype of the new upcoming Genesis Arranger keyboard. I would call this keyboard a ‘one stop’ music production arranger workstation. You can produce a pro sounding audio CD from conception to completion all on the Genesis. George Kaye provided a good breakdown of its features (in a separate post) so I’ll just give my personal impressions. The acoustic piano sample is a big step up over the WK8. Very natural sounding. What I found fascinating is the way Chris designed the sound samples. The sample consists into 2 parts: the fundamental sound itself and noise which emunates from the instrument (ie: sound of a guitar strum). Combining these together gives the Genesis’ sounds an added acoustic realism. The styles were also impressive but nothing that jumped me out of my seat. For a gigging musician like myself, I would find the Genesis too heavy and bulky. The speakers sound impressive, but are aimed directly towards the player so aren’t really optimized for the audience POV, but for an ‘all in one’ production studio piece, the Genesis is unsurpassed. There are currently no other arranger board out there that allow you to burn a CD (including digital audio tracks (stereo)) right on the keyboard itself. If I didn’t already own a computer and music production software (midi/digital audio), I might have considered the Genesis for the studio, because many of its sounds, styles, and features are quite impressive. I’m anxious to find out what the final release version will be like when released (in April 2002 according to Chris). I’m also hoping that GEM will add rootless jazz style chord recognition as Technics, Yamaha & Solton (SD1) already support. Chris, it was great to finally meet you in person. Hope you can provide us with updated information about the the Genesis (including any possibility of adding rootless chord recognition) as things develop.
Integrating digital audio & midi seems to be the current trend as evidenced by the new SD-90 Studio Canvas (with USB) highlighted at the Edirol booth (Edirol is actually a computer music division of Roland). It supports 24 bit audio recording (including audio efx) including ASIO driver support, as well as it’s top of the line Roland Sound Canvas midi sound generator. Quite a powerful package in ONE box.
Next stop was the Ketron booth where Dan O’Neil demonstrated Ketron’s new Baby Grand version of the SD1. Very elegant looking and Dan’s impressive playing really showed off Ketron’s great big band jazz styles & sounds. I also had a chance to sit down at the SD1 and try out the rootless chord voicings which Sandro had recently implemented. I was playing with a BIG SMILE on my face. The highlight of my visit at the Ketron booth was being able to thank Sandro in person for implementing the rootless chord recognition feature. Sandro was so warm & friendly and went out of his way to spend at lot of time going over the SD1 as well as sharing arranger keyboard playing techniques. One uniquely impressive feature of the SD1 is the ability to use the pitch bend controler to trigger only one note in a ‘melody chord’ being played. This creates a most authentic pedal steel guitar emulation not possible on any other arranger keyboard as far as I know. We also discussed the dilemma of full keyboard chord recognition where the chord recognition will unexpectantly change as you play (solo). On the SD1, you can ‘lock’ in a chord by pressing the sustain pedal. This allows you to solo to your hearts content, maintaining the chord you previously locked in, until you release your foot from the foot controler. Unfortunately, as a piano player, this method is not a good option for me, because I need to use the sustain pedal ‘as a sustain pedal’. So far, only Technics has been able to implement ‘full keyboard’ mode playing to my satisfaction. In addition to having the opportunity to chat with my buddy Dan again, I also got to finally meet AJ and hear him play. Both of these guys are talented and have become lifetime arranger keyboard friends.
On to the Korg booth. Nothing new in the arranger department, but I did get a chance to see Stephen Kay demonstrate his ‘Karma MW’ software for the Korg Karma Workstation. It’s an algorithmic music generation program which gives you the power to create unique sounds and tweek to your hearts content. Certainly impressive, but being more of a live performer, I’m not really into that sort of thing.
Nothing new in the arranger keyboard area with Roland either. I did get a chance to play on the VA76 though. Great sounds and styles of course. The only reason I never went the Roland route is because of its touch screen, which I still don’t like (especially for live performance).
I then went up the long escalator to see if Digitech had anything new on the vocal harmonizer front. I was surprised not to find any of their vocal harmonizers displayed on the showroom floor. Did I somehow miss something here?!
On to the Technics showroom. The Technics showroom looked the same as last year. No new arranger keyboards. I did take time to play the KN6500 though. I’m still impressed with the sounds and styles and really DO disagree with George Kayes impressions. Sorry George. The KN6500 does sound different than the competition, but that is GOOD to me. I think the KN6500 is just geared for a different ear (taste) than Roland, Yamaha & Ketron (Solton). I think Technics sounds are really geared for tradition pop (jazz) and big band orchestra while the big three (Roland, Yamaha, Korg) gear there styles & sounds more towards contemporary pop/rock. For me the best solution (to cover all bases) is to own both a Technics KN6500 & Yamaha PSR/Ketron SD1. Another big advantage of the Technics KN6500 is the playability (especialy in full keyboard mode). ONLY Technics supports the kind of chord recognition a traditional acoustic piano player can appreciate.
Finally, I visited the Yamaha Showroom (which occupied a large portion of the adjacent Marriot Hotel). Nothing new in the arranger dept here but I did bump into Greg Rule & Ernie Rideout (Keyboard Magazine’s senior editors & product reviewers) intensely checking out the demonstration given on the PSR2000. I had also seen them at the GEM booth checking out the Genesis as well. I had a chance to briefly chat with Ernie to thank him for finally taking interest and covering & reviewing arranger keyboards now. He acknowledged that arranger keyboards are truly becoming big trend now and assured me that Keyboard Magazine will continue to increase arranger keyboard coverage & reviews. Being able to meet him and express my concerns as an arranger keyboard performer really ‘made my day’. Respect for arranger keyboards and arranger keyboard musicians certainly has been a long time coming so it’s hard to believe that our day has finally arrived !
In closing, I'm still very happy with my Yamaha PSR2000, at least until the next generation of arranger keyboards is released. See ya next year at NAMM folks.
- Scott
PS: If you haven't already checked out my NAMM 2002 pics, check them out at:
http://scottyee.com * go to the 'pictures' page link
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